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The Board of Directors of the NDTC and I are therefore committed to steering the Company in a strategic direction that will see it expanding its reach nationally and internationally, and becoming more accessible to Jamaicans and international audiences. As demonstrated by the repertoire presented this year for our Anniversary Season, the NDTC aims to stay relevant and meaningful to our audiences by producing works that balance tradition with current realities and future trajectories. We are working toward ensuring the overall sustainability of the Company, reaching new and diverse audiences, strengthening our education pillar by extending access and to creating and sharing our knowledge products.
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Milton J. Samuda, Esq Chairman
It is my esteemed honour to welcome you to our special 60th Anniversary Season of Dance. We are very excited to share this significant milestone with you and thank you all --our members, past and present, our prized audiences, generous sponsors and friends, for your invaluable support. We look forward to seeing you again soon. Enjoy the show!
And as we emerge from the pandemic our steadfast work continues in ensuring the NDTC in stronger in facing even tougher times ahead. Notwithstanding the inherent challenges faced by any and all voluntary organisations, all NDTC members share a deep and abiding love for the company. This love extends far and wide to fans and friends of the NDTC across the globe.
MESSAGE FROM THE CHAIRMAN
As we commemorate the 60th Anniversary of the Company’s existence, we do so in reflection of the vision, sacrifice, and sterling achievements of the Company’s Founders and Founding Members with the same love, passion and respect as seen in Rex Nettleford’s “Gerrehbenta”. We share in celebration of the vibrant energy that is representative of our Jamaican and Caribbean persona as portrayed in Chris Walker’s “Rough Drafts” And, we earnestly pursue the NDTC’s continuity, by showcasing the amazing creations of this new generation such as in Paul Newman’s “Gratitude”.
All of this, while honouring and paying tribute to the generations of diversely talented and passionately loyal NDTC members who have given voluntary service to the Company over these 60 years. I have been honoured to serve as Chairman since 2016 and to have helped in guiding the Company though these turbulent times. I had leapt at the opportunity, having had a long appreciation for the importance of the NDTC as the esteemed institution that it is in the dance theatre and cultural space in Jamaica and the region.
Welcome to the Company’s diamond anniversary Season of Dance. Each year it’s a celebration of not only how far we have come as a Company but as a country. For any institution, let alone an arts institution, to have lasted 60 years is a remarkable achievement. It has been by no means an easy feat. As we reflect on how the Company began, we remain grateful for the hard work of the cofounders Rex Nettled and Eddy Thomas, the founding members, the bridge generation, and the new generation members who have sacrificed so much to create and sustain the legacy we enjoy today. It has also been 60 years of partnership between the Company and organisations and individuals who have an enduring love for the arts. It is through their support that the Company has been able to sustain a rich tradition of excellence even through turbulent times. The Company holds the view that the spirit of our people is resilient. As such, we will forge ahead to keep our history, culture, and the legacy of the NDTC alive regardless of the challenges we may face. And as we emerge from the era of renewal and continuity, which was under the leadership of artistic director and co-founder the Professor the Honourable Rex Nettleford and artistic director Barry Moncrieffe, we step boldly into the future grounded in the founding principles on which the Company was built and the mantra Energise and Illiminate This Season we revisit works that have been audience favourites such as Rex Nettleford’s Drumscore (1971) and Gerrehbenta (1987) as we reflect on our history of a people shaped by our African ancestry. Chris Walker returns with the critically acclaimed Rough Drafts (2014), Arsenio Andrade Calderon’s “My Cry” (2022), Gene Carson’s “Cry of the Spirit” (1996) and Milton Sterling’s “He Watcheth” (1996). “Sweet in the Morning” (1992) by Leni Wylliams has been added to the repertoire along with “Don’t Leave Me” (2013) by Jamie T. Thompson, Treadmill (1985) choreographed by founding member Barbara Requa and David Brown’s “Labess” (2002). Among the newer works are Choke (2019) by Orville McFarlane, “Cascade” (2021) by Marlon D. Simms and “Gratitude” by Dance Captain Paul Newman. The sole new work making its debut on the Season is Reneé McDonald’s “Unbroken” (2022). The Singers and Musicians will celebrate the contribution of Reggae music icon Rita Marley who celebrates her 76th birthday this year. Arranged by Acting Musical Director Dr. Kathy Brown, the suite features some of Mrs. Marley most popular songs. We thank the Rita Marley Foundation and the other sponsors who have helped to shape the offerings for this year’s diamond celebrations - Ministry of Culture, Gender, Entertainment and Sport (MCGES), CHASE, Rex Nettleford Foundation, Musson Foundation, TVJ, Christine and Phillip Gore and Family Foundation, Sagicor, Popeyes, Starlight Productions, Martin Lewis Productions, Jamaica Observer, WATA, Sandra Glasgow and BizTactics Limited and Starlight Productions. We hope you enjoy the performance and thank you again for your support.
Marlon D. Simms Artistic Director Sweet in the Morning(Chor. Leni Wyllians, 1998)
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MESSAGE FROM THE ARTISTIC DIRECTOR
S ixty years in the life of a dance company may be considered a long time. But for a cultural movement that seeks to discover its own aesthetic, logic and consistency as part of society’s wider process of selfdefinition, it is a short time indeed. Seedling years are significant, however, and the early period of the National Dance Theatre Company of Jamaica—which operates as part of the movement of self-definition, even giving it shape and articulation—could be of interest not only to dancers and other performing artists all over the world but especially to performers in developing countries who share common concerns about their people’s material well-being and creative potential.
The original objectives of the National Dance Theatre Company 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 Caribbean cultural realities; (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 Caribbean.
BEYOND SURVIVAL: The Company as a Role Model
The nature of the task must be analyzed in the wider context of the creative process. The making and performing of a work of art is a complex process involving the mobilization of individual skills to effect collective action. Dependence on individual effort ensures the fullest collaboration of all members of the group. In this sense there is more worker participation in the process of creation than in a typical industrial operation. The
Objectives and Achievements of the Company
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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 sixty 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. Its unpaid members, who have occupations as students, teachers, doctors, lawyers, civil servants, farmers, and bankers, among others, are dedicated to the view that their efforts in the area of dance will contribute discipline as well as a sense of process and cultural awareness to the task of nation building.
