All dance lovers who turned up at the Frank Collymore Hall on Thursday night for the dance finals of the Scotiabank 2013 National Independence Festival of Creative Arts should have left with something, given the diverse statements made by the various acts.
The audience, numbering just over 500, was for the most part lavish with their applause, though at times it seemed as if certain acts had a larger handclapping posse in the hall than others.
Whether the expressions were based on personal experiences, current or traditional cultural values, each contributor told his own story, some with greater clarity than others, but all with equal passion.
Versatility and improvisation were the hallmarks of the evening.
The dancers seemed, however, to have moved away from the customary narratives of the transatlantic crossing of African peoples to this side of the world. Though not to be forgotten, “the crossings” – a feature of many dance pieces over the years – were becoming predictable.
Now the dancers are trying to deal with concepts that come from within themselves. They are not afraid to tell their own stories.
It was therefore refreshing, notwithstanding the dark and suspicious lyrical accompaniment, to take the journey in Slow Down by Of Another Nature with choregrapher Melaney Hurley. Hurley invited patrons to stop the mad rush to nowwhere in a choreography influenced by the song Dance Real Slow by Adaeze.
Final Attempt by Kirby Young was about bouncing back from rough times. It might have fitted the mirror of predictability but Young’s control of his body as he told the story of the victim’s turmoil and despair en route to recovery was impressive. He certainly threw himself into his routine.
Twenty-year-old Jelani Matthews-Ifill’s piece Voices depicted the dilemma youths find themselves in when they allow others to influence their actions. Matthew-Ifill’s message was, however: do what you want to do. His piece was heavily influenced by the urban genre/hip hop moves.
Jamal Carlos Douglas Dawe’s choreography of Musicality Takes Over followed a similar musical theme to Matthew-Ifill’s, with lots of music sampling and special effects. Dawe’s creation was based on the music that influences him on a daily basis.
One of the more memorable works came from the Barefoot Project’s Birds Of A Featha. Choreographed by Renee Black, Birds Of A Featha, which captured the movement and behaviours of birds found in Barbados, was one of the more clearly defined pieces and should have resonated with the audience.
Maternal Ties was another expectional work. It spoke to the issue of child abuse and was graphically portrayed by the use of the umbilical cord. Excellent work by choreographer Patricia Noble and well executed by the young dancers of Praise Academy Of Dance.
The Louise Woodvine Dancers made three appearances in Unleashed, Sing Sing Sing and Full Circle. The first two pieces, both choreographed by Nicky Ward, were noted for their energy, synchronization and a sense of freedom, while Full Circle choreographed by Tara Jane-Herbert was more dark and epic.
Works like Voices Of The Soul by the Israel Lovell Foundation; Singing Angel and This Too Will Pass by Dancin Africa and a colloboration with Dance Place entitled Fusion ensured the depth of the evening’s production.
Amaris Clarke displayed not only dance talent, but good stage with her piece Invisible, Inconsequential Me. Her hopes of making it on Broadway seem reachable.
Bashment Mannequin by Mark Burgess and Kathyann Patrick and Que Tango by the Salsa Caribe Dancers spoke strictly to dancing and enjoyment.
The Adrenalin Dancers, with Cricket?Lovely Cricket, and the Lian Marian Dance Project, with Class 7, brought the curtain down.
