Talent Has No Status!
Saturday July 10th, 2010
Arriving at the Little Theatre an hour before the start of Potpourri, Tivoli Dance Troupe 19th Year in Concert, I scooted back stage to greet the leaders and dancers wishing them the very best with the superstitious line “dancers break a leg…” after a short token gesture of help; I plastered three different colour eye shadow on two dancers, then seek an escape to see the preparation for the Gala Performance. Gathered in a semi-circle, the older dancers faced Jennifer Garwood as she led the prayer. The dance mistress swooped passed me to catch the end of the reverence and I could not help but to notice her oversized rear-end; I commented on the brightly coloured costumes, (to avoid saying something cheeky) how bold they were, trying not to shout, she replied instantly “That’s how we are; Wi Bold, Bright and a jus suh wi bring it!” True to her words, the cocktail of dances offered were vibrant and enthusiastic. Jamaican folk, modern, popular forms such as Latin, Asian and West African dances were the mélange of dances presented this season by some of Kingston’s finest choreographers.
Potpourri included 21 pieces of which 3 featured guest choreographers Toki Gonzalez, Paula Shaw and Tamara Thomas. The other 18 pieces were created by the choreographic team headed by Roberta Daley, along with Charmaine Blake, Subrenia Gabriel and Kerry-Ann Lawrence. The programme opened with a collection of gospel dances, featuring the seniors, juniors and toddlers (Tiny Tots), my glance around the theatre revealed more empty seats than audience…; this concern quickly became insignificant, you know how we Jamaican’s like to be fashionable late…! True to their motto and as they demonstrated back stage, this company exercised their 3D’s; the show started on time and before the end of the Gospel ensemble the house was practically full.
‘Ecnad’ illuminated by the bright green back drop featured dancers in patterned green unitards and hoodies, this coupled with the movement vocabulary gave the dancers a reptile fashion look and they moved with the same agility, flexibility and dexterity. This was followed by Paula Shaw’s Indian Dance ‘Leh Wi Go Shieh.’ I pondered if the piece was Khathak, I decided it was not and I could not place what genre of Indian influence this piece was, nonetheless the six dancers Raxanne, Janielle, Monique, Lariesha, Anita and Renice executed it with a delightful and spicy Jamaican flavor. We move our waistline differently to the Asians, anything (oriental and you name it) brought to Jamaica is amalgamated into a Jamaican form, producing an interpretation that becomes synonymously Jamaican, pretty much as colorful as our oral language. The dancers were true testament of this in this piece.
I really enjoyed ‘Mundanza’ with dancers Lutrisha, Petagaye, Anita and Sharmalee. Having seen this piece at the JCDC (Jamaica Cultural Development Commission) festival competition, the dance allowed me to hark back to experiences not long passed, chronicling images that could be spun many different ways. The dancers work with such cohesiveness that you felt energized by the lyrical notes of the movers on the stage, accompanied by pre-recorded African rhythms. The programme notes did not acknowledge the music used in the show and should be considered. ‘Proclaim’ the Nyabingi item performed by the juniors had quite an impact with the people in the audience, me included. The progressions and transitions were smooth, the dancers though rehearsing since 9:00 am, danced this high energy piece with undulating torsos, grounded circular motions of the hips, gliding effortlessly across the stage in what seem a well deserved euphoria.
While Toki’s ‘Latin Dance’ duet failed to bring to potpourri, that added luscious Latin aroma needed in this cultural mix from the Conquistador’s perspective, Tamara Thomas’ “Manjani” spoke to the heritage of Jamaican dance. This African number is costumed in traditional African garments, powerful orange and floral red, a puffy short pants… we were later privy to the secret of the puffs… news paper… “talk about being creative and tun u hand and mek fashion.” This costume echoed the piece she created for the Junior Department for the Edna Manley College 2010 year end production. It brought volume to the programme, and these costumes billow out with the movement, making the dance that much more pleasurable to do and to see.
Of the 11 items that made up the first half, it was the Tiny Tots who had the house in uproar. 14 little dancers graced the stage with hola hoops, dancing with props can be quite technical for adult dancers, let alone 4 and 5 year olds, however the child whose hoop kept coming apart, showed determination to the very end, she not only fixed her prop several times, but maintain focus with the dance. Subrenia Gabreil must be commended on this piece as the little ones showed that choreographic elements can be taught and retained by the very young. The first half ended with “Our Voices,” this evocative dance addressed the plight of women, families and most importantly our FREEDOM to move and to DANCE; with no evidence of the male support on stage… this echoed the recent unrest in Tivoli Gardens which left a void (of the supportive male figure) due to tragic circumstances, the tone contemplative and over the music “We shall overcome… someday!” the director could be heard reading the poem “Let Me Dance…!” This was thought provoking!
