50TH ANNIVERSARY UK TOUR SOUVENIR BOOKLET
Kajans Chairman The board and staff are extremely proud to be given an opportunity to bring the NDTC to the UK following a 10 year absence. In this anniversary year for Jamaica and several Caribbean islands I know that we are going to experience the very best that Jamaica and the Caribbean has to offer in terms of dance and culture which is world class. We are very much looking forward not just to the performance but the contribution that they will make as regards to teaching young people the excellence of dance and culture which will enrich the Diaspora and the wider community. On the back of what has been an extremely successful and celebrated Olympics and Paralympic for GB and the Jamaican teams, we have proposals in place to establish a longer term partnership that will profile, grow interest and celebrate the excellence of Jamaican and Caribbean dance. Our intention is that we will leave an important legacy through the enrichment of the dance vocabulary in the UK. On behalf of the board we would like to thank the following who have assisted in our journey to reach out and encourage the NDTC to the UK; Hillary Carty, The Voice and Gleaner Newspaper, The Arts Council who has understood the vision and purpose, Kajans Board for their continued support and to Hermin and Viv who have worked extremely hard to make possible this event. In the words of Martin Luther King, Jr, ‘almost always the creative dedicated minority has made the world better’ so let’s continue to strive for and share the best of all cultures. Derek Douglas Kajans Chairman
Barry Moncrieffe - Artistic Director Achieving fifty years is a remarkable feat for any organisation existing in today’s environment, not least one that is dependent on the voluntary efforts of individuals who give of their talents and of their time to pursue a common vision. As Jamaica gained Independence in 1962, Prof. the Hon Rex Nettleford and Eddy Thomas co-founded the Company with 16 other Founding Members, “to forge out of Jamaican and Caribbean life, an art form faithful to reality while being part of a wider world and universal landscape of the creative arts.” Today, the NDTC’s vision remains the same – to provide opportunities for well-trained dancers, choreographers, composers, singers, musicians and creative technicians to create works of excellence that are rooted in the experience of Caribbean peoples. As we reflect and celebrate our journey, we are proud and humbled to be Jamaica’s premier and longest-serving dance theatre ensemble. The 50th Anniversary Season of Dance will celebrate our passage of Renewal and Continuity. Audiences will be treated to a blend of works which have shaped the NDTC’s identity by preserving important cultural commemotraditions while experimenting with various concepts, forms and techniques. Together, the works commemo rate our past, rejoice in our present and give insight into future dialogues. The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parent age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David Brown, a Jamaican working out of New York. Dance works by NDTC Founding Members Bert Rose and Barbara Requa; and other alumni, Clive Thompson, MoniKa Lawrence, and Arsenio Andrade-Calderon will genera-also complement works by the Company’s late Artistic Director, Rex Nettleford and the NDTC’s ‘new genera tion’ choreographers.
Performances by NDTC’s former Principal dancer Melanie Graham and other NDTC alumni, as well as Delvis Savigne Friñòn, Edisnel Rodrìguez Gonzàlez, Deury Cisneros Marzal and Amós Rivero Asosta from Compania Teatro Dela Danza Caribe will enhance the corps of dancers led by Dance Captain, Marlon Simms and Ballet Mistress, Kerry-Ann Henry. The NDTC Singers and Orchestra led by Musical Director Marjorie Whylie will be an integral part of the performances, and all will be supported by the behind-the-scenes talents of our Lighting and Sound Directors, Wardrobe Mistress and Stage Manager. This Anniversary Season, we pay tribute to our Founders and Founding Members, and all (including the many members who have passed on) who have supported the Company in various ways over these five decades. The Company is indebted to those who continue to carry the torch and have given unbroken service for more than 40 years: Bridget Spaulding, Secretary/Treasurer/Tour Director and Chief Administrator, our multi-talented Musical Director, Marjorie Whylie; Assistant Musical Director, Albertina ‘Minkey’ Jefferson; Lighting Director, Michael ‘Rufus’ McDonald; Costume Mistress, Barbara Kauffman; Soprano and Treasurer Carole Reid; and Company Photographer Maria LaYacona. We thank Derek Douglas and his board for their leadership of Kajans Women’s Enterprise as the sponsoring organisation of our visit and with whom NDTC has had a long and positive relationship. In the spirit of the Olympiad and as a legacy to the Olympics NDTC and Kajans will develop special a relationship for an annual platform of participatory dance in the newly refurbished Albert Hall dance studios. This will be our second presentation of our work under the auspices Kajans in the UK, with a shared vision and commitment to promoting the best of Jamaica’s cultural expression at home and in the diaspora. Together we move onward into the next generation facing each challenge with a seriousness of purpose in public service, creative excellence, artistic integrity, sustained discipline and dedication. In this year of the Games of the Cultural Olympiad, our dear Professor Nettleford would remind us that “we are not sprinters, but long-distance runners”. The hard work and sacrifice would not be worth it without our loyal and faithful sponsors, supporters, fans and friends, locally and overseas. We look forward to becoming an ongoing tradition for the next 50 years. Enjoy! Barrington Moncrieffe
The National Dance Theatre Company Described as one of the most innovative dance companies to have achieved world acclaim in the last half century, the National Dance Theatre Company of Jamaica blends the lore, music and dance traditions of Jamaica, Africa and the America South with both modern and classical ballet forms. Formed as the island of Jamaica gained its independence from Great Britain in 1962, the Company shares its fiftieth anniversary with its home nation this year (2012). The development and survival of the National Dance Theatre Company is the story of a voluntary action group operating continuously in a developing country over a period of fifty years. The Company’s very existence is based on collaborative management as well as the dynamic interaction of all its participants, with creative skills and leadership being mutually reinforcing. This group has succeeded in making a strong impact on the cultural life of Jamaica. Besides gaining an international reputation for dance performance through many international tours, the NDTC during five decades of continuous work by its highly skilled and dedicated members had spawned not only a distinctive Caribbean style of Caribbean dance theatre but also a training system and a National School of