Despite the relatively low turnover of members there have been some unavoidable negative factors that have caused a few individuals to withdraw from the group. These factors turn on such issues as the limits imposed on personal ambitions because of group obligations; the inability of having certain economic needs satisfied; or the inevitable personality clashes. Yet there has been continuous membership by the majority as well as residual goodwill expressed by most individuals who have left for whatever reasons. The basic reasons for such loyalty involve not only the nature of the task in which all members are engaged but also the international dynamics of the group’s operations.
Each objective has had evidence of success. Besides gaining an international reputation for dance performance through its many tours, the National Dance Theatre Company during six decades of continuous work by its highly skilled and dedicated members has spawned not only a distinctive 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. 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 in the Cultural Training Centre in Kingston. In recognition of the special achievements of the National Dance Theatre Company the Ford Foundation, based in New York, has funded this valuable documentation of the Company’s work in the book Dance Jamaica. But what specific qualities have made the Company succeed where it has? To begin with, it is fair to state that there has been a high level of satisfaction on the part of individual members.
At this point lets elaborate two propositions that is believed to account for the survival of the National Dance Theatre Company: (1) the Company has maximized for the majority of its members the possibility of high levels of intrinsic satisfactions and at the same time has promoted minimum concern for practical needs; (2) the Company retains a leadership structure that perceives management power not as a case of property but one of relationship.
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The first proposition, the maximizing of satisfactions, has involved a number of factors, such as the very nature of the creative process; the relative economic independence of most Company members; the members’ commitments to the ideals of nation building; and the scope that individuals are offered to gain national recognition from related careers in dance education, research, community development, and freelance choreography. Another factor that has tended to augment satisfaction within the group is the networking of individual responsibilities, which are organized in subtle inter-meshing arrangements rather than in a hierarchical pattern. Thus the concept of the direct line of authority from the top, common in conventionally structured organizations, is secondary to the semi-autonomous subdivisions of the group.
This takes us to the second proposition, involving the Company’s leadership structure as one of relationship rather than property ownership. This definition of power, is rooted in a perception of management in all organizations as the leader—follower process of dialectical and symbiotic relationship. This dimension of power as relationship rather than absolute control is an important consideration of the effective management of cultural institutions like the National Dance Theatre Company.
Although the Company’s management is predicated on these very assumptions, there exists outside the Company the erroneous view that absolute leadership obtains, on the part of the Artistic Director. Naturally an artistic director’s strong sense of leadership must be in evidence. There is no doubt that he should be pivotal in every aspect of a company’s operations, responsible for major policy decisions regarding administration, funding, and the group’s public image. But he is something like the conductor of an orchestra rather than absolute commander. He succeeds in retaining loyalty because of his own dependence as a leader on the consent and trust of the group. The decisive personality of the artistic director must also be taken into consideration. Self-discipline and persuasive leadership must also be by example rather than precept. Members need to be motivated by a belief that the objectives set by the group are worth working for and that it is necessary to reinforce the vision and perception of the group as a whole. In the final analysis moral authority will be demonstrated by the successes of the leader’s artistic initiatives.
There certainly should be no delusions about the leadership role in terms of a group like the National Dance Theatre Company. Like any leader, the artistic director becomes the target of criticism as well as praise. Not all decisions will please everyone, but the decisions should be made in good faith and for the benefit of the whole group. Not only personal integrity but also respect for those being served is necessary. Self-pity cannot be indulged. Disloyalties and recriminations are all part of the deal.
participants gain satisfaction from the knowledge that their separate contributions are essential to the whole. Thus, the emphasis on social recognition, ego satisfaction, and self actualization within one’s work takes precedence over economics and other practical needs. Performing arts companies are likely to offer more of this kind of intrinsic satisfaction than other marketplace endeavors, and thus chronic tension and resentment against management are lessened. When tension occurs which is inevitable in the competition over roles or the persistence of personal points of view, it is likely to be resolved in creative compromise, since ego satisfaction and self-actualization are made possible through actual performance.
Strong charismatic leaders of theatre groups are not infrequently regarded with a certain awe, almost as if they were political dictators. At the same time these leaders may attract inordinate admiration. But even affection is likely to be transformed negatively when certain decisions of the artistic director are resented by a particular theatre member. In such situations veiled threats of withdrawal are not uncommon. But the most that any leader should strive for is the acknowledgment of the values informing the vision shared by everyone in the group. These values must be emphasized even while everything else appears to be peripherally chaotic, as frequently happens in theatre productions.
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THE MUSIC OF THE NDTC by Marjorie Whylie, Musical Director Emerita O n celebrating an earlier milestone in the life of the National Dance Theatre Company, I expressed the thought that a visit to the Little Theatre by a blind patron on any performance night would be as enjoyable as it would be for a sighted member of the audience. The reason for this is the enormous variety of music that is used by choreographers in the creative process, and the presentations from the repertoire of the NDTC Singers.
The NDTC Orchestra led by Marjorie Whylie on piano. Musicians (l-r) Irvine Jarrett, Antonio Henry, Ronan Critchlow, Steve Golding, Barbara Boland, Lloyd Mason, Albertina Jefferson.
The Singers have always been an integral part of performances, presenting suites of songs which have taken a searching look at the music of the Caribbean, including that of our Spanish-speaking and Francophone neighbours. In Jamaica a great deal of research is undertaken into the songs which accompany and energize work, social activity, socio-religious observance and the music of religion, be it orthodox Christian, African derived, or creole creations. The ever-changing scene of popular music is also a source of material and energy, and the ‘classics’ of these idioms are presented in arrangements which show respect for the genre, and for those whose creative output has stood the test of time.
