A man sits in a rocking chair under water that is shockingly blue and clear. He is lean and muscular. His movements are slow — as languid as blood. The germination of Awáa, the latest work by Aszure Barton, was a dream. It did not stop when Barton opened her eyes. As one of the most widely sought choreographers of her generation, Barton put dancers underwater. The resulting film appears in Awáa, sometimes projected softly behind the dancers, sometimes lowered in front, on a gauze-like scrim. As with most productions by Aszure Barton & Artists, Awáa is deeply collaborative — the minds of the dancers were stretched as far as their bodies, and the result is an extraordinary rumination on elemental opposites: water and fire, masculine and feminine. For the neophyte, Barton's work is visually enthralling, rich in color, emotion, and dynamic form. For the dance enthusiast, it is clear why Barton was chosen as the first resident choreographer at New York's Baryshnikov Arts Centre.