Keeping dancers in continuous motion, nonstop, at all costs, is the overwhelming concern of Hannah Kahn's choreography. The resources she brings to the task are considerable. Kahn's movement vocabulary and syntax are maximalist. She's unafraid that variety will rob her pieces of their distinctive, breathless style. This is because she trusts her technical mastery of dynamics and an almost-as-certain skill in abstracting motions from associative contexts.

Three of the works brought from New York to Dance Place over the weekend were created only last year and showed the consummate Kahn manner. In "Northern Brights," danced to Swedish fiddle tunes, the company projected itself in rapid, seamless modulation. Just enough stress was placed on a few folk steps, rhythms and closed formations to allude to the music's tang.

"Crest" took special cognizance of a Robert Schumann quintet with a more open, facing-out, yearning choreography. Although punctuation is lacking in the typical Kahn perpetuum mobile, in the adagio here she gathered all those missing rests.

The company is so agile that it turns this choreography's propulsion into Muzak. Kahn herself, though, is like a big bird, awkward on foot. Pausing between thought and action in a Bach solo, she gave the dancing welcome depth.