NDTC Journal, #2, 2012

Page 1

NDTC

JOURNAL 

















ISSUE
#2,
2012

NATIONAL DANCE THEATRE COMPANY OF JAMAICA

EDITOR Barbara Requa

Barry Moncrieffe, Artistic Director Marjorie Whylie, Musical Director NDTC JOURNAL is published by the National Dance Theatre Company of Jamaica, 4 Tom Redcam Avenue, Kingston 5, Jamaica, West Indies. (876) 631-5879, 477-0021, 631.5849 ndtc_jamaica@yahoo.ccom
 www.ndtcjamaica.org
 NDTC
Facebook
Albums

DESIGN AND PRODUCTION Christopher A. Walker Mark Phinn Marlon Simms

Front Cover: NDTC 50 collage by Marlon Simms NDTC 50 logo by Kori Solomon Sulkari feat. Marisa Benain and Orlando Barnett – photo by Mark Phinn

©Copyright 2012 Photographs: All Photographs are of the National Dance Theatre Company in performance, by Maria La Yacona (except where stated)

NDTC FROM THE EDITOR Barbara Requa...............................................................................................................................................04 SPECIAL TRIBUTE • Himself and Moi! Maud Fuller............................................................................................................................................05 ARTICLES • Imitate or Create…??? Prof. Rex Nettleford............................................................................................................................09 • Understanding Inward Stretch and Outward Reach: Intricacies in Community Arts Engagements via Renewal and Continuity Kevin A. Ormsby ..................................................................................................................................12 • NDTC, Beyond 50: Renewal and Continuity – A point of view Carl Bliss..................................................................................................................................................20 • The Janus Effect: The Journey of self­definition and heritage of the National Dance Theatre Company (NDTC) Clive Thompson ...................................................................................................................................23 • Boundless Imagination and Creativity: Across Generations Judith Wedderburn.............................................................................................................................29 • Theater Economics: A Comment Prof. Rex Nettleford............................................................................................................................30 ARTIST CORNER • ‘Di Werks’: Arranging for the NDTC Singers Ewan Simpson ......................................................................................................................................33 • Third NDTC Member as Director of School of Dance Kerry‐Ann Henry .................................................................................................................................36 FROM THE ARCHIVES • Revisitng the Past, Forging the Future Compiled by Mark Phinn..................................................................................................................39

JOURNAL

ISSUE #2, 2012

COMMENTARIES, NEWS AND REVIEWS • NDTC NEWS Compiled by Marlon Simms .......................................................................................................... 48 • LETTER Carlon ‘Jackie’ Guy, MBE ................................................................................................................. 55 • NDTC Easter concert pleases again Michael Reckord – Gleaner Writer .............................................................................................. 56 • Golden Rebirth: NDTC’s 50th restores the beauty and joy of dance theatre Tyrone Reid – TALLAWAH Magazine ....................................................................................... 59 • Do Black Dance Companies Hit a Glass Ceiling? Anya Wassenberg – The Huffington Post (Canada)............................................................. 60 • Jamaican ballet packs out New Alexandra Theatre Deborah Hardiman – Express & Star (United Kingdom)................................................... 62 TRIBUTES • NDTC Dedicates Easter Sunday to Madge Broderick Published | April 8, 2012 – The Gleaner ................................................................................... 64 • Madge Broderick remembered Published | April 10, 2012 – The Observer ............................................................................... 65 • NDTC mourns the passing of Founding Member Monica McGowan Published | August 28, 2012 – The Gleaner .............................................................................. 66 • Tribute to Miss Monica McGowan Nicholeen DeGrasse‐Johnson, EMC‐Sch. Of Dance, Junior Dept. .................................... 67 • Monica McGowan: A Remembrance By Barbara Requa, NDTC Founding Member ......................................................................... 68 • NDTC Remembers Cuban­Jamaican Cultural Icon Alicia Glasgow, PR............................................................................................................................... 70 TALEpiece • NDTC 50th ANNIVERSARY AWARDS CEREMONY (1962‐2012) Awardees.......................... 75 List of Photographs................................................................................................................................................ 77

FROM
THE
EDITOR

Season’s
Greetings
and
a
Happy
New
Year
to
one
and
all.

 
 The
50th
Anniversary
issue
of
the
NDTC
Journal
–
2012,
offers
a
diverse
body
of
information
 that
 highlights
 the
 history,
 survival
 and
 accomplishments
 of
 the
 Company
 as
 we
 complete
 fifty
years
in
the
dance
arena
and
seeks
to
introduce
new
pathways
and
avenues
of
growth
 as
we
continue
the
journey
towards
the
next
fifty
years.

A

special
tribute
to
our
late
and
 revered
Artistic
Director,
Professor
Rex
Nettleford,
titled
“Himself
and
Moi”
penned
by
his
 close
friend,
Maud
Fuller,
will
provide
much
laughter,
while
helping
our
readers
to
look
at
 and
reflect
on
the
life
of
this
renaissance
man
from
another
perspective.
 

 A
 flash‐back
 from
 two
 articles
 written
 by
 The
 Professor
 provides
 a
 historical
 background
 that
should
interest
and
inform
our
current
members.
The
first,
entitled
“Imitate
or
Create”,
 outlines
 the
 challenges
 faced
 by
 the
 ‘young’
 NDTC
 as
 it
 seeks
 to
 define
 itself
 in
 order
 to
 present
a
style
and
flavour
that
speaks
to
our
Caribbean
roots.
The
second
article
–
“Theatre
 Economics:
 A
 Comment”
 –
 shares
 some
 of
 the
 challenges
 experienced
 by
 amateur
 Performing
 Arts
 companies
 as
 they
 face
 economic
 dilemma,
 related
 to
 the
 scarcity
 of
 funding.

In
his
article
entitled
The
Janus
Effect,
Clive
Thompson
gives
a
detailed
discourse
 on
 the
 “journey
 of
 self‐definition
 and
 heritage
 of
 the
 NDTC”.
 The
 well‐researched
 information
highlights
the
connection
between
our
African/European
roots,
the
emergence
 of
Jamaican/Caribbean
dance
pioneers
(Looking
back)
and
their
influence
on
the
formation
 of
the
NDTC
(looking
forward).

 
 Articles
 under
 the
 theme
 Renewal
 and
 Continuity
 continue
 to
 attract
 attention.
 
 These
 include
 “Understanding
 Inward
 Stretch
 and
 Outward
 Reach”
 by
 Kevin
 Ormsby
 who
 introduces
us
to
the
‘intricacies
in
Community
Arts
Engagement’
via
Renewal
and
Continuity
 and
shares
a
variety
of
solutions
that
allow
for
the
smooth
operation
of
Arts
Organizations.
 Carl
Bliss
in
his
article
NDTC,
Beyond
50:
Renewal
and
Continuity
offers
a
viewpoint
for
the
 restructuring
of
the
NDTC
administration
and
provides
new
insights
into
the
reorganization
 of
the
current
structure,
while
Judith
Wedderburn
in
her
short
article,
offers
a
vision
for
the
 Company
under
the
‘New
Leadership’
as
it
approaches
the
next
50
years.

 
 Artist
Corner:

In
this
section,
Company
members
Ewan
Simpson
and
Kerry‐Ann
Henry
replay
the
renewal

 and
 continuity
 theme
 with
 some
 very
 interesting
 anecdotes
 that
 will
 keep
 readers
 smiling
 and
at
the
same
time
inform.

 
 From
the
Archives:
 Continuing
 the
 process
 of
 historical
 documentation,
 archivist
 Mark
 Phinn
 is
 able
 to
 pull
 together
 and
 document
 information
 taken
 from
 past
 articles
 that
 help
 to
 clarify
 and
 highlight
 the
 philosophy
 of
 the
 NDTC.
 The
 photographs
 demonstrate
 and
 support
 the
 beginning
of
an
eclectic
style
that
has
led
international
critics
to
state
“they
(NDTC)
operate
 as
exponents
of
a
primitive
folk
culture,
as
an
interpretive
dance
company
and
as
a
modern
 dance
aggregation”.


 
 The
 final
 offerings
 from
 the
 50th
 anniversary
 edition
under
the
heading
Commentaries,
News
 and
Reviews,
provide
a
detailed
account
of
the
 celebratory
 activities
 beginning
 with
 our
 Easter
 Sunday
 performance
 and
 ending
 with
 the
 50th
 Anniversary
Awards
Ceremony
where
Company
 members
 and
 groups
 who
 have
 supported
 the
 Company
 since
 1962
 were
 recognized
 and
 lauded.
 
 As
 is
 expected,
 the
 photographic
 elements
 are
 superb
 and
 continue
 the
 high
 standards
that
have
been
set
in
the
past.
Kudos
 go
 out
 to
 Madame
 Maria
 LaYacona
 and
 other
 photographers
 who
 give
 of
 their
 time
 and
 expertise
 to
 create
 these
 wonderful
 Works
 of
 Art
 that
showcase
the
beauty
 and
 agility
 of
our
 dancers.
 
 Break
a
Leg!
 
 Barbara
Requa
 Founding
Member,
NDTC

HIMSELF
and
MOI!

by
Maud
Fuller

The late Vice Chancellor Emeritus of the University of the West Indies (UWI), Professor Rex Nettleford, had been a presenter at the Association of Blacks in Dance (ABD) some six years ago at its conference held in Toronto, Canada. He knew very little about the Association, but managed to endear himself to everyone. So it seemed an appropriate gesture to honour him with a remembrance luncheon at its 2012 meeting – again, in Toronto. I was asked to provide a glimpse into the life and times of this unique person – brilliant academic and outstanding choreographer. 
 “Every
 thought,
 every
 idea
 comes
 to
 me
 as
 movement.”
 Thus
 spake
 the
 Hon.
 Rex
 Nettleford,
 Vice
 bear
 the
 brunt
 of
 running
 a
 nascent
 company
 –
 which
 he
 boldly
 christened
 the
 National
 Dance
 Chancellor
Emeritus
of
the
University
of
the
West
Indies
in
a
private
conversation.
The
dancer
informs
 Theatre
Company
of
Jamaica.
It
did
not
belong
to
the
government.
The
government
did
not
support
 the
academic
and
the
academic
validates
the
dancer.

 its
endeavours,
its
vision
and
ambition
in
principle,
but
financial
backing
was
extremely
slight.
So
how
 
 did
 the
 Company
 survive
 and
 thrive
 and
 arrive
 at
 its
 golden
 jubilee
 of
 50
 years
 in
 this
 very
 2012?
 Regretfully,
I
did
not
know
Rex
as
a
child
nor
as
a
teenager.
He
loved
to
“boast”
about
being
a
country
 Nettleford
 and
 his
 charisma
 put
 the
 argument
 of
 cultural
 preservation
 and
 innovation
 to
 major
 boy,
but
this
was
no
“country
bumpkin.”
When
Rex
arrived
in
Kingston
from
Montego
Bay
to
attend
 businesses
 operations,
 persuading
 them
 to
 “commission”
 works
 –
 thereby
 supplying
 the
 essential
 university,
 he
 was
 already
 sophisticatedly
 urbanized
 with
 all
 the
 demonstrable
 qualities
 of
 a
 born
 funding
for
mounting
a
piece
of
work
and
for
keeping
the
Performing
Arts
alive!
 leader.
No
stranger
to
responsibilities,
he
had
to
run
his
own
dance
troupe,
exhibiting
excellence
in
 
 time
 management
 and
 the
 adeptness
 at
 people
 management,
 while
 focusing
 his
 attention
 on
 I
met
Rex
in
the
area
of
Dance,
but
by
the
time
the
NDTC
was
solidly
afloat
I
had
opted
for
Drama
 attaining
a
first
class
education.

 over
Dance
and
was
off
to
England
on
a
British
Council
Scholarship.

 
 
 His
sense
of
school
spirit
and
team
effort
was
fully
developed
from
early
school
days.
A
friend
of
his
 As
a
Rhodes
scholar
who
had

had
lived
up
to
and
surpassed
the
ideals,
the
Rhodes
Trust

chose
Rex
 regaled
me
with
this
episode.
It
was
Sports
Day
and
Rex’s
House
was
struggling,
when
out
came
Mr.
 Nettleford
 as
 one
 of
 four
 people
 across
 the
 20th
 century
 to
 bear
 the
 distinction
 of
 outstanding
 Rex
wearing
a
pair
of
flaming
red
shorts
to
sprint
his
house
out
of
the
cellar.

 Rhodes
 Scholar.
 Jamaica
 and
 the
 entire
 Caribbean
 were
 immensely
 pleased
 and
 elated:
 Rex
 was
 
 beaming
 for
 another
 reason
 –
 the
 honour
 came
 with
 a
 substantial
 grant
 of
 money
 for
 an
 annual
 I
met
Rex
at
the
Ivy
Baxter
Dance
Studio
where
he
was
an
instant
star.
Of
course,
his
reputation
and
 scholarship
in
his
name.
When
Oxford
conferred
on
him
a
doctorate
(honoris
causa),
the
citation
was
 fame
 had
 preceded
 him,
 so
 there
 was
 good
 reason
 to
 lionize
 him.
 I
 guess
 this
 period
 was
 the
 only
 written
 in
 Latin
 but
 it
 posed
 no
 embarrassment
 to
 him,
 because
 he
 could
 read
 the
 Latin
 without
 formal
training
he
was
to
receive
as
a
dancer.
Oh!
He
was
familiar
with
all
the
big
names
–
Graham,
 referring
to
the
translation
provided.
One
of
his
regrets
in
life
is
that
he
could
not
speak
French.
My
 Dunham,
Ailey
and
others
and
understood
the
varying
techniques;
but
even
then,
he
was
adamant
 brilliant
words
of
comfort
to
him,
“You
know
twelve
French
words?
Well
just
m‐i‐x
them
up
eena
de
 about
finding
and
refining
his
own
technique.
Rex
was
already
out‐dancing
everyone
in
the
studio
but
 patois
–
the
real
basolect,
and
dem
will
think
that
yuh
speaking
New
Age
French.”
 his
attitude
and
demeanor
bespoke
respect
and
attentiveness
to
the
teacher.

 
 
 As
a
long‐time
member
of
the
international
intelligentsia
his
reach
extended
to
the
shores
of
Canada.
 Then
 he
 won
 the
 Rhodes
 scholarship
 –
 by
 the
 way,
 one
 of
 the
 qualifications
 for
 the
 Rhodes
 is
 Prof.
Nettleford
was
a
founding
director
of
Canada’s
International
Development
Research
Council
–
a
 aesthetic
prowess
–
so
thank
God
for
those
flaming
red
shorts!
So
after
graduating
from
UWI
with
a
 highly
 valued
 and
 long‐standing
 member
 at
 that.
 He
 was
 one
 on
 the
 thirteen
 Eminent
 Persons
 history
degree,
he
proceeded
to
Oxford.

 overseeing
 the
 dissolution
 of
 Apartheid
 in
 South
 Africa.
 It
 is
 no
 surprise
 that
 he
 represented
 his
 
 nation
 at
 UNESCO.
 At
 home,
 he
 was
 special
 advisor
 to
 Prime
 Ministers
 of
 every
 political
 stripe
 and
 He
 maintained
 the
 same
 pace
 of
 life,
 beating
 his
 books
 and
 partaking
 of
 every
 artistic
 experience
 unpaid
Ambassador
at
Large,
after
demitting
the
chair
of
Vice
Chancellor
of
the
University.
His
name
 available
to
him.
When
he
completed
his
studies
he
returned
to
Jamaica
to
begin
his
life‐long
service
 and
presence
lent
prestige
to
any
function,
any
occasion,
any
event
that
was
associated
with
him.

 and
devotion
to
his
alma
mater.
But
the
Baxter
Dance
Troupe
was
on
its
last
leg,
its
last
gasp,
its
last
 
 everything
and
Rex
suffered
no
crisis
of
conscience
nor
of
loyalty
in
joining
one
of
Baxter’s
original
 With
 all
 ‘busy‐ness’
 he
 was
 never
 too
 preoccupied
 to
 care
 for
 those
 in
 need
 –
 be
 it
 advice,
 members,
Eddy
Thomas,
to
pick
up
the
reins
and
form
a
group
with
extended
membership
and
a
new
 endorsement,
a
kind
word
on
behalf
of
someone
to
someone
else,
be
it
even
illness.
I
was
smitten
 vision.
 After
 a
 few
 years
 (maybe
 two)
 of
 a
 successful
 partnership,
 Eddy
 withdrew
 –
 leaving
 Rex
 to
 with
a
little
known
disease,
Sarcoidosis.
Rex
called
to
ask
if
he
should
come
up
to
see
me.
I
reminded

him
that
nowhere
among
his
many
achievements
and
qualifications
does
it
say
MEDICAL
doctor.
And
 if
he
comes
to
visit
because
I’m
sick,
I
will
feel
obliged
to
just
DIE
so
that
his
visit
would
not
be
in
vain.
 His
response,
“Only
the
good
die
young
and
you
are
still
in
the
land
of
the
living,”
which
is
shorthand
 for
“You
are
neither
good
nor
young.”
His
humour
was
not
a
biting
one,
he
did
not
poke
fun
at
other
 foibles.
 But
 he
 could
 reduce
 you
 to
 tears
 with
 a
 stern
 reproach
 and
 never
 with
 malice
 nor
 mean‐ spiritedness.
 Once,
 on
 a
 visit
 with
 me,
 he
 related
 some
 incidents
 of
 great
 disrespect
 and
 “dissing”
 done
to
him
and
I,
as
his
pit‐bull,
asked
in
much
rage,
how
he
dealt
with
them.
In
a
calm
voice
with
 inner
 composure,
 he
 explained
 that
 at
 about
 the
 age
 of
 21,
 already
 at
 University,
 something
 made
 him
promise
himself
to
do
good
and
pledge
to
be
a
good
person,
forgetting
all
abuse
and
hurt
that
 had
been
hurled
at
him.
I
can’t
say
he
always
lived
up
to
the
promise.
But
I
know
for
sure,
that
when
 a
very
dear
friend
disappointed
him,
rather
than
lash
out
in
response,
he
just
removed
that
person
 from
his
roster
of
people
to
care
about.
And
as
he
matured,
I
witnessed
his
self‐control
and
restraint
 at
times
that
merited
wrath
and
damnation.
And
those
instances
confirmed
for
me
that
he
had
grown
 into
the
“pledge
of
being
a
good
person”.

 
 Rex
 was
 the
 single
 most
 disciplined
 and
 determined
 person.
 His
 day
 was
 so
 structured
 that
 he
 squeezed
 more
 hours
 out
 of
 a
 day
 than
 anyone
 else.
 He
 was
 an
 early
 riser
 and
 I
 could
 explain
 the
 early
rising
but
that’s
another
story.
Why
was
his
first
choice
for
a
meal
unvaryingly,
Chinese
food?
 That’s
also
another
story
for
serious
laughter.

 
 In
 early
 middle‐age
 his
 sight
 began
 to
 go
 and
 he
 willed
 himself
 to
 depend
 less
 and
 less
 on
 the
 spectacles.
 In
 fact,
 he
 owned
 a
 pair
 so
 small
 that
 he
 could
 just
 close
 his
 hand
 to
 conceal
 them.
 Unfortunately,
 the
 time
 came
 when
 he
 had
 to
 have
 eye
 surgery
 and
 of
 course,
 Mr.
 Rex
 defied
 the
 instruction
to
rest
the
eye,
and
began
reading
the
day
after
surgery.
He
did
not
help
himself
by
doing
 that
and
his
sight
kept
deteriorating.
He
sent
me
a
newspaper
clipping
of
him
in
dark
glasses
with
the
 caption,
is
this
Ray
Charles?
He
seemed
to
be
enjoying
the
dark
glasses
so
much,
that
he
often
forgot
 to
take
them
off
at
night.
His
real
aim
was
just
not
to
go
blind
as
his
mother
had
done.

 
 As
 a
 man
 in
 great
 demand
 to
 give
 lectures,
 speeches,
 addresses,
 interviews,
 to
 write
 articles
 for
 learned
 journals
 and
 magazines,
 he
 needed
 an
 encyclopaedic
 memory,
 a
 thesauric
 vocabulary
 and
 gigantic
 epistemology
 to
 avoid
 staleness
 by
 repetition,
 so
 Prof.
 Nettleford
 would
 coin
 a
 phrase
 or
 word
 as
 the
 occasion
 demanded:
 and
 many
 of
 these
 coinages
 have
 entered
 the
 lexicography
 of
 Jamaicanisms.
 His
 most
 popular
 coinage
 is
 the
 word
 “smaddification”
 –
 funny,
 but
 fraught
 with
 positive
energy.
The
word
“smadiffication”
means
the
empowering
of
the
marginalized
in
society
to
 claim
 their
 personhood
 with
 all
 the
 fervour
 of
 inalienable
 rights
 [the
 Creole/patois
 word
 for
 SOMEBODY
is
smaddy].
One
has
the
responsibility
of
demanding
to
be
respected
as
someone
who
is
 equal
to
the
rich,
to
other
poor
but
honourable
persons:
a
decent
human
being.

Rex
was
unable
to
put
a
lid
on
his
creativity;
this
episode
took
place
at
my
house
several
years
ago.
 He
wanted
to
eat
Johnny
cakes,
i.e.
fried
dumplings.
I
confessed
that
I
could
neither
knead
the
flour
 nor
shape
the
little
globes.
The
gentleman
just
laughed
at
me
and
proceeded
to
knead
the
flour
and
 shape
the
dumplings.
They
looked
good
and
I
was
convinced
that
he
knew
what
he
was
doing.
So
we
 cooked
 the
 Top;
 we
 cooked
 the
 Bottom,
 but
 eh
 eh!
 Neither
 of
 us
 knew
 how
 to
 cook
 the
 circumference,
the
dead
white
in
the
middle
part.
After
some
pondering,
Mr.
“Headley”
decided
that
 each
of
us
should
push
a
fork
through
either
side
of
the
dumpling
and
roll
it
back
and
forth
in
the
oil.
 He
 realized
 that
 all
 his
 back
 and
 forth
 was
 tedious,
 so
 he
 began
 to
 hum
 a
 little
 tune
 that
 he
 was
 making
up
on
the
spot,
and
then
moving
his
feet
back
and
forth
in
rhythm
with
the
dumpling:
and
so
 it
was
that
six
fat
Johnny
cakes
were
cooked
to
choreography.
Don’t
ask
how
they
tasted.
Just
thank
 God
that
raw
flour
is
not
a
killer.

 
 Here
is
the
episode
for
the
unfulfilled
last
meal.
Rex
called
from
Jamaica
to
give
me
a
complete
run‐ down
of
his
itinerary
for
that
week
in
the
USA.
He
would
arrive
in
Canada
late
Saturday
night,
and
 would
be
dining
with
me
on
Sunday.
I
was
to
call
his
two
guests
to
give
them
directions
to
my
house.
 So
I
set
the
table
for
six
just
in
case
he
increased
the
guest
list.
I
was
working
on
the
menu
when
a
call
 from
Jamaica
apprised
me
of
the
fact
that
he
had
taken
ill
in
Washington.
In
my
mind,
the
man
was
 taking
 a
 well‐deserved
 rest
 but
 phone
 call
 kept
 warning
 me
 that
 it
 did
 not
 look
 good,
 and
 my
 own
 spirit
had
a
deep
foreboding
that
I
might
never
see
him
again.
Finally,
on
Tuesday
night,
word
came
 that
 he
 had
 taken
 a
 few
 breaths
 on
 his
 own,
 then
 died:
 four
 hours
 before
 his
 seventy‐seventh
 birthday.

