new spin on a repertoire that embraces the diverse influences of contemporary American dance provided a thrilling end to this year's Festival.

The Ballethnic Dance Company, co-founded by former Dance Theatre of Harlem dancers Waverly Lucas and Nena Gilreath, has won popular and critical praise for its performances throughout the US. Its aim of `de-mystifying' the art of dance through its outreach programme for children and young people is reflected in its dynamic choreography and music.

The programme commenced however, in a rather muted and, it must be said, somewhat shaky solo for a female dancer set to Maya Angelou Fortunately, the pace and mood of the evening was soon established with the moving, extended pas de deux, Lover's Trilogy choreographed by Harry Bryce and exquisitely danced by Gilreath and Lucas. Exploring the complexities of emotions as a young girl dreams of her lover who has gone to war, Gilreath displayed gloriously fluid technique and glorious line. Dancing on point and lovingly stroking her departed's coat, the haunting music of Roberta Flack and Bob James (among others) echoed her wistful loneliness. Using a chrome chair as a versatile prop which, with its stark silver bars symbolised an unseen foe, Lucas danced with expressive power: the work ended as they celebrated their reunion with a tender embrace.

Chiaroscuro , set by Robert Logan Mayo for a trio of dancers was another powerfully emotive work. Brilliantly performed by Jose Rivera, Crystal Peterson and Salinee Vanichanan to The Untouchables Soundtrack, this was an unusual piece, the two girls on point, Rivera barefoot, menacing and, at times, reminiscent of Nijinsky's graceful `faune'. Unusually, it was the female who was the aggressor in this piece, Peterson and Rivera dancing in sharp, staccato movements; joined by Vanichanan, their pas de trois was performed in perfect synchronisation as the pulsating music became more elegaic. As the title suggests, this work was beautifully lit, as the sculptural forms of the dancers were bathed in a golden glow against a black ground.

The final, three-part work was Lucas's Euphoria and, as is so often the case in contemporary works, recalls momentous moments in the journey through life.

Luckily, Lucas is an inventive choreographer who melds seamlessly the classic and modern approach. The result is a work of many moods -- pensive, playful and, finally, joyful. Danced superbly by the entire company, there was an outstanding pas de deux for two males, some stunning lifts as first the men, then the girls danced together. Much of this took place in silence and, in the final movement, entitled `Shadows', this gave way to rhythmic clapping, finger-clicking and stamping of the feet -- an unusual use of point shoes -- as the cast, attempting to find their shadows, sustained the momentum with fast pirouettes and soaring lifts. The incessant beat of drums brought this magnificent ballet to a rousing end. The curtain calls were comical, as well.

The final performance takes place this evening. There are some tickets left, so anyone remotely interested in dance should seize the chance of seeing this talented and entertaining company.

Lover's Trilogy: Ballethnic Dance Company's Nena Gilreath in a scene from Lover's Trilogy by husband and co-director Waverly Lucas.