Choreographers work in interesting ways, making the process of composition an often daunting task. Some complete a dance work by using counts (note here that a dancer counts in the way that is often counter to the musician) and a kind of ‘dance-speak’ which suggests duration, texture and intensity. All of this has to be translated by the composer. Yet others use already existing recorded music, which may then be augmented by sequences on the drums and percussion to highlight sections which lack the necessary Jamaican feel. The choreographer may also use recorded music as a kind of working score, then requiring the composer to create original music, guided by the pulse, impulses, dynamics and mood of the ‘working’ music. The mixture of the recorded and the live often runs to the insertion of whole live sections, and an ultimate return to the recorded. NDTC’s music is full of surprises, some soothing, others so contrasting as to make the listener
An understanding of the melodic contours, harmonic language and rhythmic complexity of these forms have also led to original compositions heard mostly in the Easter morning presentations, created in an effort to establish new traditions, while remaining true to the spirit and soul of worship. By happy coincidence, many of our Singers are senior choristers, cantors and choirmasters, assuring us that this music finds its way into the established churches. Yet, the Singers are best known as a ‘choral orchestra’, adding broad harmonies, rhythmic chant and traditional songs to the sound of the small group of musicians that form the NDTC orchestra. Always in the orchestra pit, at the ready to play national anthems, overtures, and instrumental interludes, the orchestra is often employed in the creative process of choreographers, providing rhythmic impulses, sound collages and music which expresses mood and style reflected in the movement sequences.
NATIONAL DANCE THEATRE COMPANY 9 sit up and take notice. It is not unusual for music heard first at an NDTC performance to find its way to the airwaves and into the personal collections of those with catholic tastes. In the early years, the music of the Impressionists was introduced, as was the avant-garde, in later years the sounds of the synthesizer and the electronic modes, followed by the music of Southern Africa and Brazil, but the music of the classical masters has been used with equal aplomb — from the Baroque to the Romantic to Musique Concrete, with more than passing obeisance to the masters of Jazz, from Ellingtonian odyssies to Brubeck, Don Shirley and the jazz fusion of world musics.
Our musical palette can be bold and colourful, pale and pastel, striking, and awe-inspiring. We can state with no fear of contradiction, that the soundscape of the National Dance Theatre Company is never predictable, never boring.
NDTC Singers and Musicians led by former Musical Director Ewan Simpson on drum.
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Choreography
of occasions
REX NETTLEFORD Music Traditional arranged by Marjorie Whylie, with NDTC Singers, Musicians and Drummers Don Bucknor
Costumes/Décor
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.
The Company with Marlon Simms (King) & Keita-Marie Chamberlain Clarke (Queen) GERREHBENTA (1983)
Choreography
Dancers
Based on the Jamaican Afro-cult to be found largely in the Parish of St. Thomas. The rites are held for a variety – 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).
REX NETTLEFORD Music Traditional arranged by Marjorie Whylie, with NDTC Singers, Musicians & Drummers Don Bucknor The Company
Dancers
Costumes
NATIONAL DANCE THEATRE COMPANY36 THE 2022 REPERTOIRE NEW | ACTIVE | REMOUNTS NEW UNBROKENWORKS (2022) Choreography RENÉE I. McDONALD Music “Into the Abyss” – Jackson Mullane; “We Rise” – Amanda Gorman, voiced by Tamara Noel; “Valentin’s Blood Flows” – Grandbrothers; “Amar: Dam in China” – The City of Prague Philharmonic Orchestra Costumes Renée I. McDonald (Execution Lisa Crosswell) Dancers Mishka Williams, Gillian Steele, Kristina Graham, Ashley Bromfield, Shadé Thaxter, Joelle Flimn, Dannielle Mullings COMMISSIONED BY POPEYES JAMAICA RITA MARLEY TRIBUTE (2022) Arrangement DR. KATHY BROWN Music “Love Iyah”, “Good Morning Jah”, “A Jah Jah, Thank You Jah (Lord)”, “Harambe” Performers NDTC Singers and Musicians COMMISSIONED BY THE RITA MARLEY FOUNDATION GRATITUDE (2022) Choreography PAUL NEWMAN Music “Thankful” – Josh Groban Dancer Dwauntea Chambers ACTIVE KUMINAREPERTOIRE(1971)
Music Caribbean
Costumes
Dancer