 
 What exactly was/is his legacy? Let’s
look
at
that
as
two
intertwined
strands:
wholly
unravellable,
and
he
would
have
it
no
other
way.
 The
young
man
who
entered
university
as
a
student
of
very
humble
beginnings
and
became
the
first
 alumnus
to
scale
the
heights
to
the
Vice
Chancellor’s
Chair,
has
indelibly
set
a
precedent
for
all
who
 would
aspire
to
the
heights
of
academic
achievements.
He
single‐handedly
raised
the
image
of
trade
 unionism
from
placard‐bearing
protest
to
scholarly
endeavour.
The
volumes
upon
volumes
of
works
 on
Culture
related
topics,
History
and
its
application
to
present
day
realities,
the
visionary
who
urged
 Black
people
to
improve
their
minds
and
their
lives
by
recognizing
and
acknowledging
their
abilities
 and
awakening
their
potential,
was
and
will
remain
the
voice
of
one
following
in
the
wake
of
Marcus
 Garvey
and
Bob
Marley.
 
 I
 must
 confess
 that
 many
 of
 his
 books
 and
 tomes
 are
 way
 beyond
 the
 vocabulary
 and
 sentence‐ structure
 of
 ordinary,
 everyday
 usage.
 But
 the
 “ordinary”
 man
 is
 proud
 to
 know
 one
 of
 Rex’s
 texts
 and
 to
 think
 that
 ‘Prof’
 did
 not
 talk
 down
 to
 him
 but
 expected
 him
 to
 grasp
 the
 meaning.
 When
 I
 meet
one
such
sesquipedalian
–
a
foot
and
a
half
long
word
–
and
recall
that
every
“idea
(including

words)
 comes
 to
 him
 in
 the
 form
 of
 movement,”
 I
 ponder
 which
 movement
 informed
 dat
 dere
 word!!!
 
 Peter
Williams’
sage
advice
was
not
a
brand
new
revelation
to
Rex
and
his
young
Company.
For
Rex
 himself
was
grappling
with
that
very
issue.
The
advice
was
this,
“Those
who
form
Dance
Companies
 should
 use
 the
 whole
 ethnic
 backcloth
 of
 their
 particular
 region
 as
 the
 basic
 foundation
 of
 their
 works.
It
is
vital
that
those
precious
roots
must
never
be
destroyed.”
And
this
is
one
of
Rex’s
great
 contributions
to
the
dance.
His
expression
of
dance
comes
out
of
his
appreciation
of
ancestral
roots.
 It
is
not
by
chance
that
his
very
first
book
on
Dance
is
titled,
“Roots
and
Rhythms.”
 
 The
 first
 big
 work
 with
 the
 African
 focus
 was
 called
 simply,
 AFRICAN
 SCENARIO.
 In
 it
 he
 depicts
 courtship
and
marriage
of
a
young
African
girl
and
boy
with
ceremonies
and
rituals
common
to
most
 African
tribes
(at
least
in
concept
if
not
in
minutiae).
There
were
no
balletic
leaps,
no
pas
de
dis
and
 pas
de
dat.
Jumps
were
competitively
high
but
in
the
African
style.
Movement
was
almost
totally
flat‐ footed
but
with
the
elegance
of
gazelles.
The
choreographer
returned
to
Africa
in
THE
CROSSING.
A
 slave
ship
transports
helpless,
hapless,
unwilling
Africans
across
the
Atlantic
to
North
America
for
a
 life
 of
 humiliation
 and
 degradation.
 Then
 came
 the
 dance
 with
 which
 he
 as
 a
 dancer,
 is
 most
 identified
–
KUMINA.
In
it,
he
is
the
king
leading
his
people
through
rural
retentions
of
African
rituals.
 When
his
own
dancing
days
were
coming
to
an
end,
KUMINA
was
the
one
dance
with
which
he
would

grace
the
stage,
to
the
delight
 of
 the
 audience
 on
 its
 feet
 gyrating
 and
 shuffling
 to
 the
 rhythm
of
the
most
pulsating,
 intoxicating
drum
beat.
 
 MOSIAH,
 the
 tribute
 piece
 to
 Marcus
Garvey
is
set
partly
in
 Africa
 and
 partly
 in
 Jamaica
 (for
 Rex,
 Jamaica
 is
 but
 a
 segment
 of
 Africa
 in
 terms
 of
 deeply‐rooted
 culture)
 he
 did
 not
 neglect
 our
 home‐grown
 heroes/icons.
 He
 used
 their
 music
 to
 choreograph
 suites
 of
 homage
 to
 Bob
 Marley,
 Peter
 Tosh,
 Jimmy
 Cliff
 and
 others.
 
 The
 relationship
 with
 the
 dancers
 was
 in
 many
 cases,
 paternalistic:
 he
 encouraged
 and
 coaxed
 ambition
 and
 pushed
 and
 prodded
 talent.
 The
 deeds
 of
 kindness
 to
 his
 dancers
are
legendary.
 
 With
the
outpouring
of
shock,
 grief
 and
 anger
 at
 this
 irreversible
act
of
God,
people
 the
world
over
sent
elaborate
 compositions
 of
 condolences
 and
personal
accounts
of
their
 unforgettable
 encounter
 with
 him.
It
was
decided
to
collate
 all
 these
 fine
 essays
 and
 poems
into
a
commemorative
 tome
 labelled
 MAHOGANY,

and
to
go
one
step
further
by
establishing
a
foundation
in
his
memory.
My
grief
and
anger
did
not
 subside
until
with
my
own
two
eyes
I
witnessed
his
ashes
being
put
into
the
ground
and
I
had
urged
 the
 people
 left
 at
 the
 graveside
 to
 “sing”
 him
 home
 to
 rest
 to
 his
 rest.
 I
 was
 too
 distraught,
 too
 dispirited
 to
 say
 or
 write
 anything
 worthy
 of
 being
 put
 in
 the
 memorial
 tome,
 and
 in
 as
 much
 as
 I
 applaud
 the
 intentions
 of
 the
 Foundation
 to
 promote
 the
 cause
 of
 Cultural
 Studies
 and
 Research,
 I
 know
 just
 how
 soon
 recipients
 of
 grants
 and
 any
 kind
 of
 assistance,
 forget
 the
 donor
 and
 the
 beneficence.
So
I
knew
that
I
had
to
do
my
part.
“Lest
we
forget.”
I
decided
maybe
selfishly,
that
since
 I
want
to
see
him
again
(and
not
just
as
a
duppy)
I
should
honour
him
by
providing
the
seed
money
 for
 a
 monument:
 a
 statue
 that
 captures
 the
 dual
 personality
 of
 a
 world‐renowned
 academic
 and
 a
 world‐class
choreographer
and
dancer.
 
 Rex
had
told
me
a
long
time
ago,
that
he
had
a
strong
memory
of
being
passed
over
and
over
again
 the
dead
body
of
his
great
grandmother
and
then
being
washed
in
her
bath‐water.
Call
it
superstition
 if
you
will,
but
recalling
it
since
his
death,
I
have
come
to
the
realization
that
such
an
act
must
have
 replaced
 the
 poverty
 of
 his
 then
 family
 circumstances
 with
 a
 profoundly
 rich
 inner
 life
 that
 he
 nourished
and
allowed
to
blossom
into
a
selfhood
of
which
a
whole
nation
hailed
and
still
hails
him
as

a
 “maximum”
 son,
 who
 would
 urge
 every
 Black
 man,
 woman
 and
 child
 to
 freedom
 from
 self‐ limitation
and
worse,
self‐degradation.
 
 I
have
it
from
the
most
reliable
source
that
Rex
did
“go
gently
into
that
good
night.”
 
 He did not rail against his lot Nor flail about, to not Go gently into that Good Night [Apologies to Dylan Thomas] 
 He
may
have
gone
too
soon,
but
not
in
vain.
His
vision
of
Renewal and Continuity
will
be
the
guiding
 light
and
steady
focus
of
his
dance
Company
for
many
years
to
come.
 
 His
parting
words
were
always
–
“Bless
You.”
And
so
I
echo,
Bless
you
all!
 Toronto,
Canada

 
(IABD
Conference,
January
26‐29,
2012)

IMITATE
OR
CREATE…??

A
Comment
 Artistic
Director,
NDTC
(taken
from
NDTC
Newsletter
XI‐1970‐Septempber)
 by
Rex
Netleford
 The annual Season has come and gone. It has been very successful. New audiences are being built up; the Company’s style and maturity are said to be in greater evidence and there seems to be greater understanding on both sides of the footlights. This augurs well. But it also throws tremendous challenges in the way of the NDTC and as with the past, this new success is cause for anxiety for the future. As Artistic Director, one has the final responsibility of deciding the things which will give the Company its true image. The operative word here is “true”. There has been a lot of cant about ‘relevance’ and the like and Dennis Scott in an excellent article published below in this Newsletter helps to clear up some of the confusion. My own statements made recently at the Culture and Conservation, (Caribbean Folkdance) Conference, in the Daily Gleaner Merry‐Go‐Round column and in the book Roots and Rhythms should give more than a clue to where I stand. Yet the confusion persists and comments and criticisms from some near to and far from the Company reveal that much work is left to be done to get thinking straight. Let us start with ourselves. We in the Company must first be straight on the need for us to keep creating, experimenting and developing our work. But this were best done on the basis of our experience. We were praised in Atlanta, as we once were in Jamaica, for what the critic called our “basic integrity”. This we must never lose. To copy Martha Graham, Jerome Robbins, Doris Humphrey, Jose Limon, Alvin Ailey, Balanchine or Frederich Ashton is to miss the boat completely.

Beryl McBurnie, whose contribution to Caribbean dances cannot be taken lightly, has never failed in her countless discussions with me over the past fifteen years to emphasise the need for us in the West Indies to avoid the temptation at all cost. Imitation spells laziness and the myth of natural indolence has been used to our disadvantage so much in the past that it would do well for us to explode it once and for all. Adopting wholesale, and without discrimination, the prejudices, choices and aesthetic principles of American Modern dance is no substitute for the prejudices, choices and aesthetic principles of classical ballet which used to dominate our thinking on dance but which we have happily come to learn to treat in a discriminating manner. The unpardonable arrogance of those who cannot see Jamaican dance‐theatre except in terms of the ‘standards’ ‘hang‐ups’ and clichés of American modern dance can have no place in the National Dance Theatre Company of Jamaica. We must find our own modes of expressing ourselves in dance; treating with generosity and respect the ‘discoveries’ of other dance‐ theatre traditions but never slavishly tying ourselves to them so that we cannot see the great potential that lies in our own backyard. Inferiority Complex It would do for some of us to remember that the great Nureyev or Fonteyn cannot dance African or Indian dances. They are no less great because they are ignorant of styles and idioms in other great dance traditions. The great African or Oriental temple dancers whose tradition of dance‐theatre do not bring their names to lights of Broadway are no less great because they are unable to dance grandes pas de deux from

the Western ballet classics. And I doubt that they suffer the inferiority complex that many Jamaicans impose on themselves due to lack of confidence in ourselves and the muddle‐headed way we tend to assess other people’s in relation to our own. Cross­fertilisation Great cultures are the product of cross‐fertilisation but this is not the same thing as imitation. The borrowings by classical ballet are duly transformed into matter that satisfies the sensibilities and taste of the Europeans (even when black ballet dancers were available, classical ballet companies continued to blacken the faces of white ballet dancers for ‘black’ roles. Balanchine’s “Figure in the Carpet” sensibly utilised the talents of Arthur Mitchell and Mary Hinkson to advantage). The Americans themselves have made the idiom of classical ballet into something distinctly theirs: the Americanisation of Mr. Balanchine the Russian is one of the great stories of cross‐fertilisation in art. Graham has benefited tremendously from her exposure to the Orient and like Ruth St. Denis her teacher has borrowed from that source. But the end results are hers – American not oriental. Borrowings must therefore be internalised by the borrowers and if they are constitutionally indigestible should be dropped forthwith. It is ridiculous to try to transform NDTC into an American jazz group a la Jerome Robbins’ Ballet USA, or into an African dance ensemble a la ballet Africans, just as it would be pointless trying to make ourselves into a kind of colonial Royal Ballet Company. The paradox (and danger) is that there are insecure snobs around who would wish the NDTC to beg the travesty that the above implies. But one can take heart since audience response in the 1970 Season has

indicated Jamaicans’ willingness to accept much that is their own. It would be perverse of choreographers and dance‐ artists to ignore this significant development. They can indeed indulge themselves and satisfy their secret personal creative urges but they can never do this at the expense of the wider considerations that have to do with the realities. This is why choreographers and artists who have been exposed abroad and who wish to work with the Company must face the responsibility of finding out these realities and help to give them articulation rather than try to fight against them. Mutual Respect Respect for our dancers as human beings and as agents of the creative process is a priority in all this. They must at this stage of our development be considered active participants in the process and not as passive bodies which must be bent to express the every whim of individual technicians and dance‐ creators. This in fact is the substance of some of the criticism levelled against dance companies in general. Happily dancers are human beings and rebel against their being automated if they feel like and so the dangers are less than imagined. But those dance‐teachers and creators who love to indulge the idea of “owning” a dance‐instrument (i.e. a dancer) are crashing bores at the best of times. Such attitudes not infrequently lead to people being simply used and then discarded. Alphabetical listing need not lead to alphabetical treatment and the NDTC’s hesitation to make stars out of

people whose firmament is yet in a process of formation, is based on a genuine feeling that the Company is experimenting and discovering. It cannot start parading as Broadway before it is itself. Imitation? The NDTC, then, must not be a pale imitation of American Modern or any other kind of dance‐theatre. In fact it must not be an imitation at all! It must be itself and stand or fall by its own work. The dance in Jamaica will not have gained much from the regurgitations of what goes on Broadway or at the Brooklyn Academy or at City Centre. It is better to and even fail in the genuine act of creating rather than be barely competent at projecting carbon copies of other people’s efforts. It is the challenge which faces all fields of endeavour in New Jamaica. The dance can be no exception! Bodies without Minds? Technique is most important but exclusive claims by one set of exercises over another are often misguided. In any case technique is a means to an end not an end in itself. It should never be allowed to take over from intrinsic artistry or else the accusation that the ‘NDTC dances well but dances about nothing’ will be unanswerable. Dancers cannot be expected to be automatons or physical specimens without minds. And those who would have the NDTC churn out vacuous precision routines without the use of the mind cannot wish the dance

movement well. This is not an argument for the ponderous, humourless, or the esoteric but too often the facile and the superficial is mistaken for lyricism and worse of all for dance. The most able dancers of the Company are not surprisingly those who are able to use their minds well with their bodies and with some spirit thrown in for good measure. The works which have given opportunities for meaningful and unspoken dialogue between audience and performers have been those that employ thought. The NDTC has illustrated many object lessons in Jamaica – one of them is that dancers, contrary to common belief, are not mere physical husks without brains, soul or discipline. In any case no human being simply uses his body, and the isolation of movement as a basis for an art‐form was never meant to deny the human being of the use of his many other faculties. In this the folkdance tradition through its integrated rituals can teach many lessons and Jamaican choreographers would do well to study them carefully and learn from them. I wouldn’t agree with the hysterical assertion that dance as pure movement is dead but I can never deny that that kind of dance is never as alive as dance which embodies the totality of life. This, indeed, is the challenge that Jamaican dancers must face to make anything like an original contribution. This is the story of the greats whom many of us admire. But they have done their work, now we must do ours. There is no shortcut to the discovery.

UNDERSTANDING
INWARD
STRETCH
AND
OUTWARD
REACH:

 Intricacies
in
Community
Arts
Engagement
via
Renewal
and
Continuity

by
Kevin
A.
Ormsby

“All art is indeed mediated by social reality” Professor Rex Nettleford

INTRODUCTION: Since a teen, I have worked in communities teaching dance and for many years, as I became “a professional”, I thought my interaction with community would change, but it was not my interaction that changed but the communities themselves. In fact, I grew to see not one idea of community but a myriad of communities in which I now had to interact. My repartee within the professional dance community, still led to classes in community centres, the education system and recreational dance programs; all echoing a multiplicity of communities for which the Arts I practiced, engaged. As a Committee member on the Toronto Arts Council Community Arts Program, and in our granting assessment, we are passionate that proposed Arts engagement projects aim to, enhance communities, impacting the professional development of artists and creating a bridge between professional and recreational programs in the Arts. Every session, we have to assess the ideas of community differently because community has different meanings to various people and interest groups. How do you articulate, affirm and understand community, is one of the key questions we think about for every application. If I might start with a very generic understanding as defined by the Oxford Dictionary, community is “a group of people living in the same place or having a particular characteristic in common, a group of people living together and practising common ownership: a community of nuns, a body of nations or states unified by common interests: (the community) the people of a district or country considered collectively, especially in the context of social values and responsibilities” (Oxford Dictionary). Of particular interest here in this paper, is the collective common interest in the context of social values and responsibility. How can this definition be understood in terms of the understanding of Arts and engagement? What are the cross sections of integration? Is it with engaging a participant that educational benefits of the arts for cultural and personal well being can be appreciated and understood? Poised with the foresight of artistic visionaries; cultural interaction and participation in the arts is at the forefront of many Jamaicans lives. Whether active or passive in the participation, this interaction informs and shapes a bigger sense of community and manifest itself into the phenomenon of a nationalist birth right. It would be impossible to tell any Jamaican that they do not live the culture of the nation.

How and in what forms do these integrations happen? How can it happen not in the processes of passive participation but active engagement in the arts? If experience teaches an artist anything, it’s that any community can be elusive "slippery like a mongoose; sly in its operations”. The word community rolls off the tongues of many but is sometimes never clearly defined enough to grasp the full attention of the mongoose. It is this illusive nature of community which I will address as necessitating clear directives in focus on how companies, artists and organizations first interact within the artistic realm (inward stretch) then, how organizations interact within communities (outward reach) while offering Arts engagements opportunities. Only then can the quality of the Arts engagement be lasting; an impact on the psyche of individuals who might never have had such an opportunity or experience prior. I propose that community first, via an inward stretch, be understood through the ideologies, infrastructure, explorations of the mandates for an organizations and artists repartee within communities and secondly, that the structure of the first be replicated in value at the community level. The Inward Stretch (arts organizations involving artists, administrators etc) and the Outward Reach (the larger community involving audience, education system, private sector, local sectors); each require different yet similar approaches to the Community Arts engagement model. While varying engagement strategies can be assessed, all said strategies should emerge from arts organizational mandates cognizant of outreach leading back to the inward stretch (artistic communities of organizations). The understanding of an Arts Industry or one artistic practice as a potential industry and what that entails for an Arts organization is important to this discussion, because this understanding influences and solidifies the cultural realities of a nation; shaping its assessment, progression and future development. Arts Engagement in communities should also be considered as a renewal of artistic understanding hence, various strategies of Engagement will also be discussed. INWARD STRETCH: Creating Community in Arts Organizations Professor Nettleford’s philosophy of inward stretch in so many contexts is about the internal, the elongating of internal sensibilities, harnessing of power and finding balance with the artistic, intellectual and social self. It was never explicit. It flirts strongly with the understanding of self and the transference of such confidence into many realms of who we are and what we do; roots sown into understanding what we do as artists and organizations. Working in the not for profit or voluntary sectors of Arts organizations, one sees a variety of disillusionment when simple branding /marketing or programming questions are asked. For example asking, “So what is the organization’s philosophy on the Arts or towards community and its employees?” As a Arts

Marketer, the answers most often vary but, in the variance of the answers, one can ascertain the internal communication of the organization. If half the personnel in the organization are not saying some common elements of the organization then there is a breakdown in the flow of information and its communication in that organization. While it may seem a harsh realization at first, this is important because, “a vibrant culture results from the full functioning of this communicative cycle. The weakening of any links along the chain—the closing of organizations or the departure of individuals that provide high‐quality art to the public, a decrease in the number and/or the capacity of individual appreciators of art, a lessening of opportunities to encounter works of art, a decrease in outlets for public discourse or a decline in the quality of that discourse—will weaken the cultural sector and diminish its benefits to the public”. (Laura Zakaras, Julia F. Lowell, Cultivating Demand for the Arts: Arts Learning, Arts Engagement, and State Arts Policy, RAND Research in the Arts, 2008) The essence of a communicative community has to be present in an organization and starts with the effective communication of mandates, goals in programming, artistic understanding and curatorial directives. The internal structure of community questions the manner in which organizations engage their artists and administration in the programming to be replicated in the community. What do we want to say about our organization, our artists and the art form we practice becomes important starting points for such directives to be implemented. If community from our definition at the offset of this paper is “...practising common interests collectively” then these interests would need to be communicated within an organization to facilitate a collective psyche of creating community. The inward stretch in an arts organization has to work in tandem with creativity, fuelling connectivity via activism and advocacy. All areas should lend itself to a clearer and broader understanding of implementation, training and ultimately presentation. Creativity is the selling point for an arts organization and should consider the untapped potential to be brought to maturation in the search for stronger internal reach which can be achieved through simple internal processes of organizational assessment, staff meetings, benefits (not always monetary), artistic collaborations between members and the information. Sharing sessions can lead to implementation. Everyone when entering an organization wants to contribute but it’s the opportunity for contribution and in what way this contribution can be used that can spark many other interests and longevity in the forms of contribution. The communal framework of an Arts organization needs to look at individual and departmental strengths and call on these strengths when needed. Simple mechanisms to illicit the internal community can be information sessions on new approaches in work aesthetics and arts environments that can be shared via email, in meetings and on memos etc.. Building community in an arts organization is about investing in its employees while fostering organizational growth from such investments. “Development of artists” refers to what your organisation does to support the growth and learning of artists at all the stages of their careers. Similar to “curation and development of art form”, this element of artistic vibrancy is about an arts organisation’s

support for the wider art form and artistic community and its development of an art form by nurturing talent. • Markemng
 • 
Outreach
 • Public
relamons
 • Resource
Development
 ADMINISTRATIVE

ARTISTIC

Execumve
Director
 
Board
of
Directors

Programming
 Performances

 Classes

/
Workshops

ARTS
ENGAGEMENTS
 What

can
work
in
the
 Arts
Engagement
 Sectors

materialize
for
 the
Arts
Organizamon

Community

 Educamon
System
 post
/
pre
 performance
talks
 • Arts
Organizamon
Driven
 • 
Community
Partnership
 Driven

 • NGO
Associated
 • Arts
Engagement
with
a
cause

An organisation may ask itself the following: • What development opportunities do we make available to artists? • Do we enable the continuous learning and development of the artists whom we employ, and artists in the wider community? • Do we create career development opportunities for artists? • Do we ensure artists have the right skills to contribute to the organisation’s artistic objectives?” (Kevin du Preez – Project Manager, Artistic Reflection Kit, Australia Arts Council, http://www.australiacouncil.gov.au/artisticreflectionkit/elements/development_of_arti sts)

It’s asking questions, offering advice, while constantly affirming the goals of said organization that helps the organization grow. The organization, in developing an Arts engagement framework, would need to assess its place in the cultural industry and also understand the creative capital that becomes its artistic product. The following diagram suggests an understanding of community in an organization: Programming for arts organizations and artists is paramount for the solidification of the inward focus. This is where the values established collectively, seek to resonate in creativity. What are the programs to be implemented? Who carries them out? Who administer the qualitative and quantitative assessments necessary? Understanding organizational policies as it relates to Arts Engagement is also important and is suggested. Clear policies of how the engagement happens will be crucial to the community arts initiative. Questions surrounding organization, its artists and engagement also involve mutual gains and benefits for both parties. Outcomes necessitates that the inward stretch influences the outward reach within community while also referring the continuation of arts making practices with the organization, artist and community. This is important to the cyclical benefits in the cultural topography in building an arts industry. STRATEGIES TOWARDS ARTS ENGAGEMENT: Mapping Mapping is an understanding of the community marketplace required for the implementation of said arts engagement in communities and what this implementation in communities will look like. One can start by assessing needs within a community, liaising with organizations already working in the community and also creating possible partnerships. “An important element of artistic vibrancy is being relevant to communities beyond your existing audience. Reflecting on community relevance involves reviewing your understanding of your community, your connection with the community and your work’s relevance to this community. We encourage arts organisations to explore community relevance in the context of your own situation. You should develop an approach to community relevance that reflects your organisation’s unique circumstances and goals. Your approach should broadly follow these steps: Step 1 – Review your understanding of who your community is. Create a map of the community around you. This could be defined by geography (e.g. the region in which it operates), ethnicity or background (e.g. the Sudanese refugee community), by demography (e.g. young people), or in terms of an interest (e.g. local history), issue (e.g. the environment) or need (e.g. people affected by the Global Financial Crisis). Step 2 – Develop a deeper understanding of these communities. This could involve analysing available information or having conversations with members of these communities. Either target individual groups and have detailed discussions with them or have initial discussions with a wide range of groups. Refer to the tools section for methods to use to better understand your community.

