THE MOST REMARKABLE aspect of Cambodian dance is that it exists at all. In the '70s the Khmer Rouge did its best to eliminate all traces of the ancient court and folk dances. But survive they did, both in the refugee camps and in the diaspora to Europe and this country. And as soon as Cambodia stabilized in 1979, many surviving dance teachers returned to Phnom Penh to resume passing on what they still remembered. Classical Cambodian dance is an all-female affair whose practitioners are famous for the flexibility of their fingers and the balletic turnout of their pliés. Grace, containment, and fluidity are constants, most famously in the dances of the apsaras (heavenly spirits). An ensemble assembled from dancers from the Royal University of Fine Arts offers two works in this performance: Seasons of Migration: An Odyssey of Transformation, a work of contemporary choreography by Sophiline Cheam Shapiro, who based it on her experiences as an immigrant and displaced person, and Ream Eyso and Moni Mekhala (The God of Thunder and the Goddess of Lightning), a traditional dance drama that interprets the genesis of natural phenomena. 8 p.m., UC Berkeley, Bancroft at Telegraph, Berk. $24-$48. (510) 642-9988, www.calperfs.berkeley.edu. (Rita Felciano)