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Moving Current opens dance season of reflection

Instead of selecting a title for each of its dance concerts, Moving Current picks a season title that theoretically provides a theme for the works it presents.

The new season, which begins Friday at the University of South Florida in Tampa, is called "Lucid Echoes," which manages to sound poetic and ethereal without getting specific.

The six pieces in the season-opening concert deal with concepts as diverse as spam e-mail, broken-down cars and the human need to rely on others.

"We had been thinking about the concept of reflection," Erin Cardinal, one of Moving Current's founders, said of the title. "An echo is a reflection of a sound."

Moving Current is a collective rather than a company, which means it cultivates and presents works by a variety of choreographers and dancers. Besides regularly staging works by Cardinal and Cynthia Hennessy, who founded the collective seven years ago, Moving Current showcases artists from the community and other parts of the country.

This weekend's performance focuses on choreographers proven to be favorites with Moving Current's audiences in the past few years. Even Jennifer Salk, a Seattle choreographer who's the sole out-of-towner on the program, is familiar to Tampa dance aficionados.

Hennessy and Cardinal are premiering works in the first "Lucid Echoes" concert. Hennessy's What Are the Odds? is a dance-theater piece set to music by Paul Reller and Brian Eno. It's about e-mail, instant messaging and other computer communication, and revolves around a woman's earnest attempts to deal with spam.

"The text developed out of actual e-mails that Cindy received," Cardinal said. "So a lot of the text is not made up. It's from an actual inbox."

Cardinal's The Arc Between Two Deaths is based on a quote from modern dance pioneer Doris Humphrey. The quote has to do with moments in dance and life between a fall and a recovery.

"We all stumble, but there's always somebody there to help you up," Cardinal said. "And the dancers are experiencing that in this piece. They have to have a lot of trust in each other, because they're counting on other dancers to catch them when they fall. Sometimes they can't see the other person is there, they just have to trust it."

Other works are a new solo work by USF choreographer Michael Foley; a 2003 trio by Maria Capitano that examines the life of a Sicilian-American woman; a new work by Salk set to 16th century French dances and songs, and CAReography, Lynne Wimmer's 2000 "minimusical" piece based on her experience with a broken-down car.

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