Over the past year, choreographer Annie-B Parson and journalist Jad have collaborated on an experimental project exploring the intersection of movement and conversation. Their initiative invites groups of strangers into a dance studio to engage in dialogue while guided to move through the space according to specific choreographic instructions. The experiment aims to uncover how physical positioning and movement might influence the dynamics of conversation.

Annie-B Parson, known for her work on the Broadway production “American Utopia” with musician David Byrne, brings decades of experience in shaping bodies on stage. Jad, with a background in journalism and podcast production—including shows such as “Radiolab,” “Dolly Parton’s America,” and “Fela Kuti: Fear No Man”—was motivated to innovate after encountering a series of uninspired interviews in 2021. Seeking fresh perspectives, Jad consulted various professionals across fields including therapy, conflict mediation, psychology, and hostage negotiation. The shared metaphors used by these experts—describing conversation as a form of “choreography” and referencing “turn taking” and “not stepping on toes”—led him to Parson’s work and the concept of integrating movement into spoken exchange.

Their collaboration began with informal meetings in Brooklyn, where they discussed how the spatial context of conversation changes its nature. Inspired by a documentary moment featuring biographer Robert Caro interviewing Sam Houston from an unconventional angle, they brainstormed numerous scenarios: standing back-to-back, shoulder-to-shoulder, or conducting interviews without words. These ideas were recorded on color-coded cards, symbolizing a commitment to taking the experiment seriously.

With guidance from theater producer Daria Walcott, who handled casting, the team recruited participants characterized as both serious and playful, open and curious, and willing to explore unfamiliar conversational forms. Workshops were held in spring 2025, involving about 40 individuals across two sessions, supported by the nonprofit Duettist and partner organization Unlikely Collaborators, which focus on fostering creative collaborations.

The resulting exercises varied widely. In some, participants conducted interviews seated at a long table while performing choreographed hand movements and shifting weight deliberately. In others, conversations took place through relay chains or involved participants asking Parson questions to which she responded only through dance, requiring them to mirror her motions. Additional experiments included walking patterns, mirroring, slow-motion gestures, Greek chorus-style group responses, and collective meditation followed by slow, quiet exchange.

Jad reflects that while the project has not fully quieted his internal critical voice, it has expanded his understanding of conversation’s possibilities. He envisions future studies to measure how these physical interventions might alter communicative quality or emotional tone, with interest expressed from colleagues at Vanderbilt University. The experiment also highlights a desire to revitalize traditional modes of dialogue, which may have become stagnant, by incorporating movement and new spatial configurations.

Together, the project demonstrates an innovative approach to conversation, challenging conventional settings and introducing new physical dynamics. It suggests that the forms through which people communicate—the choreography of conversation—may be as influential as the words themselves, opening pathways for richer, more attentive exchanges.