Dance as well as a framework for community activities, particularly in the area of traditional dance, which since the 1960s has become an indispensable source for research into dance and folklore in general. It’s unpaid members, who have occupations as students, teachers, lawyers, civil servants, and administrators among others, are dedicated to the view that their efforts in the area of dance will contribute to the task of nation building. The original objectives of the NDTC were (1) to provide a vehicle for well-trained dancers and other dance theatre artists, such as choreographers, composers and musicians who want to participate in the creation of works of excellence rooted in Jamaican and Cultural realties; (2) to help create an informed Jamaican audience critically responsive to works of excellence in the theatre arts; (3) to experiment with various dance forms and techniques; (4) to develop a style and form that faithfully reflect Caribbean movement patterns; (5) to encourage serious research into the indigenous dance and music forms of Jamaica as well as the wider Caribbean. Each objective has evidence of success. In a wider sense more has been achieved, for example� the Inter-American Foundation, based in Washington D.C., funded this cultural agents project in the Jamaica School of Dance and facilitated the development of the curriculum for the diploma programme as well as the core course of Caribbean Studies at the Edna Manley College of the Visual and Performing Arts in Kingston.� In recognition of the special achievements of the NDTC, the Ford Foundation, based in New York, has funded the documentation of the Company's work in the book, "Dance Jamaica". A second version was published in 2010. The tours of the NDTC had taken the Company to all parts of the World, from London’s Sadler’s Wells to the Theatre Royal in Sydney, Australia to Mexico City’s Palicio Belles Artes, to the Palace of Culture in Kiev. In the United States they have performed at the New York City’s Centre Theatre, the Brooklyn Academy of Music, Brooklyn Centre for the Performing Arts, at the Dade County Auditorium and the Guzman Theatre in Miami, as well as many colleges and universities, including Howard University, Atlanta University, Temple University, Antioch College and the University of Hartford. The Company has also performed throughout the Caribbean, Canada, Europe, South and Central America and annual Seasons of Dance in Kingston, Jamaica. In this 50th anniversary year for both Jamaica and NDTC, celebrates with audiences across the world and the UK especially where they have always enjoyed a warm appreciation from both audiences and practitioners.
The Artists Marlon Simms (Dance Captain) has emerged as a frontline dancer in the NDTC which he joined in 1999 and to which he brought tremendous dedication, concentration, intellectual savvy and performing perfection. His early exposure to dance at high school was sustained throughout his University sojourn where he danced with the University Dance Society and started to do basic research into the art. He completed a Master of Fine Arts degree at Southern Methodist University in Dallas, Texas and a Certificate in Intermediate Labanotation from the Dance Notation Bureau in New York after taking a first degree in English at the University of the West Indies and a Postgraduate Diploma in Education at the University of Technology, Kingston, Jamaica. He now lectures in Dance and English at the Edna Manley College for the Visual and Performing Arts where he also acts as the Assistant Director of the School of Dance. He is one of the directors of the Choreography is Copyrightable initiative conducting regional workshops in Labanotation. In 2005 he co-choreographed [with Christopher Walker] the musical production “Zuzu Macca” for the Little Theatre Movement Pantomime Company and remounted for the NDTC Leni Wylliams’ Sweet in the Morning from a Labanotation score. It is featured in the NDTC active repertoire with him dancing it always to enthusiastic audience acclaim both locally and internationally. He is currently the Dance Captain of the NDTC working in close association with Ballet mistress Kerry-Ann Henry and Artistic Director Barrington Moncrieffe in the remounting of major dance-works in the Company’s wide-ranging repertoire. Kerry-Ann Henry (Balletmistress) is a scintillating talent who shared her time at dance with studies on the Mona Campus of the University of the West Indies as an undergraduate in Actuarial Science complete with Mathematics and Social Science subjects before graduating. A product of the Jayteens (directed by Joyce Campbell, NDTC founding-member), Henry exhibits tremendous dance-intelligence and theatre sense effortlessly claiming stellar status. Her sense of “form” comes through in challenging works and her own celebratory approach to the art adds welcome dimensions to the repertoire of the NDTC in performance as well as choreography (Caged, The Silencing and ...minutes and seconds). She pursued a diploma dance in education at the Edna Manley College of the Visual and Performing Arts, post�graduate studies in Theatre and Development in the University of East Anglia UK and a Masters in Education Technology at the University of British Columbia, Canada (April 2012). She has toured extensively with the NDTC and returned to the Company after a three year engagement with the London production of the Disney musical “The Lion King”. There she performed as a swing and Sarabi cover for two years. While in England she participated in the co-ordination and conduct of workshops and taught dance programmes for children, adults and at-risk teenagers. She is currently the ballet mistress of the company remounting works and teaching company and trainee classes. Mark Phinn, the Company’s archivist and one of the most distinguished of the new generation dancers began to attract wide-spread attention for his almost flawless line and sharpened stage presence. He became a full member in 2002 after joining in 1998 and has toured extensively with the Company and played a vital role in the success of the Company’s participation in Carifesta IX in Trinidad and Tobago 2006. His solo work in Clive Thompson’s Of Sympathy and Love and Ode which always wins critical acclaim played second to his break out role in Bert Rose’s Edna M and later in Arsenio Andrade-Calderon’s Congo Layé in 1999. The duo Millennial Beings created by Marlon Simms for Phinn and Simms remains in the NDTC’s repertoire as one of the most expressive of works designed on male strength, perfection of form, concentration and kinetic control. Keita-Marie Chamberlain started dancing at the Junior Department of the Jamaica School of Dance (JSD). There she learned various styles and techniques including Cicchetti Ballet, Contemporary Modern, Afro-Caribbean Folk and Jazz. In 1998 she graduated from the Junior Department of the JSD and joined the