NATIONAL DANCE THEATRE COMPANY 37 HE WATCHETH (1996) His eye is always on us, watching our every move, hoping that we become peaceful in His name. Choreography MILTON STERLING Music “Eye on the Sparrow” – from Sister Act II Soundtrack Dancers Shadé Thaxter, Mishka Williams, Gillia Steele, Joelle Flimn MY PRAYER (2002) Choreography ARSENIO ANDRADE-CALDERON Music “Fieldhand” – Jevella Steele Costumes Arsenio Andrade-Calderon Dancer
Music “Construct 2”
Music The
Costumes
Dancers
REX NETTLEFORD traditional rhythms, melodies arranged by Marjorie Whylie with voices of the NDTC Singers Pansy Hassan and Rex Nettleford
DON’T LEAVE ME (2013) Have you ever been alone? Choreography
Jamie J. Thompson Mark Phinn McFARLANE – Michael Wall; “The Lynch” – Ezio Bosso Lisa Crosswell
CHOKE (2019) When we feel stifled by people, situations and spaces and our atmosphere becomes unconducive to growth and progress, inevitably, we CHOKE. Choreography ORVILLE
Kerry-Ann Henry, Mishka Williams, Kristina Graham, Ashley Bromfield, Shadé Thaxter, Joelle Flimn, Dannielle Mullings, Mark Phinn, Paul Newman, Kanille Brudy, Dwauntae Chambers God created the earth, He first created the drummer (Ghanaian proverb)
JAMIE J. THOMPSON – Nina Simone
Choreography
Costumes
Music “Ne Me Quitte Pas”
DRUMSCOREREMOUNTS (1979) When
Dancers
Kerry-Ann Henry, Mishka Williams, Dannielle Mullings, Kristina Graham, Shadé Thaxter, Paul Newman, Kanille Brudy, Dwauntea Chambers
Kerry-Ann Henry
Costumes
CASCADE (2021) Choreography
MARLON D. SIMMS Water Diviner (“The Water Diviner”), “Experience” by Ludovico Einaudi, “Clockwork” – Philipp Klein (Epic Music/Steampunk Music) Marlon D. Simms (Execution Lisa Crosswell)
NATIONAL DANCE THEATRE COMPANY38 Dancers The Company led by Keita-Marie Chamberlain Clarke/Tamara Noel, Kevin Moore/Phillip Earle TREADMILL (1985) A daughter of Sisyphus reflects Choreography BARBARA REQUA Music Don Shirley Selections (“Waterboy”, “All By Myself”) Costumes Denise Robinson Dancers Kerry-Ann Henry, Mark Phinn, Marlon D. Simms, Patrick Earle SWEET IN THE MORNING (1992) Choreography LENI ReconstructedWYLLIAMS from the Labanotation Score by Marlon D. Simms Music Bobby McFerrin Costumes Barry Moncrieffe Dancer Marlon D. Simms This piece is performed by permission of Pat Brooks and the Dance Notation Bureau LABESS (2002) Choreography DAVID BROWN Music Zap Mama Costumes David Brown Dancers Kerry-Ann Henry/Shade Thaxter, Gillian Steele/Kristina Graham, Keita-Marie Chamberlain/Ashley Bromfield, Tamara Noel/Joelle Flimn, Mark Phinn, Paul Newman, Kanille Brudy/Dwauntea Chambers Dedicated to G. Arthur Brown and Jean Robertson ROUGH DRAFTS (2014) i. Burden Bearers ii. Tenants iii. Spine be Strong iv. Dearly Departed v. From the Cane Piece Choreography CHRIS WALKER Music “1-2 Prelude Sub D Visions” and “4-5 Sub D Visions” by Major Andre Scurlock, “Eva” – traditional, “When you leave” – Chris Walker and “Memba di Memba” – Ewan Simpson, arranged by Ewan Simpson performed by NDTC Singers and Musicians Costumes Dexter Pottinger 3D and Barry Moncrieffe Décor Bert Rose Dancers The Company
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Debrah-Ann ROSEWELT MILLER (contraltos), KEMAR LEE, Kevan WILLIAMS, Joshua PAGE, Shane Wright, Emil Livingstone (tenors), HESTON BOOTHE, CONROD HALL (basses)
MARLON D. SIMMS
HENRY MILLER, JESSE GOLDING (drums), Kevan WILLIAMS (keyboard), Rajay Henry (bass guitar), Daniel Edwards (Treasurer), (Artistic
Director).
MUSICIANS
THE COMPANY
FAITH LIVINGSTONE, Toni BARRETT, Carolyn Reid Cameron, Christine Walters (sopranos), HELEN CHRISTIAN, Kamala NICHOLSON-JOHNSON,
Keita-Marie Chamberlain Clarke (Company Secretary), Michael McDonald, Marlon D. Simms
Joelle Flimn, Kanille Brudy, Dannielle Mullings, Tajay Henry, Dwauntea Chambers, Kamloy Thomas, Navesha
Artistic Director
SINGERS
Kristina GRAHAM, Mishka WILLIAMS, Gillian STEELE, Ashley BROMFIELD, Shadé THAXTER
(guitar) PRODUCTION TEAM Lighting Director MICHAEL McDONALD, TARYN BRIDGEWATER Stage Manager KENARDO PHILLIPS Sound Director TESFA EDWARDS Sound Operator BLAINE REID Sound Editor CONROD HALL Wardrobe MARK PHINN Ballet Mistress KERRY-ANN HENRY Dance Captain PAUL NEWMAN Music Captain CONROD HALL Movement Director (Singers) KEVIN MOORE Public Relations Officer ALICIA GLASGOW GENTLES Logistics LEIGHTON JONES Photographer STUART REEVES Graphic Designer KENNEIL SMITH Scoail Media Marketer DESHAWN D. LA CROIX MANAGEMENT COMMITTEE Milton Samuda (Chair) Hilary Phillips (Deputy Chair) Carole Reid, Sandra Shirley
Vickers, Janae Deslandes
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Acting Musical Director DR. KATHY BROWN
DANCERS KERRY-ANN HENRY, MARK PHINN, MARLON D. SIMMS, KEITA-MARIE CHAMBERLAIN CLARKE, TAMARA NOEL, KEVIN MOORE, PATRICK EARLE, MARISA BENAIN, PAUL NEWMAN, PHILLIP EARLE
