Both works slip into existence almost imperceptibly. At Cedar Dell, a circular site with tombstones arranged in concentric rings, the first sign of a “performance” (from my vantage point) was a lone performer (Leslie Cuyjet) traversing a distant slope. She appeared among the trees like any other person wandering toward the show, but with a heightened sense of purpose. She knew where she was going, as did the other 11 dancers who filtered in along similar routes, completing a long spiral that delivered them inside the inner circle of tombstones.

Ms. Brandt’s movement palette tends to be minimal, and here she limited it to one action, or two: walking and standing still. The simplicity counterbalanced the flood of associations that the setting, on its own, could bring up. And as it turned out, just walking, in this context, was enough to produce a melancholic effect. Breaking from orderly lines of four onto individual pathways, the dancers arrived in a tight-knit group at the circle’s center. They stood there for a while, then spiraled together back into the distance, dispersing and disappearing. They were here, then they were gone.