Step 3 – Explore how your organisation could use this information. After step 2, review what you have learned so far. Have you identified any opportunities? How do your program, venue, and cast reflect the culture of these communities? What could you do to be more relevant to these communities? Could these communities become your audience in the future?” (Kevin du Preez – Project Manager, Artistic Reflection Kit, Australia Arts Council, http://www.australiacouncil.gov.au/artisticreflectionkit/elements/relevance_to_community) The collective understanding of the implementation within an organization or by artists will need to be clarified. In many cases, this is where an understanding of the policies (the inward stretch) always seems to fall apart. This disjunction is always evident once the arts engagement initiative goes into the community. The process should include most if not all of the members in the organization. Basic Elements of a Mapping Exercise: 1. Purpose of the Mapping – what do you want to get out of this process? 2. Methodology – methods use to gather information surveys, when how time etc. 3. Information Gathered – how will they be assessed, quantified etc. 4. Results – a collection of information gathered, and the findings 5. Future Initiatives ‐ creating programs with your findings and suggestions Mapping can take many forms and shapes and can include a demographic mapping, mapping based on gender, social barriers, perception, environment, access, education etc., each giving arts organizations varying points of entry and information in what processes their arts engagement will entail. I caution that one actually should not use this as a stereotypical tool of engagement but as a medium for understanding issues that some communities might face and how you can use the arts engagement to address those issues or train your support staff and artists in how to deal with these issues if they arise. Here the inward stretch is about the reputation of an organization, the training and protection of its artists and their role in community and cultural engagement. The scope and lens has to be broadened to the understanding of role, positioning in the Arts Industry and advocacy for the future. Training and Teaching Methods Training of engagers in the community will also be crucial to the work in communities. This is about questioning the efficacy of an organization to execute with its artists and the programming required in a specific community. Aforementioned, engagers should have input into the process and should feel that they are a part of the implementation. Training should include inclusivity sessions where the skill of participants in the engagement is insignificant to experience the participants will gain; skill can be harnessed and further developed but their interests in the engagement and eventual development from that engagement can change due to a horrible experience.

Are the engagers in community arts engagement teaching in tandem with organization standards? I choose to start off with this question because it is important to think of the process of the engagement before its implementation and also to think of how this engagement refers back to the renewal in your organization and the continuity of the culture out of which all Arts organizations emerged. It’s also about reputation. Working in communities places Arts organizations at risk through tarnishing of its credibility and reputation. Teaching methods can be a fun and unique way to build community in organizations where the teaching methods are the ammunition to arts participation and effective engagement in communities. It is important that organizations understand this power but also the potential for the power being undermined by lack of preparedness for the work in communities. Two personal experiences in the field serve as examples of this relationship. Case in Point 1: While working in the United States and on tour in Cleveland, we entered a school to do a master class and were greeted by resistance. As we did not understand the socio‐economic circumstances of the resistance, we were not able to effectively provide any opportunities of influence about what we did as dancers with a renowned company. The class just had not interest and could not see any relationship to their socio‐economic circumstances. In fact, we resorted to doing a “master class” with zero participation from the students and were led to demonstrate what we did without having the active engagement of the participants with whom we came to give an artistic experience. I remember being totally disappointed not in the students as much as I was in myself for not being able to connect based on the socio‐economic reality of the students. Our biggest downfall was expecting that everyone would be interested in a master class. We were simply not prepared or trained in exercises geared at generating interest via the artistic content of our art form. Case in Point 2: As an Ontario Arts Council Artist in Education Grant Recipient, I go into various schools across Ontario for 125 hours over the course of the year. I facilitated a drama and dance program once. I found the students were not appropriately attired or prepared. There were students of Muslim background who had no previous training in dance. I used inclusivity methodologies, foremost, to vary and or change exercises in warm up done on the floor and in standing to make sure that the artistic content of my classes and the credibility of the OAC program was still maintained. This is due totally to my training in the certification program and had by the end of the engaged every student of that class in the activity of afro‐contemporary dance. The inclusivity training not only helped in this engagement but fuelled a blog on understanding cultural diversity in Arts Education.

Mentorship Mentorship is an important part of building community in an organization but also in communities themselves as they will be the benefactors of the arts engagements. A hierarchy of mentorships help in supporting not only an organization’s ideology of the inward stretch but also in developing succession planning in various levels of the organization. This in turn fuels the outward reach of continuing arts engagements in communities via those mentored. The hierarchy system provides allies for future forms of engagement and multiplies the practical reach of renewal and continuity. Mentors would also need to be included in programming on many levels. The hierarchy of working with mentees can include mentorship at the following levels: 1) Administrative Level – from the artistic core with an interest in administration 2) Artistic – from the artistic core or residencies of regional / international sources 3) Community – from work in arts engagement, community organizations 4) Education – from schools, involving teachers, educators etc. 5) Private Sector – Administrators / Artists can mentor with various corporations Other Areas for the Solidification of the Inner Reach: The inner reach should always be about assessment for potential and continual growth. Teacher and organizational evaluations, on site / surveys are important parts of the process for forward reach. It is a simple way to see how effective one’s programming is being executed in community. For many years artists entered and left communities without realizing the potential of these communities to the renewal and continuity of the work they do. The community through surveys get to contribute to the suggestions which will hopefully find their place in the programming and implementation of artists and organization. There is no understatement to saying that this provides a circular process of cultural artistic development indicative of the concept of inward stretch outward reach. A study guide should be created for your arts engagement as it brings an organization and artists approach in a documented form into communities and becomes collateral tools for connecting Arts practice and advocacy. In the compilation of the study guide, there are no rules on how it should actually be. One piece of advice however, would be to make it as engaging as the art practices you plan to take into communities, thereby, allowing the guide to become the resource that is used in guiding the artistic engagement and conversations. The study guide will maximise the experience for participants in the outward reach and spiral into a substance of continuity for future engagement in particular communities. The study guide should relate specifically to the work being done and offer activities that can be continued by the community; leaving behind an organizational, artistic and cultural imprint of the arts engagement. If there is a performance

component to your engagement, do include questions and activities related to that performance to ignite curiosity and spark intellectual renewal in the artistic product. It should have referent points back to the organization, art form, and tools for future inquiry; all the while leaping to a clearer understanding for the participant’s role in cultural production. THE OUTWARD REACH: Developing the Arts Engagement Framework With all the implementation and training done in your explorations of solidifying the inner reach via the organizations / artist’s role in community, the sourcing and work in building the relationships within the communities, will require some possible approaches to delivering the forms of Community Arts Engagement. Working in communities is never as easy as we think it will be ‐ there are the social, the cultural and personal implications of our engagement. It is important that one speaks with agents already in the communities. Who exactly are these “agents”? Agents can be your contact persons in the community centres or community agencies (other service organizations) with which you might create strategic partnerships to gain access into community. Community agents are a great source for understanding recent and historical progressions in these communities. Do heed the expertise and information provided from such agents and work to create and navigate your repartee with the information provided. As mentioned before working in communities requires a flexible breath between the inner reach and the outward stretch. Community Engagement is the process of building relationships with community members who will work side‐by‐side with you as an ongoing partner, in any and every way imaginable, building an army of support for your organization ‐ an end goal of making the community a better place in experiencing the Arts. “Community Engagement is about connecting in a real way. When we interact with as many different people, and in many different areas of the community as possible, it does not take long to see that we all want the same thing; for our communities to be reflective of an admirable place to grow, work and live. Once this happens, and you find ways to deeply engage community members in the work your organization is doing, then you will find your organization’s short term needs begin to take shape almost on their own ‐ money, volunteers, board members, legislative support, etc.” (see www.Help4NonProfits.com) Possible Community Models: 1. Arts engagement by an organization / artist (Art driven) 2. Arts engagement initiated by the community (Community driven) 3. Arts engagement in partnerships with NGO organization (support based organization driven) 4. Arts Engagement tied to a cause (Awareness, Access etc.) An organization or artist does not have to do it on their own, by “thinking about this as true "engagement" means “including community leaders and resources in the conversation from day

one ‐ more in the spirit of "we'd love to have a relationship with your particular segment of this community ‐ can we think together about what that relationship might be?" With progression to the understanding that programs developed through this process will, of course, be of infinitely greater value and meaning to the people they are meant to serve.” (http://www.artsjournal.com/ontherecord/2008/05/community_engagement_the_route.html) It’s about the working relationship we create and use to our advantage, including using already existing programming and contact as part of the artistic collateral to execute works in communities where, whether arts organizations are at the helm of community partnership or not, the outward stretch is enhanced by a supportive structure steeped in communities as the heart beat. In finding an organization’s voice in arts engagement, you are also providing a platform for listening to the voices emanating from the heart of communities. Give voice via the arts engagement. Giving Voice It’s important that community Arts engagements programs find a way of giving voice via the models in understanding their roles in arts advocacy. One possible example is to make the creation process and work in communities accessible to everyone. GIVE VOICE. PARTICIPANTS / COMMUNITIES ARE SCREAMING TO BE HEARD. How they are acknowledged and the forms of this acknowledgement is up to the programming you provide. This should be that vehicle for mobilization of potential in your organizations and also in community. Think ahead of the challenges and find ways of minimizing those challenges for communities, your artists in communities and for your organizations. Toolkits are easy documents to create that can have situational concerns addressed and should become a part of the understanding required when working on the solidification of our outward reaches, the continuity of the form (arts engagement) and the renewal of traditions (organization and culture). Programming should be cognizant of issues in inclusivity and exclusivity; after all we want all to experience the power of the arts in changing lives; one community at a time. No one should feel separate from that reality and experience. What are some of these ideas on inclusivity? Some basic notions of Inclusivity affirm that, all participants are different. Therefore, consider altering a teaching style or the way in which an assessment is implemented so that this may benefit a wider range of students / participants not just those it is intended to support. Some of the challenges are below: • Don’t assume prior knowledge. Not all your students will have A‐levels or have studied the same subjects • Do you, your colleagues and your students know how to get in touch with your institutions’ disability and equality service? • Don’t assume students understand cultural references or colloquialisms, either written or verbal

•

Do not assume that a participant’s social upbringing has any implication of the potential to interact with the process of art making

Cultural sensitivity – there are diverse ethnicities that might interact or participate in your programming. Assessing some of those cultural experiences can be an interesting understanding of how to create arts engagement via commonalities and difference. This is where training of artists would prove paramount. While it’s an interesting entry point it can also be a volatile on if one is not prepared for how to deal with the issues raised. Chart the waters carefully. Alternative sensitivity ‐ refers to everything from the taboo of gender, diversity in religion, sexuality, marriage etc. Attempt to give credence to the power of knowing rather than approving. If we look at the community engagement model, this participant might have connections via parentage or resources that can be beneficial or detrimental to your Arts engagement initiative. One cannot understate that the voice you give to participants in community informs the art that comes, not only out of that community but also out of the art‐making that emanates out of our organizations. Alvin Ailey says it best in his thought that “dance came from the people and it should be given back to the people.” The impetus for many art forms lives in the people, the communities where engagement is needed. A Community’s realities can be changed through the art form. There are many cities where a murals in the public space has created employment, beautification and participation in the Arts. Such projects are the creative and innovative re‐ imagination interrupting the colonial argument that art belongs in buildings where we go to engage in their beauty and move closer to the creative aesthetic that inspiration and art comes from the collective existence of things around us. If we invest in communities, they can be enriched from such investment influencing conversation and ever‐present permanence in the community’s psychological titillation of whats possible. RENEWAL AND CONTINUITY: The Collective Ebb and Flow in the Interchange of ideas between Arts Organizations and the Community. Implementing, nurturing and renewing the relationship of arts engagement in communities involve creating and implementing effective programs with the engagement component at the forefront. This is no easy feat. If done with the strategic understanding of initial interests and outcomes, then a move towards renewal and continuity of not only the organization, but the overall cultural fabric of a nation becomes an achievable goal. It should be this notion of continuity and renewal which drives and sustains one’s organization or one’s work as an artist. In questioning the why and how, Community Arts engagement should connect to the inward scope of building future audiences, the growth of cultural appreciation, nurturing already existing patronage and sparking new interests in the Arts; all of which is possible with solid programming with those engaged through the communities of the outward reach. Exploring

continual relationship of such partnerships means that organizations can once again tap into these communities and continue to build on the foundations laid possibly leading (if in the directive of the organization) to satellite sites of the organization and can be a feeder to the organization’s school and artists. Audience Development: Work in these communities can be a ‘magnet” for sending students with potential in varying art streams to be mentored by an artist in the organization. The chances are increased that if a participant from the community level is mentored that this participant could one day become an artist in the said organization which provided the initial opportunity for the engagement itself. This is the continuum of renewing resources that can lead to solid artistic / administrative succession planning for an organization. Audience development comes in so many forms and works hand in hand with public relations and marketing. Some of this marketing can be done by offering in the study guides other opportunities to engage participants with many opportunities in the arts beyond the artistic qualifiers. It’s important to make those connections and have them work for you even in Arts engagement. Its about the mapping one has done; taking inventory per say of one organization and its place / work within communities. Never underestimate that power. Also nurture the communities in which you execute arts engagement. Here are some ways for nurturing that relationship with communities while building audiences. Website: There are many free windows based websites that offer a variety of features but should breathe and live and reflect and inform every aspects of an artist or organization. Enews: Keeping in touch with past participants allows for constant communication while allowing for the continuation of discussion of interests and offers the capability of renewing interests in ones organization. Social Media: A powerful tool in generating, nurturing and fostering continuity. and to generate other interests in an artist or organization and for continuity. Social groups and Organizations: Churches, rotary clubs, alumni associations’ among others are great areas for building and creating new audiences for various programming in arts organizations. They are not just marketing tools as they are tools of engagement and outreach I would argue that cultural participation on many levels may indeed “hold at least one key to this puzzle of how we can engage our communities and public spaces much more, in ways which will bring a greater sense of social cohesion. Particularly with the creative powers of new social media, we have at our fingertips an incredible myriad of ways to re‐energize our civil society and communities. All so that we no longer have to be nostalgic for what might have been, and can instead focus our collective energies on what may be, all the while supporting cutting edge cultural events and arts organizations in our midst.” Tatyana Varshavsky, Creating Community

Through the Arts: Cultural Engagement, Democracy, and the Role of Civil Society, Journal of Communication, Culture and Technology, Georgetown University, 2008) Community Involvement as part of the renewal process, can take on a variety of engagement / participation in an arts initiative. As an artist, I am always under the assumption that I am rarely using all my possible resources. Volunteerism by the parents or of your adult participants is one way of continuing engagement to the benefit of one’s organization. By having a simple registration form or by gathering their contact information with their profession at their request, you have the potential of using registrants as volunteers for your organizational developments; key mechanisms of building not only the industry of your organizations and networks but also a glue in the development of an arts industry, growing on the foundations of the concepts of inward stretch and outward reach mentioned in the previous sections of this paper. Volunteerism by key persons you have worked with in community arts engagement can be influential in building the profile of an organization. I am suggesting that a toolkit for volunteerism also be created in the understanding of the inward reach. It allows for volunteers to understand their role in the proliferation of your mandates of the inner stretch of the organization and via their actions also work hand in hand in initiating potential for renewal and continuity. Cultural Development: Notions of cultural development are always prevalent in the discussion around organizations and artist’s work in community arts engagement. The continuation of a sustained cultural reality can be harnessed by such work. How do artists and organizations make those connections in their work is significant not only to the survival and progression of cultural forms, but also in an understanding of the changes, progressions and future of the national cultural fabric. This relationship is cyclical and over time influences every aspect of what has been discussed in this paper. How can community Arts Engagement influence cultural development? An analysis of the role of the JCDC (Jamaica Cultural Development Commission) can be a great source for statistical data for such influence. We can go briefly through such an analysis via a series of questions that could be the subject matter of quantitative research. The Inward Reach ‐ JCDC would ask: 1. What are the services we have offered to schools, communities since our inception? a. this would set the understanding of service offered and also the mapping of where and how it has offered those services b. Who benefits from these services? 2. How and who have these services benefited? a. allowing for an assessment of the organizations reach and scope 3. How have these benefits helped / fostered the culture of the island

4. making a quantitative analysis of who is working and has worked in the areas they serve Outward Stretch ‐ JCDC could: • reach out to these person (testimonials, to be judges, advisors etc) • have them work within JCDC’s work in communities / nationally • create residences, conversations, talk back between established, emerging and aspiring artists set up opportunities of artistic development for National Festival winners with working Artists Renewal and Continuity ‐ JCDC now has: 1. The potential to influence cultural production via a psyche of artistic support and development 2. The ability to make a statement in the development of the Jamaican artistic industry. This can also be used in a. the promotion of its own mandates via the website, lobbying organizations and social media and media itself. 3. The renewal of JCDC’s profile that would be aligned with a collective of artists and organizations in the continuity of the organization. Though minimalist in its approach, this model highlights the possibilities that exist by the argued understanding of the inward reach and outward stretch toward renewal and continuity. The model would require a series of development via some of the suggestions throughout this document but always working within the socio‐cultural and economic understandings of the location in which programming is to be researched, implemented and executed. I am an advocate of creating a framework of engagement that is necessitated by the history / location of where the engagement will happen. I have quoted Professor Nettleford at the end of this paper and choose to echo the point of innovation. This is where through an understanding of working from the grassroots, innovation can lead to stability, renewal and eventual continuity. Martha Graham also says it best when she mentions that a dancer should learn the technique, master it before breaking it. The approaches and work done elsewhere mentioned here is a road map to the understanding and creation of such programs.

NATIONAL ENHANCEMENT AND IMPACT LEADING TO REGIONAL AND GLOBAL PRESENCE Community arts engagement can be that catalyst for national enhancement and impact, culture is at the forefront of many countries and allows citizens to see themselves and their ethnicities in the globalized world around them. Community arts engagement done effectively can be the fuel for larger initiatives shaping identity, culture and ignite unrelenting creativity in approach. Arts engagement is a cornerstone in any cultural foundation interested in supporting the development of creative industries and also the participation in the new creative economy of potential via the global ecology. Consequently, the framework has already been in place for such growth but need to be connected to a larger curatorial framework of why and how. There is no question that initiatives in communities will influence a national artistic community and help it adapt these opportunities to also foster development of further regional and global significance. In fact, arts engagement as national significance should be a part of the existing coalitions of global arts engagement. One can question what international and regional initiatives can emerge via collaboration or be created for the enhancement of programming on a national level; once again increasing the inward reach, outward stretch and continuity in any organization. Mathematics is about formulas which are applied to arrive at an answer, the Arts and community arts engagement are in turn finalizing its formulas. Gone are the days when artists just paint, dance, sing etc; when organizations operated without strategic plans, a Board of Directors, Administrative staff, Marketing and Outreach as these considerations have to be made into the formalizations of work and potential growth in the Arts and in organizations. I purposely did not provide what an organization or artist should do in creating community arts engagement programs but aspired to create a toolkit for which the engagement can be created, understood and applied to the reality of where the programs will be initiated. Though arts engagements might be similar, no two organizations or forums for arts engagement are the same but these formulations (what, when, where, how) should consider Community Arts Engagements as a

viable source of continuing the art form and culture on which its very continuity depends. In the case of Jamaica “the creative economy of Jamaica represents 5.1 per cent of total output (Gross Domestic Product) which when compared with 12 nations ranked the island in fifth position with the US in first position at 11 per cent. "The United Nations estimates that the creative industries are growing at a faster rate than the world economy in general. Yet there is still a critical lack of empirical statistics on the contribution of Jamaican music or creative industries to national GDP. This has resulted in repeated undervaluation of this sector in an array of studies, with estimates ranging from $1.5 billion to $1.7 billion in generated revenue," stated Angela Davis. (http://www.jamaicaobserver.com/entertainment/Focus‐on‐creative‐industries‐‐ ‐UN‐report‐tells‐J‐can‐govt_8396757) I argue that cultural industries are the precursor to creative industries mentioned above and Jamaica has always had coming out of independence; a cultural industry framework. The cultural industries are actualized for its values and potential via all the cultural programmes by artists and organizations like the JCDC, the difference is in making a cultural industry creative. Making a cultural industry creative involving policies, organizational and artistic support via a granting systems, professional standards documents, educational standards, stakeholder and advocacy groups and some of the other steps mentioned in this paper. The progression from one to the next would need the flowering of the various sections of culture into inflorescence; each having its own codified framework of operations, support and presentation lending itself to the creative industry where collaborations on many levels from the community to the professional would drive and sustain the creative industry of the Arts in Jamaica. “Continuity is naturally cherished. The renewal should however, take... the movement forward with yet more exploration, experimentation, originality, innovation...with dividends manifested in the instituitionalization of training and education in the art, in the mobilization of community cultural sources of energy.” (Dance Jamaica: Renewal and Continuity: The National Dance Theatre Company 1962‐2008, Ian Randle Publishers Jamaica, 2009)

Works Cited: Nettleford Rex, Dance Jamaica: Renewal and Continuity: The National Dance Theatre Company 1962‐2008, Ian Randle Publishers Jamaica, 2009 Nettleford Rex, Rex N: Rex Nettleford, Selected Speeches, ed. Kenneth O Hall, Ian Randle Publishers, Kingston, 2006 Nettleford Rex, Caribbean Cultural Identity: The case of Jamaica, Institute of Jamaica, 1978 Laura Zakaras, Julia F. Lowell, Cultivating Demand for the Arts: Arts Learning, Arts Engagement, and State Arts Policy, RAND Research in the Arts, 2008 Susanne Burns, Sue Harrison, Dance Mapping: A Window on Dance 2004 ‐2008, Arts Council England. Arts Council England, Joining up the dots: Dance agencies – thoughts on future direction ‐ A companion report to Dance Mapping: a window on dance, April 2010 Web Resources: Arts Journal Blog http://www.artsjournal.com/ontherecord/2008/05/community_engagement_the_route.html Not for Profit Advice www.Help4NonProfits.com Australia Arts Council ‐ Artistic Reflection Toolkit http://www.australiacouncil.gov.au/artisticreflectionkit/elements/relevance_to_community Jamaica Observer Kevin A. Ormsby wishes to acknowledge funding for the presentation of this paper from:

NDTC,
Beyond
50:
Renewal
and
Continuity

 A
Point
of
View

The
one
critical
area
in
the
National
Dance
Theatre
Company
(NDTC)
that
demands
renewal
and
no
 continuity
 is
 the
 area
 of
 its
 administration.
 