NATIONAL DANCE THEATRE COMPANY 45 FoundingDancers Members Audley MonicaMavisMaureenJoyceGertrudeEddyBridgetBertBarbaraButlerRequaRoseSpauldingThomasSherwoodCampbellCasserlyStoppiMcGowan Pansy Hassan Rex YvonneShirleySheilaRosalieRonanNettlefordCritchlowMarkesBarnettCampbelldaCosta Others Abeldo Gonzalez-Fonseca Adrian Fletcher Alaine Grant Alicia Glasgow Gentles Alison ArleneAndreaAndreaAllatunjeSymesConnellLloydNashRichards Arsenio Andrade-Calderon Barry CarolCarolCandiceBeverlyMoncrieffeKitsonMorrisMillerMurdock Carol Orane-Andrade Cheryl DavidChristopherChristopherRymanMorrisonWalkerBlake Denise Francis-Robinson Dennis Scott Derek Williams Deroi DorothyDorothyRoseFraserMcFarlane Duran Hylton Ernest Cromwell Fitzroy GabrielleFrederickaHuntByfieldHarban Gene GeorgeCarsonMcGann Jackie JacquelineGuy Smith Janira Bremner Jean JudithJudithJillianJihanJermaineSummersRowePalmerSammsPennantWedderburn Karyn Keita-MarieNeysmith-JohnsonChamberlain Clarke Kerry-Ann Henry Kevin MaiaMadgeMooreBroderickPereira Marc Hall Marisa Benain Mark NevilleNeilNatashaNatalieMoniKaMiltonMichaelMelanieMarlonPhinnD.SimmsGrahamRichardsonSterlingLawrenceChungAbrahamsSummersBlack Noel Hall Noelle Chutkan Oniel Pryce Paul SamuelRolandePhillipPatsyPatrickNewmanEarleRickettsEarlePryceBailey Sandra Minott-Phillips Sandra Monroe Shelley-Ann Maxwell Sophia McKain Staci-Lee Hassan-Fowles Stefanie Thomas Tamara Noel Terry-Ann Dennison Thomas Pinnock Tony Wilson Tovah-Marie Bembridge Yvonne Ffrench Provisional/Supporting Aaliyah Hall Abbey AndreaGibbsDouglas Anneika Hill Ashley Bromfield Ashley Miller Atardo Henry Barbara Kaufman Benton Morris Bunny Heron Calvin McDonald Carole CatherineMcLarenMarch Charline Hylton Charmaine Warren Chelcia DannielDanielleDanielleDanielleDamarioClareChristinaCrearyGonzalezRequaGútzmerJohnallyNembhardRequaMullings Debroah Powell-Valentino Dennis Lindo Derek McCarthy Desmond Caesar-Brown Diane DonaDominicMarchSaundersCampbell DeVaughn Allen Dwanuntea Chambers Dwight Lee Eleanor Ferguson Frank GlennGlenfordGillianGillianFranklynAshleyBrysonEdwardsSteeleBrownDhyll Heidi-Anne Hanson Hillary Phillips Hugh HyacinthWilliamsBeckford Jada JoanJavalJanaeJahmaiBuchananPaulDeslandesLewisMcLeod Jodi-Ann McFarlane Jodi-Ann Smith Joelle Flimn John Hunt Joye JuniorAbrahamMcGlashan Kafi Jones Kamar KarleneKanilleKamloyTuckerThomasBrudySamuels THE COMPANY FROM 1962-2022
NATIONAL DANCE THEATRE COMPANY46 Katharine Lee Kathy KeithKeishaKeishaKayonBarberWrayAmorySteeleFagan Kelly-Ann Robinson Kemar NancyNadiaNadaniMishkaMiltonMichelleMichaelMichaelMerrilMelissaMelissaMatthewMarilynMarianaMalikahLorettaLoisLaurynKristinaKimKhamaKhadijaFrancisJohnsonPhillipsDeCastroGrahamRickmanRequaBreakspearJohnsonSamudaSanguinettiRichardsLlewellynMyersDunstanBinnsSmallPattersonDawesWilliamsDixonWilliamsEpinat Navesha Vickers Neila PaulinePaulaPatrickOswaldOrlandoNneikaNetriciaEbanksMillerStapleBarnettBlackwoodEdwardsMonroeKhan Peta-Gay Pryce Rachel RicardoWalterMartin Shacile Harrison Shadé ShakeeShadayThaxterGallimoreDobson Shama Harding Shanice Neita Sita SydneySuzanneDicksonWattsBarned Tajay Henry Tamara Thomas Taneilla Francis Tiffani Smith Victor Brown Wayne Campbell Wayne Daniels Yendi Phillipps Yvonne Hutchison Yvonne Jones Singers Carl CleonieCharlesCaroleCarmenBlissGordonReidWrightWhyte Conrod Hall Damion Evans Dawn Fuller-Phillips Dulcie Bogues Earle Brown Faith Livingstone Helen HowardHopeHestonChristianBootheFreemanCooper Jhana Williams Joyce Lalor (FM) Kaydene Gordon Kemar LeoLeightonKennethLeeRuncieJonesTyson Lloyd Hall Louraine Emmanuel Marie MarleneMarjorieCunninghamWhylieBuckeridge Noel Heron Paula StanRobertAsontuwaDunkleyIrons Vibart Seaforth Vin VivienneJamesDewdney Wesley Scott Provisional/Supporting Akeil AnnaDicksonBlankson Carolyn Reid-Cameron Cecile DaveConnieClaudetteClaireChristineCooperWalterMillerAllenFrancisBuchanan Debra-Ann Rosewelt Emil Livingstone Hazel HowardHendrickSinclairHamiltonPhillips Joseph Roach Joshua Page Kamala Nicholson-Johnson Kevan KimoneWilliamsJohnson Larry Wright Linda Hamilton Lurline PurcessPeterPaulineOswaldMaureenMarthaBennettThompsonEbanksDavisDavisAllenMattheson Roy RhondaHall Lumsden-Lue Sandra McKenzie Sarina Constantine Shane Wright Sonia Campbell Tah-je Thompson Toni Barrett Vernon Darby Winston Ewart Musicians Andrae NikolasMinkyMarjorieLloydLeightonKevinKevanKeturahKeithKamauJeffreyGodfreyFranklynFerdinandEwanErvinDesmondDelroyDanielBarbaraWilsonBolandEdwardsThomasIveyLloydSimpsonCampbellConstatineTaylorCobhamKhalfaniReidGrayWilliamsKerrJohnsonMasonWhylieJeffersonGroskopf Rajay Henry Roel TanagariSteveRohanMillerReidGoldingManning Tony Holness Wigmoore Francis Drummers Adrian Locke Andre Latouche Antonio Henry Billy Lawrence Carl Messado Earl EwanEdwardsSimpson Horace Wedderburn
