This spring's "Footholds" program at University of Hawai'i-Manoa offers predominantly modern dance works, with one notable exception: Carolyn Wilt's wonderfully wacky ballet solo. She begins by nobly striking a series of classical poses. But soon things begin to fall apart. At first the hands start flapping wildly, soon followed by wobbling elbows and limp arms. Things progress from bad to worse, letting up just long enough for her to strike a semi-poised position before tripping off into the wings.

Comedy is rare in dance concerts, particularly in the world of ballet. Kudos to Wilt, who recently received an undergraduate research award; she's the first dancer to be so honored.

The remaining seven pieces, though all in modern dance style, are nevertheless very distinct. Starting off the program on a light note is Mikaela Brady's "On the Road." Reminiscent of the '60s, the loose-limbed, playful dancing is well served by casual, colorful costumes, music by the Grateful Dead, and psychedelic lighting effects.

Amy Redmond's solo, "Awaiting Change," by contrast is intense and deliberate, depicting a woman searching the horizon, first directing her gaze and energy to the four corners, then taking in a full 360-degree circle. Perhaps threatened, she prowls the stage with high intensity.

Malia Bowlby challenged herself by choreographing a large group work for 10 less-advanced dancers. She managed to give the dancers movements which, while not exceedingly difficult, are well executed and give the work a dramatic touch.

Jennifer L. McGowan's solo proves how far this young dancer has come in the past few years. Her strength and flexibility is apparent as she collapses prone on the floor then slowly raises one leg in an arc across her body, toes reaching for the ground. Rising, she alternately extends her limbs into space, only to fold in on herself. .

The three-part dance "Prism," choreographed by Redmond, expresses the various ways light works. In "Absorption," seven dancers in black begin by extending outwardly then closing in upon themselves. In a white dress, Becky Helfert Wedll, soloing in "Reflection," slowly crosses the stage as the lights gradually rise and the black upstage curtain parts, replaced by a white one. In "Refraction," the seven dancers return, this time costumed in solid bright colors.

Another dancer who has shown consistent growth since entering UH is Mayuko Ayabe, whose affinity for modern dance has developed to the point where she can execute many different styles. Judging from her quartet, "Nemesis," she may be equally talented as a choreographer.

The concert ends with Helfert Wedll's five-part work to assorted country-western songs. Each section differs in mood, from the wistful to the lyrical, from the depressed and deprived to the playful and joyful. Particularly fine are Megan Southcott and Travers F. King, exuding freedom and carefree youth, and Lauren Santos and Sarah Ann Hartley in a gentle tug-of-war relationship.

Carol Egan, a former professional dancer, choreographer and teacher, began writing about dance in 1975.