 Make
 no
 mistake
 about
 it,
 the
 current
 administrative
 structure
 has
 served
 the
 company
 well
 in
 the
 past,
 but
 it’s
 no
 longer
 likely
 to
 take
 it
 successfully
 forward.

The
21st
century
challenges
demand
a
21st
century
strategic
response
to
the
vicissitudes
of
 the
 ever
 changing
 economic
 environment.
 
 At
 this
 juncture,
 it
 is
 my
 view
 that
 the
 major
 preoccupation
of
the
Company’s
leadership
must
be
ensuring
its
continued
artistic
viability
and
long
 term
 financial
 sustainability.
 
 Let
 me
 hasten
 to
 suggest
 that
 its
 original
 mission
 and
 vision
 MUST
 remain
intact.
 
 To
 do
 otherwise
 will
 relegate
the
NDTC
to
the
rank
of
an
“also
ran”
and
pedestrian
 dance
company.
It
is
in
staying
true
to
this
mission
and
vision
that
the
company
will
stand
out
as
a
 significant
cultural
development
institution
and
force
in
the
region
and
indeed
the
world.


 
 Having
 established
 that,
 it
 is
 my
 view
 that
 despite
 numerous
 attempts
 by
 the
 late
 co‐founder
 and
 Artistic
Director,
Professor
Rex
Nettleford,
at
sharing
the
mission
and
vision
of
the
NDTC
over
these
 many
 decades,
 it
 still
 has
 not
 caught
 much
 fertile
 soil
 in
 the
 places
 where
 it
 ought
 to,
 in
 order
 to
 ensure
solid
and
sustained
growth
in
the
years
to
come.

 
 The
way
the
NDTC
is
structured
(see
cuurent
structure),
operated
in
practice
over
the
past
48
years
is
 that
 the
 Artistic
 Director
 was
 the
 dominant
 figure
 in
 not
 only
 the
 management
 committee
 and
 the
 general
day
to
day
management
of
the
company’s
affairs,
but
was
also
the
main
driver
of
most
other
 areas
as
well
as
serve
as
Fund‐raiser‐in‐Chief.


With
the
Company
no
longer
having
such
a
larger
than
 life
presence
among
its
numbers,
it
cannot
be
business
as
usual.

Whereas
this
may
have
served
the
 company
well
in
the
past,
and
it
sure
did,
it
is
no
longer
a
viable
option
for
future
development
50
 years
after.
 
 With
 the
 passing
 of
 Professor
 Nettleford,
 the
 role
 of
 Secretary/Treasurer
 has
 taken
 on
 more
 prominence.

The
current
management
committee
comprise
too
many
functions
that
have
no
place
 in
a
future
NDTC
Board.

In
fact,
the
roles
of
Wardrobe
Mistress,
Sound
Director,
Lighting
Director
and
 Stage
 Manager
 are
 all
 operational
 functions
 and
 should
 reside
 at
 the
 operational
 levels
 of
 the
 structure.

by
Carl
Bliss
 
 Current
Structure
 
 
 
 MANAGEMENT

COMMITTEE

ARTISTIC
DIRECTOR/CEO

Musical
Director

DANCERS

SINGERS

MUSICIANS

My
recommendation
is
for
a
restructuring
of
the
organization
as
follows:
 Proposed
Structure

BOARD
OF
 DIRECTORS

ARTISTIC
DIRECTOR/CEO

PRODUCTION

Musical
Director

COMMITTEE

DANCERS

SINGERS

MUSICIANS

BOARD
OF
DIRECTORS:
 The
 management
 committee
 should
 be
 reconstituted
 as
 a
 fully
 functional
 Board
 of
 Directors.
 
 The
 board
 must
 have
 full
 responsibility
 for
 ensuring
 the
 financial
 sustainability
 of
 the
 National
 Dance
 Theatre
Company.

Persons
on
the
board
must
not
only
have
an
appreciation
and
love
for
the
arts,
 dance,
dance
theatre
and
music,
but
must
also
be
passionate
about
the
vision
and
mission
of
 the
 company.
 They
 should
 also
 be
 in
 a
 position
 to
 make
 a
 significant
 contribution
 to
 its
 further
development
and
represent
the
skills
sets
required
to
do
so.
 
 ARTISTIC
DIRECTOR/CEO:
 This
position
provides
the
artistic
and
executive
leadership
for
the
Company.
 
 PRODUCTION
COMMITTEE:
 This
grouping
comprises
all
the
creative
technicians,
and
is
led
by
the
Artistic
Director.
 
 BUSINESS
DEVELOPMENT
MANAGER:
 You
will
note
that
I
have
introduced
the
position
of
Business
Development
Manager.

I
firmly
 believe
that
the
Company
must
identify
the
resources
to
bring
such
an
operative
on
board.

 Business
 This
 individual
 must
 have
 a
 successful
 track
 record
 in
 grant
 and
 proposal
 writing.
 
 A
 Development
 significant
 part
 of
 the
 job
 will
 also
 be
 identifying
 along
 with
 the
 Company’s
 general
 management
 and
 Board,
 any
 new
 business
 to
 pursue
 in
 order
 to
 bring
 new
 and
 additional
 Manager
 revenue
streams
into
the
Company.
 
 The
 reality
 is
 that
 the
 relatively
 limited
 dance
 audience
 we
 enjoy
 in
 the
 country
 cannot
 by
 itself
 sustain
 the
 dance
 company.
 
 It
 never
 could!
 In
 fact,
 had
 it
 not
 been
 for
 significant
 resource
inputs
from
private
companies,
foundations
and
individuals,
it
just
would
not
be
a
 financially
 viable
 enterprise.
 
 It
 has
 gotten
 more
 and
 more
 challenging
 accessing
 resources
 from
these
sources.

Part
of
the
reason
for
this
is
that
the
real
national
economy
has
been
 contracting
 for
 some
 time
 now,
 and
 so
 available
 resources
 have
 been
 shrinking.
 
 On
 the
 other
hand,
demands
on
the
limited
donor
resources
have
increased
exponentially
over
the
 CREATIVE
 last
decade,
and
let’s
face
it,
donors
are
experiencing
donor
fatigue
from
the
overwhelming
 TECHNICIANS
 demands
 on
 them.
 
 The
 other
 stark
 reality
 is
 that
 the
 company
 has
 lost
 its
 greatest
 fund
 raiser
after
48
years!


 
 
 Increasingly,
organizations
such
as
ours
have
been
embracing
the
concept
of
social entrepreneurship. In
part
(large
part),
because
they
realise
that
they
can
no
longer
depend
on
the
largesse
of
private
or
 public
 gift
 giving
 for
 their
 sustainability.
 Social
 entrepreneurs
 are
 individuals
 who
 apply
 for‐profit

business
principles
to
create
businesses
with
the
singular
objective
being,
the
use
of
those
generated
 resources,
to
ensure
the
sustainability
of
the
not‐for‐profit.

In
our
case:
the
NDTC.



 
 And
as
a
Company
we
won’t
have
to
look
far
for
some
of
the
business
opportunities
that
could
be
 easy
fits
with
our
own
mission.

As
a
start:
 
 1. We
 have
 three
 (3)
 possibly
 four
 (4)
 music
 albums
 produced
 by
 the
 NDTC
 Singers
 over
 the
 years.
 These
 can
 easily
 be
 re
 mastered
 and
 presented
 in
 more
 modern
 formats
 for
 sale
 to
 the
public.

On
our
recent
tour
of
the
United
Kingdom
several
persons
sent
me
requests
for
 CD’s
of
the
singers
and
DVD’s
of
our
dance
works.


Needless
to
say,
they
were
shocked
to
 hear
that
we
had
nothing
of
the
sort.
 
 2. Memorabilia,
which
is
the
stock
in
trade
of
enterprising
theatre
companies
worldwide,
could
 be
created
by
us
for
sale
to
the
public.

These
could
include:
 • Branded
Caps
 • Branded
trainer
tops
 • Branded
T‐Shirts
 • Warmers
 • Branded
sweat
suits
and
other
rehearsal
gears
 • Key
rings
 • Cards

 (The
list
is
only
limited
by
our
own
imagination)
 
 3. Books
 and
 other
 printed
 material
 on
 the
 company.
 
 The
 NDTC
 is
 blessed
 to
 have
 had
 an
 Artistic
Director
who
was
a
significant
student
of
history,
who
understood
the
importance
of
 recording
our
own
history
rather
than
depending
on
others
to
do
so
for
us.

“Dance
Jamaica”
 editions
 1
 and
 2
 as
 well
 as
 “Roots
 and
 Rhythms”
 are
 seminal
 works
 produced
 by
 Rex
 Nettleford,
and
as
far
as
I
know
they
belong
to
the
company.

Every
effort
must
be
made
to
 keep
 them
 in
 the
 forefront
 as
 our
 literary
 contributions
 to
 the
 world
 of
 theatre,
 dance,
 history
and
culture.
 
 4. Real
Estate:

As
one
who
was
involved
in
the
discussions
surrounding
the
acquisition
of
the
 Old
Church
Road
property,
I
am
aware
that
the
principal
objective
was
to
purchase
an
asset
 that
would
be
a
significant
income
earner,
in
the
quest
to
identify
ways
and
means
of
 ensuring
the
financial
sustainability
of
the
NDTC.

From
those
days,
probably
25
plus
years
 ago,
it
was
clear
that
the
company
had
to
identify
other
means
of
sustaining
itself,
as
private
 sector
support
was
often
uncertain,
and
net
proceeds
from
our
annual
seasons
were
 insufficient
to
support
the
continued
and
broader
work
of
the
company.
There
is
need
for

considerable
 rethinking
on
the
 part
of
the
 current
 leadership
of
the
 company
as
to
 the
viability
of
 the
property
in
 light
of
its
 original
intent.
 
 5. The
Studio:

This
 could
be
a
 significant
 income
earner
 for
the
Company
 in
light
of
its
 location
and
 attendant
 facilities.
 
 6. Overseas
Tours
 
 7. Local
Tours
 
 8. The
Annual
 Season
of
Dance
 The
above
are
just
a
 few
ideas
that
come
 readily
to
mind.

No
 doubt
the
 management
along
 with
the
proposed
 Business
 Development
 Manager
will
be
able
 to
expand
on
them
as
they
see
fit.

THE
JANUS
EFFECT
 The
journey
of
self‐definition
and
heritage
of
the
National
Dance
Theatre
 Company
(NDTC)

By
Clive
Thompson

As we celebrate our 50th anniversary as authors of an independent nation and the NDTC as the premier dance company of the region, the concept of Janus, a Roman myth of a two faced god, comes to mind. Janus is usually depicted as having a face in front and the other at the back of his head thus being able see the past and the future. 
 In
 looking
 closely
 at
 Jamaica’s
 past
 and
 at
 the
 genesis
 of
 our
 Caribbean
 modern
 contemporary
 and
 folk
 derived
 forms,
 it
 is
 very
 clear
 that
 
 dance
 has
 evolved
 or
 manifested
itself
as
a
significant
part
of
our
Jamaican
psyche,
as
is
evidenced
in
our
 musical
 forms.
 We
 see
 and
 hear
 the
 rhythms
 of
 our
 African
 ancestors
 in
 our
 gestures,
 the
 “groundedness”
 of
 our
 walk,
 the
 inflexions
 in
 our
 language
 and
 the
 idiosyncrasies
 of
 our
 religious
 and
 spiritual
 retentions
 and
 rites
 that
 are
 still
 being
 observed
 today.
 However,
 nothing
 remains
 of
 the
 indigenous
 Taino,
 who
 with
 the
 “discovery”
 of
 the
 island
 by
 Columbus
 in
 1494,
 its
 subsequent
 conquest
 by
 the
 British
 and
 the
 imposition
 of
 European
 culture
 on
 the
 aboriginal
 Taino,
 were
 unceremoniously
 annihilated.
 
 But
the
Jamaica’s
history
extends
further
as
Europe
brought
Africa
to
the
Caribbean
 through
 slavery.
 The
 colonizers
 came
 as
 victors,
 dispossessors
 and
 exploiters
 and
 Africa
 came
 as
 victims
 who
 were
 themselves
 dispossessed
 and
 exploited
 by
 their
 own
 and
 European
 counterparts.
 Later
 East
 Indians
 and
 Chinese
 arrived
 as
 indentured
servants
and
still
later,
came
other
nationalities,
mainly
from
the
Middle
 East.
 
 Together
the
two,
Europe
and
Africa,
shaped
the
Caribbean
history
over
centuries.

Europe
 through
 the
 sugar
 and
 slave
 plantation,
 colonialism,
 and
 the
 doctrine
 of
 white
 superiority
 and
 Africa
 through
 their
 rejection
 of
 slavery,
 the
 triumphant
 struggle
for
freedom
and
justice,
the
indomitable
spirit
and
creativity
of
the
African
 peoples,
while
finding
clandestine
ways
of
practicing
and
handing
down
its
culture
to
 younger
generations.
 
 During
 this
 process,
 slavery
 was
 abolished
 and
 full
 emancipation
 granted.
 There
 were
 decades
 of
 great
 unrest,
 resulting
 in
 the
 development
 of
 national
 consciousness
for
full
independence
in
1962
and
the
creation
of
our
national
motto:
 out of many, one people.
 
 However,
 with
 independence
 came
 the
 great
 question
 of
 ‘identity’
 and
 understanding
and
embodying
the
phrase
‘Jamaican
Culture’.
In
a
larger
context
of
 the
question
there
were
many
pertinent
issues
to
consider.
Are
we
identifying
with
 the
 African
 heritage,
 Chinese,
 Lebanese,
 European,
 Jewish
 heritages
 or
 the
 mixing,
 blending
cross‐fertilization
of
all
the
races,
into
one

 
 Jamaican
race
or
identity?
Can
we
subvert
notions
of
race,
class,
creed,
religion
to
 create
that
which
we
can
call
“our country, our culture, our nation”?
 
 Even
 with
 these
 questions
 in
 mind,
 we
 have
 to
 be
 cognizant
 that
 Nationalism
 involves
a
timely
use
of
the
PAST,
subversion
and
reinvention
of
the
PRESENT
and
a
 faithful
promise
of
an
ideal
and
or
better
FUTURE
in
a
WORLD
that
is
meant
for
all
of
 ‘us’,
though
for
some
it
is
a
highly
romanticized
and
unrealistic
vision.
Utopia
cannot
 exist
 when
 man’s
 imperfections
 lead
 to
 destruction
 of
 self
 and
 others.
 But
 is
 this
 really
the
ideal
approach
we
need
in
terms
of
achieving
a
greater‐good,
that
being
a
 widely
 accepted
 purview
 that
 a
 Jamaican
 identity
 does
 exist?
 
 What
the
British
left
behind
is
a
history
of
suffering
and
severance
through
years
of
 inhumane
 treatment
 of
 people
 of
 African
 descent.
 The
 remnants
 of
 the
 African
 culture
are
today
evidence
of
defragmentation
with
a
strained
connection
with
the

Motherland
that
our
forefathers
fought
to
preserve.
The
rape
of
the
African
culture
 and
the
inculcation
of
our
minds
over
centuries
into
believing
that
the
white
culture
 was
superior
and
more
beautiful
to
the
black
culture,
which
included
our
Religious
 rites,
dances,
music,
and
the
Drum,
was
an
attempt
to
not
only
erode
our
identity
 but
to
discredit
and
delegitimize
who
we
are
as
Africans.
 
 Today
Jamaica
is
a
multi‐racial
society
in
which
the
African
elements
dominate
the
 cross‐fertilization
 of
 other
 influences
 such
 as
 the
 European,
 East
 Indian,
 Chinese,
 Jewish,
 Lebanese
 et
 al.
 The
 first
 four
 decades
 of
 the
 20th
 century
 suggested
 great
 changes
 in
 the
 Jamaican
 society
 had
 heralded
 a
 political
 and
 artistic
 awakening
 especially
as
it
relates
to
the
Art
of
Dance
and
Music.
And
by
dance
I
am
referring
to
 British
 ballet
 first
 being
 taught
 to
 the
 children
 of
 the
 expatriates.
 
 JANUS – LOOKING BACK
 Starting
as
early
as
1907,
there
were
three
female
teachers
who
introduced
Ballet
to
 Jamaica.
 They
 were
 Mrs.
 Melton
 Adams,
 Pansy
 Alexander
 and
 Ermyn
 Lyons.
 Hazel
 Johnson,
 who
 was
 referred
 to
 as
 a
 “high
 brown”,
 was
 raised
 as
 a
 white
 English
 upper‐class.
She
was
taught
to
preserve
her
own
by
not
mingling
with
the
natives.
 She
 was
 educated
 in
 England
 where
 she
 studied
 ballet,
 character,
 tap
 and
 Greek
 dancing
before
returning
to
Jamaica.
 
 However,
 her
 father
 feared
 that
 Hazel
 and
 her
 siblings’
 long
 absences
 from
 home
 during
their
impressionable
years
could
make
them
even
more
alienated
from
their
 home
so
he
arranged
an
extended
trip
around
Jamaica,

spending
weeks
at
a
time
in
 each
 parish,
 observing
 the
 music
 and
 dance
 of
 the
 ‘natives’.
 Hazel
 became
 an
 excellent
teacher,
producing
several
shows
and
is
credited
as
being
instrumental
in
 raising
 the
 artistic
 and
 technical
 prowess
 of
 dancers
 in
 Jamaica.
 She
 has
 gifted
 us
 with
several
of
our
early
Master
Teachers
including
the
indomitable
IVY
BAXTER.

THE EMERGENCE OF THE CARIBBEAN DANCE PIONEERS Two
 women
 are
 credited
 for
 the
 exploration
 of
 Caribbean
 Dance
 “movement”.
 
They
 are
 Beryl
 McBurnie,
 a
 Trinidadian
 dancer
 who
 would
 become
 the
 Caribbean’s
 “mother
 of
 dance”
 and
 U.S.
 born
 Lavinia
 Williams,
a
 disciple
 of
 Katherine
 Dunham
who
after
migrating
to
Haiti
to
study
their
 folklore,
 became
 Lavinia
 Williams‐ Yarborough.
Both
 Dunham
 and
 Lavinia
 Williams‐ Yarborough
 credited
 Beryl
 McBurnie
 for
 her
 influence
on
their
technique
and
American
modern
 dance
 in
 general.
 
McBurnie
 was
 even
 more
 influential
on
Jamaica’s
Ivy
Baxter
and
the
eventual
 founding
of
the
National
Dance
Theatre
Company.
 Therefore,
 it’s
 imperative
 to
 speak
 of
 McBurnie
 and
 her
 early
 dance
 beginnings
 when
 addressing
 Caribbean
Dance
Theatre.
 
 
 BERYL McBURNIE
 McBurnie
was
a
precocious
child
who
had
developed
an
early
interest
in
Caribbean
 folk
dance
primarily
because
she
was
forced
to
learn
and
perform
the
Scottish
reels,
 jigs,
 and
 other
 British
 folk
 dances
 that
 were
 taught
 at
 her
 school.
 She
 considered
 them
irrelevant
and
whilst
she
appreciated
them
for
their
beauty
of
movement,
they
 did
 not
 represent
 her
 experience
 growing
 up
 in
 Trinidad.
 She
 wanted
 to
 express
 through
 dance,
 the
 way
 of
 life
 and
 aspects
 of
 the
 history
 of
 her
 own
 people
 and
 environment.
Her
interest
led
her
to
study
Trinidadian
folklore
as
“expression
of
the
 emotions
of
the
folk”.
 

 Her
father
wanted
her
to
pursue
a
career
in
medicine
and
as
such
she
was
sent
to
 Columbia
 Teachers
 College
 in
 New
 York.
 McBurnie
 resigned
 from
 medical
 studies

shortly
after
and
took
classes
in
Dance
and
Theatre
Arts
instead.

She
studied
with
 Charles
 Weidman,
 Jose
 Limon
 as
 well
 as
 Martha
 Graham
 and
 Elsa
 Findley
 at
 Columbia,
 where
 McBurnie
 also
 taught
 Caribbean
 dance.
 She
 created
 a
 New
 York
 based
 dance
 company
 and
 was
 joined
 by
 Pearl
 Primus
who
 had
 also
 worked
 in
 Caribbean
 and
 African
 folk
 forms.
 A
 performance
 would
 include
 dances
 from
 Haiti
and
 Cuba,
 folk
 songs,
 Calypso
 and
 live
 drumming.
 
This
 blew
 the
 New
 York
 audiences
away
and
McBurnie
was
immortalized
as
a
star
known
as
La
Belle
Rosetta.
 
 The
company
drew
the
attention
of
Alvin
Ailey
who
congratulated
her
after
he
saw
 one
of
their
performances
in
New
York.

They
made
such
an
impression
on
him
that
 he
 spoke
 of
 the
 company
 for
 an
 entire
 day
 following
 their
 show
 and
 referred
 to
 McBurnie
 and
 Primus
 as
 those
 two
 outstanding
 West
 Indian
 women.
 It
 was
 no
 surprise
 therefore
 that
 later
 in
 1978
 the
 Alvin
 Ailey
 America
 Dance
 Theatre
 would
 pay
tribute
to
the
‘Three
Black
Divas
of
Dance’
‐
Beryl
McBurnie,
Katherine
Dunham
 and
 Pearl
 Primus
 for
 their
 profound
 influence
 on
 the
 development
 of
 American
 Modern
 Dance.
 I
 had
 the
 pleasure
 of
 performing
 at
 that
 tribute.
 
 By
that
time,
McBurnie
had
already
launched
her
company
Little
Carib
Theatre
and
 Dance
Company
in
Trinidad
and
its
repertoire
reflected
a
West
Indian
emancipatory
 spirit
 which
 was
 deeply
 indebted
 to
 the
 African
 heritage
 “brought
 into
 these
 Caribbean
Islands
in
the
hell‐holes
of
slave
ships”.
 
 The
 Little
 Carib
 Company
 was
 invited
 to
 Jamaica
 as
 part
 of
 the
 country’s
 tercentennial
celebration
in
1955
and
was
an
all
island
smash
hit.
They
returned
two
 years
 later
 to
 teach
 at
 the
 Summer
 School
 of
 the
 University
 College
 of
 the
 West
 Indies
 along
 with
 Lavinia
 Williams‐Yarbourugh
 and
 others.
 I
 attended
 the
 summer
 school
as
a
young
dancer
and
was
the
youngest
student
in
the
class.
 
 Through
 Caribbean
 dance
 patterns,
 McBurnie
 introduced
 us
 to
 the
 specificity
 and
 richness
of
our
West
Indian
expressiveness
in
gesture,
lore,
and
rhythm
as
well
as
a
 fuller
understanding
and
appreciation
of
our
multi‐cultural
heritage,
of
which
most

of
 this
 vital
 expression
 is
 of
 African
 origin.
 Despite
 much
 love,
 adoration
 and
 achievement,
the
Little
Carib
Theatre
was
allowed
to
die
for
lack
of
financial
support,
 lack
of
appropriate
theatrical
space
and
time
for
training
in
order
to
develop
a
new
 sophisticated
 technique.
 Yet,
 the
 seeds
 were
 sown
 and
 growing
 elsewhere
 in
 the
 Caribbean
–
Jamaica.
(Dr. Sabine Sorgel)

 
 IVY BAXTER Renowned
as
the
pioneer
of
Jamaican
pre‐independence
Dance
Theatre,
Ivy
Baxter
 was
a
trained
Physical
Education
teacher;
she
was
also
trained
in
ballet
and
modern
 dance
 at
 the
 Sigurd
 Leeder
 School,
 London.
 
