In the face of recession, budget cuts and at least some lag time before the economy improves, the Santa Barbara Dance Alliance took a gallant stand this past weekend.

“New Works: 13 Santa Barbara Choreographers” was the 2009 edition of the alliance’s annual showcase for the community’s artists and dance makers. Performed at Center Stage Theater, the show was also the occasion for presentation of the alliance’s 12th Lifetime Achievement Award, to Derrick Curtis.

In his acceptance speech, Curtis noted that he is “teaching hip hop to disabled people in wheelchairs,” and expressed his pleasure in the modern dance works he had just enjoyed.

It is difficult to single out one work among many that were interesting, original and insightful. But Skinny Log Legs, choreographed and danced by Cybil Gilbertson, was a knock-out. It was a tribute to, and an elegy for, an aunt who committed suicide. Since art transcends tragedy, the dance was inspiring rather than depressing. It was made even more poignant that the original music was performed on stage by Fly to Blue, consisting of Gilbertson’s father, David Gilbertson Gunn, on guitar, and his girlfriend, Valarie Mulberry, joining him on vocals.

The concert was preceded by a short film produced, directed and choreographed by Tonia Shimin to music by Japanese composer Karen Tanaka. The soloist was Nancy Colahan, a UCSB dance faculty member of mature beauty and expressive technique. Part of it was filmed on Santa Barbara’s beaches.

Colahan also choreographed Take Two, excerpts of which were performed to the live music composed and played on stage by percussionist Nate Keezer. The supple dancers were Ashley Bonner, Krystle Dixon, Leila Drake, Kari Goldbaum, Caitlin Gott, Kiara Kinghorn and Devon Stern.

UCSB‘s Freshman Dance Company, in toe shoes and net skirts, danced a lyrical piece called Estancia, choreographed by faculty artist Delilah Moseley to music by Alberto Ginastera. The nine young women were fresh and fanciful, and Moseley’s creation reflected her considerable experience as a dancer and a teacher.

Those are only some of the highlights of a dance performance that was first-rate. But the company’s executive director, Julie McLeod, pointed out some harsh truths afterward. Her assistants, she said, have had their hours reduced, and she is “being paid in IOUs for the present.”

The dance lovers who enjoyed the presentation would agree: In hard economic times, the arts are the first to feel the pinch. The choreographers, the dancers, the musicians and their devotees are hoping times get better, sooner rather than later.

Margo Kline covers the arts as a Noozhawk contributor.