This season's Fall Footholds program, presented by students in the University of Hawai'i's Department of Theatre and Dance, runs from the traditional to the surreal. Though the emphasis is on modern dance, the lineup includes enough variety to appeal to many palates.

Four of the 10 dances presented are created by Beth McKee Elliott, a graduate student choreographer whose work has been seen on previous occasions. Elliott's forte lies in constructing large group works and is most evident in "Traffic." Although she credits the dancers for contributing some of the movements, it is clear that Elliott's keen directorial eye was instrumental in assembling an intense ensemble piece.

"Traffic" begins as the dancers run onstage, one by one, only to freeze in a parallel stance, torsos pitched forward from the hip, eyes staring straight ahead. Once all have entered, the phalanx moves slowly on the diagonal. Random individual outbursts of activity occur intermittently, but are contained again by the reorganization of the group, resuming its stance as in the beginning but with changes in location and focus. As the dance develops, more complex spatial patterns are created. The dance ends in a retrograde of the beginning, with dancers departing, one by one, in a small explosive burst of energy. Jay Elliott's original score contributes to the tension and suspense of the choreography.

Elliott shows versatility in her remaining selections, which range from a group tap number (which was muffled by the Marley floor), to a lyrical quintet and finally a solo for herself and a video monitor.

In contrast to the modern dance works with their falls, turns, leaps and expansive movements through space, the evening is enriched by the presence of delicate solos from India and Indonesia. Sonja Sironen's bharatanatyam composition in praise of Shiva Nataraja, the Hindu deity of dance, displays the rhythmic complexity, intricate footwork and expressivity of face and hands that typify classical Indian dance. Erin Wilson's "Dadas," an adaptation of a religious ceremonial dance from Central Kalimantan, Indonesia, emphasizes repetitious rhythms with thrusts and shakes of the arms. In both cases accessorized bells, worn by Sironen on the ankles and Wilson on the wrists, accentuate the rhythms. Both young women prove once more that, among university dance programs, UH is a leader in the field of dance ethnology.

Other program highlights include Michele M. Painter's surrealistic quartet featuring one dancer with bandaged head (Malia Bowlby, impressive in the power of her gestures), two who are belted together back-to-back, and the freely roving Maryann L. Peterson.

Peterson's own group work, using words and personal anecdotes, is lively and entertaining, though vocal projection could be stronger. Jenefer L. McGowan, in her sextet, "Days," shows a talent for clear composition as well as flowing movement phrases. Kelly Wadlegger's premiere, "Piko," completes the program.

Especially impressive for their performances are Painter, Peterson and Bowlby while Travers F. King holds his own as the sole male dancer onstage.