School of Dance produces powerful 15th season

Dance often aptly conveys in movements and rhythm what words fail to.

Embedded in masterful choreography is the depth of emotions that command the attention of an audience.

Therefore, a dance, when well executed, evokes a deepened sense of awareness and the experience can be (among other things) quite transcending.

In this regard, the 15th Season of Danceworks, held recently at the School of Dance Studio Theatre was an excellent collection of impressive movements, memorable concepts and soulful expressions which exceeded any expectations.

This year's staging was mounted under the theme 'TranscenDANCE' and was attended by Jamaica's First Lady Lorna Golding and luminaries of the dance industry.

It harnessed the choreographic strengths of both faculty and students and had a jolting effect in the manner in which social topical issues and more personal ones were treated.

The total repertory of 15 pieces over four nights offered a healthy mix of traditional and modern techniques and incorporated the appropriate use of audiovisual presentations.

This season was also dedicated to the late Sheila Barnett, OD, past director of the School of Dance, and the late, Howard Daly, past student, teacher and external examiner whose piece Weh Every Baddi a Run Goh?, was featured among the 2011 collection.

Another authentic Jamaican piece Cool I an Isaacs, choreographed by international artist-in-residence Chris Walker, was done in tribute to Gregory Isaacs.

"The work explores the strength, swagger and commitment to ownership of space and cool vibes consistent in Jamaican traditional and popular expressions," explained Walker.

Walker's residency was supported by the University of Wisconsin Dance Department and Alumni Research Foundation.

Kerry-Ann Henry, lecturer, continued the thread of authenticity, with her craftily assembled In The Street - Down The Lane which showed the many faces of Jamaican culture and the perceptions of a nation that are often used to define and describe our vibrancy, collective creativity, attitudes towards sex and our sexuality and the use of violence as an affirmation of power.

Empathetic piece

Other faculty performances bore themes of anguish, conflict, desire, love, envy and grief.

Grief was evident in the powerful and empathetic piece titled Regarded the Pain of Others, choreographed by faculty member Oniel Pryce.

The movements, aided by audiovisual support, painted vivid images of despair and desolation, and fingered war and oppression as crippling weapons against humanity.

Reference was made to the crisis in Haiti, its aftermath, and the intensity of dance as a potent dispenser of critical messages became most apparent.

This ability of dance as a social tool of discussion and analysis was woven throughout this year's performances and offered a socio-cultural commentary on the topical issue of bleaching.

The Grey Scale: Movement 1 celebrated the blackness of woman in particular, highlighted many reactions to the state of being black (from denial, hatred and eventual acceptance) and was choreographed by School of Dance assistant director Lisa Wilson and guest choreographer, Michelle Paterson.

The Scarf, by Nicholeen DeGrasse Johnson, originally created in 1996 and performed at the time by Stella Maris Dance Ensemble, spoke volumes about human nature and our ironic social behaviour, especially in group dynamics.

In this piece, like-minded individuals adopt the traits of animated characters and prance about happily until a strange object (a bright, yellow scarf) emerges, bringing much fascination and curiosity among the group.

They are all timid to touch the object of their intrigue until one brave soul declared ownership of it. It is only then that the others forge temporary alliances; plot and fight for the scarf, which they all suddenly covet. A series of tug-o-wars ensue, and after many unsuccessful attempts the scarf remains with the owner.

In the end, she tosses it to a rivalling crowd, only to discover that they no longer want it, simple because it is now available and free for all.

One evident benefit of incorporating students' choreography in the annual Danceworks concerts, is the enriching effect it has on the overall entertainment value as their various personalities shine through the individual and collectively created pieces.

Popular numbers

Fourth-year bachelor of fine arts duo Kerry-Ann Lawrence and Paul Newman's Bad Gal Finesse truly showed the versatility of the student body.

The piece included dances to a rich mix of Damion 'Junior Gong' Marley's Exodus Danielle Isaac's Rebel, Vybz Kartel's Touch A Button and Mavado's Warn Dem and Chat Too Much.

The Decision and Home Sweet Home, by second-year diploma student Kasuli Francis and Antiguan fourth-year bachelor in dance education student, Tavia Hunte, respectively, were popular numbers. The first was a serene display of passion and the ambiguity in romantic relationships. While the second was a flamboyant display of revelling that characterises the flirtatious and curvaceous Caribbean woman.

Accompanied by drums and soca, Home Sweet Home was an attractive showcase of colours, rhythm and unity.

Additional student pieces included A Moment To Decide by second-year bachelor of fine arts exchange student, Jessica Lynch; Pickiney by third-year bachelor of arts in education student, Christina Pinkney and One Space Thru Space by second-year certificate student Kayon Wray.

The sole neo-traditional piece titled Lenjen ... Djoli ... From Gambia to Guinea, choreographed by faculty member Tamara Thomas, was a popular selection as it was an energetic, riveting assemblage of explosive live drumming, celebratory hooting, whistles and invigorating movements.

The engaging ritual mimicked specific movements of the egrets (bird of fertility) and injected doses of excitement in the proceedings. Other featured pieces by lecturers included Traces by Oniel Pryce, and For A Splintered Soul by Neila Ebanks,

Danceworks is the school's student dance company and its annual season of performance serves to sharpen performance skills, teach, entertain and generate discourse about local, regional and international issues. The 15th season did not disappoint.