National Dance Theatre Company the following January (1999). In 2002 she went to England to dance with Bimba Dance Theatre and has represented Jamaica at various events internationally and locally. A certified Pilates instructor she has a B.A. in Geography, an LLB (Law) with Certificate of Legal Education and Post Graduate Certificates in GIS and International Comparative Environmental Law. She is currently the Senior Legal Advisor in the Revenue Appeals Division of the Ministry of Finance and serves as Honorary Legal Counsel of the Jamaica Chamber of Commerce. Kevin Moore is a graduate of the Edna Manley College of the Visual and Performing Arts and the State University of New York (at Brockport). A powerful instrument and sound dance intelligence attract many of the choreographers to him. He too has toured extensively with the Company and is noted for his work in Renewal of the Spirit and Odyssey. He left the NDTC in 2005 to join Garth Fagan Dance in New York returning to the NDTC in 2007 for successful appearances in Eduardo Rivero’s Sulkari and Nettleford’s The Crossing. Besides lecturing at the School of Dance (Edna Manley College) he has, since its 2007/2008 production choreographed for the Little Theatre Movement pantomime, following in the footsteps of many NDTC members. Candice Morris is a new generation dancer who gained full membership in the NDTC in 2005 with her development of very good performing skills, a constantly improving technique and a command of the vocabulary and �style of the Company. She studied dance locally at Ballet School and Edna Manley College before completing further studies at Florida International University where she gained a Bachelor in Fine Arts. She has worked as a lecturer at several local institutions and also co-directed Yendi’s Summer Camp (2007/8). Endowed with good flowing lines and dance intelligence she has served as a muse for leading choreographers in the NDTC. She recently completed a 14 months stint as a member of the cast of the London production of The Lion King, and on her return to Jamaica has founded the Dixie Studio and the Dixie-Claire Children’s Arts Programme. JSD and joined the Tamara Noel has come out of her early apprenticeship in the dance and theatre arts at St. Jago High School. Her basic technical skills are enhanced by a good grasp of the style and vocabulary of the Company as well as the special attributes of movement patterns of contemporary Jamaican dance and music. Having completed an undergraduate course in Urban and Regional Planning at the University of Technology, Jamaica, she remains one of the main manifestations of the renewal thrust in the NDTC's current renewal/continuity mode. She has now taken over major roles in much works as The Crossing, Gerrehbenta and Sulkari. Marisa Benain having done undergraduate studies at Hunter College of the City University of NY in Media Studies and English has recently completed a Masters degree in Education at the London Metropolitan University. Her dance training began with the Cathi Levy Players and continued at the Edna Manley College with further studies at the Broadway Dance Centre. She is a charismatic and dynamic performer who has attracted rave reviews for her featured roles in Variations A Ska, Of Prophecy and Song, Earth Birth, Sulkari and for her solo performance in Freedom. Marisa is currently the Director of Culture, Policy and Monitoring in the Ministry of Youth and Culture and is also a Law student at the University of the West Indies, Mona. Patrick Earle joined the NDTC as a supporting dancer in 2001 and subsequently attained full membership in the corps of male dancers. After pursuing a Diploma in Computer Studies at the Portmore Community College, he began his formal training in dance at the Edna Manley College of the Visual and Performing Arts. There, he gained Diplomas in Education and Theatre and Production. He later pursued further studies at State University of New York (at Brockport) earning a Bachelor of Science degree in Dance with a minor in Information Systems. At present, Earle lectures at the Excelsior Community College in the School of Performing Arts
and serves as an adjunct lecturer at the University of Technology and at the University of the West Indies. Allatunje Connell joined the Company as a supporting dancer in 2005, after earlier exposure with Cathi Levy’s Little People, and the Movements Dance Company. He has become a strong member of the male corps of the NDTC. A strong and reliable performer, with powers of concentration and dedicated sustained application to the dance, Connell has become a featured artist in works such as Sulkari and The Crossing. Stefanie Thomas is Business Development Manager for Mint Management and Finance Services Limited and team leader of ‘Katalyxt’, an initiative focused on the development of SME’s in Jamaica. Stefanie serves as Director of Artistic Expressions Limited, Creative Editor of 'Cultural Voice eZine' and is currently developing 'Art in Alternate Spaces', a series of exhibitions aimed at increasing the visibility of artists in Jamaica. Stefanie holds a Master of Science degree in Economic Development Policy from the Sir Arthur Lewis Institute of Economic and Studies at the University of the West Indies, a Bachelor of Arts in Economics and Biology from Colgate University and has worked in Policy Development and Implementation in both the public and private sectors. Stefanie joined the NDTC in 2005 and has featured in Clive Thompson’s works including Vision and Folk Tales, Bert Rose’s, Steal Away and Eduardo Rivero’s Sulkari. Stefanie is a choreographer, debuting Analog X in 2009. Maia Pereira started dancing through the Junior Department of the Jamaica School of Dance. As a student of the school, she participated in various productions and the Dance and the Child International conferences in Finland (1997), Canada (2000), and Brazil (2003). Her passion for dance also led her to become a member of the University of Toronto Varsity Blues dance team, the University Dance Society (UWI), and the Webster Memorial Church Senior Dance Group. During her childhood years, she avidly attended NDTC’s Seasons of Dance and developed a love and appreciation for the richness and style of the company. In 2006, Maia achieved a lifelong dream of becoming a member of NDTC. She holds a BSc. in Psychology from UWI, and a Masters in Education from OISE, University of Toronto.