 Prior
 to
 going
 overseas,
 she
 studied
 ballet
 with
 Hazel
 Johnson,
 the
 premiere
 ballet
 teacher
 of
 the
 time
 and
 simultaneously,
 modern
 creative
 with
 Phyllis
 Stapella
 and
 Berta
 Fowles,
 two
 Canadian
 teachers
 at
 her
 alma
 mater,
 Wolmers
 Girls
 School.
 
 At
 this
 time,
 she
 received
 a
 scholarship
 to
 attend
 the
 University
 of
 Toronto
 and
 on
 completion
 returned
 to
 Jamaica
 where
 she
 formed
 her
 dance
 company,
 the
 Ivy
 Baxter
 Dance
 Group,
in
1950.
 
 Not
 long
 after
 her
 return
 and
 the
 formation
 of
 her
 group,
 she
 was
 invited
 by
 the
 University
of
Toronto
to
teach
Caribbean
dance.
After
teaching
for
a
year
and
a
half,
 she
was
awarded
a
one‐year
scholarship
by
the
British
Council
to
attend
classes
at
 the
 London
 Sigurd
 Leeder
 School.
 Inspired
 by
 Leeder’s
 focus
 on
 movement
 as
 expression
of
self‐identity,
on
her
return
to
Jamaica,
Baxter
was
eager
and
ready
to
 interpret
 the
 language
 of
 her
 country’s
 rich
 reservoir
 of
 ancestral
 movement.
 She
 began
 to
 explore,
 research
 and
 learn
 her
 Jamaican
 folk
 dance
 forms
 –
 Kumina,
 Pocomania,
 Gerreh,
 Brukins
 and
 other
 forms
 that
 existed
 in
 all
 the
 parishes
 of
 the
 island,
 and
 these
 dances
 became
 an
 important
 part
 of
 the
 repertoire
 for
 her
 company,
thus
sharing
with
Jamaicans
–
particularly
the
urban
middle
class
–
a
part
 of
their
rich
African
heritage
that
was
lost
under
colonialism.
 
 Ivy
Baxter
was
perceived
as
a
vital
voice
in
Jamaica’s
local
dance
theatre
scene.
Her
 talent
 and
 inspiration
 produced
 the
 cradle
 of
 Jamaica’s
 Dance
 Theatre
 and
 along

with
Beryl
McBurnie
is
celebrated
as
a
pioneer
of
Caribbean
dance.
For
twelve
years,
 1950‐1962,
 the
 Ivy
 Baxter
 Dance
 Group
 was
 the
 flagship
 for
 the
 modern
 dance
 movement
in
Jamaica.
Its
accomplishments
facilitated
the
formation
of
the
National
 Dance
Theatre
(NDTC)
in
1962.
 
 JANUS ‐ LOOKING FORWARD REX NETTLEFORD AND THE NATIONAL DANCE THEATRE COMPANY There
is
nothing
new
anyone
can
say
or
write
about
our
beloved
Prof.
the
Hon.
Rex
 Nettleford,
that
has
not
been
written
or
said
already.
He
was
a
man
for
all
seasons.
 This
 most
 remarkable
 of
 men
 who
 gifted
 the
 world
 with
 so
 many
 of
 his
 gifts
 departed
the
world
too
soon
but
the
legacy
he
bequeathed
us,
in
this
instance,
is
the
 National
 Dance
 Theatre
 Company,
 which
 reflects
 his
 passion
 for
 the
 Caribbean,
 Jamaica
 and
 Dance.
 He
 cared
 deeply
 for
 the
 Company’s
 future
 because
 he
 understood
what
it
meant
for
Jamaican
Dance
Theatre
and
cultural
identity
through
 the
arts.
 THE VISION The
 vision
 to
 have
 a
 Company
 of
 dancers,
 singers,
 musicians,
 creative
 technicians
 and
 administrators
 who
 demonstrated
 discipline
 and
 sustained
 commitment
 in
 contributing
 their
 talent
 and
 time
 to
 the
 development
 of
 a
 style
 of
 dance
 theatre
 that
 truly
 reflected
 the
 lore
 of
 the
 people
 of
 Jamaica
 and
 the
 wider
 Caribbean
 is
 indeed
an
amazing
one.

 
 The
 timing
 of
 the
 Company’s
 formation
 in
 1962,
 the
 same
 year
 as
 Jamaica’s
 independence
 from
 Britain,
 was
 a
 deliberate
 and
 important
 move.
 It
 was
 highly
 symbolic,
 especially
 with
 the
 name
 ‘National’,
 of
 the
 questions
 that
 arose
 from
 matters
of
identity,
ethnic
and
otherwise.
The
Company
challenged
notions
of
self‐ respect,
nationhood
and
freedom
and
the
name
‘National’
fuelled
the
discourse
on
 questions
 of
 who
 we
 are
 that
 were
 ultimately
 resolved
 through
 movements
 and
 song
in
the
Company’s
performance.
The
mission
of
the
Company
therefore
sought

to
harmonize
the
various
and
diverse
strands
of
the
Jamaican
cultural
complex
and
 to
bring
dance
to
the
centre
of
that
discourse.
By
Dance,
I
mean
all
forms
‐
ballet,
 modern
creative
dance
theatre,
(pioneered
by
Ivy
Baxter)
and
all
the
folk
forms
from
 West
African
origin
dance,
which
has
included
music
being
that
it
is
part
and
parcel
 of
 our
 folk
 heritage.
 Were
 it
 not
 for
 the
 genius
 of
 Rex
 Nettleford
 and
 the
 faithful
 contribution
of
those
who
shared
his
vision,
all
that
exists
as
the
NDTC
and
Jamaican
 Dance
community
would
certainly
not
have
evolved
the
way
it
did.

 JANUS’ VIEW At
the
inception
of
the
NDTC,
the
Founding
members
came
predominantly
from
the
 Ivy
 Baxter
 Creative
 Group
 and
 Eddy
 Thomas
 Dance
 Workshop
 with
 the
 addition
 of
 members
 from
 the
 Soohih
 Ballet
 School,
 The
 Faye
 Simpson
 School
 of
 Ballet,
 Betty
 and
Punky
Rowe,
Barbara
Fonseca
and
Gordon‐Ramsay.
 
 Although
the
dancers
were
trained
in
established
techniques
coming
from
America
 and
 Europe,
 the
 quest
 was
 to
 discover
 a
 style
 that
 would
 be
 distinctly
 Jamaican
 pertinent
 in
 their
 artistic
 journey.
 Hence,
 a
 great
 deal
 of
 experimentation
 on
 the
 various
 techniques
 were
 carried
 out,
 which
 involved
 fusing
 Caribbean
 Dance
 vocabulary
 from
 the
 islands’
 folkloric
 heritage
 and
 combining
 the
 literal
 with
 the
 abstract
 through
 careful
 distillation.
 The
 challenge
 was
 how
 to
 apply
 these
 techniques
in
terms
of
West
Indian
movement
patterns
from
a
folklore
that
abounds
 in
movements,
songs
and
oral
tradition.
 The
 choreographers
 had
 to
 therefore
 plunge
 deeply
 and
 adventurously
 into
 the
 creative
imagination
to
create
dances
from
universal
ideas
and
ancestral
knowledge.
 As
Rex
Nettleford
said:
 We have the advantage of being able to refer to the vocabulary of many different techniques with a view to develop in the style of our own. For whether we like it or not, we are an amalgam of different cultural strains which are yet to find the coherence and distinctiveness that can be expressed in any precise terms

The
Company
has
grown
with
each
new‐generation,
in
terms
of
technique
and
stage
 craft.
 There
 is
 a
 surge
 of
 new
 and
 emerging
 choreographers
 which
 augurs
 well
 for
 the
prospect
of
‘renewal
and
continuity’
in
the
Company’s
vision.
 JANUS OVERVIEW Founding
Members
 • The
 Founding
 generation
 provided
 the
 energy,
 dynamics,
 and
 vibrancy
 needed
to
showcase
Jamaica’s
rich
lore
to
Jamaica
and
the
rest
of
the
world
 while
 developing
 an
 administrative
 structure
 and
 system
 of
 training
 that
 would
sustain
the
Company
for
more
than
four
decades.
Their
work
brought
 international
 acclaim
 to
 the
 Company
 and
 international
 attention
 to
 the
 value
of
the
arts
in
nation
building.

 
 Bridge
Generation
 • This
 generation
 brought
 to
 the
 fore,
 highly
 gifted,
 talented
 and
 exceptional
 performers
 who
 sustained
 the
 excellence
 of
 the
 Company’s
 Founders.
 They
 continued
 to
 enrich
 the
 work
 of
 cultural
 agencies,
 dance
 education
 and
 performance
 in
 schools
 and
 community
 groups
 and
 engaged
 in
 active
 research
of
traditional
forms
for
preservation,
documentation
and
education.

 
 New
Generation
 • This
 generation
 continues
 to
 build
 and
 experiment
 with
 the
 fusion
 of
 the
 NDTC
Style
and
21st
century
technical
skills
while
addressing
contemporary
 issues
 facing
 their
 generation.
 Some
 will
 morph
 into
 choreographers,
 administrators
 and
 heads
 of
 departments
 who
 in
 time
 will
 govern
 the
 Company,
thus
ensuring
its
continuity.
 MUSIC IN THE ERA OF RENEWAL AND CONTINUITY Former
 Musical
 Director,
 Marjorie
 Whylie,
 has
 established
 herself
 as
 a
 dedicated
 musicologist
 with
 a
 natural
 feel
 for
 the
 dynamics
 of
 music
 for
 dance.
 She
 has

conducted
extensive
research
in
Caribbean
and
African
folk
music
and
rhythms
for
 works
 by
 choreographers
 and
 presentations
 by
 the
 Singers
 during
 Seasons.
 For
 decades
 she
 had
 worked
 as
 Leader
 of
 the
 Singers,
 arranger‐composer
 and
 accompanist.
 She
 conducted
 lectures
 for
 and
 in
 the
 Company
 and
 has
 worked
 constantly
with
instrumentalists
to
create
her
own
 style
 and
 a
 large
 body
 of
 original
 compositions.
 ‘Miss
Marge’
continues
to
be
in
great
demand
as
a
 Jazz
soloist
and
had
said
that
"The
musical
palette
 of
 the
 NDTC
 can
 be
 bold
 and
 colourful,
 pale
 and
 pastel,
 striking
 and
 awe‐inspiring"
 much
 of
 which
 she
 is
 credited
 for.
 The
 new
 Musical
 Director
 is
 Ewan
Simpson,
an
Attorney
at
Law
and
a
talented
 Choral
arranger
who
is
poised
to
make
his
mark
on
 and
through
the
Company.

 
 As
 we
 celebrate
 Jamaica
 and
 Company’s
 in
 our
 50th
 year
 we
 recognize
 that
 the
 thrust
 towards
 self‐definition
 is
 at
 work
 in
 nations
 across
 Diasporas.
 It
 is
 movement
 that
 exists
 in
 many
 pockets
 and
 bears
 witness
 to
 African
 retentions
 that
 are
 sensitively
 preserved,
 vividly
 performed
 and
 practiced.
 Stories
 are
 still
 handed
 down
 by
 Griots
 and
 the
 culture
 and
 rich
 history
 of
 the
 Maroons
has
not
eroded
with
time.
Folklorists
and
 scholars
 treasure
 the
 legacy
 of
 our
 ancestors
 and
 through
Queenie
of
St.
Thomas
and
the
Revivalists
 our
 precious
 heritage
 lives
 on.
 As
 Jamaicans,
 we
 are
proud
of
our
ancestry,
whether
that
ancestry
is
 African,
Asian,
European
or
a
mixing
of
or
blending
 of
these
races.
We
see
the
concave
chest
and
the
 isolation
 of
 the
 hips,
 supple
 spines
 and
 shoulders

shaking
 blended
 with
 Modern
 dance
 into
 a
 rich,
 fluid,
 lush,
 supple,
 organic,
 yet
 dynamic
 and
 elegant
 quality
 of
 movement
 that
 not
 only
 links
 us
 to
 our
 past
 but
 states
unapologetically
that
we
are
true
Jamaicans
and
we
are
proud
of
it!

BOUNDLESS
IMAGINATION
AND
CREATIVITY:
ACROSS
GENERATIONS

by
Judith
Wedderburn

This
is
the
vision
that
I
hold
of
the
National
Dance
Theatre
Company
(NDTC)
of
Jamaica,
under
new
 leadership,
as
it
approaches
the
next
50
years.

As
with
the
first
fifty
years,
there
will
be
challenges.

 Some
 will
 be
 new
 and
 different,
 others
 will
 simply
 be
 constant
 reminders
 of
 life
 itself,
 while
 demanding
 respect
 for
 our
 inherent
 humanity,
 transcending
 differences
 and
 leaving
 no
 space
 for
 disrespect.
The
newer
challenges
are
shaped
by
a
world
in
which
technology
has
created
a
seamless
 global
environment
that
demands
new
and
confident
expressions
of
self,
community
and
nation.
To
 be
effective
and
enduring,
these
expressions
require
a
deep
commitment
to
maintaining
the
highest
 standards
of
personal
and
cultural
integrity
that
boldly
affirms,
without
a
doubt
that
THIS
IS
WHO
WE
 ARE,
with
no
space
for
imitations.
 
 I
argue
that
perhaps
the
greatest
challenge
for
members
of
the
NDTC
going
forward,
will
be
to
use
 the
lived
experiences
of
their
generation
as
the
creative
force
that
drives
the
continuity
and
renewal,
 both
vital
to
the
Company’s
continued
success
in
the
world
of
dance‐theatre,
at
home
and
abroad.

 The
 lived
 experiences
 of
 each
 generation
 shape
 the
 way
 we
 think,
 the
 way
 we
 love,
 the
 way
 we
 create,
 the
 way
 we
 experiment,
 and
 the
 way
 we
 dance
 and
 sing.
 
 Continuity
 will
 honour
 Jamaica’s
 classical
dance
traditions
in
which
integrated
rituals
embody
the
totality
of
life
and
culture.

Renewal
 will,
 simultaneously,
 demonstrate
 the
 endless
 possibilities
 which
 co‐exist
 for
 re‐interpreting
 these
 traditions,
 and
 identifying
 different
 ones,
 through
 the
 lens
 of
 a
 new
 generation
 of
 choreographers,
 dancers
and
singers.

Through
these
lens,
boundless
imagination
and
creativity
will
be
released
from
 that
 nexus
 where
 Mind,
 Body
 and
 Spirit
 reside,
 to
 produce
 expressions
 of
 dance‐theatre
 as
 experienced
by
the
new
generation.

 
 The
new
leadership
as
well
as
the
young
choreographers,
dancers,
singers
and
creative
technicians
of
 the
 NDTC
 now
 have
 the
 signal
 honour
 of
 taking
 the
 Company
 into
 the
 next
 fifty
 years.
 
 Such
 an
 honour
does,
however,
carry
substantial
responsibility.

To
whom
is
the
NDTC
responsible,
we
might
 ask?
 
 First
 of
 all,
 to
 ourselves,
 to
 acknowledge
 the
 value
 of
 what
 now
 exists,
 both
 strengths
 and
 weaknesses,
 and
 see
 the
 many
 possibilities
 that
 exist
 for
 building
 on
 this
 foundation.
 Secondly,
 to
 like‐minded
 Spirits
 (present
 and
 past)
 who
 share
 our
 passion
 and
 commitment
 to
 the
 building
 of
 institutions,
like
the
NDTC,
as
an
integral
part
of
expression
of
self
and
national
development.

The
 experiences
 of
 a
 new
 generation
 of
 dancers
 and
 singers
 expressed
 through
 disciplined,
 well‐honed
 minds
and
bodies,
will
determine
the
nature
of
the
space
that
the
NDTC
will
occupy
on
the
cultural
 landscape,
nationally
and
globally.

It
is
through
determination,
discipline
and
courage,
commitment

to
the
cultural
integrity
and
excellence
of
their
own
craft
that
members
of
the
NDTC
will
demonstrate
 to
 themselves
 and
 to
 their
 audiences,
 that
 yes,
 boundless
 imagination
 and
 creativity
 continues
 –
 across
generations.


 
 …..on
the
tall
girl
side
of
the
Bridge
Generation!

THEATRE
ECONOMICS
 A
Comment
 (taken from NDTC Newsletter VI – 1969)

To those of us who like to think that the grass is greener on the other side, that Government is wicked in not dispensing grants and subsidies to make theatre artists “live”, and that Jamaican society is not aware of her luck in having in her shores inspired children of the Almighty, here is something to think about: “........economic pressures which beset the arts are not temporary – they are chronic. If things are left to themselves deficits are likely to grow. Above all, this view implies that any group which undertakes to support the arts can expect no respite. The demands upon its resources will increase, now and for the foreseeable future. [Established groups with well­ run fund­raising machinery] may find survival in the future no more difficult than it is today. But for the smaller more experimental and less well­organised groups, and the organisations which are not operated on a non­profit basis and so do not live by philanthropy, a state of financial crisis may just be perennial – it may well grow progressively serious”. The quotation above is from the 20th Century Fund study of the performing arts in the United States. The book is called THE PERFORMING ARTS: THE ECONOMIC DILEMMA. It is a depth study of the problems “common to theatre, opera, music and dance” in Uncle Sam’s country. ALL JAMAICAN ARTISTS SHOULD READ IT – AND TAKE HEART. The authors – Wm. J. Baumol and Wm. G. Bowen – saw no rosy future for the American commercial professional theatre. They also prick the bubble of gas about the so‐called “cultural boom” of the sixties in the American theatre. As for dancers, they are numbered among the poorest of the poor and many in America may indeed be devising less strenuous ways of remaining poor. The authors concede that the difference between professional theatre and amateur is a very hazy one. They sometimes refer the term “professional” to all work showing high standards of competence. They also use the term to cover artists who are either paid or unpaid. But of the future they had this to say on p. 407 of the work: “Whatever happens, the long­run outlook for the commercial theatre as it is currently organised seems grim. But this future world, which is potentially so inhospitable to at least some types of professional performance, may be expected to provide a climate in which

by
Rex
Nettleford

amateur activity can flourish ........In fact in some areas of activity amateur operation may be all that is financially feasible ­ the recent growth of the “off off­Broadway theatre”, in which actors, director and author may all be unpaid, can perhaps be ascribed in part to the financial problems of off­Broadway” Financial feasibility is the key to understanding the ‘amateur situation’ in Jamaica. IT IS LIKELY TO REMAIN THAT WAY FOR THE FORESEEABLE FUTURE. There is a body of opinion that sees organisations like NDTC and LTM (and of late the National Theatre Trust) being state‐owned and state‐supported. The fact is that groups like NDTC and LTM are in competition with organisations such as hospitals, schools, university and voluntary social welfare agencies. They all Share a similar technology – are eleesemonary and will any day gain higher priority on the conscience of political decision‐takers or firms who wish to give something. Nothing short of funds from a Foundation (and these tend to go to University and scientific research rather than to the arts) or a generous benefaction from some nut of a balletomane or theatre fanatic will give the strong foundations that the professional theatre needs. (New York City Ballet was lucky to have Lincoln Kirstein – a millionaire in his own right; the Harkness Ballet speaks for itself – it is Mrs. Harkness, the heiress, who “owns” and runs it; Martha Graham was lucky to have a de Rotschild behind her – her productions cost a pretty penny; and companies like the Danish, British and Russian ones have substantial grants from their governments as well as guaranteed gate receipts – the result of years of careful nurturing and conditioning of national audiences). There is justification for using funds from the national treasury. The authors of the book already cited has this to say: “If one agrees that the performing arts confer general benefits on the community as a whole, in the manner described above or in other ways, he must conclude that in part, and perhaps in large part, the arts are public goods whose benefits demonstrably exceed the receipts one can hope to collect at the box office. It is a long­standing tenet of economics that if the wishes and interests of the public are to be followed in the allocation of the

nation’s resources, this is the ultimate ground on which governmental expenditures must find their justification” I doubt that the Jamaican Cabinet will feel inclined to the view that total support of the theatre arts is a sound tenet of economics when unemployment, low agricultural yield, space for schoolchildren, overpopulation and West Kingston are in the offing. It would be interesting to see what a similar study of Jamaican theatre economics would throw up. The scale of operation is small enough to make the exercise possible. What interests this writer is how artists, as artists, manage to live in the Jamaican society. Most dancers do something else and when they work exclusively at dance it is as teachers. The classical ballet teachers who are established are apparently “comfortable” with their arrangements. Creative dance teachers are building up their areas of work. 80 students at £5 per term can bring the creative dance teacher £12OO per year (of three terms). This is more than a graduate teacher gets in some reputable schools. Further freelance work can add a few more pounds. The important thing is that such a dance‐teacher must have some discipline in budgeting to make his work worthwhile. So must the painters who will sell their paintings sporadically throughout a year. The Art School Diploma is accepted as a basic requirement for teaching and so many graduate artists are teaching in schools at a regular salary and still painting for themselves. Many have drifted into commercial art which is one of the most lucrative areas of employment in Jamaica today. The Art School may well remember this since there is seemingly still need for a number of expatriate graphic artists in the country. Musicians can hardly complain: if they are not swallowed up by commercial bands for fulltime they are on a part‐time basis while they hold down other regular jobs ‐ sometimes as regular musicians too. Musicians do not play for free when they play with amateur productions in the way dancers, singers and actors are expected to. And they seem strong enough to get away with not putting in adequate rehearsals (which have to be paid for) and with even turning up late for performances. Another good outlet for them is the developing recording business. Some pop singers have seemingly benefited from this development. It is good that an artiste like Prince Buster can make a living here though like all sensible artistes he has invested in business. Artistes are likely to be “laid off” at any old time. Actors and producers, like dancers and choreographers are among the least happy. If actors/producers teach as some do they get a steady income (they sometimes hating teaching — but this is what Jamaica has to offer at this time). Pantomime payments are handsome enough in the upper echelons of stardom but it scales down inevitably to little more than out‐of‐pocket expenses if one takes into account the period of rehearsal and the long run – some five months altogether. Topical revues such as “Eight O’Clock......” and “Rahtid” reportedly — pay handsome fees to participants but this may be only part reality and part rumour. The productions always advertise themselves as being in aid of

some big charity. Jamaica Playhouse has aspirations to paying but it is understood that they have never been able to fulfil these high hopes. They were even robbed of some box office income one night during their last production. National Theatre Trust labels itself professionally‐inclined but its participants do not get paid as far as this writer can ascertain. In fact there was a public “declaration” in a newspaper column called “Merry Go Round” that it had lost money on its most recent production. Theatre 77 is a co‐operative effort that ploughs back its meagre “profits” into building‐up its effort. Both leading spirits behind it are drama teachers — elsewhere. Architects may not be regarded as artists in the normal sense — I think they are, and more. They are madly functional and are apparently not doing badly, it is said: some are even considered rich by Jamaican standards and a few are genuine patrons of the “lesser” arts. A few will probably say that their seven years of expensive study in universities abroad should not be compared with the few years dancers spend hopping around or actors spend emoting: but that would be begging the question. An excellent architect is certainly comparable to an excellent dancer, choreographer or drama producer – assuming one is interested in excellence. The society just doesn’t offer equal opportunities for these different excellences. Critics are not necessarily artists though here in Jamaica quite a few of them may be said to qualify — as actors, dancers, playwrights, play directors etc. They all do something other than criticising but they do make “a little something” off many an “amateur” production in the theatre as well as on canvas, in clay etc. Newspaper editors and radio station managers are to be congratulated for giving the arts so much attention and providing some pittance for critics. It is often more than people who create get out of their works. Gate receipts cannot always be relied upon — it is safer to say they can never be relied upon. Yet some theatre enthusiasts still depend on them hopefully. The programme with its many ads helps to foot the bill. To this extent the commercial firms of Kingston support the arts much more than many artists are willing to admit. Even with the pantomime the programme brochure is an important money‐maker to help defray production costs. NDTC gate receipts of some £2000 in a season are just under what a Season costs to put on ‐ each dance is a complete production in itself. The programme brochure, thanks to the hard work of certain members of the Committee, helps to make up losses. In some years, firms such as Desnoes and Geddes, Rothman’s Jamaica Ltd. and Alcan Jamaica Ltd have “sponsored” the Seasons. In other seasons the NDTC has had to start from scratch. Outside of inescapable expenses in connection with preparation of the production (costumes – in all its phases —, sets, lighting equipment, labour) and the musicians there are no monies paid out for talent fees (dancers etc.). NDTC has ended up with a great many assets but little money. And the little that is “made” is made because of the philanthropy of free service. This philanthropy is a necessity in the present state if creative work is to be carried on in the theatre. Even with the pantomime there has to be some charity – the proceeds still go to pay off the enormous debt on the Little Theatre which, despite its faults, “has served many groups very well. Those who talk about the poor masses from West Kingston not being drawn into “St.

