Vincent: Digital Witness Tour 2013–2017 Choreographer: David Byrne: Here Lies Love 2012 Choreographer: David Byrne and St. Vincent: Love This Giant Tour 2008 Choreographer: David Byrne: Songs of David Byrne and Brian Eno Tour. 2010 Choreographer: David Byrne: Ride, Rise, Roar about David Byrne 2015 Choreographer: Rikki and The Flash, Philadelphia 2020 Choreographer: David Byrne: American Utopia (film). Teaching, writing, and curating Since 1993 Parson has been an instructor of choreography at New York University's Experimental Theater Wing. She has also taught nationally and internationally including Tokyo and Spoleto, Italy. She was featured in BOMB magazine, and wrote a piece for Dance USA on the state of dance/theater in the U.S. As an artist-curator, she has curated shows including: the Merce Cunningham memorial, Dancer Crush at NYLA and Sourcing Stravinsky at DTW. Parson tours a lecture on abstraction called "The Structure of Virtuosity" to universities and for audience development. Her recent book, Dance by Letter, is published by 53rd State Press. Drawing the Surface of Dance: A Biography in Charts Soloing on the page, choreographer Annie-B Parson rethinks choreography as dance on paper. Parson draws her dances into new graphic structures calling attention to the visual facts of the materiality of each dance work she has made. These drawings serve as both maps of her pieces in the aftermath of performance, and a consideration of the elements of dance itself. Divided into three chapters, the book opens with diagrams of the objects in each of her pieces grouped into chart-structures. These charts reconsider her dances both from the perspective of the resonance of things, and for their abstract compositional properties. In chapter two, Parson delves into the choreographic mind, charting such ideas as an equality in the perception of objects and movement, and the poetics of a kinetic grammar. Charts of erasure, layering and language serve as dynamic and prismatic tools for dance making. Lastly, there is a chapter of photographs of Big Dance Theater from 1991 to 2019. As an addendum, nodding to the history of chance operations in dance, Parson creates a generative card game of 52 compositional elements for artists of any medium to cut out and play as a method for creating new material. Within the duality of form and content, this book explores the meanings that form itself holds, and Parson's visual maps of choreographic ideas inspire new thinking around the shared elements underneath all