Six pairs of bare feet fluttered across the stage of the Doudna Fine Arts Center’s theater Friday as members of the Lucky Plush Productions combined more than 50 choreographic samplings to address the issue of movement ownership.

Julia Rhoads, the artistic director of Lucky Plush Productions and a performer in the troupe, said people debate about the line between inspiration and theft when artists do not cite where their dance moves came from.

Many examples addressing this issue were presented during the performance such as demonstrating the similarity between the choreography in Beyoncé Knowles’ “Single Ladies (Put a Ring on it)” and Bob Fosse’s “Mexican Breakfast.”

Rhoads said it is a back and forth issue since a lot of dance is derivative and can be traced back to past artists.

Clips from both music videos were projected side by side on the screen behind the stage, and the choreography appeared to be the same.

Meghann Wilkinson, a performer in the Lucky Plush dance troupe, said the funny thing of the “Punk Yankees” project from Lucky Plush Productions is to address whether or not the issue is important because movement can be fleeting and difficult to determine to whom credit is due.

“In this project, we tried to over-credit everything and be transparent about everything that we were inspired by or are copying or using,” Wilkinson said. “I’m not sure if it is necessarily always important because I know that I have been inspired by teachers and others I have danced with in the past, and it can be difficult to attribute all elements that are incorporated.”

The dancers would credit artists while performing and provide a history of some of the movements to demonstrate how often choreography is imitated or copied.

They also incorporated digital technology throughout the performance and during intermission as well.

At one point, all six of the performers brought out laptops and their faces were projected on the screen in a “Brady Bunch” inspired layout.

The audience was involved in the performance as they could tweet to #LuckyPlush on Twitter before the show began and during intermission, and the tweets were displayed on a screen to the top left of the stage.

During intermission, four short films were projected and fewer than five audience members left.

Tim Heck, a performer in the Lucky Plush dance troupe, interacted and sat with members of the audience during intermission.

“We like the audience to feel comfortable and at ease because I feel like people get scared when they see modern dance because it’s abstract and they may feel like they are missing something,” Wilkinson said. “I feel like we get to be a little bit more human and interactive with the audience, and it gives them more ease and invites them to really be a part of the experience.”

Marjorie Hoedebecke, a Charleston resident, said she thought the experience of the troupe’s performance of strength and poise could broaden a person’s scope to be more open and engaging.

Wilkinson said they rehearse for about 10 hours a week during most weeks of the year.

“The way that we create work is very collaborative, and there is a lot of playing around with each of us generating movement material and trying it in different ways,” Wilkinson said. “We are able to be very much in the moment so if something goes wrong we can call attention to it, and we don’t have to keep such a chic and keen sort of theatrical essence.”

Rhoads said her favorite part of performing is to be in the moment and not to overanalyze oneself on stage.

“I think a lot of time with dance it is meant to be exactly one way so people worry too much about messing up, and we sort of embrace all of the ebbs and flows of every performance and try to just be really present to it,” Rhoads said.

The performers were Rhoads, Wilkinson, Heck, Francisco Avina, Kim Goldman and Benjamin Wardell.

Rachel Rodgers can be reached at 581-2812 or [email protected].