As implied by their program's title, Dallas Black Dance Theatre and Ronald K. Brown/EVIDENCE intended to "share the spirit." Both companies sport marvelous dancers who go about their business as if doing God's bidding, as the old folks would say. But comparisons end there. The Texans favor a respectable, crowd-soothing if impersonal ballet-modern mélange, sort of Balanchine-meets-Ailey. In Lambarena, where legs often unfurl into long, sometimes rotating extensions, it's easy to see that choreographer Troy Powell is obsessed with the group's exceptional lines. And Christopher Huggins, maker of the breezy, running-themed Night Run, fell hard for their swift feet. Meanwhile, Brooklyn's breathtaking EVIDENCE rocks steady with a bounty of inventions based in Senegalese Sabar dance. Brown's works don't ask their dancers to simply sketch music across a stage in an attractive way but to turn every rhythm into a bustling universe, supple with the force of meaning and soul.