Encinias’s “A Nuetro Aire” returned with its virile attack of bodies in complex spatial patterns. The dancers moved in fast moving groups, from trios, quartets, to full company circles and lines that fairly skipped through space. Designed in four parts, The choreo-graphy for the third section was especially interesting. A flock of six women, hands raised above their heads, dived forward like water birds, then flicked arms and feet in strong, avian elegance.

Elena Osuna came on stage in a “Solea por Bulerias” like a diminutive sorceress. She glided to center stage, and began a gestured drama, insinuating subtle stories into each movement with swivels of the knees, shoulder shrugs, and at one point vibrating hands around her face. She firmly established rhythmic foot patterns, which the musicians picked up and developed with her.

The company performed stylish “Fandangos,” with castanets, in the more traditional Spanish ballet style, feet brushing forward into attitudes, couples passing shoulder to shoulder, and finally forming three turning circles.

Amaya’s choreography for another “Solea por Bulerias” worked with three women in traditional ruffled skirts and two women in tight toreador pants who moved with one of the male dancers. Something about this tradition of women, slightly in travisti, brings out a different, yet still strongly feminine quality to the movement.

The company commissioned composer David Dorantes to create “Caravana de Los Zincali,” with Dorantes himself playing the piano on stage. The female dancers, costumed in long, silky blue gowns moved with their partners in full torso contractions and body leans that revealed a more contemporary modern dance influence. The mood was serious, even agonized at moments, clearly reacting to the musical emphasis of the piano. This was surely a new avenue of expression for this American Flamenco company, and one that stimulated the palette with a different flavor.

Marisol Encinias’s “Alegrias” brought a bright mood change with her fast foot work in neat secobilla brush steps and clearly defined rhythms. Her shoulder rolls swept the air around her with large braceos of the arms. She looked strong and trim with a light touch just right for alegrias.

Joaquin Encinias introduced the finale with his own “Solea por Bulerias” demonstrating unusual buoyancy with both heels clicking in the air, once landing in deep plié. His fast staccato heels and escobilla brushes were stunning. The company joined him in “Sevillanes,” again using castanets and moving in traditional careos, facing their partners as they passed, then turning in place to repeat the pattern. Bows from the entire cast and musicians followed, as the audience stood in ovation.

What: Yjastros American Flamenco Repertory Company

When: March 1 at 8 pm, March 8 at 8 pm

Where: March 1 at National Hispanic Cultural Center, March 8 at Lensic Theatre, Santa Fe.

Tickets: $20, $25, and $30. Ticketmaster (505-724-4771) for Albuquerque performance. Ticketssantafe.org. (505 988-1234) Santa Fe performance.

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