Andrew Theatre” should think about the implications. Can they afford the time needed for the work and can they give that time “free”? With the free service philanthropy being given by actors, dancers, singers designers, creative technicians and a very few musicians, the question is whether they will allow any one of their numbers to make money off them without themselves all sharing in the spoils. Many a group has suffered from this dilemma. The all‐should‐be‐paid or none‐at‐all formula is never absolutely applied but it can never be absolutely ignored, else operations will just NOT run smoothly. Even when everyone is paid, there is bound to be argument about differentials as one would find in any work situation where there is a good trade union instinct. In an “amateur situation” this is particularly explosive. We know that public funds are not readily available and any individual who wishes government funds without establishing their effort as a fully co‐operative enterprise working for the general good (as well as for some personal satisfaction) is barking up the wrong tree. Even well‐established community efforts like the LTM is not getting public funds for the asking; individuals who as artist go on to make people feel that they feel that the society owes them a living and ought to do something about it sometimes do the greatest disservice to the arts. Many writers (and poets) who are in a class by themselves seem attuned to doing something else once they give up the pleasures of exile and return home. All our artists will have to remember that society also owes others a living – carpenters, plumbers, teachers, street cleaners, doctors. Everybody has somehow got to get down to the business of working, to make that living, however! The future of theatre economics is tied up with the future generation. The audience has to be educated around to the habit of supporting the theatre and the arts in general in the way that our present generation supports Julie Andrews, Richard Burton and Miss Taylor and that 007 agent at the cinema box office. NDTC itself has always been pledged to the responsibility of lecture demonstrations to the young. It did several in the past and must resume them now, National Theatre Trust and Theatre 77 must do the same with drama and not expect monetary returns. Training programmes at low cost must be available to the young. Classical ballet attracts many of the young but too many of these children are at the mercy of ballet mommas who are eager to prepare their daughters for the social whirl (and better still marriage) instead of being artistically creative. Many people do not believe in taking drama lessons: efforts by the UWI Extra Mural Department have had varied success. Dance and drama in education is also something to work for. There lies our potential audience of tomorrow. As for immediate needs artists will have to be prepared to keep trying at the National Lottery. Some rich patron is another possibility but potential donors of that vintage are concentrated in Montego Bay and are not always easy to get at. The ideal is for the Cabinet to attract into it some “mad artist” type who will push through a cabinet submission to make civil servants out of

accomplished performing artists. But can you see any Government in this country giving priority to the performing arts when constituents are almost on the breadline, – and in need of houses and education? It looks as though artists will have to continue depending on the generosity of private donors. But Government does not even help in the matter. The fear of cancer is greater than the love of some creative expression in an evening in the theatre: tax exemptions are likely to go to cancer donors rather than to theatre patrons. Where, where, WHERE, do we go from here? Can some reader write in and tell me?

Di Werks’:

 Arranging
for
the
NDTC
Singers
 Ewan
Simpson


 Acting
Musical
Director,
NDTC

When
the
invitation
to
perform
as
a
drummer/percussionist
with
the
NDTC
came
 from
the
late
Professor
Nettleford’s
lips
to
my
ears,
it
was
accompanied
by
his
 signature
artistic
non‐specificity
regarding
the
scope,
duration,
rationale
or
‘method
 to
the
madness’
of
my
participation.
It
is
no
wonder,
that
in
his
own
inimitable
style
 and
supported
by
no
less
a
mortal
than
his
accomplice
of
a
Musical
Director,
Marjorie
 Whylie,
he
successfully
managed
to
lead
me
down
an
unspecified
path
of
 involvement
with
the
Company
as
not
only
the
newest
katta
stick
player
in
the
 seminal
Kumina,
or
the
most
distracting
benta
player
in
Gherreh,
but
as
a
standby
 (read
surrogate)
stage
manager,
sound
or
lighting
director
and
in
some
instances,
 (very
few
instances)
a
singer.

The
 fact
 that
 I
 very
 rarely
 participated
 as
 a
 singer
 with
 the
 company
 (at
 least
 officially)
came
as
a
bit
of
a
surprise
considering
the
fact
that
I,
at
least
in
those
early
 years,
maintained
concurrent
membership
in
the
NDTC
and
the
UWI
Singers,
a
group
 within
 which
 I
 was
 not
 only
 a
 vocalist
 and
 drummer/percussionist,
 but
 also
 a
 principal
 musical
 arranger.
 
 I
 must
 confess
 however
 that
 I
 was
 constantly
 provided
 with
 the
 unsolicited
 assurance
 that
 I
 was
 not
 dancing,
 singing,
 and
 arranging
 only
 because
it
wasn’t
possible
for
me
to
do
‘everything
at
the
same
time’.
 
 Despite
those
assurances,
my
increasing
appreciation
of
the
vision
Professor
had
for
 the
artistic
direction
in
which
the
Company
should
go,
coupled
with
my
own
internal
 musical
 flame
 resulted
 in
 many
 of
 the
 musical
 works
 performed
 by
 the
 Company
 being
worked
and
re‐
worked
in
my
head.
Of
course,
on
the
occasions
that
I
had
the
 opportunity,
 I
 would
 also
 participate
 in
 my
 own
 re‐wording
 and
 reinterpretation
 of
 works
 for
 the
 private
 consumption
 of
 my
 colleague
 members
 of
 the
 Company
 and
 close
 friends.
 Though
 not
 always
 fit
 for
 public
 consumption,
 they
 created
 an
 outlet
 for
 my
 creative
 energies,
 a
 platform
 for
 my
 constantly
 reconstructive
 musical
 and
 lyrical
mind.
 
 Fifteen
years
on,
I
made
an
offer
to
the
Musical
and
Artistic
Directors
that
in
the
year
 of
the
NDTC’s
50th,
which
happened
to
be
Jamaica’s
50th
as
well,
I
felt
it
opportune,
 if
 not
 appropriate
 for
 me
 to
 arrange
 a
 suite
 of
 songs
 for
 the
 NDTC
 Singers.
 A
 dissenting
 voice
 was
 not
 heard
 between
 (or
 is
 it
 among?)
 them
 and
 so
 it
 began…..

What
started
out
as
a
desire
to
arrange
a
suite
of
festival
songs,
became
a
suite
of
modern
 songs
celebrating
life
as
a
Jamaican.
Hence
‘Di Werks’,
which
could
be
read
as
‘di
running’s,
 or
‘di
hustle’,
or
simply
‘so
di
ting
se’.

 
 It
 was
 however
 not
 an
 easy
 task
 of
 mutual
 adaptation
 to
 two,
 or
 might
 I
 say
 several,
 different
learning
and
teaching
styles.
The
singers
were
accustomed
to
the
pre‐established,
 scored
 arrangements
 of
 Ms.
 Whylie
 and
 had
 to
 adapt
 to
 my
 evolutionary
 (dare
 I
 say
 revolutionary)
 style
 of
 pulling
 it
 together
 on
 the
 voices
 in
 rehearsal.
 Needless
 to
 say,
 the
 resistance
 was
 often
 times
 impulsive
 and
 even
 involuntary,
 but
 I
 believe
 I
 managed
 to
 get
 even
 the
 most
 reluctant
 to
 meet
 me
 half
 way.
 The
 combination
 
 of
 Phones,
 Dictaphones,
 iPhones,
 iPods
 and
 iPads
 as
 well
 as
 pieces
 of
 iPaper
 were
 all
 brought
 into
 play
 with
 varying
 levels
 of
 effectiveness,
 oftentimes
 becoming
 more
 of
 a
 distraction
 than
 a
 learning
 aid.
I
eventually
gave
in
to
Ms.
Whylie’s
supplication
to
put
at
least
some
of
 it
down
on
paper,
and
by
the
time
the
arrangement
was
fully
taught,
it
was
 all
scored,
including
the
trap‐set
parts
that
are
yet
to
be
performed
publicly.
 The
 master
 orchestral
 score
 presented
 to
 Ms.
 Whylie,
 was
 the
 result
 of
 several
consultations
with
my
great
friend
and
colleague
Ian
Hurd,
who
has
 continued
 to
 share
 with
 me
 a
 vision
 of
 notating
 arrangements
 of
 songs
 done
 by
 us
 and
 about
 us
 Jamaicans.
 The
 struggle
 continues…….and
 there
 were
several
gruelling
hours
of
doing
it
and
re‐doing
it,
working
it
and
re‐ working
 it.
 There
 were
 unorthodox
 moments
 when
 the
 contraltos
 sang
 above
the
sopranos
or
the
tenors
sang
lower
than
the
basses…though
not
 always
intentionally.

 
 In
 the
 end
 my
 former
 student
 now
 colleague
 member
 of
 the
 Company,
 Kevin
Moore,
did
a
sensitive
job
of
staging
 Di Werks,
in
his
own
style,
but
 influenced
 by
 the
 sensibility
 prescribed
 by
 the
 late
 Professor.
 The
 Prof
 would
be
proud,
not
only
of
the
manifestation
of
Di Werks,
but
of
the
fact
 that
I
have
now
accepted
the
offer
made
by
his
successor,
Mr.
Moncrieffe,

 to
 take
 up
 the
 mantle
 left
 by
 our
 beloved
 Ms.
 Whylie
 on
 her
 recent
 retirement.

I
guess
the
conspiracy
was
fully
in
train
when
she
wrote
me
a
most
flattering
email
during
 my
summer
visit
to
the
UK,
having
missed
the
debut
performance
of
the
arrangement
due
 to
other
national
commitments.
The
salutation
read
thus:

 
 Dear Arranger par excellence! Di Werks worked, and we WORKED IT!......
 
 I
now
have
no
choice
but
to
carry
on
from
Di Werks
and
make
it
Work!

Third
NDTC
Member
as
Director
of
School
of
 Dance
 Kerry‐Ann
Henry
–
Balletmistress,
NDTC

Director
(Acting)
School
of
Dance

 Edna
Manley
College
of
the
Visual
and
Performing
Arts

Jamaica as a Dance Destination There
can
be
no
doubt
in
anyone’s
mind
that
Jamaica
is
a
dance
force
to
be
reckoned
with.
 We
know
to
not
only
‘dance
ah
yaad’
but
we
know
how
to
‘dance
abroad’,
as
seen
in
the
 plethora
 of
 local
 companies
 who
 tour
 the
 world
 and
 in
 our
 home
 grown
 talents
 who
 like
 myself

have
worked
in
international
companies
and
productions
of
world
acclaim.

 
 The
 genesis
 of
 Dance
 in
 Jamaica
 can
 be
 traced
 from
 the
 very
 first
 inhabitants
 of
 this
 wonderful
island.
Taken
even
further
along
the
continuum
of
our
island’s
dance
heritage
we
 have
 deep
 rooted
 African
 cultural
 retentions
 in
 our
 traditional
 folk
 and
 popular
 dance
 cultures
as
seen
in
the
undulations
of
the
body;
the
significant
emphasis
on
improvisation
 and;
 
 an
 undeniable
 ‘aesthetic
 of
 the
 cool’1.
 The
 undeniable
 sense
 of
 occasion
 and
 community
are
clearly
identified
and
practiced.
 
 Jamaica
is
known
for
its
popular
dance
culture
and
attracts
international
attention
as
seen
in
 the
constant
flow
of
Japanese
and
other
nationalities
flooding
our
island
to
participate
first‐ hand
 in
 learning
 and
 performing
 popular
 dancehall
 steps.
 The
 infamous
 dancehall
 queen
 competition
has
seen
its
fair
attraction
of
international
entrants.
But
this
is
not
a
new
thing.
 Dance,
as
mentioned
previously,
 is
deeply
 rooted
 in
 our
 culture
 and
 history.
 The
 very
 rich
 culture
and
heritage
of
dance
in
Jamaica,
and
its
inclusion
in
so
many
distinct
areas
in
our
 



























































 1

Such principles are associated with characteristics of African/Traditional Dance, Suzanna Sloat (ed.), Caribbean Dance from Abakuá to Zouk (2002),Gainesville: University Press of Florida

social,
educational,
political,
religious
and
economic
spheres,
directs
a
path
for
Jamaica
as
a
 Dance
destination.


 
 Implications for Educational, Professional, and Performing Spaces in Jamaica Then
 50
years
ago
the
National
Dance
Theatre
Company
(NDTC)
was
formed.
One
of
the
missions
 of
the
company
was
to
develop
dance
in
Jamaica
from
a
national
and
cultural
perspective.
If
 we
take
it
even
further
to
look
at
the
ethos
of
the
late
Professor
Rex
Nettleford,
co‐founder
 of
 the
 company,
 we
 see
 a
 trend
 towards
 investigations
 and
 celebrations
 of
 identity;
 Caribbean
identity
and
one’s
(individual
or
entity)
place
in
the
Diaspora.
From
this
vision
and
 structure
birthed
three
individuals
who
later
became
founders
of
the
School
of
Dance.

 
 In
the
1970s
Sheila
Barnett,
Barbara
Requa
and
Bert
Rose
opened
a
school
offering
classes
 for
 company
 dancers,
 and
 training
 for:
 choreographers,
 instructors,
 and
 dance
 educators.
 Later,
the
three
formed
the
Jamaica
School
of
Dance,
birthed
out
of
the
post‐independent
 1970s
political
movement
and
strong
government
policies
that
focused
on
cultural
change
 and
national
unity.
 

 The
1975
philosophy
of
the
School
of
Dance
states
that:
 
 
 
 The dance, through gesture, movement, content and with specific relation to history and social patterns, is not only a powerful means of expression and communication, but also an agent and product of the cultural heritage.2
 
 In
1976,
the
Cultural
Training
Centre
(CTC)
was
established
by
the
government
of
Jamaica
as
 a
 national
 centre
 for
 the
 arts.
 The
 School
 of
 Dance
 combined
 with
 the
 Schools
 of
 Music,
 Drama,
and
Visual
Arts.
The
Jamaica
School
of
Dance
was
incorporated
with
Sheila
Barnett
 as
the
director;
Barbara
Requa
as
the
administrator
and
head
of
the
junior
division,
and
Bert
 Rose
as
the
senior
instructor
responsible
for
the
performance
elements
of
the
programme.
 Barbara
Requa
would
later
hold
positions
of
Director
of
the
School
of
Dance
(later)
Dean
of
 the
Edna
Manley
College
of
the
Visual
and
Performing
Arts,
and
Acting
Principal
of
te
Edna
 Manley
College
of
the
Visual
and
Performing
Arts.
 



























































 2

EMC School of Dance archive

In
1995
the
CTC
was
transferred
to
the
Ministry
of
Education
and
Culture
and
renamed
Edna
 Manley
College
of
the
Visual
and
Performing
Arts.

The
College
developed
a
unified
mission:

 
 To enrich the general aesthetic sensibilities of the Caribbean region through the delivery of quality visual and performing arts education that promotes the development of artists, teachers, research, and the use of appropriate technology.
 
 The
 distinction
 between
 the
 two
 missions
 is
 the
 clear
 definition
 of
 cultural
 heritage
 and
 focus,
not
so
readily
apparent
in
the
new
mission.
This
created
scope
and
room
for
debate
 on
 intention,
 focus,
 programme
 needs,
 reviews
 and
 philosophies.
 There
 were
 changing
 opinions
and
requests
for
more
ballet
and
modern
classes
and
less
traditional
folk
classes.
 The
focus
on
ballet
and
modern
technique
increased
as
persons
started
to
look
to
working
 and
performing
outside
of
Jamaica.
In
the
same
breath
the
hiring
of
trained
dance
educators
 was
not
at
the
desired
levels
as
schools
(primary
and
secondary)
were
not
sold
on
the
need
 for
 having
 trained
 personnel
 in
 this
 field
 and
 often
 sought
 to
 hire
 less
 trained
 and
 experienced
but
willing/interested
persons
and/or
other
teachers
in
the
school.

The
focus
 on
 dance
 in
 education
 was
 on
 preparing
 students
 for
 the
 Jamaica
 Cultural
 Development
 Commission’s
Festival
of
Performing
Arts
Dance
Competition.

This
continues
today
but
to
a
 lesser
extent.
 
 Now
 This
continued
relationship
with
the
NDTC
and
the
Edna
Manley
College
continued
through
 lecturers,
 performances,
 graduates,
 and
 Directors
 of
 the
 School.
 There
 have
 been
 reviews
 and
 reorganization
 of
 access
 to
 and
 content
 of
 programs
 in
 a
 response
 to
 cultural
 and
 economic
needs
and
in
driving
change
and
development
in
the
Dance
sector.
 
 The
 School
 of
 Dance,
 along
 with
 other
 departments
 in
 the
 Edna
 Manley
 College,
 have
 revamped
 their
 programmes
 and
 have
 established
 new
 ones
 to
 not
 only
 respond
 to
 this
 change
 but
 to
 drive
 the
 much
 needed
 development
 in
 the
 human
 capacity
 in
 the
 educational,
 professional
 and
 performing
 spaces
 considering
 the
 levels
 and
 standards
 of
 demands.
 There
 has
 indeed
 been
 a
 continued
 desire
 for
 more
 trained
 persons
 in
 the
 education
 as
 well
 as
 performance
 sectors
 as
 seen
 in
 dance
 groups/programmes
 located

within
schools
and
within
the
hotel
entertainment
industry.
There
is
a
proliferation
of
dance
 studios
 and
 classes.
 More
 and
 more
 persons
 are
 interested
 in
 where
 their
 teachers
 have
 trained
and/or
perform(ed).

 
 The
 School
 of
 Dance,
 in
 collaboration
 with
 the
 Schools
 of
 Drama
 and
 Music,
 recently
 developed
its
own
Bachelor
of
Fine
Arts
(BFA)
Degree
in
Performance
and
Choreography
(4
 years)
 and
 an
 Associate
 of
 Arts
 (AA)
 Degree
 (2years).
 In
 a
 submission
 to
 the
 University
 Council
of
Jamaica,
the
School
of
Dance
described
these
developments
as
being:

 
 fuelled by the school’s mandate to continually provide quality training in all aspects of dance theatre and production (performance, choreography and production), as well as the need to provide young people in Jamaica and the Caribbean region with higher and more globally recognized qualifications. Career Pathways Graduates
are
equipped
to
pursue
careers
as:
professional
dancers
and
choreographers
in
a
 variety
of
organizations
and
sectors
such
as:
the
hotel
industry,
cruise
ships,
Musicals,
local
 and
 international
 professional
 dance
 companies;
 as
 teachers;
 community
 dance
 practitioners;
dance
administrators;
dance
advocates;
and
production
managers.


 
 Garth
Fagan,
NDTC
alumnus
and
founder
and
artistic
director
of
Garth
Fagan
Dance
(based
 in
Rochester,
New
York),
flies
the
flagship
of
the
Jamaican
Dancer
as
the
choreographer
for
 the
 world
 acclaimed
 musical
 Disney’s
 ‘The
 Lion
 King’.
 Mr.
 Fagan,
 as
 a
 part
 of
 his
 contract
 discussed
 auditioning
 in
 Jamaica
 for
 performers
 for
 the
 Musical.
 Directors
 of
 the
 musical
 have
auditioned
in
and
continue
to
return
to
Jamaica
to
recruit
dancers,
singers
and
actors.
 Kerry‐Ann
 Henry,
 Deborah
 Powell‐Valentino,
 David
 Blake,
 Jermaine
 Rowe,
 Candice
 Morris
 and
Tovah‐Marie
Bembridge
were
recruited
in
local
auditions.
Other
Jamaicans
dancers
who
 performed
in
the
musical
include:
Dwayne
Barnaby,
Marcus
James,
Marc
Hall
and
Shelley‐ Ann
Maxwell.
All
attended
classes
at
the
School
of
Dance.
 
 Within
the
popular
dance
scene
we
see
local
talents
being
recruited
to
host
workshops
and
 classes
in
dancehall
in
countries
as
exotic
and
far
as
Russia.
Orville
Hall,
Xpressionz
dancers,
 Kimberly
‘Weezy’
Hyman
(past‐student
at
the
School
of
Dance)
and
Latonya
Styles
are
some
 such
talents,
to
name
a
few.

Future
 Many
 traditional
 folk
 forms
 are
 based
 on
 the
 concept
 and
 performance
 of/in
 circles.
 This
 also
is
a
natural
formation
and
organization
within
popular
dance
spaces
in
Jamaica.
As
such
 it
is
my
belief
that
we
have
come
full
circle
and
that
the
dancer
has
to
once
again
increase
 their
focus
and
identity
as
a
cultural
agent.
There
is
also
an
increased
focus
on
culture
within
 ‘Brand
Jamaica’.
This
has
manifested
within
the
School
of
Dance
as
seen
in
the
demand
for
 the
BFA
in
Folk
and
Traditional
Studies
programme.

 
 Increasing
focus
on
the
Creative
Industry
sector,
and
its
economic
scope
and
relationship
to
 other
sectors,
indeed
offer
opportunities
and
placement
of
Jamaica
as
not
only
a
vacation
 destination
 but
 a
 Dance
 destination;
 not
 just
 cultural
 or
 music
 but
 a
 Dance
 destination
 in
 that
Dance
is
a
powerful
enough
vehicle
to
attract
and
to
stand
on
its
own,
in
its
own
right.
 Jamaica
can
also
be
positioned
as
a
Dance
destination
for
talent
scouts
who
appreciate
and
 in
 many
 instances,
 demand
 the
 unique
 blend
 and
 prowess
 of
 the
 Jamaican
 dancer.
 The
 latter
is
evident
in
the
continued
appreciation
of
local
auditions
to
recruit
performers
for
the
 world
acclaimed
musical
Disney’s
‘The
Lion
King’
and
in
the
recruiting
of
local
dancers
with
 the
 popular
 dance
 arena
 in
 leading
 classes
 and
 workshops
 abroad
 in
 dancehall
 steps,
 choreography
and
history.

These
increasing
opportunities
require
increased
access,
strong
 standards,
 high‐level
 classes,
 wide
 knowledge
 base,
 innovation,
 marketing
 and
 entrepreneurship.
 The
 latter
 implying
 increased
 focus
 on
 arts
 management,
 as
 individuals
 and
 as
 organizations,
 and
 the
 development
 policies
 and
 professional
 bodies
 to
 drive
 and
 facilitate
this
much
needed
support
and
development.
 