NATIONAL DANCE THEATRE COMPANY 47 Irvine SeanRonanRobertRichardPaulObadiahMiltonLloydLeafordKirkJohnJesseJamesJarrettWalkerGoldingWalkerGoulbourneMcFarlanePattersonOsbourneLewisGreenCunninghamStewartCritchlowCunningham Stage Managers Don FelixDwayneBucknorBrownBarnett Frederick Hickling Kenardo Phillips Noel Vaz Ricardo McFarlane Tony Locke Lighting Directors George Carter (FM) Michael McDonald Taryn Bridgewater Musical Director Dr. Kathy Brown (Acting) Ewan Simpson Heston Boothe (Acting) Mapletoft Poulle Marjorie Whylie Ballet Mistress/Master Arlene Richards Arsenio Andrade-Calderon Audley Butler Kerry-Ann Henry Pansy Hassan Yvonne daCosta Dance Captain Keita-Marie Chamberlain Clarke Marlon D. Simms Paul Newman Music Captain Conrod Hall Sound Directors Baldwin Lennon Clyde RudolphCunninghamClennon Tesfa Edwards Tony Holness Sound Operator Blaine Reid DirectorMovement(Singers) Kevin Moore Associate Artistic Director Barry MarlonMoncrieffeD.Simms Wardrobe Barbara Kaufman Keita-Marie Chamberlain Clarke Mark PatrickPhinnEarle Shelley-Ann Morgan Shirley Campbell Logistics Daniel BryanPhotographersDaileyRobinson Denis Valentine Jacqueline Gainne Maria LaYacona Ricky TonyStuartGoreReevesWong Committee Members Chairman Carlton E. Davis Jeffrey Cobham John Cooke Joseph Cools-Lartique Maurice Stoppi Milton SandraSamudaShirley Secretary Bridget Spaulding Keita-Marie Chamberlain Verona Ashman (FM) Treasurer Baldwin Lennon Bridget Spaulding Carl PaulCaroleBlissReidGreen Public Relations Alicia Glasgow-Gentles Barbara Gloudon Heather Royes Roy Burns Ex Officio Artistic PhotographerMusicalLightingLeader,BalletAssociateDirectorDirectorMistress/MasterNDTCSingersDirectorDirector Public Relations Officer Sound MovementDirectorDirector (Singers) Sound WardrobeStageLogisticsOperatorManager Choreographers Arlene Richards Arsenio Andrade-Calderon Barbara Requa Barry Moncrieffe Bert EddyDenisCliveChristinaChrisRoseWalkerGonzalezThompsonScottThomas Eduardo Rivero-Walker Elizabeth Keen Gene JoyceJackieJacintaCarsonDavidGuyCampbell Keita-Marie Chamberlain Clarke Keith Fagan Kerry-Ann Henry Kevin Moore Leni LesmeWylliamsGrenot Lester Horton Liane NeilaNatalieMoniKaMomoMiltonMeahaMarlonWilliamsD.SimmsSoniSterlingSannoLawrenceChungEbanks Neisha-yen Jones Neville Black Oniel PatsyOrvillePryceMcFarlaneRicketts
NATIONAL DANCE THEATRE COMPANY48 Patrick Earle Patrick Earle Paul RamonNewmanRamos Alayo Renée I. McDonald Rex SheilaNettlefordBarnett Shelley-Ann Maxwell Stefanie Belnavis Stefanie Thomas Thomas Pinnock Tony Wilson Other ContributorsVoluntarySet Designers Allyn Bully Bert DeniseDavidCollinRoseGarlandBoxerFrancis Robinson Donat Bucknor Eugene Hyde Howard Parchment Jerry Craig Kofi Kayaga Michael Lorde Milton Harley Moira Small Pansy Hassan Petrona Morrison Richard SeymourMontgomeryLeichman Staci-Lee Hassan-Fowles Costume Designers Arlene Richards Arsenio Andrade-Calderon Barry Moncrieffe Bert Rose Billy Dumont (accessories) Brian Heap Bruce Jones Chris EastonDonatDeniseColinClaudiaWalkerRobinsonGarlandFrancisRobinsonBucknorLee Gabrielle Harban Garth Robinson Grace Hamilton Kevin Moore Kofi Kayaga Lisa PaulOrvilleMichaelMarlonMariaCrosswellSmithD.SimmsBryneMcFarlaneNewman Renée I. McDonald Richard Montgomery Sally Montgomery Sonia Vaz Tom Cooke Tony Wilson Composers (original) Bob PeterOswaldNoelMarjorieCarlosSinicropeMalcolmWhylieDexterRussellAshbourne Arrangers Adrian Clarke Carlos Malcolm Conrod Hall Dr. Kathy Brown Ernest Ranglin Ewan Simpson Heston Boothe Mapletoft Poulle Marjorie Whylie Guest Choreographers Addison Ector David Brown Eduardo Rivero-Walker Elizabeth Keen Hope Boykin Jeanguy SAINTUS John Jones Terk Lewis Troy Powell Guest Performers Alston BarbaraAnnAltamontBlairWilsonLakeWilkin Celia Holton Clive LornaJoyeJohnnoiryJenniferJamieGranvilleGeorgeEdisnelDelvisThompsonSavigneFriñónRodíguezGonzálezWedderburnLindoJ.ThompsonMuller&Co.St.PhilippeThompsonGoodison Michelle Hebert Micky PaulPatsyNormanNicoleMcGowanTaylorNamronBarnettBicknell Paul SydneyRonaJurekBarnettClarke The Frats Quintet Wilfred WinstonWarnerWhite Courtesy Tutors Barbara Fonseca Betty Rowe May PunkySoohihFacey Technical David Ashley Donat Bucknor Emma PhillipNormanCrooksCunninghamMorris Vin Mckie Drummers Ivan Harban Sonny Bethelmy Musicians Byron Lee & the Dragonaires Secretarial Claudette James Daphne Headley Doreen Barrow Dorothy Hollingsworth Eula Morgan Janet Liu-Terry Joy PeggyOscarMildredMignonetteLouiseBlakeCarterPeterBrooksCarwinGreaves Photography Amador Packer Delroy JamaicaEdwardJamesMassiasInformation Service Jamaica Tourist Board Jamie RoyOwenMonicaMarvinBarnettBartleydaSilvaMinottCruise Sam Hillary Film & Video ABC (Australia) BBC (Great Britain) CBS (Canada)
