Strange Attractions Part I (1999) opened with Barrington Hinds swooping onto the stage with grand leaps, balances and fast head turns in true Petronio style; big, wild and fast.
Barrington Hinds subverts balletic maneuvers such as pirouettes and beats and all manner of jumps—canting them, blocking them, diverting the movement impulse elsewhere, and plunging them into a stew of wholly unconventional ingredients.