The University of Hawai'i's annual dance concert offers a full range of dance styles this year. A Chinese dance, choreographed by Yang Liping and performed by former UH student Diane Letoto, starts the evening in a lighthearted, playful spirit while "Filipinese (2003)" choreographed by another alum, J.M. Rebudal, brings it to a dynamic and powerful end.

Midway through, current graduate student Sonja Sironen, executes a stunning bharatanatyam solo. This south Indian dance form requires years of study to master the movements and to learn its extensive vocabulary of hand gestures and facial expressions. My advice: Bring binoculars or sit close to the stage to get the full impact of this sophisticated style.

Between these numbers you'll see a series of modern dances, some funny, some serious and some just plain beautiful.

Guest choreographers include Paul Taylor, whose quirky "3 Epitaphs," choreographed in 1956 and restaged at UH by Rachel Berman, is performed with just the right amount of apish impishness and droll humor. Travers F. King, the lone male in the pack, asserts his importance over the petite, ever-drooping Jacqueline Nii, while a trio of hand-whirling, side-slumping shufflers serve as backup, limping along to the weighty downbeat of an old-fashioned New Orleans brass band.

Particular mention should be given to Peggy Gaither Adams' "Apres Bach," a duet to an original composition based on Bach's Goldberg Variations. From the opening theme, the dance progresses through variations influenced by the music while becoming increasingly dissonant and dense. Material this rich deserves several viewings. The dancers, Malia Bowlby and Sarah Ann Hartley, do justice to the intricate and challenging choreography.

"Guitar Suite" incorporates five dances, all choreographed by dance faculty members and accompanied by Jeff Peterson.

The capricious and entertaining "Pollywog," choreographed by Betsy Fisher and superbly danced by Mayuko Ayabe in a turquoise tutu with a bright red bow in her hair, and "Tango" contribute humorous interludes, while Fisher's "Blue Moon" solo for an excellent Michele M. Painter provides a solemn, languorous moment.

Kudos to everyone involved for giving us another stellar evening of dance.

Carol Egan is a freelance writer living in Hawai'i.