NATIONAL DANCE THEATRE COMPANY 49 CBS (United States) CPTC HarveyCVM Films Jamaica Information Service TelstarNBCNatalieMediamixThompson(UnitedStates)(WestGermany) TVJ Paid Freelance Contributors PainoMusicians: Adrian MapletoftClarkePoulle Violin Flo AlphonseFluteNoelPeteWilsonStewartPeckClarke Carol Becon Harty Cedric Brooks Trumpet David WinstonWinstonOssieElnathanMaddenBrackenridgeWilkinsGrahamTurner Clarinet/Saxophone Bertie NevilleKingGraham Peter Hudson Guitar Ernest Ranglin Irvine Lloyd Janet JohnnyWallaceRupertJimmyEnwrightSteeleBentWilsonGrant Bass Boris Gardener Henry HerbertMillerNelson Maurice Gordon Trevor Bitter Drums Eric Phillips Congas Larry DonovanDerrickDavidAinsleyLightingMcDonaldOperatorsWrightSamuelsTomlinsonTomlinson Gillian Hickling Leslie RoyPatrickMarcelDawkinsBlackburneTomlinsonThomas Stage Crew Derek TerrenceStanleyMichaelLloydKennethDonaldShawThomasMorganSchlossLockeDawkinMarriot Scene Builder Donald Howell Phillip Morris Costume Execution Arlene Richards Arnold Kerr Aston ClaudiaBarryAudreyLevyMantockCampbellRobinson Denise Francis-Robinson Dennis Lindo Dexter Pottinger Enid SallyMrs.MillicentKeyJeanGraceGertrudeGemRattrayWilliamsMoncrieffeMcIntoshLeeMcFarlaneMatthieCaesarBrownThompson Sonia Vaz The Mushroom Violet Guy Lisa Crosswell
NATIONAL DANCE THEATRE COMPANY50 CHOREOGRAPHERS AND THEIR WORKS THE FIRST AND MOST RECENT DANCES FOR THE NDTC REX NETTLEFORD African Scenario (1962) Afro-West Indian Suite Dialogue for Three Plantation I’veBalladCelebrationsKuminaJourneysSynthesiaMarriedLuciferAllFolkformTheMisaMasqueDanceRecollectionsKasDiaristTwoGallandarPocomaniaRevelrylaPavaDrumsforBabyloninSandKasAndanteofGodCriollaKingMustDieGodsChildrenLuciferStoryofaLadyBeenBuk’d Homage Street People TributeMyal to Cliff DrumscoreElementsTheWonder,CharacterPeaceCourtBacklashofJahOfferingsSketchesLoveandPraiseCrossing Back to Bach, Viva Bach Caribbean Suite Two Drums for Babylon Rockstone Debate The Gospel According to… The Visitor SoulscapeGerrehbentaLitany Vibrations Dream on Squatters Mountain ChildrenSanctifyPuncieIslands of Mosiah Flash of the Spirit Dis Poem (His Story, Her Story) Praise Songs Spirit Brothers Sister Friends ApocalypseCharacterKatrinaOdysseyBirdCave’sRedemptionBrazilianDiasporaRiverRitualBujuramaBloodSpiritsOInterconnectionsAncestralCaravanpanscapeEchoesComeAllYeFaithfulataGatheringCanticlesoftheSunriseOdeofMeEndSongSketches2(2009) EDDY THOMAS Legend of Lovers Leap (1962) A Time To FootnotesRejoiceinJazz Afro-West Indian Suite Games of Arms AndLiza It Came to Pass Concert Suite Country Wedding Parade Kingston 13 Jamaican Promenade Omegan Procession (1987) SHEILA BARNET Jazz Fantasia (1963) Foiled Encounter RingHomecomingHunt MountainMuralsInShadowsImagestheSpiritWomen A Question of Balance The Rope and the Cross Ni Woman of Destiny I Not WomanI Song OneSummerChainlinksIsTime The Vow One Time (full work, 1991) JOYCE CAMPBELL Dance Time Cascade (1965) Mood MakersMatribondSuiteand Made Bruckins (2002) NEVILLE BLACK Night Dances (1965) WaltzRites Suite The AirsCantosBachLegendarySonataFablesNightAwakeningShelterLandscapeBrubeck&Co.andGraces(1969) DENNIS SCOTT Bread (1968) TOMMY PINNOCK Desperate Silences (1972) Ballot (1981) JOHN JONES Resurrection (1972) SupernovaWindsong (1985) BERT ROSE Thursday’s Child (1973) Glory Road Reflections SwitchMoodsJubilateCaro Ebb-Flow CaribbeanEdnaReminiscenceEncountersMCanvas
NATIONAL DANCE THEATRE COMPANY 51 Steal Away (1997) PATSY TheSomedayRICKETTS(1976)Brothers(1978) EDUARDO RIVERO WALKER Sulkari JustPhasesTONYBankraEchoSolitudeJACKIETributeRomance(1980)(1995)GUY(1981)(2013)WILSON(1982)Time Progeny Heiress Forest CameosAdamLegacyDancePrimalFedoraRitualsEncountersJamaica If? WeepingMichezo Widow (2016) BARBARA REQUA Fantasy (1982) CaughtSundayTreadmillTrioMorningandBowled (1995) CLIVE THOMPSON Recollections (1983) The Black Widow OfDivaProphecy and Song JourneysAnima Beyond Survival Phases of the Three Moons Romance Vision Ancestral Echoes Babjala Bonke Legacy of the Duke Journey Through the Labyrinth Ave Maria Ave A Of Sympathy and Love RahEarthOdeFolktalesBirthSouls Vignettes of Life Malungo The Question (2014) ELIZABETH KEEN Three Penny Pieces (1987) JACINTA DAVID Sisserou (1990) GENE CARSON Mask (1992) Into the Light Cry of the SanctuarySpirit(2013) MONIKA LAWRENCE Antithesis (1992) Cross Currents AIdentityFreedomTheSelahLizaEdgeNewDawn (2015) ARLENE RICHARDS Cocoon (1994) EarthRah Crisis Voices RenewalSalomeSacredAzureSideAwakeningbySideGroundofthe Spirit Enchanted (2004) MEDHA SONI Mayur (1995) MILTON STERLING He Watcheth (1996) Dance We Must (1996) LESME GRENOT Unidos (1996) ARSENIO CALDERONANDRADE Congo