At 8 p.m. sharp, the sounds of a scratching- and bass-heavy hip-hop record suddenly began… At 8 p.m. sharp, the sounds of a scratching- and bass-heavy hip-hop record suddenly began to thump from the two rear speakers that peered over the filled-to-capacity auditorium, inspiring a nearly collective head-turn from the audience.

Kaotic Fusion, Friday night’s Black Dance Workshop performance, had begun.

Featuring nearly 20 acts and lasting two and a half hours, the event transformed the quiet dignity of Pitt’s chandeliered Bellefield Auditorium into the scene of a rocking, mid-July block party.

As the flailing arms of the soon-to-be-onstage dancers quickly appeared and vanished through the gap between the navy blue curtains at the stage’s side, the seamlessly blended introductory music already had many members of the audience nodding their heads to the penetrating rhythms.

By the time the announcer belted out that the show was about to begin, even the polished, earthy-brown, dress shoes of the business suit-clad, slightly graying, CEO-like attendee could not escape the drum line’s enchanting call.

From the college students sporting do-rags, Sean John and Nike Air Force Ones to cane-weilding senior citizens decked out in pressed blue slacks, one and all filed into and found a place inside the auditorium, filling the main level and balcony seats to the point that many were forced to lean against the walls instead.

“Welcome to the Black Dance Workshop 2004 spring show,” roared a voice over the sound system. “Have a seat and be ready to enjoy it!”

As the lights dimmed, cameras flashed and the anticipatory applause surged, two purple-robed drummers appeared onstage, one using sticks and the other his hands to pound out traditional African sounds and elicit shrieks of appreciation from the audience.

They were soon joined onstage by six spinning, twirling and prancing dancers, whose flowing, purple-and-gold outfits swayed with every move they made.

Halfway through the set, the lone male dancer nonchalantly eased his way to front and center of the stage and began to lead the crowd in a steady clap that mirrored the escalating rhythm of the drums, the only time when the audience needed any coaxing to participate.

The energy sustained itself through applause and screams of anticipation in the 30 seconds of darkness and musical silence that marked the transition to the next act, as a dozen female dancers stood in the stage’s shadows, not moving and blankly staring out into the audience to build suspense.

When the lights flashed on and the smooth bass lines began their emanation from the auditorium’s black rectangular speakers, they sprung into action.

Wearing tight, black tank tops and pants accented with intensely red, hip-hugging sashes, the women inspired pockets of admirers to leap out of their burnt-red movie theater-style chairs in response to their sliding, bouncing and pelvic thrusting.

“That’s right, girls!” came an anonymous scream of admiration as they concluded their routine.

While this and the forthcoming break dancing were big hits with the crowd, the biggest applause of the evening was reserved for a rendition of the 1961 musical “West Side Story.”

“Yo, I heard you’ve been runnin’ your mouth, what’s up with that?” rang the vengeful voice of one of the male dancers from the auditorium’s rear, inspiring a sudden head-jerk by most of the attendees.

After one of the dancers flipped his way down the subdued-brick-colored aisles, the entire crew — three men and three women — made their way onstage for a battle of the genders break dancing match.

There, the men and women alternated, making mocking arm gestures towards each other and trading flips and head spins.

When one of the male dancers performed a back flip after kicking off from one of the stage’s walls, the crowd erupted in appreciatory “oohs” and “aahs” and many were moved to spring from their seats and swing their arms with all the intensity of Steelers head coach Bill Cowher launching a red challenge flag.

“Hope you all are having a good time,” the announcer said.

After the evening’s acts had ended, all of the dancers appeared on stage to the sound of a lonely trumpeter playing the appropriately titled Kanye West-produced Jay-Z track “Encore.” As the dancers got down one last time for the evening, the crowd expressed just how much they enjoyed the performance.

“Give it up for the Black Dance Workshop!” urged the announcer.

And they did.

Any particular favorites?

“Pop that Booty,” freshman Eric Abanquah said. “It was good; it was sexual.”

Yet, for all the audience appreciation of the performance, the dancers were just as thrilled with the audience.

“It was great, they got into all the songs,” said BDW President Michele Pye, whose group holds two performances annually in addition to weekly practices.

“When I’m up there dancing it’s effortless,” said BDW member and President of Pitt’s break dancing club, Open Circle, Nate Trump, as he swung to the sounds of his fellow BDW member Adam Demby’s drumming. “The audience carries me; I get so hyped-up in what I’m doing.”