For the second review in a row I have to issue a spoiler warning (ironically, for similar reasons). So, if you’re seeing Crush stop reading, immediately.

It’s a mystery. Why does pure choreography sometimes create its own meaning, and other times leave you craving for context? For many in contemporary dance, the ideal is to let the movement speak for itself.

Wadded plastic, descending airplanes, and dangling mikes: memorable images graced each of the three commissioned works in Dancing on the Edge's Edge 5. Made up of two duets and a trio – Co.Erasga’s Adam-Eve/Man-Woman (Part 1), Peter Bingham’s right in front of you, and Serge Bennathan’s Slam for a Timetraveller – the program chanced to follow a classic narrative arc, from emergence in the first piece, to greatest tension in the middle, and restoration of harmony at the end.

The tone for Industry of Dreams, the first of two performances in Edge Three, was set with an opening, deliberately amateur film of India’s daily life mixed in with dancing. Traditional theatrical dancing mixed with dervishes fade into scenes of people riding buses. The mood is set: This is India, and India is movement.