Layé (1999) AsiOutDimensionsMyEpilogoFusionFootprintsPrayerofManySomos Intervalos Reflection (2009) KEITH FAGAN Trauma (1999) In OfTransittheCross (2005) CHRIS WALKER Of a Passage (2000) UrbanFragileFissure Variations A Ska Hill ‘N’ Gully Troubled Water Sen’ MountainOff Climbing Rough Drafts Dis Connection (2017) MARLON D. SIMMS Millennial Beings (2001) Homeland RedemptionJoyfulMemoriesJoyful RythmeIncantationJEANGUYBruckinsBARRYCascadeActsBeresContinuumOdeChromosomeRiteXtotheLostonloveofLove(2021)MONCRIEFFE(2002)SAINTUS(2002)desDieux Souffle #Extenso (2018) DAVID BROWN Labess (2002) LESTER HORTON The Beloved (2003) ONIEL PRYCE Certain OfTraversingBarreTomorrowsTodays/Unborn(2005)TalkChasingWingsand Island Songs (2018) SHELLEY-ANN MAXWELL Garvey Lives (2005) Beneath My Skin Six (2015)
PATRICK EARLE Form in Fusion (2010) Aboriginal Mix (2014) NATALIE CHUNG The Thin Line (2011) NEILA EBANKS For a Splintered Soul (2011) Of Chasing Wings and Island Songs (2018) RAMON RAMOS ALAYO Siempre Corriendo (2012) NEISHA-YEN JONES Ode to the Lost (2012) TROY POWELL Unscathed (2015) RENÉE I. McDONALD Into the Blue (2015) Into the Blue (full work, 2016) Ash Unbroken (2022) LIANE WILLIAMS Young Veteran (2018) TERK LEWIS After (2018) ADDISON ECTOR You (Or) Me (2018) ORVILLE McFARLANE Choke (2019) HOPE BOYKIN …beauty is (2019) PAUL NEWMAN Gratitude (2022)
STEFANIE THOMAS Analogue X (2009) STEFANIE BELNAVIS Dear Sylvie (2009) CHRISTINA GONZALEZ My Skin, My Kin (2009) Far From Heaven (2011) MOMO SANNO …minutes and seconds (2010)
NATIONAL DANCE THEATRE COMPANY52 ENI WYLLIAMS Sweet in the Morning (2005) KEVIN MOORE Celebration Courage (2008) Moments of Peace The Beloven Hommage a’ Dambala (2016) CHAMBERLAINKEITA-MARIE CLARKE Unconditional Love (2009) KERRY-ANN HENRY Caged (2009) The …minutesSilencingand seconds (2010)
NATIONAL DANCE THEATRE COMPANY 53 ACKNOWLEDGEMENT – GOVERNMENT AND CORPORATE SPONSORS JAMAICA Advanced Integrated Systems Ltd. Air AlcanJamaicaJamaica Ltd. Alcoa Minerals of Jamaica ApplianceIncorporatedTraders Ltd. Bank of Nova Scotia BOAC/British Airways CapitalBWIA and Credit Carreras Group Cement Company Century CreativeNationalKitchens CHASE Fund CVM Television Desnoes and Geddes Ltd. Eagle Financial Network Eastern Airlines Edwin Charley Ltd. General Management Service George Brandy Ltd. Grace Kennedy Ltd. Guardsman Group Ltd. Hassan Design House of Dunhill J. Wray and Nephew Ltd. Jamaica Gleaner Company Jamaica National Jamaica Observer Key Homes Ltd. Lithographic Printers Little Theatre Movement Martin Lewis Productions NationalMussonMediamixFoundationCommercial Bank National Continental Corporation Phillip & Christine Gore Family RexPopeye’sFoundationNettleford Foundation Rita Marley Foundation Rose and Company Royal Bank Foundation Sagicor Saville Rowe House of Fashions Sigma StarlightInvestmentsProductions Stoppi Cairney Bloomfield Texaco Caribbean Incorporated The Rex Nettleford Foundation (UWI) The University of the West Indies TVJ Waterworks The Government of Jamaica through the: • Jamaica Tourist Board • Ministry of Culture • Ministry of Development and Finance • Ministry of Education • Ministry of Foreign Affairs • The Office of the Prime Minister OVERSEAS Bermuda Festivals Limited Black Arts Festival (Atlanta) Brooklyn Academy of Music Brooklyn Centre for the Performing Arts Brooklyn College Central Connecticut State CommonwealthUniversity Arts Festival Companie Panamena De Aviacion (COPA) Eastern Caribbean Central Bank Ford Foundation, NY Government of Australia (Elizabeth GovernmentTobagoGovernmentGovernmentGovernmentGovernmentofGovernmentGovernmentGovernmentGovernmentTrust)ofBarbadosofCostaRicaofCubaofFederalRepublicGermanyofGrenadaofGuyanaofMexicoofTrinidadandofUSSR Howard University Institute of Puerto Rico Jamaica Awareness Inc. (Miami) Jamaica National League Jamaica(Canada)Progressive League (New KennedyKajansYork)(UK)Center (Washington DC) Kuopio Dance & Musical Festival, MexicanaFinland Airlines Miami Herald, Florida National Arts Centre (Ottawa) New York Visual Arts Research and Resource Center Omar Torrijos Foundation, OrganisationPanama for Caribbean Canadian Initiatives (OCCI) Sadlers Wells Theatre, London Sermac, SymonetteOntarioStratfordUniversitySpellmanMartiniqueCollege,AtlantaShakespeareFestival,Enterprises(Trinidad) University of the Virgin Islands UWI Guild Graduates – Cayman WestIslandsIndian Foundation Inc. All Past Members of the NDTC ANNIVERSARY GALA COMMITTEE DESIGN Ryan Scott: NDTC60th Logo Design Kenneil Smith: Social Media & Print MarkDesignsPhinn: Information Layout PHOTOGRAPHY Maria LaYacona Stuart Reeves Bryan Robertson Tony JamieWongBarnett PRINTER Lithographic Printer Limited