The second half was powerful but not as strong as the first half. ‘Folk Parade’ mirrored the opening with a medley of dances from seniors, juniors and the Tiny Tot in reverse order followed by a finale by all the groups fusing choreography, costume and movement, creating a colourful montage. As with the opening, there are little or no choreographic transitions between groups and music sharp edits noticeable. ‘Bonded’ was my least favorite… and I was not that awed by ‘Wings of Wind,’ but my friend Wendy loved it, she too was seeing the dancers live for the first time. ‘Candee’ however put the wind back into the show as the bright pink wigs bobbing from the line of the check bones, with floral pink spandex tops, black nylon stockings, jazz shoes and a few accessories pink feathered bracelets, this was flawlessly performed with passion and emotion and all that Jazz!
Nikeeta Johnson solo ‘Homage’ choreographed by Roberta Daley is a powerful piece. Nikeeta is an exceptional dancer and given the opportunity, I pray she will continue to excel in this idiom. I felt that this piece using the poem and song of Maya Angelo’s “Phenomenal Woman” could be enhanced with multimedia (projected images) of Women who are contributing to the development of Tivoli Gardens, such as educators, social workers etc; without distracting the audience from the piece so much. As she performed I recollect her mother saying at JCDC; “… come unu hurry up; mi want fi si mi daughta perform and wi haffi get back inna Tivoli Gardens before di 6 o’ clock curfew… suh unu hurry up! This thought also had me thinking about my journey and how lengthy the show was. The tiny tots were again on stage this time clothed with national colours in their dance number ‘Hot Little Ladies.’ There was also a sense of cleansing and national pride to see these young babies dressed in the national colours, two of the T-shirts read, “I am Jamaican,” the other “Big Up”! I could not help but to regress to the recent unrest and how this impacted the lives of these little dancers and yet still with limited cognition of what had went down, they were out on stage with smiles, determination and concentration that you could read from your seat.
Chic Ahoy is a super dance. The blue, red and white sailor suit costume with black Jazz shoes was one of the seniors’ strongest numbers in the 2nd half. This handsomely costumed dance, coupled with the seniors exuberance picked up the maritime beats and references in the music with clockwork precision. Charmaine really stood out in this piece, and there is much to be said about heavy dancers with strong stage presence and unequalled energy. As I praised her from the back of the audience an affiliate of the group pointed out that the dancer next to Charmaine is in the 6th form at St. Georges College; I belief she wanted me to note that several of their dancers are also academic achievers. I also noted that there were dancers who were parenting young babies. It was touching to see one of the young dancers reassure her child that she was going on stage and expected good behaviour from her child while she is performing.
On two occasions strobes were used in the show the 2nd instance is in ‘Gotta Dance’ presented by the ‘Tiny Tots’, the dancers clad in suspenders, plaid black and white ¾ pants and red berry, bring to life the laid back era of “rock steady and ska.” I would caution the use of strobe lights in shows, as a dancer myself, I can see when it is used to mask artistic flaws or when it is being used artistically, in this instance it was obfuscated. The audience should be duly informed when using strobe lights.
‘Fi Wi Lick’ was the senior’s final popular dance item before the finale Potpourri . Potpourri presented the audience with what seem a new innovative way of doing the May Pole… without the pole. The ribbons were black, yellow and green, the recurrence of the national colours and the statements such as “I am a Jamaican” spoke to a greater collective thinking of Tivoli Gardens community and their ambassador dancers. The dancers did not appease the anticipation of the audience… there was no pole and the platting muddled. Whether this was fortuitous or not, it was a compelling and a wanting end! Though I left the show feeling thoroughly entertained, I felt that the story was incomplete…! The pole was missing and the platting incomplete; were they mirroring the politics of the day? This is good argument why the arts is so important to us? Let us dance and let them (the audience) ponder…! In the end, it is with the dance we achieve the three D’s; Discipline, Determination and Dedication and that is transferable skill in any field…; that’s how we break down barriers!
T.G. Dance group was established in 1977, I believe the founder and former Principal Grace Hamilton saw the writing on the wall; could they have foreseen that this initiative some 30 years later would continue to be one of the most influential medium with which this community remains vocally and lyrically strong? Speaking without a voice…, indeed these are some intelligent, astute and very competent dancers and artists; this is clearly demonstrated on and off stage. Challenges faced on staged was swiftly and quickly dealt with by young and old. The question remains how do these “wonderful and Talented Jamaican Children” coexists within and survives a political minefield, a volatile war zone? From the blockades to the stage, these dancers totally ripped the stage up and there was no need for bullets! Instead the sound of approval came with thunderous applause, laughter and a sigh of relief that they are again able to dance. Talent really has no Status…!
Congrats again Tivoli Gardens Dance Company after 34 years you are still the beacon of light that promote the wonderful and talented children of west Kingston Jamaica.
Kofi Walker
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