Major 'Movements' in NY for local dance ensemble

Movements Dance Company of Jamaica recently concluded a highly anticipated and successful visit to New York as part of the continuing celebration of Jamaica 55, organised by the Jamaica Consulate to New York.

As the patrons gathered at the Performing Arts Centre at York College in Queens recently, there was an air of expectancy as to whether this troupe of young Jamaicans could deliver, in keeping with the promotion which credited the group as pursuing its own style of modern contemporary dance. The preliminary messages from Consul General, Trudy Deans, and classy video messages from two of the leading Jamaicans sponsors of the event, Jamaica National and the Petrocaribe Development Fund, raised expectations even further.

However, the troupe rose to the occasion.

The opening number, 'Bread of Life', choreographed by artistic director Monica Campbell McFarlane, set the tone of the evening. The dancers glided through their movements with strength and fluidity in beautiful white costumes which, at times, almost served as props. Lighting director Franklyn St Juste created an angelic feel to the setting. From the trinity of male figures who set the pace for a textured corp de ballet in a moving and effortless ode to the Eucharist and the twists and turns of life's spiritual journey.

'Father Father'

The second piece, 'Father Father', a dance featured an iconic speech by the late Charlie Chaplain, regarded as one of the most powerful in the reservoir of public speaking. The manipulation of speech and movements in this piece was captivating by choreographer Christopher Huggins, known for this powerful social commentary. The dancers brought to life social, political and religious commentary with strength and precision and much heart.

'Father Father' was followed by a solo - 'On Eagles Wings', which featured principal dancer Jade Arscott in a sensitive work that explored the power of the human spirit, through faith, in the struggle to break the shackles of life and earth-bound limitations. It presented a journey easy for her audience to identify with. She moved with strength and seemingly effortless sensitivity.

The pace of the presentation changed with the next piece, 'Searchlight,' where lighting, staging and a clear emotional charge, came together to reflect the Jamaican urban community experience, done to the classic reggae music of Barrington Levy.

The show closed with 'The 'Wrath of God', choreographed for the company by Christopher Huggins to the riveting music of composer Karl Jenkins. The standing ovation and call for encore that followed 'The Wrath of God' brought the curtain down on a powerful performance by this Jamaican contingent.