Semi-coherent thoughts listed by peice:

Paul Taylor's Cloven Kingdom (1991)
So un-Taylor style (beautiful Taylor runs and high gorgeous extensions). This piece had almost no turnout, no extensions, and no port de bras. The movements seemed primitive, ceremonially decorative, or apparently function-less. This ridiculousness or uselessness culminated in movements like sitting and scooching their buts across the floor.

Jin Xing's Crying Dragon (1989)
Outdoor in front of a formal, courthouse-like building with bricks, stone steps, and pillars. All dressed in white. One man and a huge procession of women Les Sylphide style, walking single-file on releve back and forth in a uge processional entrance. Their pattern becomes more complicated as some branch off and start weaving in and out. They all end around him with their hair over their faces. They leave and strip him of his shirt. His movement is slow and graceful with many circling arm movements, extensions, and balances.

Dayton Contemporary Dance Co's Road of the Phoebe Snow
Average jazz music. With plain blue lighting the whole time and black pants for everyone with the women in colored dresses. Lots of partnering and monotonous frenetic. Not my favorite.

D-Man in the Waters by Bill T Jones and Arnie Zane (1989)
Uses steps from ballet, modern techniques, and everyday life (swimming). Heighened energy, with dancers throwing themselves at the floor and at each other with seeming abandon

Reijo Kela (1986)
The audience is sitting round the stage space. He begins by semi-accosting them. And once he starts dancing it is the same traveling movement phrase repeated back and forth. Violent, like he's getting attacked or shot or something. Ends with him forcing a door shut. Very dance-theater.

Le piedestal des vierges / Claude Brumachon
Beautiful evocative music. Begins with manipulations of long dresses. Personal interactions mitigated with fabric. All about relationships. But the couples never seem to face one another; they are all on the USL DSR diagonal the whole time, traversing forwards and backwards. Beutiful and original partner-work.

Iyaya / Ballet du Lac Tumba
Tribal dance on stage. Musicians and dancers interacting, and mixing (vocalizations by dancers). Elaborate costumes and body painting. Less about synchronicity and replication, then expression and individualism. Still, some complex dancing specifically with props. Hard to analyze because I don't know what choices are actually choreographic, and what is religious or cultural, and therefore can't really be analyzed like work of contemporary modern dance.