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Paul Newman joined the NDTC in 2008 after receiving early exposure to dance-theatre with the Ashe Performing Arts Company and later, Movements Dance Company. He went on to study dance at the Edna Manley College of the Visual and Performing Arts (School of Dance) where he graduated with a BFA in Performance and Choreography and was awarded the prestigious Sheila Barnett and Bert Rose awards for Most outstanding Performer and Most Outstanding Student respectively. Paul is a dynamic and versatile dancer whose modern/contemporary training and technique is equally matched by his Afro-Caribbean, African and Jamaican folk and Traditional dance techniques and styles. Orlando Barnett Trained at the Edna Manley College of the Visual and Performing Arts Orlando returns to the Company after his sojourn as group choreographer at Sandals and Beaches Resorts. In his pursuit of a Bachelor’s Degree in Performance and Choreography and his four years with the Company he has worked with several noted choreographers who have helped to shape his talent. He is presently a dance educator and choreographer. Terry-Ann Dennison joined the NDTC in 2008 and has been a promising and dedicated dancer in the company. She was first introduced to dance at the age of four as an extracurricular activity in school, and further participated in summer programmes hosted by Patsy Ricketts as well as ‘Kaleidoscope’ at the Edna Manley College of Performing Arts. Her dance education continued in the Junior Department at the Edna Manley College for a further six years. She joined the University Dance Society in 2005, while attending the University of Technology, Jamaica and became President of the Society for the year 2007/2008. She successfully read for a Bachelor of Science in Quantity Surveying (Hons.) degree, while keeping on the Dean's list and acquiring various awards. She currently works as a Junior Quantity Surveyor at an established firm and plans to pursue further academic studies. Kristina Graham began dancing with the Tony Wilson School of Modern Dance. She demonstrated a keen sense for dance, having excellent flexibility and poise earning her the distinction of “Most Outstanding Student’ at various levels. During her pre-High School years she remained an active participant in the JCDC Dance Festival Competition where she has been awarded numerous gold medals and she also participated in the JMTC Musical “Cats” where she was voted the “Best under Sixteen Dancer”. Kristina is currently a student at the Hillel Academy and a recent graduate from the St. Andrew’s High School for Girls. This is her second Season of Dance with the NDTC and she has graduated to the rank of Provisional Member.
Showcase Dates and Credits 17th & 18th September Malvern Theatre, Worcestershire: £16 - £25 Evening 7:30pm (18th Matinee 2:00pm £11-£16) Box Office 01684 892277 � 21st & 22nd September Alexandra Theatre, Birmingham: £16 - £26 Evening 7:30pm (21st & 22nd Matinee: 2:30pm £11-£16) Box office 0844 871 3011 � 23rd & 24th September Ashcroft Concert Hall, Fairfield Halls, Park Lane, Croydon, London, CR9� 1DG: £16-£28 Evening 7:30pm (23rd Matinee: 2:30pm £11-£16) Box Office 0208 688 9291 � 28th & 29th September The Black-e, Liverpool £10-£24 Evening 7:30pm Box Office 0151 709 5109 UK Tour Producers: Kajans Women’s Enterprise Ltd Albert Hall, Witton Road, Aston, Birmingham, B6 5NU. Telephone 0121 507 0904 Hermin McIntosh Hilary Carty Vivienne Lambert-Blackwood Aaron Mapp Chief Dawethi UK Marketing Ambassadors Tony Kelly
UK Producer Project Advisor Project Development UK Technician UK Technician Jackie Guy Celia Grandison-Markey Paulette Simpson Sasha Henry Crawford
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PROGRAMME UK TOUR 2012 PROGRAMME I DRUMSCORE (1979) When God created the earth, He first created the drummer (Ghanaian proverb) Choreography REX NETTLEFORD Music Caribbean traditional rhythms and original patterns arranged by Marjorie Whylie with voices of the NDTC Singers, Finale – Marjorie Whylie Costumes Pansy Hassan and Rex Nettleford Dancers The Company with Kevin Moore and Keita-Marie Chamberlain SWEET IN THE MORNING (1992) Choreography LENI WYLLIAMS (Directed from the labanotation score by Marlon Simms) Music Bobby McFerrin Costumes Barry Moncrieffe Dancer Marlon Simms NOTE: This piece is performed by permission of Pat Brooks and the Dance Notation Bureau.
ASI SOMOS (2008) Choreographer ARSENIO ANDRADE-CALDERON Music Percussions Henry Miller, Dem Rep-Kawela Mix, Unhoome Alah – World Beat Costumes Arsenio Andrade-Calderon Dancers Marlon Simms, Kevin Moore, Patrick Earle, Orlando Barnett, Paul Newman, Allatunje Connell, Mark Phinn ODE (2005) A Suite of Marley’s Love Songs The body of his work speaks volumes of his philosophy and vision, found in his timeless lyrics and music, Choreography CLIVE THOMPSON Music Bob Marley arranged and performed by *Prisoners of the System Costumes Catch A Fire – Designed by Cedella Marley Dancers Tamara Noel, Terry-Ann Dennison, Marisa Benain, Kerry-Ann Henry, Mark Phinn, Marlon Simms, Paul Newman
NDTC SINGERS SULKARI (1980) A dance of exaltation in fecundity and fertility, so that through the man-woman relationship the life of man will continue. The forms of the dance were inspired by, and originate from the sculpture, carvings, headdresses, masks, stools and other elements and details of African sculpture, as well as the movement of the Yoruba peoples of Arara (Dahomey). Choreographer EDUARDO RIVERO-WALKER
* ‘Prisoners of the System’ a unique collection of philosophically and musically diverse Canadian artists with Jamaica connections, headed by Producers Damon Mair And Jevon Rudder, used a collection of Bob’s classic songs, tweaked with unusual creativity and craftsmanship to create a new sound around the perfection of Marley’s lyrics. The CD is called TIME HEALS and was released on May 11th, the anniversary of Marley’s transition.
