Through travel and ethnographic research, Wilson incorporates performance practices of the African diaspora into his choreography, and in so doing updates the research-to-performance methodology of Zora Neale Hurston, Katherine Dunham and Pearl Primus from mid-century.

At the same time he freely borrows movement material and compositional devices from a wide range of sources, blurring the distinction between black dance and modern dance and challenging spectators to recognize the global circulation of American and African cultures. Wilson pushes us to reconsider the transnational circulation of modern dance, for his encounters with Phyllis Lamhut, Ohad Naharin, Noble Douglass and Andreya Ouamba call for a global dance history, rather than histories premised on a single nation-state or subculture.

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