 The
climate
is
ripe
for
advanced
training
and
professional
studies,
particularly
in
indigenous
 genres
 that
 have
 a
 significant
 sense
 of
 identity,
 unique
 branding
 and
 cultural
 presence.
 There
must
be
increased
value
placed
on
cultural
identity
and
folk
forms
and
an
increased
 fervor
of
the
artist
as
a
cultural
agent.
African
heritage
and
cosmology
believe
in
the
unity
 and
connectedness
of
all
elements
and
that
there
is
no
separation.
As
such,
the
Caribbean

dancer
 must
 embrace
 versatility,
 connectedness
 and
 innovation
 through
 unique
 blending
 and
 must
 also
 promote
 and
 participate
 in
 increasing
 technical
 skills:
 more
 diverse
 classes
 with
 competence
 in
 all
 dance
 genres
 (ballet,
 modern,
 jazz,
 traditional
 folk
 forms,
 popular
 dances);
 performing
 at
 a
 higher
 level;
 being
 highly
 competitive
 internationally
 while
 yet
 being
able
to
embrace
and
be
skilled
at
our
folk
and
popular
dance
forms.
 
 Jamaica
 as
 a
 Dance
 Destination
 is
 an
 effort
 that
 shows
 much
 potential
 but
 must
 be
 a
 National
 effort.
 The
 School
 of
 Dance
 can
 and
 will
 be
 a
 leader
 in
 this
 movement.
 The
 development
 of
 the
 BFA
 in
 Traditional
 Folk
 studies
 at
 the
 School
 of
 Dance
 earmarked
 for
 September
 2014,
 exemplifies
 such
 responses.
 However,
 there
 are
 additional
 needs
 that
 require
 partnerships
 at
 many
 levels.
 There
 needs
 to
 be
 increased
 sensitivity
 and
 understanding
 of
 the
 dancer
 in
 the
 profession
 of
 dance
 from
 both
 the
 dancer
 and
 the
 employer.
 Professional
 dance
 bodies
 and
 associations
 are
 also
 needed.
 In
 the
 latter
 there
 have
been
initiatives,
as
seen
most
recently
in
a
resurgence
of
efforts
in
the
formation
of
the
 Associates
 of
 Dance
 Affiliates
 of
 Jamaica
 (ADAJ),
 which
 is
 planning
 an
 official
 launch
 and
 publication
of
its
mandate
early
next
year.
There
is
the
need
for
government,
corporate
and
 societal
support
and
development.
For
example,
instituting
education
policies
and
reforms
 whereby
 only
 trained
 dance
 educators
 are
 employed
 within
 schools.
 The
 Jamaican
 corporate
and
social
sectors
must
embrace,
accept
and
pay
for
dance
as
a
commodity
and
 not
just
a
‘for
leisure’
activity.
Increased
accessibility
to
and
a
plethora
and
proliferation
of
 professional
 classes,
 performances,
 and
 education
 and
 pedagogy
 workshops
 are
 needed.
 And
crucially,
investment
in
research
and
innovation
in
developing
dance
career
paths
need
 to
 be
 explored.
 Non‐traditional
 areas
 such
 as
 dance
 journalism
 and
 dance
 therapy
 can
 be
 promoted.
 Given
 the
 increasing
 technological
 age,
 there
 are
 opportunities
 for
 individuals
 and
 artists
 to
 not
 only
 increase
 their
 marketing
 potential
 but
 also
 to
 earn
 without
 even
 leaving
their
homes.
Jamaica
as
a
Dance
Destination
is
real
and
should
be
promoted.

FROM
THE
ARCHIVES
 “Revisiting the Past, Forging the Future” Compiled
by
Mark
Phinn
 Archivist,
NDTC
 
 In an attempt to fully understand the underlined philosophy of the National Dance Theatre Company (NDTC) of Jamaica, From
the
Archives, will highlight past articles that investigate and or track the beginnings and intended future of the Company. The following article – “Jamaican Dance Theatre” – taken from dance and dancers shed light on the Company’s humble development and sustained growth and in parts its repertoire, artistic directors, members and defined style et al….

Jamaican Dance Theatre

A Dance Theatre for Island in the Sun

Jamaican
Dance
Theatre
 A Dance Theatre for Island in the Sun Rex
Nettleford
–
former
Rhodes
Scholar
at
Oxford
and
now
 co‐director
of
Jamaica’s
National
Dance
Theatre,
reports
 on
the
progress
being
made
on
the
island
 
 ‘The
 hottest
 baby
 to
 hold,’
 that
 was
 how
 the
 sunlit
 island
 of
Jamaica
was
considered
in
the
British
Empire;
now
it
is
 one
 of
 newest
 independent
 members
 of
 the
 Commonwealth.
 Not
 much
 there
 to
 do
 with
 theatre
 dancing
you
might
think.
For
too
long
the
island
has
been
 taught
 of
 as
 a
 rum‐soaked
 tourist
 resort
 or
 the
 home
 of
 sprinters
 (Wint
 and
 McKenley
 of
 Helsinki
 days)
 or
 cricketers
(Headley,
Constantine,
Valentine
and
Worrell
of
 Lords
test
cricket).

 
 It
 is
 perhaps
 significant
 that
 both
 in
 the
 fields
 of
 athletics
 and
 cricket
 the
 Jamaican
 exponents
 have
 often
 been
 praised
 for
 their
 litheness
 of
 limb
 and
 for
 the
 grace
 with
 which
 they
 use
 their
 bodies
 in
 obedience
 to
 the
 inescapable
 principles
 of
 coordination
 more
 readily
 associated
 with
 the
 dancer.
 More
 recently,
 when
 the
 Martha
Graham
Company
appeared
in
London,
it
was
seen
 that
 this
 dancer‐co‐or‐dination
 belongs
 to,
 and
 is
 actually
 cultivated
by,
Jamaicans,
who
are
not
athletes
or
cricketers
 for
one
of
Graham’s
most
eminent
artists,
Clive
Thompson,
 was
 praised
 for
 his
 fine
 presence
 and
 sense
 of
 style.
 Thompson,
 in
 fact,
 joined
 up
 with
 the
 Graham
 Company
 after
receiving
most
of
his
training
in
Jamaica
from
creative
 dance
 pioneer,
 Ivy
 Baxter,
 and
 ballet
 teacher
 Madame
 Soohih,
a
Jamaican
national
whose
Russian
husband
taught
 ballet
in
Jamaica
in
the
late
forties
before
he
died.

Thompson
 was
 not
 the
 only
 Jamaican
 to
 join
 the
 Graham
 Company
 for
 with
 him
 in
 1961
 was
 Eddy
 Thomas,
who
never
appeared
in
England
but
who
was
 in
 the
 United
 States,
 Canada
 and
 the
 Caribbean
 and
 who
 is
 the
 co‐artistic
 director
 of
 Jamaica’s
 National
 Dance
Theatre
Company.

 
 The
kind
of
training
these
dancers
received
in
Jamaica
 form
 the
 foundation
 of
 a
 dynamic
 dance
 movement
 which
 has
 a
 history
 of
 some
 15
 years
 and
 which
 has
 found
 support
 from
 an
 audience
 ranging
 from
 folk
 to
 the
 more
 sophisticated.
 Over
 the
 years
 this
 audience

 has
 been
 treated
 to
 a
 large
 number
 of
 dance
 presentations
 and
 recitals
 –
 in
 the
 early
 days
 by
 Ivy
 Baxter
 Dance
 Group
 and
 many
 schools
 recitals
 and
 more
 recently
 by
 artists
 such
 as
 Markova
 and
 Dolin,
 Toumanova,
 Dunham,
 Charrat
 and
 Miskovitch.
 Another
 feature
 of
 the
 Jamaican
 dance
 scene
 has
 come
 with
 folk
 operas
 called
 ‘pantomimes’
 (so
 called
 because
they
have
their
beginnings
in
the
form
of
the
 early
English
Christmas
pantomimes);
through
summer
 schools
organised
by
the
University
of
the
West
Indies
 which
 serves
 the
 entire
 English‐speaking
 Caribbean;
 through
 festivals
 organised
 on
 a
 national
 scale
 by
 the
 successive
 governments
 which
 in
 each
 regime
 displayed
 considerable
 interest
 of
 the
 creative
 arts
 in
 the
 island.
 Now
 after
 years
 of
 experimentation,
 disappointment
 and
 encouragements,
 levels
 of
 excellence
in
performance
and
choreography
are
being
 realised
through
the
National
Dance
Theatre
Company
 recently
 formed
 by
 and
 of
 which
 Eddy
 Thomas
 and
 myself
are
artistic
directors.
 
 Thomas,
whose
early
years
of
training
were
in
Jamaica

under
local
teachers
and
at
University
 summer
 schools,
 received
 an
 award
 from
 the
 Jamaican
 Government
 in
 recognition
 of
 the
 tremendous
 work
 he
 has
 done
 as
 dancer,
 choreographer,
 musician
 and
 designer.
 He
 is
 all
 these
 rolled
 into
 one
 and
 is,
 as
 a
 result,
 a
 leading
 contributor
 not
 only
 to
 the
 vibrant
 dance
 theatre
 but
 the
 Jamaican
 theatre
in
general.
He
used
his
award
 to
study
in
the
United
States
with
the
 Graham
 School
 as
 base
 but
 with
 opportunity
 to
 work
 with
 such
 modern
 dance
 artists
 as
 Jose
 Limon,
 Merce
 Cunningham,
 Louis
 Horst
 and
 ending
 up
 with
 a
 short
 season
 in
 Graham’s
 Company
 on
 Broadway
 as
 well
as
working
with
Agnes
de
Mille
in
 Kwamina.
His
return
to
Jamaica
nearly
 two
years
ago
made
the
formation
of
 the
 National
 Dance
 Theatre
 Company
 possible.
 In
 18
 months
 the
 Company
 has
not
only
managed
to
present

two
 highly
 successful
 seasons
 at
 home
 in
 Kingston
 and
 around
 the
 Jamaican
 countryside,
but
has
also
appeared
at
 the
 Stratford
 Shakespearean
 Festival
 in
Ontario,
Canada
as
part
of
a
cultural
 exchange
 programme
 between
 Jamaica
 and
 Canada
 (early
 last
 year
 the
Royal
Winnipeg
Ballet
appeared
in
 Jamaica).
For
Eddy
Thomas
this
was
of
 particular
 significance
 for
 the
 works

he
 created
 not
 only
 won
 real
 acclaim
 for
 their
 depth
 and
 originality
but
the
costumes
he
designed
gave
the
programme
 a
 professional
 finish
 that
 took
 most
 of
 the
 North
 American
 audience
and
critics
by
surprise.

 
 The
 Company
 is
 an
 amateur
 one.
 But
 the
 directors
 insist
 on
 a
 completely
 professional
 approach
 and
 standards.
 Everybody
 who
 dances
 has
 a
 job
 at
 which
 he
 works
 during
 the
 day.
 The
 secret
 of
 the
 success
 lies
 in
 the
 dedication
 and
 willingness
 to
 work
hard
after
working
hours
on
the
part
of
every
single
one
 of
the
18
performing
members
of
the
Company.
They
hold
jobs
 such
as
commercial
artists,
typists,
laboratory
technicians,
civil
 servants,
 teachers,
 and
 so
 on.
 An
 odd
 collection
 it
 may
 seem
 but
they
bring
to
the
studio
a
diversity
and
richness
that
results
 in
a
certain
breadth
of
understanding.
 
 This,
on
the
other
hand,
could
have
resulted
in
a
kind
of
artistic
 anarchy
 but
 the
 Company
 members
 have
 been
 most
 of
 them
 dancing
together
for
anything
from
five
to
ten
years
–
working
 at
techniques
as
well
as
performing
in
different
types
of
shows.
 In
1961,
for
instance,
they
appeared
in
Washington
D.C.
under
 the
title
of
The
Jamaican
Company
of
Dancers
and
showed,
in
 their
 first
 tour
 outside
 the
 Caribbean,
 what
 new
 dimensions
 they
 could
 achieve
 when
 faced
 with
 the
 challenge
 of
 a
 wider
 and
 probably
 more
 informed
 theatre
 public.
 
 The
 critics
 were
 encouraging
 and
 the
 dancing
 was
 strengthened
 by
 the
 appearances
of
Clive
Thompson
and
Eddy
Thomas
who
had
just
 finished
a
Graham
season
on
Broadway.
 
 The
 present
 Company
 –
 Sheila
 Barnett,
 Audley
 Butler,
 Joyce
 Campbell,
 Shirley
 Campbell,
 Bridget
 Casserly,
 Maureen
 Casserly,
 Yvonne
 da
 Costa,
 Barbara
 Grant,
 Mavis
 Lai,
 Monica
 McGowan
Rosalie
Markes,
Barry
Moncrieffe,
Ronan
Critchlow,
 Bertie
 Rose,
 Gertrude
 Sherwood,
 Eddy
 Thomas
 and
 myself
 –

are
 drawn
 from
 the
 leading
 dance
 schools
 in
 the
 island
 (both
 classical
and
creative
modern).
The
Company
devoted
all
their
 spare
 time,
 which
 for
 the
 majority
 means
 from
 5:30
 p.m.
 to
 10:30
p.m.
or
later,
to
the
pursuit
of
their
art.
 
 There
 is
 no
 hard
 and
 fast
 rule
 about
 the
 dance
 ethos
 of
 the
 Company
 and,
 far
 from
 indulging
 a
 blind
 chauvinism
 in
 the
 wake
 of
 Independence,
 we
 simply
 impose
 on
 ourselves
 the
 unpretentious
goal
of
producing
works
which
will
move
to
the
 pulse
 of
 Jamaica.
 We
 try
 to
 reflect
 faithfully
 the
 movement
 patterns
of
the
area
and
the
special
kinaesthetic
quality
that
we
 believe
is
ours.

It
is
difficult
to
define
even
in
dance
terms
but
 readily
shown
in
the
contrapuntal
co‐ordination
of
the
ordinary
 man
and
woman
on
the
island.

 
 A
good
deal
of
emphasis
has
always
been
placed
in
rooting
the
 dance
 on
 discipline
 and
 on
 techniques,
 established
 in
 areas
 such
as
North
America
and
Europe,
now
being
developed
out
of
 the
 natural
 movement‐patterns
 peculiar
 to
 its
 Caribbean
 neighbours.
 The
 pioneer
 Ivy
 Baxter
 studied
 technique
 at
 the
 Sigurd
Leeder
School
in
London
and
some
of
the
classical
ballet
 teachers
offer
an
optional
course
for
the
RAD
exams.
Under
the
 guidance
 of
 Barbara
 Fonseca,
 a
 Royal
 Ballet
 School
 graduate,
 literally
hundreds
have
sat
for
and
gained
RAD
certificates
over
 the
past
seven
to
eight
years.
It
is
against
this
kind
of
universal
 susceptibility
 to
 discipline
 that
 the
 National
 Dance
 Theatre
 operates.

Its
directors
are
very
conscious
of
the
stifling
effect
 exaggerated
 emphasis
 on
 technique
 can
 have
 for
 any
 dance
 movement
 but
 they
 are
 committed
 to
 a
 judicious
 balance
 between
maintaining
the
vitality
and
imposing
the
control.
The
 nature
of
the
repertory
itself
imposes
strictures
for
we
are
still
 in
 our
 formative
 stage;
 the
 approach
 is
 still
 one
 of
 adventure
 into
the
unknown
and
every
dance
tends
to
have
an
element
of
 this
 discovery.
 Choreographers
 for
 all
 their
 predetermined

vocabulary
 often
 find
 themselves
 hunting,
 a
 form
 within
 the
 context
 of
 thematic
 material
 that
 is
 drawn
 from
 the
 collective
 experience
 of
 the
 Jamaican
people.

 
 The
 repertory
 at
 the
 moment
 therefore
 betrays
 a
 certain
 variety
 of
 themes
 and
 treatment
 as
 well
 as
 a
 range
 of
 technical
 competence
 among
 the
 performers.

So
Herb
Whittaker
of
the
Toronto Globe and Mail
described
the
 Company:
 
 ‘The visitors from Jamaica are greatly in stretching Stratford’s boundaries, for in one programme they contribute as much as three other companies might. They operate as exponents of a primitive folk culture, as an interpretive dance company and as an interesting modern dance aggregation.’ 
 Dances
like
African Scenario,
based
on
West
African
traditional
customs,
and
 the
 Afro‐cultist
 theatre‐piece,
 Pocomania,
 together
 with
 Afro‐Caribbean
 folk
 dances
would
probably
fall
into
the
first
category.
Into
the
second
fall
works
 like
Games of Arms,
Eddy
Thomas’s
satire
on
the
world
situation
seen
through
 the
eyes
of
Jamaican
schoolchildren,
and
Dialogue for Three
dealing
with
the
 helplessness
of
the
male
in
the
face
of
the
dominant
female
force
(sociologists
 refer
to
Jamaica
as
a
matriarchal
society).
Also
into
this
second
group
would
 come
jazz
works
largely
created
by
Thomas
and
a
third
choreographer,
Sheila
 Barnett.
Into
the
third
group
will
fall
works
such
as
Thomas’s
Legend of Lovers’ Leap
based
on
a
moving
19th
century
Jamaican
slave
legend
and
which
draws
 on
the
dramatic
elements
in
the
Graham
technique.

 
 In
spite
of
this
variety,
the
Company
has
its
peculiar
qualities
which
betray
the
 elusive
 unity
 that
 underlines
 the
 chequered
 past
 of
 an
 island
 that
 was
 conquered
by
the
Spaniards
by
the
English
who
settled
and
governed
it
with
 aid
of
British
administrators
and
planters
and
African
slaves.
The
latter
of
the
 two
elements
are
the
two
elements
which
are
strongest,
though
Chinese,
East
 Indians
 and
 Lebanese
 were
 to
 come
 in
 later
 and
 add
 further
 diversity
 and
 richness
to
the
Jamaican
heritage.

Against
this
back
ground
the
Company
is
likely
to
face,
in
fact
already
faces,
critics
who
may
have
decided
views
on
what
elements,
and
in
what
degree
of
potency,
should
be
selected
from
the
 heritage
in
order
to
make
the
concoction
that
everyone
would
love
to
see
evolved
as
‘Jamaican
dance’.
This
kind
of
difference
in
point
of
view
is
likely
to
turn
on
more
fundamental
problems
of
 the
nature
and
purpose
of
the
art
and
of
dance
in
particular.
But
too
much
of
this
in
this
present
stage
could
only
serve
to
sap
the
Company
of
much
needed
time
so
as
to
create
and
explore
for
 the
further
enrichment
of
the
art
in
terms
comprehensible
to
the
people
of
the
island
and
the
Caribbean
area.
An
audience
has
been
built
up
over
the
years
for
dance
theatre
and
a
good
 percentage
of
it
can
be
said
to
be
fairly
discriminating
and
a
hard
core
of
it
is
downright
difficult.
But
all
this
gives
the
Company
the
kind
of
challenge
it
ought
to
have
even
at
this
stage.
 The
Government
through
its
Ministry
of
Development
and
Welfare
have
made
grants
to
the
Company
for
its
seasonal
productions
as
well
as
for
the
tour
to
Canada.
Public
support
is
likely
to
 increase
financially
through
that
much
over‐
worked
device
of
‘the
Friends
of
the
Company’.


The
Company
naturally
benefits
immensely
from
that
fact
that
none
of
the
dancers
are
paid,
nor
 are
the
choreographers;
nor
its
composers
Oswald
Russell
who
teaches
at
the
Jamaica
School
of
Music,
nor
lighting
director
George
Carter
who
did
a
lighting
course
at
the
Saddler’s
Wells
 Theatre
two
years
ago,
nor
the
painters,
two
of
whom
(Eugene
Hyde
and
Milton
Harley)
did
backdrops
for
the
Company’s
last
Seasons
in
Jamaica
and
Canada.

 Despite
this,
as
with
any
fledging
dance
company,
there
are
many
problems,
not
the
least
of
them
financial
ones.
As
to
the
future
professional
status
of
the
Company,
it
might
be
possible
for
 something
to
be
worked
on
lines
similar
to
those
in
some
Latin
American
countries
where
performers
hold
jobs
as
dance
teachers
in
schools
and
colleges.
The
dancers
in
the
Philippines
do
not
 fail
to
hit
the
levels
of
excellence
in
their
idiom
despite
the
fact
the
pursuit
of
art
is
fully
part‐time
for
them.
Similarly
in
Jamaica,
with
a
sympathetic
environment
comprising
both
audience
and
 officialdom,
the
vigour
and
energy
of
organisers
behind
the
scenes,
the
enthusiasm
and
dedication
of
the
dancers
themselves,
there
is
hope!
 Opportunities
for
cultural
tours
abroad
will
enhance
considerably
the
artistic
and
performing
potential
of
the
Company
as
well
as
presenting
Jamaica
to
the
world
in
a
fashion
that
is
worthy
of
 her
 people.
 They,
 in
 artistic
 terms,
 are
 fashioning
 something
 unique
 which
 is
 based
 on
 a
 life
 which
 is
 the
 melody
 of
 Europe
 played
 upon
 the
 rhythm
 of
 Africa
 with
 latter‐day
 integrated
 dissonance
of
America,
its
biggest
neighbour.
It
is
true
what
one
Canadian
critic
said:
 
 …dance theatre in Jamaica now is as varied as in pace and international in flavour as the West Indies themselves. 
 This
is
in
many
ways
a
beginning
–
with
dance
it
is
almost
always
a
beginning
–
and
it
is
to
be
hoped
that
England
will
be
able
to
see
the
National
Dance
Theatre
Company
in
the
near
future.
To
 the
exoticist
who
merely
wants
his
appetite
whetted
with
writhing
primitive
bodies
the
Company
might
very
well
prove
a
disappointment.
To
those
with
a
genuine
interest
in
dance
and
the
 opportunities
it
gives
that
remarkable
instrument,
the
human
body,
to
explore
the
hidden
range
of
its
expression,
the
Company
might
well
prove
something
more
than
merely
interesting.
Much
 of
what
we
are
aiming
at,
as
well
as
audience
reaction
to
us
were
summed
up
by
another
Canadian
critic
at
Stratford:
 
 “…when the inclusion of the Jamaican Company in the Festival was first announced, there seemed to be a quite widespread tendency to dismiss it as just another group of ethnic dancers. In the first performance at Stratford, these young people have established themselves as something much more important, a Company of wide background and multiple traditions, producing highly creative work, not only in the dance itself but also in the field of costume and design.” 
 
 Nettleford,
Rex.
“Jamaican
Dance
Theatre.”
dance
and
dancers
[England]
27
December
1963:
30+.

NDTC NEWS NDTC NEWS NDTC NEWS NDTC NEWS By
Marlon
Simms

NDTC 50 SPECIAL EVENTS • The
Company
had
several
key
events
to
mark
its
50th
Anniversary
beginning
with
a
 press
 launch
 on
 Thursday,
 February
 2,
 2012.
 The
 programme
 was
 emceed
 by
 the
 Company’s
 Chairman
 Hon.
 Carlton
 Davis
 and
 Hon.
 Barbara
 Gloudon
 was
 invited
 guest
 speaker.
 The
 event
 was
 very
 well
 supported
 by
 the
 press
 and
 following
 the
 main
presentation
the
programme
closed
with
excerpts
of
Oniel
Pryce’s
Barre Talk,
 Clive
 Thompson’s
 Phases of the Three Moons
 and
 Odyssey
 choreographed
 by
 Rex
 Nettleford.

NDTC
Facebook
50th
Launch
Album 


 • 
An
 open
 workshop
 featuring
 Cuba’s
 Eduardo
 Rivero‐Walker,
 Artistic
 Director
 of
 Compania
 Teatro
 Dela
 Danza
 Del
 Caribe,
Edisnel
Rodríguez
González
and
 Barry
 Moncrieffe
 was
 held
 on
 Sunday,
 February
19,
2012
at
the
NDTC
Studios.
 The
 Company
 welcomed
 participants
 from
 School
 of
 Dance
 at
 the
 Edna
 Manley
 College,
 Movements
 Dance
 Company,
 L’Acadco
 –
 A
 United
 Caribbean
 Dance
 Force,
 Vickers
 Dance
 Studio
and
Campion
Dance
Society.