Rivero-Walker Costumes Eduardo Rivero-Walker Dancers Keita-Marie Chamberlain/Terry-Ann Dennison, Candice Morris, Tamara Noel/Marisa Benain, Marlon Simms, Kevin Moore/Orlando Barnett, Allatunje Connell NOTE: This dance was originally from the repertoire of the Danza Nacional de Cuba and was premiered on May 13, 1971 at the Teatre Garcia Lorca, Havana. It was filmed in 1974 and offered to the NDTC in 1979/80 as part of a cultural exchange arrangement. Intermission
DRUMSCORE (1979) When God created the earth, He first created the drummer (Ghanaian proverb) Choreography REX NETTLEFORD Music - Caribbean traditional rhythms and original patterns arranged by Marjorie Whylie with voices of the NDTC Singers, Finale – Marjorie Whylie Costumes Pansy Hassan and Rex Nettleford Dancers The Company with Kevin Moore and Keita-Marie Chamberlain …minutes and seconds (2010) Life is sometimes very complicated… Lets purposely learn to enjoy the simple yet powerful things God has created! – Joyce Meyer Choreography KERRY-ANN HENRY & MOMO SANNO Music “Roads” by Portishead Costumes Momo Sanno and Kerry-Ann Henry Dancers Kerry-Ann Henry and Marlon Simms NDTC SINGERS
URBAN FISSURE (2004) Choreographer CHRIS WALKER Music Bob Marley’s No More Trouble featuring Erika Badu and Bob Marley’s
SULKARI (1980) A dance of exaltation in fecundity and fertility, so that through the man-woman relationship the life of man will continue. The forms of the dance were inspired by, and originate from the sculpture, carvings, headdresses, masks, stools and other elements and details of African sculpture, as well as the movement of the Yoruba peoples of Arara (Dahomey). Choreographer EDUARDO RIVERO-WALKER Music Traditional Afro-Cuban (Yoruba) collected and arranged by Eduardo
Rastaman Chant featuring Busta Rhymes Costumes Dexter Pottinger Dancers Kerry-Ann Henry, Keita-Marie Chamberlain/Tamara Noel, Candice
Rivero-Walker Costumes Eduardo Rivero-Walker Dancers Keita-Marie Chamberlain/TerryAnn Dennison, Candice Morris, Tamara
Morris/Chelcia Creary, Mark Phinn, Paul Newman/Patrick Earle
Noel/Marisa Benain, Marlon Simms, Kevin Moore/Orlando Barnett,
GERREHBENTA (1983) The dance takes its name from two of the major traditional rites practised in Jamaica – “gerreh” in Hanover & “dinky-mini” which uses the musical instrument, the benta, in St. Mary.
Allatunje Connell
or Music Traditional Afro-Cuban (Yoruba) collected and arranged by Eduardo
MATINEE PROGRAMME
Choreography REX NETTLEFORD Music Traditional arranged by Marjorie Whylie, with NDTC Singers, Musicians & Drummers Costumes Don Bucknor Dancers The Company
NOTE: This dance was originally from the repertoire of the Danza Nacional de Cuba and was premiered on May 13, 1971 at the Teatre Garcia Lorca, Havana. It was filmed in 1974 and offered to the NDTC in 1979/80 as part of a cultural exchange arrangement. Intermission
PROGRAMME UK TOUR 2012 ODE (2005) A Suite of Marley’s Love Songs The body of his work speaks volumes of his philosophy and vision, found in his timeless lyrics and music, Choreography CLIVE THOMPSON Music Bob Marley arranged and performed by *Prisoners of the System Costumes Catch A Fire – Designed by Cedella Marley Dancers Tamara Noel, Terry-Ann Dennison, Marisa Benain, Kerry-Ann Henry, Mark Phinn, Marlon Simms, Paul Newman * ‘Prisoners of the System’ a unique collection of philosophically and musically diverse Canadian artists with Jamaica connections, headed by Producers Damon Mair And Jevon Rudder, used a collection of Bob’s classic songs, tweaked with unusual creativity and craftsmanship to create a new sound around the perfection of Marley’s lyrics. The CD is called TIME HEALS and was released on May 11th, the anniversary of Marley’s transition.
