'Movements' celebrates 30th anniversary years

The very short one-weekend-only 30th anniversary Season of Movements Dance Company of Jamaica was held at the Little Theatre in St Andrew recently. The show was themed 'Into the Light', thus telegraphing the intent of celebrating not only the beauty and ephemeral quality of dance, but also linking that creative expression with devotion - that is, the spiritual enhancement of those who are privileged to share in the experience. And privileged we were, all of us gathered to see dance theatre at its best. This was a season that showed that the company was committed to excellence, mature in technical application, lighting, costume design and the staging of dance theatre that transformed the stage into a magical place.

It seems to me, someone new to Movements Dance Company of Jamaica, until the gala opening performance of this season, that this season had a dual function of remounting gems of the past, and laying new tracks into an expanded horizon. There were three remounted gems of the past 'Pressure', choreographed by the artistic director in 1983 for the 1984 season.

This piece, done to the dub poetry of Oku Onuora, was particularly apt as it dealt with the frustrations and myriad social ills which are attendant on the daily lives of the poor in Jamaica's high-violence, disordered ghettos. It recounts the problems of daily curfews, gunshot, drugs use and addiction, and prostitution in the climate of social adjustment and International Monetary Fund (IMF) conditionalities. The piece also depicts the erstwhile survivability of the Jamaican sufferer ... a picture that is far from changed in the current situation of high unemployment, the new IMF arrangements within a global recession, and persistent lack of growth in the Jamaican economy.

Superb performances

The dance was superbly executed by most of the company, but particular mention must be made of the company's principals - Patrick Johnson and Michelle Tappin-Lee, and senior dance artistes, Lazaro Caballero, Leesa Kow and Clara Kahwa. Their economy of movement and purity of form were evident. Ms Kahwa's portrayal of the sexy ghetto girl was a high point of the piece.

'Ceremony', a piece choreographed by the late Neville Black in 1989, and remounted by principal dancer Patrick Johnson, transported us to a mythical rainforest to view the primal struggle between a trio of warriors danced by Johnson himself, Lazaro Caballero and Kevin Hibbert; and the sultry snake goddess danced superbly by Jade Arscott en Pointe.

The contrast of the primal struggle between the warriors, like predatory beasts for dominance among themselves, and their flirtation with and eventual conquest by the temptress-like snake goddess, was another high point of the show. Ms Arscott showed wonderful technique and the purity of form and commanding stage presence reminiscent of a master artiste, which belies her teenage years. She is a star on the rise, a superbly talented dance artiste.

'Baraka', a piece choreographed by Monica Campbell McFarlane for the 2003 season and done to the music of Grub Cooper, with the beautifully executed costume design of Arlene Richards, transported us to a spiritual place and invoked God's blessings on us all. Here the company's portrayal of the faithful seeking knowledge and replenishment of the spirit from the 'well of life' was powerful. The ephemeral beauty of the dance was evident in the dancers' use of the water of Jacob's Well. This piece was praise and worship at its best.

Transported to a higher plane

The use of lighting and smoke enhanced the piece, albeit it caused the smoke alarm to ring out during the piece. The fact that that 'distraction' did not hinder the dancers on stage or interrupt our appreciation of the piece and the message was testimony to the transportation of us all to a higher plane. The standouts in this piece were the principals, Patrick Johnson and Michelle Tappin-Lee, and the senior dance artistes - Lazaro Caballero, Michelle Morrison, and Trina Martin.

The new pieces for this season pushed further into the realm of the spiritual: three offerings, 'The Wrath of God', choreographed by Christopher Huggins, a former principal dancer of the Alvin Ailey American Dance Theatre and renowned choreographer, 'Bread of Life' by the artistic director, Monica Campbell McFarlane, and 'Salut Soleil' which translates to 'Hello Sun' by Michael Holgate, the artistic director of Ashe, Jamaica.

'The Wrath of God' was a high tempo and complex ballet, done to 'Requiem' by Carl Jenkins. Staged in a blackened stage, and all-black costumes, apart from the central God Figure who was cloaked in flowing white robes, the piece aptly communicated the perennial struggle of good over evil: of a vengeful God's wrath invoked by man and his sinful ways. The God Figure was superbly danced by Kevin Hibbert.

His portrayal showed the majesty of an awesome and powerful God. Other standouts were Daryl Caballero, who displayed his technical prowess, agility and a commanding stage presence, Jade Arscott, Clara Kahwa and Leesa Kow. This was a powerful new addition to the company's repertoire.

'Bread of Life', as the name suggests, paid homage to the Almighty's promise and purpose for man's salvation. Staged against a backdrop depicting the Host of the Holy Sacrament of Communion, that is, the Body of Christ, the Son of Man, the dance conveyed the Christian invocation to take up the cross and follow Jesus for our salvation. The dance was opened with a trio of dancers - Patrick Johnson, Michelle Tappin-Lee and Leeza Kow - whose powerful movement and dramatic stage presence invoked contemplation on the mysteries of the Holy Trinity. The remainder of the dance was powerfully executed by the remainder of the company, but featured strong solo pieces by Clara Kahwa, Dwight Moore, Trina Martin, Michelle Morrison and Camesha McIntosh.

'Salut Soleil', as the name suggests, was a celebration of the Sun and its powerful influences on us, the children of the lands that are bathed by its brilliance. The innovative costumes in bright yellow and gold reflected the brilliance of the sun and echoed its life giving nature. The dance was centered on powerful African-inspired dance idiom, and Indian yogic poses done to the palpable rhythmic influences of the drum.

This was at once a celebration of where we come from, and at the same time, who we have become. Taken as an abstract commentary on our dance retentions and more recent evolutions in the dancehall, the power and beauty of dance as an important part of our sense of self was evident. This was not just Etu, Gerreh and Dinki Mini, et al ... it was all of these and some, fused in a Faganesque abstraction. This was familiar, yet complex and different.

In addition to the dance, patrons were treated to one guest artiste - Nadje, the young Jamaican violinist. She played a 'reggaefied' interpretation of the 'Habanera' score drawn from Bizet's opera, 'Carmen'. In this, she displayed her immense musical talent and some dance talent too. Her performance was simply beautiful.

Well done to the artistic director, Monica Campbell McFarlane, the board and the company. The 30th anniversary Season of Movements Dance Company of Jamaica was a resounding success and a joy to watch.