Grand Gala rocks in spectacle

Marcia Rowe, Gleaner Writer

The celebration of a nation's music will always produce merriment, sing-along and dances. And whether structured or informal, dance always generate spectacle through movements, costumes, props and set.

That seemed to have been the objective of the Jamaica Cultural Development Commission (JCDC) at Jamaica Rocks, Grand Gala, held on Saturday, Jamaica's Independence Day. And, for the most part, the organisers' objectives were met, in spite of a feeling of déjà vu.

At the time of the scheduled start, Independence 49, Grand Gala began with what could be easily classified as a form of how 'Jamaica Rock' - a sound clash between the experienced Jack Scorpio and the youthful DJ Sunshine. But as most people were not inside the National Stadium, the short but entertaining clash will not be a memorable moment.

Then it was back to the well-known cast giving the familiar opening. Of course, it was the arrival of the bands in a segment dubbed 'Ceremonies in Music' that created a stir. Their act was short and entertaining; from the colourfully clothed combined bands of Jamaica Constabulary Force (JCF), the Jamaica Defence Force and the Band and Infantry of the JCCF; the Boys Scout and Girls Brigade Association and the Brigades. They were complemented by fancy foot movements from Inner City Steppers and St Michaels Marching Bands, who performed immediately after the military bands.

In 'Musical Dismount', the audience was treated to the lighter side of the JCF, as eight police officers on their horses, moved to the sounds of recorded music. When the music stopped, the officers competed to see how quickly they could dismount and remount their horses. The last one to do so was deemed out. The victor was Corporal Lee. A spectacular show of 'Cheer Leaders on Display' followed.

What would a celebration of Jamaica's music be without homage to the drum? Its significance was evident in two ways. First, two large structures, shaped in the form of the dejembe, were placed at both ends of the football field. Second, the words spoken by the narrators reinforced the importance of the drum to the Jamaican culture: "It is the gift of creation, rejuvenation and the seat of life". Additionally, MCs Norma Brown-Bell and Richie B announced some of Jamaica's musical icons. Then the performers from L'CADCO, St Catherine and Dunoon high schools, as well as drummers from Rollington Town community, wearing brightly coloured costumes with support by groups of dancers, gave spirited drum talk in the section labeled 'Drum Song'.

Old favourites

Pre-independence musical appreciation came in 'Plantation Rites'. And folk dances such as May Pole, Bruckins and Jonkanu were used to reinforced the music. However, the incorporation of a tea meeting in a musical celebration was not a good idea. The audience agreed, and while directors Hugh Douse and Richard Derby strut and 'elocute' on the seemingly well-constructed two-level stage, the now full stadium decided that it was time to practice the Mexican wave.

But Jamaicans love gospel music and the section 'Glory', in celebration of church music from slavery to European and present, saved the day. The distracted were brought back to the essence of the event and got on their feet to sing Leave People's Business Alone, while the dancers gave a splendid show of the different strain of gospel dances. When Sister Pat, who followed JCDC Gospel Song winner Jaheel Smith, began with Kumby Here and then closed with the reggae version of The 23rd Psalm, the celebration of Jamaican music was restored.

In 'Creation Fire', the focus was mainly on music from 1940-1960s. The Jolly Boys, U-Roy, and Strangejah Cole, wearing a burgundy outfit, performed. Cole closed his stint with Rough and Tough, the number-one song at the time Jamaica began its journey to Independence. Adding to the spectacle, albeit, at times there was split focus, the dancers who not only did their customary entrance by running from the tunnel unto the field, also arrived in classic cars, and on bicycles, and later in the 'Dancehall Saga 'arrived with motorbikes.

Of course, to celebrate Jamaica's music without paying tribute to reggae would be unacceptable. In what turned out to be the most creatively presented segment of the evening, was the Tony Wilson's choreography of 'Reggae Uprising'. Not only was the use of the Monica Lawrence-designed costumes creatively used to spell the word Reggae, but the football field was for the first time fully utilised by the dancers. Later Kenneth Casey's 'Dancehall Saga' also fully utilised the space.

Grand Gala 2011 ended with an entertaining act from Byron Lee's Dragonaire and a beautiful firework display. But no doubt, many who attended the event may say otherwise. You see they left immediately after a high-energy performance from Beenie Man and Bounty Killer. Together, the popular dancehall icons rocked the audience down memory lane with some of their hits. On each occasion they only sang the first lines and the audience got into a frenzy. So with the curtains drawn on Grand Gala, what will the much-anticipated 50th anniversary bring? It is a case of just wait and see.