or URBAN FISSURE (2004) Choreographer CHRIS WALKER Music Bob Marley’s No More Trouble featuring Erika Badu and Bob Marley’s Rastaman Chant featuring Busta Rhymes Costumes Dexter Pottinger Dancers Kerry-Ann Henry, Keita-Marie Chamberlain/Tamara Noel, Candice Morris/Chelcia Creary, Mark Phinn, Paul Newman/Patrick Earle KUMINA (1971) Based on the Jamaican Afro-cult to be found largely in the Parish of St. Thomas. The rites are held for a variety of occasions – for mourning, tombing, healing, thanksgiving and even when help is needed to win a court case or for winning a lover. Included is a dance combat called “Warrick” (stickplay). Choreography REX NETTLEFORD MusicTraditional with the NDTC Drummers & Singers. Costumes/Décor Don Bucknor (design). Dancers The Company with Marlon Simms (King) & Keita-Marie Chamberlain (Queen) or GERREHBENTA (1983) The dance takes its name from two of the major traditional rites practised in Jamaica – “gerreh” in Hanover & “dinky-mini” which uses the musical instrument, the benta, in St. Mary. Choreography REX NETTLEFORD MusicTraditional arranged by Marjorie Whylie, with NDTC Singers, Musicians & Drummers Costumes Don Bucknor Dancers The Company
PROGRAMME II DRUMSCORE (1979) When God created the earth, He first created the drummer (Ghanaian proverb) Choreography REX NETTLEFORD Music Caribbean traditional rhythms and original patterns arranged by Marjorie Whylie with voices of the NDTC Singers, Finale – Marjorie Whylie Costumes Pansy Hassan and Rex Nettleford Dancers The Company with Kevin Moore and Keita-Marie Chamberlain …minutes and seconds (2010) Life is sometimes very complicated… Lets purposely learn to enjoy the simple yet powerful things God has created! – Joyce Meyer Choreography KERRY-ANN HENRY & MOMO SANNO Music “Roads” by Portishead Costumes Momo Sanno and Kerry-Ann Henry Dancers Kerry-Ann Henry and Marlon Simms NDTC SINGERS SULKARI (1980) A dance of exaltation in fecundity and fertility, so that through the man-woman relationship the life of man will continue. The forms of the dance were inspired by, and originate from the sculpture, carvings, headdresses, masks, stools and other elements and details of African sculpture, as well as the movement of the Yoruba peoples of Arara (Dahomey). Choreographer EDUARDO RIVERO-WALKER Music Traditional Afro-Cuban (Yoruba) collected and arranged by Eduardo Rivero-Walker Costumes Eduardo Rivero-Walker Dancers K e i t a - M a r i e Chamberlain/Terry-Ann Dennison, Candice Morris, Tamara Noel/Marisa Benain, Marlon Simms, Kevin Moore/Orlando Barnett, Allatunje Connell NOTE: This dance was originally from the repertoire of the Danza Nacional de Cuba and was premiered on May 13, 1971 at the Teatre Garcia Lorca, Havana. It was filmed in 1974 and offered to the NDTC in 1979/80 as part of a cultural exchange arrangement. Intermission
ASI SOMOS (2008) Choreographer ARSENIO ANDRADE-CALDERON Music Percussions – Henry Miller, Dem Rep-Kawela Mix, Unhoome Alah – World Beat Costumes A r s e n i o Andrade-Calderon Dancers Marlon Simms, Kevin Moore, Patrick Earle, Orlando Barnett, Paul Newman, Allatunje Connell, Mark Phinn URBAN FISSURE (2004) Choreographer CHRIS WALKER Music Bob Marley’s No More Trouble featuring Erika Badu and Bob Marley’s Rastaman Chant featuring Busta Rhymes Costumes Dexter Pottinger Dancers Kerry-Ann Henry, Keita-Marie Chamberlain/Tamara Noel, Candice Morris/Chelcia Creary, Mark Phinn, Paul Newman/Patrick Earle KUMINA (1971) Based on the Jamaican Afro-cult to be found largely in the Parish of St. Thomas. The rites are held for a variety of occasions – for mourning, tombing, healing, thanksgiving and even when help is needed to win a court case or for winning a lover. Included is a dance combat called “Warrick” (stickplay). Choreography REX NETTLEFORD Music Traditional with the NDTC Drummers & Singers Costumes/Décor Don Bucknor (design) Dancers The Company with Marlon Simms (King) & Keita-Marie Chamberlain (Queen)
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Tribute to Rex Nettleford Rex Nettleford: a life of exceptional service The late Professor Ralston ‘Rex’ Nettleford, vice-chancellor emeritus of the University of the West Indies, Caribbean man of letters and wisdom, was well known for his mastery of the English language. Witnessing the frequent use of the word ‘icon’ to describe persons deemed to have achieved in some field of endeavour or other, he cautioned that in time everyone could be an icon, and we would be hard put to find words to describe really outstanding examples of excellence. He never saw himself as ‘an icon’. Now that the time has come to pay tribute to this truly amazing Jamaican-born scholar, teacher, cultural activist, nationalist, historian and author, to mention but a few of his attributes, the word icon does seem insufficient. In its original definition, an icon is a treasured religious object. In contemporary times, it is also defined as one having some well-known significance, or embodying certain qualities. Rex Nettleford was all that and more, whether he cared to admit it or not. It is hard to choose which area of accomplishment makes Professor Nettleford most deserving of the respect and admiration which he has earned over the years. His capacity for outstanding scholarship was demonstrated throughout his personal career, from elementary school in deep rural Bunker’s Hill, Trelawny, to Cornwall College, then the University College of the West Indies from where he went to Oxford University on a Rhodes Scholarship. There he excelled not only in academics but in the performing arts. University times Back home, he joined the staff of the university and under the tutelage of the eminent Sir Philip Sherlock, he became tutor in the Extra Mural Department, taking the message of life-long learning throughout the entire Caribbean. This had a profound effect on him, heightening the realisation of what it meant to be a citizen not just of his native Jamaica but the wider region. His advancement through the university system led him eventually to the top, becoming vice-chancellor and then, on retirement, vice-chancellor emeritus. He gave to the latter designation the same energies as he did while in full-time service, dedicating himself to connecting UWI alumni to their alma mater and fund-raising for development. Throughout all the years and the many responsibilities, he added to his considerable workload, service to his country and the region, as an impartial adviser to prime ministers and leaders of civil society. His skills also benefited the Common-wealth of Canada, which sought out his participation in plotting their nation’s path into a new age. He represented Jamaica at UNESCO where he was highly respected for his acumen and passion, especially for righting the wrongs of slavery. He became a lecturer of renown on the international circuit. Honours and accolades poured in from far and wide and he took them all in his stride. dance his greatest passion His greatest passion was the National Dance Theatre Company which he co-founded with Eddy Thomas in the year of Jamaica’s entry into nationhood and built it into an institution respected at home and abroad. With all that, he still found time for acts of quiet altruism, assisting a new generation of young persons to acquire advanced education, among them, worker-delegates in the trade-union movement. Rex Nettleford was blessed with unbounding energy, belying his advancing years. He was a man for all seasons, a man of high ideals, committed to the service to fellow human beings, generous in spirit, consumed with a desire for excellence. The fruits of his endeavours are to be seen far and wide and will remain monuments to inspire generations to come. Was he an icon? Perhaps, but this is not a time for semantics. It is sufficient say, in the words of a popular song: “He was simply the best – better than all the rest.”
