“Continuous Duration,” choreographed by Lisa Nevada of the Dance Collective, to music by 3-Mile Pilot and Christopher Marianetti, was a fast moving duet with remarkable performances by Mary Margaret Moore and Dominic Poteste. It was a comic confrontation in two parts, the dancers reacting to each other with crisp, doll-like moves and sharp directional changes.<p>

   Simballa’s “Nuages,” a trio on pointe to music by Gabriel Fauré, featured Keshet dancers Savanna Brissey-Cohen, Marie Gorence and Amber Moon Peterson in a fluid, lyrical waltz.

   Peterson and Brissey-Cohen danced and choreographed “In Process of…,” to music by Amelie, Ben Harper and Ani Difranco. It was created in three parts: first, their tumbling, flowing moves resembled angelic creatures playing in the air. Part 2 was an angelic intervention with flowing moves into and up from the floor, while the third part evolved into a playful game between two children.

   Tanya Cole’s arresting “African Rain,” to Nicholas Gunn’s strong percussive music, was a modern rain dance ritual, with three men and three women manipulating staffs as extensions of their arms, or rhythmically pounding the floor with them. Exciting partnering evolved as Louis Giannini, Poteste and Joshua Spalding lifted the women, the dance climaxing with strong aerial moves.

   Marta Lichlyter’s “The One for the Many” was an exciting, sometimes animalistic trio based on sacrifice and victimization, to some quite aboriginal music by Tribal Trance. Writhing, twisting moves, earth-focused and intense, drove the piece creating a grotesque, yet beautiful magic. Andrea Muehl, Brissey-Cohen and Nevada performed the witchcraft.

   Angels appeared on stage again in Poteste’s “Vox Angeli,” to the ecstatic vocal music of Hildgard von Bingen and Ensemble P.A.N. Moore, Nevada and Peterson entered with floating, wing-like gestures, silken sleeves flying like supernatural membranes from their arms. Moore, failing to follow the angelic lead of the others, falls to earth. Earthbound, part three, was a duet with Moore and Poteste circling, supporting, confronting each other in a very human relationship.

   A little comic relief in “Insomniac Pursuit,” by Cole and three dancers, revolved around a couch at center stage where the four jimmied each other off and on it for a space in the student lounge.

   Wolfgang Amadeus Mozart’s “Requiem,” interpreted for dance by Jewell, used strong unison movement as the group of five dancers traveled on a long diagonal from upstage right to downstage left. Arms and upper torsos scooped low to the left, then reached high to the right and off stage. As the group broke apart in individual statements, movement turned in slow, backwards spirals, as though in a swoon and recovery pattern. Like the music, the dance is about passages from life to death, and consciousness to unconsciousness, ending as each dancer twirled backwards to the floor. Beautifully performed, “Requiem” was an emotionally moving statement, tightly controlled in nicely designed space patterns.