My first contact with Pina Bausch’s choreography was at BAM when I saw Danzón. At the time, I did not care for her style of dance. I found it too silly and not serious enough. It was too theatrical, I thought. I did not attend another performance of her dance company until “… como el musguito en la piedra, ay si, si, si …” Something shifted inside me and it was then that I fell in love with her work. The pure humanity — the universal feelings and emotions — finally spoke to me. The humor made it all the more poignant. Her dancers were accessible. Knowable. And that is exactly what I saw in Kontakthof last night. Real humans having messy, sad, romantic, funny encounters with each other. I love that there are older dancers. Short dancers. Dancers who sing and talk. I love the repetitive gestures in the choreography, and am amazed at the precision of the dancers as they execute the moves. I love the costuming and set and lighting. If I had to choose one scene to cut or at least shorten, it would have been the length of the duck film. But that’s a minor criticism, and even that made me chuckle. I do regret all the Pina Bausch performances I chose not to attend in years past. Maybe some day I will be able to see Tanztheater Wuppertal reprise them. I commend BAM for continuing to present her work, and I am glad I gave her work another chance.