After watching a performance by Compagnie La Calebasse, it’s easy to see why company founder and choreographer Merlin Nyakam holds the nickname “Merlin the Enchanter.”

In “Récréation Primitive,” the Cameroon-born artist’s first piece for the troupe, Nyakam has crafted a distinctive mythical tale that blends traditional African and modern dance.

La Calebasse brought this captivating style to U.S. audiences for the first time with a three-night performance of “Récréation Primitive” last weekend at Meany Hall. Created eight years ago by Nyakam, the group has already performed the piece extensively in Europe and Japan.

Nyakam’s piece describes a story of prehistoric man’s interactions with the four elements (water, earth, air and fire). Adding to the etherealness of the narrative, cast members wore flowing white skirts and were covered in a thick layer of chalky-white powder through the majority of the show.

While missing any semblance of a plot, this theme is recognizable throughout the performance. In one scene, each dancer carried small lights while twirling around a display of lit candles. In another, the performers’ wild leaps caused the powder on their bodies to lightly fall off behind them, creating the illusion of billowing clouds on the dim-lit stage.

Beyond the issue of humanity’s struggle with the four elements, however, there is no discernible structure to the piece or connection between the scenes to form a larger story.

The precision in the dancers’ routines, on the other hand, was a testament to Nyakam’s choreographing expertise. Whether in the distinctive animalistic gait used by the performers or their balanced snapping movements, each scene seemed expertly composed.

Nearly every movement was synched with the beat of live musical accompaniment provided by three drummers who smoothly doubled as performers during several acts.

Seemingly random black-and-white footage and images of La Calebasse members in exaggerated expressions were also scattered throughout the performance on a projected screen in front of the musicians. The highlight of these displays came in one eerie video sequence in which a performer’s head and limbs moved about the screen, appearing to be disconnected from his body.

Surprisingly, the choreographer was also the star of the piece. Nyakam performed a solo in nearly every portion of the show, and though each performer was given a noticeable presence on stage, scenes focusing on the company founder were the most lively and memorable.

After opening night, Nyakam returned to the stage for what was assumed to be an encore performance. Instead, however, the choreographer led the audience through several exercises, conveying Nyakam’s passion for his art and leaving the audience joyfully dancing, singing and clapping along with members of La Calebasse.

Reach reporter Julian Martin at arts@dailyuw.com.