The Singers Carole Reid has built up for herself an enviable reputation as a leading soloist and chorister with a number of choral groups in Kingston and remains in much demand for a number of patronal festivals as well as other events. She sings with the National Chorale as well as with the Diocesan Festival Choir and Jamaican Musical Theatre Company, but remains a lead soprano with the NDTC Singers to which she brings her remarkable stage presence and vibrancy. She was a Silver Medallist in the South African Eistefodd of 1997. She has been in private life a personnel director and doubles up as Assistant Treasurer in the NDTC. She has worked as an execu�tive public banking in Jamaica, and has toured extensively with the NDTC. Faith Livingstone a cultural worker in the public service and soprano with the NDTC. An alumna of the University Singers while an undergraduate at University of the West Indies, Mona, she has had experience in performing before joining the NDTC. Dahlia Dawn Fuller-Philips studied voice at the Jamaica School of Music and in the USA with Joyce Britton and Vernon Harleston respectively.. She is a management training executive and also a lecturer by profession. Carl Bliss is a former member of the Kingston College Choir and during his under-graduate years performed with the University Singers. He joined the NDTC as a tenor soloist in 1977 and doubled as the Company’s Treasurer for several years. Mr. Bliss continues to collaborate as soloist with the Jamaica College Choir in their annual rendition of cantatas and oratorios. In the NDTC his personal triumphs have been his featured singing for such works as Misa Criolla, Gerrehbenta and his solo rendition of “Eye on the Sparrow”. He is in private life a management consultant as well as a Network Marketing professional, after pursuing graduate studies at the University of Miami. Earl Brown did much of his early singing at Ardenne High School and in the Kingston Singers under distinguished choral director Noel Dexter. He was to bring to the NDTC by the 40th anniversary (2002), musicality, good stage craft and quick-wittedness. Noted for his dedication and self-discipline he quickly became a figure of renewal by the end of the 1990’s. Conrod Hall who was recruited to the Company in 2010 began his musical journey in 1998 when he entered the JCDC’s Festival with the piece from the “Phantom of the Opera”. He is currently the Musical Director for the Phillippo Baptist Church. THE NDTC ORCHESTRA Marjorie Whylie (Musical Director) an accomplished music educator and musicologist, composer/arranger, performer and band leader, in her second year of retirement as Head of the Music Unit UWI, has retooled, now drafting project and public relations documents, teaching voice, keyboard and percussion at home, presenting lecture-demonstrations on Jamaican and Caribbean music and culture at home and abroad when requested, and has rekindled her interest in theatre behind the scenes in production. A prolific writer of music for the church, with her compositions forming a considerable part of the offerings of the NDTC Singers at Easter Sunday’s Morning of Movement and Music for many years, she has also developed workshops on the use of Caribbean forms and compositions for worship which have been given at churches of several denominations. A passionate devotee of Jazz, member and soloist of the Jamaica Big Band, she is band manager/coordinator since the passing of its founder Sonny Bradshaw and continues as an active committee member of the Jamaica International Ocho Rios Jazz Festival. Ms Whylie is known for elevating the drum in education as a serious instrument and as a teaching tool, having developed a technique of notation for traditional rhythms of Jamaica, the wider Caribbean and parts of Africa. She was honoured recently by the Order of the Drum Circle as a Supreme Grand Master Elder at a ceremony at the Edna Manley College. Wigmoore Francis, guitarist, is a much acclaimed talent in music circles in Jamaica. He holds an A.Mus.T.C.L. in the teaching and practice of musical composition from Trinity College, London, and has lectured in music at the Mico and at the Jamaica School of Music. At the latter school he also served as head of the guitar department
and head of the Caribbean, Latin American, and Jazz Department. A long-standing member of the NDTC, he has toured extensively with the Company and has composed music for MoniKa Lawrence’s dancework, Liza. His love for knowledge led him to the University of the West Indies at Mona where he obtained a First Class Honours degree in Philosophy and History. He later gained his Ph.D. in history there, specializing in intellectual history. Dr. Francis is a lecturer in the Department of History and Archaeology and in the Institute of Caribbean Studies at the UWI (Mona). Henry Miller master drummer is a senior percussionist in the Jamaica School of Dance and has honed his skills in the NDTC under the guidance of Musical Director Marjorie Whylie. Mr. Miller accompanied Barry Moncrieffe’s classes in Hong Kong and at Vassar College, Poughkeepsie, New York. He has toured extensively with the NDTC and remains a drummer on staff of the Jamaica School of Dance, Edna Manley College for the Visual and Performing Arts. Ewan Simpson, Attorney-at-Law, holds a Master of Laws (LL.M) in Intellectual Property Law, after having