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Uniformly, the level of musicianship was high. Choreographically and technically, the dozen ranged from the pleasant enough, slightly painful to technically proficient and genuinely exciting. The overall production values were excellent, due to musical director Keith Moore; Lighting Designer Christian Mejia Technical Director Gary Scheiding and his technician Christopher Wagner. The palms of victory rightly belong in the hands of producer/director Lorien Fenton.

On to specifics: Clutch was danced to xylophone music by Jay Bordeleau and danced by Christi Welter who also choreographed her solo. Welter, a tall, handsome woman garbed in long-sleeved taupe jersey with an open back, with elegant swings of arms and legs, is still deciding what she wants to convey with her assets.

Cara Byer and three other dancers essayed a study titled Penelope to Omar Contreras’ evocative flamenco guitar. The quartet, in red tunics over black tights, manipulated strands of white thread, like weavers, with variations, tangling their bodies with the strands, finally chucking them over the stage lip, then gatheriing together at the end.

Choreographer/dancer Eric Rose Jeffrey danced Ligature to cello music of Sylvain Carton which was performed by Shain Carrosco. Jeffrey, with hyper extended legs and beautifully pointed feet, worked with two scarlet cords to explore the possible dimensions of the word and what it would be with and without such support. Jeffrey’s special acknowledgment of Carrosco’s musicianship added to the ending of the brief piece.

Gordon Rowland’s flamenco guitar provided the background for Hazel Clarke’s Choices, danced by Kate Koumantulis and Usa Mannine. In young girl type tunics, they explored the emotions of young women attracted and physically involved with each other, one active, one consenting but passive. The movement expressed tenderness, sensitivity, anguish; ultimately the passive one decided to move on.

Jaime Ray Wright enjoyed the musicianship and recording skills of pianist George Peter Tingley for Alter Egos, danced by Elizabeth Mendana, Katharaine Sander and Annabelle Henry. One danced on pointe in a yellow jersey tunic; the other two, barefoot in yellow tunics with horizontal brown stripes distinctly unflattering to the body line, clearly provided opposition to classical phrasing.

Raissa Simpson’s Post Meridian was accompanied by cello-singer Erica Mulkey and aided in its haunting, evocative qualities with mist-like lighting and a projection of the dancers moving while five women and one man performed on stage. the dancers were Emily Stark, Amanda Marquez,Svetlana Pikivich-Perry,Bryce Vinnicombe, David Herrera, Tina McLean.

D:/Qube continued the program, post-intermission, to recorded and live sitar music by John Arns. With the rhythm of North Indian music, Lisa Navarro, Alyssa Morrison and Megan Aileen Williams, accented their joints in a clear attempt to echo the tone and scale patterns in the raga and the tal. When choreographer Monica Mark entered the performance, her intensity made the choreographic intent quite clear.

Mesa Blues with composer Mayumi Urgino on violin displayed choreographer/dancer Leah Rybal, in beige jersey tunic/brown tights, exploring mood, hesitations and spatial dimensions with distinct individuality.

Ishika Seth used dancers Desire Barnes, Nicole Macleavey and Lily Nyugen to explore either an internal trio or characters with varying dependencies in Shadow Lines. Robert “Robke” Zhimantas was the flamenco guitarist supporting the dancers this time with those insistent evocative rhythms.

Jeff Zittrain’s electrified guitar allowed Tom Mayock to demonstrate classical technique at beginning and end, equally agile contemporary jiving in between in his succinct solo called Majestic Anxiety, Restricted Release. Mayock, small, blond and in black bell bottoms with sparkles, is clean, precise and dances up a storm.

Daniel Diaz-Tai, percussionist/composer, set a driving pulse for Brian Gibbs Morti Memento-Day 3 for Beth Kaczmarek and Chidozie Nzerem. Kaczmarek, from Company C and Nzerem, recently with S.F. Ballet, drew the afternoon’s strongest applause for a pitch-perfect collaboration in standard pas de deux format realized with strong ritual overtones. A slimmer Nzerem, stripped to the waist with a mauve jersey skirt as his costume, allowed Kaczmarek to project her total strength with his skilled partnering before and after his short, focused variation.

Susan Dunham with Kate Joyce and Charlotte Mayang closed the program with Saturday to Peter Spinali’s violin. Attractively costumed in browns accented by a yellow/green print, the trio pranced through preparation rituals before the socializing and invitation, projected with particular strength by Kate Joyce. Another era would classify it as debonair.

Collaboration’s Website lists for prior appearances Joe Landini’s group; Kathak exponent Charlotte Moraga and Ballet Afsaneh. In addition to such established local groups, this annual weekend provides performance opportunity in a venue which draws a good audience and allows choreographers and performers to work with live musicians. If this be the aim, the herculean task of organizing such a weekend for nine seasons is commendable and well worth it.