Showcasing a collective of some of the best local talent, the monthly "W-I-P" (Works in Progress/Works in Performance) presentations allow dance artists and audiences to communicate about the work. The special Dance Month edition was no different. After each act, the performers came back on stage and facilitator S.T. Shimi asked the lively audience for positive feedback about the performers' work; then the artist was allowed to ask the audience a critical question about it. The process allows the audience to ask nonthreatening questions of the artist.

That final step is supposed to help choreographers and dancers refine their work, and can often help give their work a cutting edge. But the dancer/choreographers who took part Wednesday didn't take advantage of the opportunity. Some even snapped at audience members when offered feedback that contradicted their own vision of their work.

Even though "W-I-P Crème" is meant to be somewhat of an end-of-season celebration, it would have been more interesting to hear the performers ask questions that had teeth to them.

Regardless, all of the performances showed why dance in San Antonio has so much to offer. Mona Lisa Gonzales presented "Patria," a solo selection meant to be a commentary on patriotism, which had some fresh, clean Afro-Brazilian-inspired moves.

Angela Nations and S.T. Shimi played with the "lipstick lesbian" notion with their contemporary movement piece "Lip Stick." This short dancework seemed more of a commentary on personal vanity, which could be blown up and developed with hilarious results, than kittenish lesbianism.

The Afro-Brazilian Dance Ensemble brought a piece that seemed raw-edged compared with the other performances, but "W-I-P" allows for dances in all stages of development. Only one of the dancers was sure of the steps, and the rest either looked a little confused or outright terrified.

Victoria Kinsey/GM and Co., Anike and Karavan Dance Company presented some of the most professional dances of the evening. Each was a joy to watch and the dancers looked like they were having a good time — always a bonus.

One of the biggest surprises of the evening was Kristina Kuest's "Progressive Progression," a classical modern piece of delicate complexity danced by Kuest herself. Classical modern sometimes ignores meaning in order to focus on movement, but Kuest showed how classical modern is supposed to work on many levels simultaneously. It was the kind of performance that was so unusual, so good, it might raise the hairs on the back of your neck.

The next "W-I-P" is on June 26 at Jump-Start; then the series takes a break until September. Call (210) 212-7775 for more information.