Created for five black-clad dancers including Khan himself, and framed by a simple but striking set by Anish Kapoor with a black square in the middle, this 55-minute work, accompanied by abrasive music by Nitin Sawhney and occasional dialogue, offers fascinating contrasts between motion and stillness, order and chaos, as well as in the variety of the scales of movements.

Khan has employed a narrow range of vocabulary with particular emphasis on the upper body through rapid circling arm movements, and gestures. But the way in which Khan has achieved a clarity of form in his choreography is impressive; the phrases for his dancers flow so logically. In a slow section early on, the dancers' gestures gradually accumulated in force, weight and density. Their fluid arm movements could have an unexpected graceful finish after a lot of agitated turns.

Khan certainly has an eye for rhythmic variety. The various groupings and permutations for the five dancers - solos, duets, trios, etc - were mostly interesting. A frequent motif saw the dancers lined up on the diagonal, with one or more of them gradually freezing.

An exciting passage towards the end of the work seemed to evoke an apocalypse, with a lot of loud background noise emanating from an engine. But as expected, the tension in this episode was resolved by a calm and peaceful finale. All the dancers performed admirably in this excellent work. Their beauty in stillness was particularly memorable.