completed studies at The University of the West Indies (UWI), Mona (B.A. Geography) and Cave Hill (LL.B), as well as the Norman Manley Law School. A multidimensional, creative and analytical mind, Simpson has a wealth of experience in production and events management, and has been a production and entertainment consultant to major entertainment stakeholders, including the Jamaica Jazz and Blues Festival producers, Art of Music Productions (AMP). A former President and Chief Musical Arranger of the University Singers, Simpson has arranged, and trained the NDTC Singers in, Di Work, a suite of contemporary Jamaican songs presented in the 50th Anniversary season. Jesse Golding is an NDTC offspring being the son of Alison Symes a long-time principal dancer with the company and of Steve Golding a former member of the NDTC orchestra. As a result of his rooted experience and broad knowledge of Afro Caribbean rhythms, Jesse is quite the sought after drummer/percussionist, being featured on several studio recordings and live performances with some of Jamaica’s most renowned record producers and singers. He has long emerged from apprenticeship and is now an accomplished practitioner of his art. THE CREATIVE TECHNICIANS Bridget Spaulding (Secretary/Treasurer/Manager) Founding Member and former principal dancer is the Secretary/Treasurer and the tour manager of the Company, succeeding Verona Ashman who served for many years before her passing. A graduate of the University of the West Indies, Mrs. Spaulding works as an executive with the Bauxite & Alumina Trading Company. An excellent administrator who has organized the operations and the business of the Company, she brings to her duties a dedication rooted in a passionate commitment to the NDTC’s mission and vision. Tony Holness (Sound Director) has been with the NDTC since his days as a student of the trumpet at the Jamaica School of Music. A Sound Engineer by profession he filled in at short notice on the Barbados tour in 1997 in the unavoidable absence of then Sound Director Clyde Cunningham and doubled up as such on subsequent tours to St. Kitts, New York, Canada and the UK. Dedicated and committed, he has toured with the Company on numerous occasions overseas on leave from Radio Jamaica (TVJ) where he works. He was appointed Sound Director in 2000. Dwayne Brown,, (Stage Manager) assistant and protégé, of veteran Tony Locke, graduated into the role of Stage Manager in 2011 with the passing of Mr Locke. A graduate of the Edna Manley College of the Visual and Performing Arts (School of Drama) Dwayne possesses a sound knowledge of theatre arts, which ensures smooth operation backstage. He is currently a Cultural Adviser with the Jamaica Cultural Development Commission (JCDC) with responsibility for the parish of St. Catherine.
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AT THE ALBERT HALL
THREE unique rooms for hire. Room ONE : is our cafĂŠ/meeting area, which accommodates up to 40 people theatre style and can be used for meetings and social events. Room TWO : is our exquisite function room with double height Victorian ceilings and crisp white open space can accommodate up to 200 people seated. Room THREE : is our professional dance studio, which runs the full length of the building and has accommodated the likes of the National Dance Theatre Company of Jamaica.
Additionally : we boast a state of
the art commercial kitchen. All these rooms are housed in our newly refurbished 836sq.mtr. Albert Hall building. These spaces can be used for a variety of functions. Please Call: 0121 507 0904 to book your next special event. ! ! ! !
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The Company Structure Artistic Director BARRINGTON MONCRIEFFE Dancers MARK PHINN MARLON SIMMS KERRY-ANN HENRY KEVIN MOORE CANDICE MORRIS TAMARA NOEL ALLATUNJE CONNELL STEFANIE THOMAS
KEITA-MARIE CHAMBERLAIN MARISA BENAIN PATRICK EARLE
Maia Pereira, Phillip Earle, Paul Newman, Orlando Barnett, Terry-Ann Dennison, Chelcia Creary, Heidi-Anne Hanson, Sophia McKain, Jillian Samms, Kristina Graham, Kamar Tucker, Jahmai Paul, Mariana Samuda, Ashley Miller, Gillian Steele, Kelly-Ann Robinson Guest Performers: MELANIE GRAHAM, KARYN NEYSMITH JOHNSON, DAVID BLAKE – NDTC Delvis Savigne Friñòn, Edisnel Rodrìguez Gonzàlez, Deury Cisneros Marzal, Amós Rivero Asosta – Compania Teatro Dela Danza Caribe Singers CAROLE REID, FAITH LIVINGSTONE, Rhonda Lumsden Lue (sopranos), DULCIE BOGUES, DAHLIA DAWN FULLERPHILIPS, HELEN CHRISTIAN (contraltos), CARL BLISS, HOWARD COOPER, Howard Phillips, Kemar Lee (tenors), EARLE BROWN, LEIGHTON JONES, Conrod Hall (basses) Musicians MARJORIE WHYLIE (keyboard), ALBERTINA JEFFERSON, KAMAU KHALFANI (flute), WIGMOORE FRANCIS (guitar), TANAGARI MANNING (bass guitar), HENRY MILLER, EWAN SIMPSON, JESSE GOLDING (drums) Lighting Director Sound Director MICHAEL McDONALD TONY HOLNESS Balletmistress KERRY-ANN HENRY
Asst. Musical Director Stage Manager ALBERTINA JEFFERSON DWAYNE BROWN
Dance Captain Marlon Simms
Secretary/Treasurer BRIDGET SPAULDING
Photographers MARIA LaYACONA Asst. by BRYAN ROBINSON & TONY WONG
Musical Director MARJORIE WHYLIE MANAGEMENT COMMITTEE Carlton Davis (Chair), Bridget Spaulding (Secretary/Treasurer), Carole Reid (Assistant Treasurer), Tamara Noel (Assistant Secretary), Barbara Requa, Marjorie Whylie, Albertina Jefferson, Barbara Kaufman, Marlon Simms,