 
 • On
 May
 28,
 2012
 the
 Company
 presented
 a
 lecture
 demonstration
 on
 the
 Company’s
style
as
taught
through
Professor
Rex
Nettleford
class
to
group
of
young
 dancers
and
children
at
the
NDTC
Studios.
The
event
was
well
attended
by
students
 from
 the
 School
 of
 Dance
 Junior
 Department,
 Wolmer’s
 Dance
 Troupe,
 Belmont
 Park
 Primary
 and
 other
 educational
 institutions.
 The
 attendees
 were
 treated
 to
 excerpts
 of
 Arsenio
 Andrade‐Calderon’s
 Asi Somos,
 Jeanguy
 Saintus’
 Incantation
 and
Rex
Nettleford’s
Ritual of the Sunrise.
Following
the
presentation
the
attendees
 were
 invited
 to
 participate
 by
 demonstrating
 what
 they
 had
 learnt
 and
 a
 short
 dance
sequence
taught
by
Phillip
Earle.
NDTC
Facebook
50th
Lec
Dem

•

An
official
church
service
was
held
at
the
UWI
Chapel
on
Sunday
March
11,
2012
at
 6
pm.
Officiating
ministers
were
Rev.
Dr.
Ralph
Hoyt,
Msgr.
Kenneth
Mock
Yen
and
 Rev.
Dr.
Shirley
Campbell.
Attending
the
service
were
former
and
present
members
 of
 the
 Company,
 well‐wishers,
 family
 members
 and
 friends
 of
 the
 Company.
 The
 service
paid
tribute
to
those
who
have
served
in
the
Company,
those
who
continue
 to
serve
and
those
who
have
passed
on.

A
special
prayer
was
said
for
the
continued
 efforts
at
“Renewal
and
Continuity”
of
the
Company.

 
 • The
 Company
 honoured
 the
 service
 and
 support
 of
 present
 and
 former
 members,
 patrons
 and
 sponsors
 in
 a
 special
 awards
ceremony
held
at
 the
 Mona
 Visitor’s
 Lodge,
 UWI
 on
 Sunday,
 October
 28,
 2012.
 The
 Hon.
 Barbara
 Gloudon
 was
 special
 guest
 speaker
 and
 spearheading
 the
 event
 was
 founding
 member
 Mrs.
 Barbara
 Requa. NDTC
Facebook
Albums

•

The
 Company
 closes
 the
 year’s
 celebration
 with
 the
 Young
 Choreographers’
 Showcase
 held
 at
 the
 NDTC
 Studios
 under
 the
 theme
 “Revisiting
 the
 Past,
 Forging
 the
 Future”,
 on
 December
 16,
 2012
 at
 6:30
 p.m.
 The
 event
 features
 creations
 of
 Marlon
 Simms,
 Kerry‐Ann
 Henry,
 Abeldo
 Gonzalez‐Fonseca,
 Kevin
 Moore,
 Keita‐ Marie
 Chamberlain,
 Natalie
 Chung,
 Stefanie
 Thomas,
 Yendi
 Phillipps,
 NDTC
 Singers/Musicians
 under
 directorship
 of
 newly
 appointed
 Musical
 Director
 Ewan
 Simpson
and
excerpt
from
Rex
Nettleford’s
Caves End.

SEASON OF DANCE, SPECIAL PERFORMANCES AND TOURS
 SEASON
OF
DANCE

 The
annual
Morning
of
Movement
and
Music
 was
 held
 on
 Sunday,
 April
 8,
 2012
 at
 6
 a.m.
 and
was
dedicated
to
former
Principal
dancer
 Madge
Broderick
who
made
her
transition
on
 April
1,
2012.
A
repeat
performance
was
held
 at
the
Scots
Kirk
United
Church,
Duke
Street,
 Kingston
on
Sunday,
April
22,
2012
at
4
pm.
 
 • The
 Company’s
 had
 it
 annual
 Season
 of
 Dance
 from
 July
 14‐
 29,
 2012
 at
 the
 Little
 Theatre
to
packed
houses.

[NDTC
Facebook
50th
Gala
Album THE
REX
NETTLEFORD
FOUNDATION
 • The
Company
performed
with
UWI
Singers
on
January
31,
2012
at
the
Little
Theatre
 for
 the
 Rex
 Nettleford
 Foundation.
 Dance‐works
 performed
 included
 Drumscore
 (Rex
Nettleford),
…minutes and seconds (Kerry‐Ann
Henry
and
Momo
Sanno),
Barre Talk
(Oniel
Pryce),
Urban Fissure
(Chris
Walker)
and
Gerrehbenta
(Rex
Nettleford).
 
 COLOUR
MUSEUM
–
EDNA
MANLEY
COLLEGE
 • Marlon
Simms,
Allatunje
Connell
and
Tamara
Noel
performed
Christina
Gonzalez’s
 My Skin, My Kin
 at
 School
 of
 Dance’s
 Colour
 Museum
 on
 Thursday,
 February
 16,
 2012
at
School’s
Dance
Studio
Theatre.

 
 DANCE
VIBE
50
–JaRIA
 • As
 part
 of
 Reggae
 Month’s
 schedule
 activities
 on
 February
 11,
 2012,
 Tovah‐Marie
 Bembridge,
Mark
Phinn,
Tamara
Noel,
Patrick
Earle
and
Chelcia
Creary
performed
 Chris
 Walker’s
 Urban Fissure
 at
 the
 Louise
 Bennett
 Theatre.
 The
 event,
 dubbed
 Dance Vibe 50,
was
staged
by
Jamaica
Reggae
Industry
Association
(JaRIA).

LINES
DANCE
INSTITUTE
–
CECIL
CHARLTON
HALL
 Marlon
 Simms
 and
 Kerry‐Ann
 Henry
 performed
 …minutes and seconds
 (Chor.
 Kerry‐Ann
 Henry
 and
Momo
Sanno)
at
Jihan
Palmer‐Cooke’s
Lines
 Dance
 Institute
 annual
 Evening
 of
 Excellence
 at
 the
Cecil
Charlton
Hall
on
Saturday,
June
16,
2012
 in
 Mandeville.
 The
 event
 which
 started
 at
 6
 p.m.
 was
 hosted
 by
 former
 L’Acadco
 member
 Aisha
 Davis
and
featured
various
dance
groups.
 
 EMANCIPATION
PARK
 The
 Emancipation
 Park
 held
 “Celebration
 Time”,
 a
 performing
 arts
 concert
 in
 the
 park
 on
 Tuesday,
 July
 31,
 2012
 to
 commemorate
 the
 Emancipation
 Park’s
 tenth
 anniversary.
Rex
Nettleford’s
Kumina
was
performed
as
it
was
first
done
in
2002
at
 the
Park’s
official
opening
ceremony.
The
evenings’
performance
was
hosted
by
Fae
 Ellington
 and
 featured
 other
 performances
 from
 Eric
 Donaldson,
 Michael
 Sean
 Harris,
 To
 Isis,
 Andrew
 Lawrence,
 Ellan
 Edwards
 and
 the
 Emancipation
 Park
 Band
 directed
by
Peter
Ashbourne.

 
 JAMAICA
DANCE
UMBRELLA
–
PHILIP
SHERLOCK
CENTRE
 The
 Company
 performed
 Rivero‐Walker’s
 Sulkari
 at
 the
 Philip
 Sherlock
 Centre
 –
 ‘Home
 of
 the
 Creative
 Imagination’
 on
 Friday,
 March
 2,
 2012
 at
 Jamaica
 Dance
 Umbrella.
 Eduardo’s
 Rivero‐Walker’s
 master
 work
 was
 accompanied
 with
 live
 singing
from
the
NDTC
Singers
led
by
Helen
Christian
and
also
featured
guest
Lead
 Drummer
 Deury
 Cisneros
 Marzal
 of
 Compania
 Teatro
 Dela
 Danza
 Del
 Caribe.
 The
 dancers
include
Marisa
Benain,
Keita‐Marie
Chamberlain,
Candice
Morris,
Orlando
 Barnett,
Allatunje
Connell
and
Marlon
Simms.

 
 JAMAICA
50
 As
 part
 of
 Jamaica’s
 50th
 celebrations
 the
 Company
 was
 invited
 to
 perform
 at
 the
 official
 launch
at
the
National
Stadium
in
a
collaborative
 work
with
other
dance
companies
in
June
2012.
A
 second
 invitation
 was
 extended
 to
 the
 Company

and
 Prof.
 Nettleford’s
 Gerrehbenta
 was
 performed
 at
 “Grand
 Gala”
 staged
 at
 the
 National
Stadium
on
Saturday,
August
6,
2012.

 
 CARRERAS
LIMITED
–
50TH
ANNIVERSARY
GALA
&
SCHOLARSHIP
AWARDS
BANQUET
 • As
 part
 of
 Carreras
 Limited
 50th
 Anniversary
 Celebration
 the
 Company
 performed
 Rex
 Nettleford’s
Kumina
at
the
opening
 of
 their
 Scholarship
 Awards
 Banquet
 “Empowering
 Through
 Education”,
 held
 at
 the
 Jamaica
 Pegasus
 Hotel
 on
 Wednesday,
 September
 5,
 2012.
 The
 event
 featured
 guest
 speaker
 the
 Hon.
 Philip
 Paulwell,
 MP
 (Minister
 of
 Science,
Technology,
Energy
and
Mining
&
Leader
of
Govt.
Business
in
the
House
of
 Representatives)
and
awarded
scholarships
tenable
at
local
Tertiary
Institutions.


 
 OVERSEAS
PERFORMANCES
–
CANADA,
NEW
YORK,
GRAND
CAYMAN
AND
ENGLAND

 • The
 Company
 enjoyed
 successful
 overseas
 performances
 in
 Toronto
 Ontario,
 Canada
 at
 the
 Queen
 Elizabeth
 Theatre
 (January
 27‐29)
 presented
 by
 the
 International
 Association
 of
 Blacks
 in
 Dance
 (IABD);
 the
 Walt
 Whitman
 Theater
 in
 Brooklyn
New
York
(March
22‐26)
presented
by
Brooklyn
Centre
for
the
Performing
 Arts
at
Brooklyn
College
(BCBC),
the
Harquail
Theatre
in
Grand
Cayman
(May
23‐28)
 presented
by
the
KRI
Performing
Arts
School
NDTC
Facebook
Cayman
Albumand
in
 England
at
the
Malvern
Theatre
in
Malvern,
Alexandra
Theatre
in
Birmingham
NDTC
 Facebook
 UK
 Album
 Ashcroft
 Concert
 Hall
 in
 London
 and
 The
 Black‐E
 in
 Liverpool
 (September
 12‐30)
 presented
 by
 Kajan’s
 Woman’s
 Enterprise
 who
 also
 sponsored
 the
event
with
the
Arts
Council
of
England.

 AWARDS AND APPOINTMENTS CARLTON
‘JACKIE’
GUY,
BARRY
MONCRIEFFE
AND
FRED
HICKLING
 • A
year
after
NDTC
former
principal
dancer,
noted
choreographer,
historian,
archivist
 and
lecturer
Jackie
Guy
was
presented
with
a
lifetime
achievement
in
October
2011

by
Jamaica’s
Deputy
High
Commissioner
to
the
UK
Mrs.
Joan
Edwards
on
behalf
of
 the
Association
of
Dance
of
the
African
Diaspora
in
Collaboration
with
IRIE!
Dance
 Theatre
 he
 was
 conferred
 with
 the
 Member
 of
 the
 British
 Empire
 Award
 (MBE)
 in
 the
2012
Queen’s
Birthday
Honours
List.
The
ceremony
was
held
at
the
Buckingham
 Palace
on
Wednesday,
November
21,
2012.
This
followed
closely
on
the
heels
of
the
 conferral
of
Commander
of
Distinction
(CD)
by
the
Governor
General
of
Jamaica
Sir
 Patrick
Allen
in
a
ceremony
held
at
King’s
House
on
Monday,
October
15,
2012
on
 NDTC’s
 Artistic
 Director
 Barry
 Moncrieffe
 and
 former
 Stage
 Manager
 Prof.
 Fred
 Hickling.

(NB: The Order of Distinction has two ranks: higher class – Commander and lower class Officer. Commanders take place and precedence immediately after Members and Honorary Members of the Order of Jamaica. The motto of the Order is ‘Distinction Through Service’. A member or Honorary Member may be promoted from the rank of Officer to that of Commander. The Honour of the Oder of Distinction is conferred upon Members – Citizens of Jamaica who rendered outstanding and important service to Jamaica; Honorary Members – Distinguished citizens of a country other than Jamaica. Commanders of the Order of Distinction are entitled to use the postnominal letters: ‘CD’ in the case of Members; ‘CD (Hon)’ in the case of Honorary Members The insignia of the Order of Distinction (Commander) is a triangular badge with curved sides. In the centre is a black medallion bearing the Arms of Jamaica in gold. The words of the motto of the Order are in black. The badge is suspended from a silk collar riband of black, gold and green by a silver finial of two intertwined letters “J” attached to the uppermost point of the triangle).

MARJORIE
WHYLIE
AND
EWAN
SIMPSON
 • Marjorie
Whylie,
after
more
than
four
decades
with
the
NDTC,
has
retired
from
her
 post
as
Musical
Director
and
Leader
of
the
NDTC
Singers.
Miss
Whylie’s
retirement
 came
 shortly
 after
 a
 successful
 tour
 of
 England
 in
 September
 2012.
 She
 has
 since
 been
appointment
as
Musical
Director
Emerita
and
will
assist
Ewan
Simpson
to
fulfill
 his
recent
appointment
as
Acting
Musical
Director.

 
 CAROLE
REID
 • Carole
 Reid
 received
 the
 Golden
 Jubilee
 Award
 for
 Kingston
 from
 the
 Governor
 General
 Sir
 Patrick
 Allen
 on
 Tuesday,
 November
 13,
 2012
 in
 a
 ceremony
 held
 at
 King’s
 House
 for
 her
 Outstanding
 Contribution
for
Cultural
Development
and
Musical
Heritage.

 

 KERRY‐ANN
HENRY,
MARLON
SIMMS
AND
MARISA
BENAIN
 • Congratulations
 to
 Kerry‐Ann
 Henry
 and
 Marlon
 Simms
 for
 their
 appointment
as
Director
and
Assistant
Director,
respectively,
of
the
School
of
Dance
 at
the
Edna
Manley
College
of
the
Visual
and
Performing
Arts
in
April
2012
and
to
 Marisa
Benain
for
obtaining
the
post
of
Director
–
Cultural
Policy
and
Monitoring
in
 the
Ministry
of
Youth,
Sports
and
Culture
in
June
2012.
 
 SANDRA
MINOTT
PHILLIPS,
QC
 • Former
principal
dancer
and
attorney‐at‐law
Sandra
Minott‐Phillips
was
admitted
to
 practice
 at
 the
 Inner
 Bar
 by
 Chief
 Justice
 Zaila
 McCalla
 at
 a
 ceremony
 held
 at
 the
 Supreme
Court
on
Tower
Street
in
Kingston
on
Monday,
June
11,
2012.
Mrs.
Minott‐ Phillips
 was
 robed
 by
 former
 Prime
 Minister
 P.J.
 Patterson,
 QC
 before
 thanking
 family,
friends
and
colleagues
for
their
support
over
the
years.

 
 NATIONAL
DANCE
THEATRE
COMPANY
 • The
 Company
 was
 given
 a
 special
 award
 for
 the
 development
of
dance
in
Jamaica
by
Dance
Xpressionz
 at
 their
 fifth
 annual
 Dancers
 Boom
 production
 held
 at
 the
 Louise
 Bennett
 Garden
 Theatre
 on
 Saturday
 April
 21,
 2012.
 Marlon
 Simms
 was
 on
 hand
 to
 receive
 the

plaque
 on
 behalf
 of
 the
 Company
 which
 preceded
 Kerry‐Ann
 Henry’s
 guest
 appearance
of
an
excerpt
of
Clive
Thompson’s
Phases of the Three Moons.

 
 HIGHLIGHTS DIGICEL
FOUNDATION
ANNUAL
REPORT

 Digicel
 Foundation
 made
 a
 courtesy
 call
 on
 the
 Company
 a
 year
 following
 their
 contribution
 to
 the
 project
 of
 refurbishing
 the
 offices
 of
 the
 NDTC.
 The
 Foundation
 requested
 a
 special
 photo
 shoot
 for
 their
 annual
 report
 (2011‐ 2012
 –
 “Developing
 Our
 Nation”).
 The
 report
 featured
 photographs
 of
 dancers
 and
 members
 of
 the
 Foundation
 at
 the
 NDTC
 Studios
 and
 of
 Prof.
 Nettleford’s
 work
 Gerrehbenta
 shot
 on
 the
 coast
 of
 Kingston
 Harbour
with
Allatunje
Connell,
Kerry‐Ann
Henry,
Mark
Phinn,
Tamara
Noel,
Kevin
 Moore,
Keita‐Marie
Chamberlain
and
Marlon
Simms.

 
 MELANIE
GRAHAM
 • Former
 principal
 dancer
 Melanie
 Graham
 returned
 to
 the
 Company
 as
 a
 special
 50th
 Anniversary
 guest
 performer
 to
 appear
 in
 signature
 roles
 in
 The Crossing
 and
Edna M.
Her
performance
received
critical
acclaim
 and
 an
 extended
 feature
 article
 appeared
 in
 the
 BUZZ
 Caribbean
 Lifestyle
 Magazine,
 Vol.
 5
 #4
 2012,
 on
 her
 artistry
 and
 exemplary
 contribution
 to
 dance
 and
 the
 NDTC.

GUEST
PERFORMERS
 Karyn
 Neysmith‐Johnson
 past
 member
 also
 performed
 as
 guest
 artist
 in
 the
 Company’s
 50th
 anniversary
 celebration
 where
 she
 appeared
 in
 Rex
 Nettleford’s
 master‐works
 The Crossing
 and
 Kumina.
 In
 addition,
the
repertoire
was
further
enriched
 with
 the
 inclusion
 of
 a
 dynamic
 quartet,
 Siempre Corriende, which supported
 two
 of
 Eduardo
 Rivero‐Walker’s
 dancers
 Delvis
 Savigne
 Friñòn
 and
 Edisnel
 Rodrìguez
 Gonzàlez
 from
 Compania
 Teatro
 Dela
 Danza
 Del
 Caribe.
 Lead
 drummer
 Deury
 Cisneros
 Marzal
 joined
 the
 NDTC’s
 musicians
 for
 Sulkari
and
Amós
Rivero
Asosta,
dancer,
also
 made
a
guest
appearance.
 
 KEVIN
MOORE
AND
PATRICK
EARLE
 Lead
 dancer
 Kevin
 Moore
 choreographed
 the
 movement
 for
 Aston
 Cooke’s
 comedy
 revue
 “Jamaica
 Fifty
 2
 Rahtid”
 which
 opened
 at
 the
 Pantry
 Playhouse
 on
 Wednesday
 August
 1,
 2012
 after
 working
 with
 inner‐city
 youths
 in
 the
 National
 Housing
Trust
groundbreaking
Summer
 Workshop
 in
 July
 2012
 under
 the
 theme
 “Exploring
 Jamaica’s
 Culture
 through
 the
 Arts”.
 Patrick
 Earle
 choreographed
 and
 staged
 movements
 in
 the
 2011‐2012
 LTM
 Pantomime
 “Anansi
 &
 Goat
Head
Soup”
adding
to
the
trend
of
new‐generation
NDTC
members
as
well
as
past
 generation
who
have
contributed
choreographically
to
the
LTM
Pantomimes.

CHRIS
WALKER, Assistant
Professor
of
Dance,
is
the
founding
Artistic
Director
of
the
First
Wave
Hip
 Hop
 Theater
 Ensemble
 at
 UW‐Madison
 and
 the
 co‐founder
 and
 artistic
 director
 of
 NuMoRune
 Collaborative
 ‐
 an
 ensemble
 of
 dancers,
 choreographers,
 storytellers
 and
 musicians,
 who
 come
 together
 under
 a
 united
 artistic
 vision
 to
 create
 collaborative
 works.
 
 
 In
 2012,
 Walker
 continued
 to
 tour
 with
 First
 Wave,
 which
 received
 the
 2010
 Wisconsin
 Governor’s
 Arts
 Award,
 on
 local,
 national
and
 international
tours,
performing
annually
on
Broadway
in
New
York,
Mexico,
Panama
 and
the
U.K.


In
2012
they
were
invited
guests
at
London’s
cultural
Olympiad
and
 returned
 as
 featured
 guests
 at
 the
 2012
 Contacting
 the
 World
 Festival,
 an
 international
theater
project
linking
young
people's
theater
groups
from
around
the
 world
to
create
theater
across
the
boundaries
of
geography
and
culture.

Walker’s
 recent
 awards
 include
 the
 New
 York
 Thayer
 Fellowship,
 Certificate
 for
 Merit
 from
 the
American
Theatre
Festival
Association,
Wisconsin
Alumni
Research
Association
–
 Research
 Service
 Grant,
 Dance
 County
 Signature
 Grant
 and
 the
 Hefty
 Faculty
 Support
Award
in
recognition
of
his
teaching,
community
service
and
choreographic
 work,
 which
 has
 been
 presented
 nationally
 and
 internationally
 in
 the
 Caribbean,
 North
and
South
America,
South
East
Asia
and
Europe.

An
NDTC
Scholar,
Walker’s
 research
 in
 dance
 remains
 grounded
 in
 investigating
 the
 possibilities
 of
 Caribbean
 vocabulary.
 
 
 His
 “Urban
 Fissure”
 on
 the
 NDTC
 was
 featured
 at
 the
 2012
 International
 Association
 of
 Blacks
 in
 Dance
 in
 Toronto,
 Canada,
 while
 the
 same
 work
 was
 reconstructed
 for
 local
 London
 dancers
 for
 the
 2012
 ReGenerations
 Conference
 “the
 next
 generation”,
 at
 The
 Place,
 London.
 In
 June
 of
 2013,
 Walker
 will
 present
 NuMoRune
 Collaborative
 in
 a
 full
 evening
 concert
 “A
 Yard
 Abroad”
 at
 New
 York
 Live
 Arts,
 NY,
 with
 choreography
 by
 Walker
 and
 dancers
 from
 NY,
 Futurpointe
dance
in
Rochester
and
Kashedance
in
Toronto.

TOVAH‐MARIE
BEMBRIDGE
 Tovah‐Marie
 Bembridge
 joined
 the
 London
 cast
 of
 Walt
 Disney’s
Lion
King
in
July
2012.
Other
NDTC
members
who
have
 joined
 the
 Lion
 King
 musical
 before
 Bembridge
 are
 Kerry‐Ann
 Henry,
David
Blake,
Debroah
Powell‐Valentino,
Jermaine
Rowe,
 Shakee
Dobson,
Shelley‐Ann
Maxwell
and
Candice
Morris.

 
 JERMAINE
ROWE
 After
 successful
 appearances
 in
 Walt
 Disney’s
 Lion
 King,
 former
 NDTC
dancer
Jermaine
Rowe
made
 another
 successful
 debut
 in
 the
 ongoing
 Tony
 Award
 Winning
 production
 Fela!
 on
 Broadway
 in
 July
2012.

 
 THE
 ROPE
 AND
 THE
 CROSS
 –
 CANDICE
 MORRIS
&
TAMARA
NOEL
 Following
 the
 tradition
 of
 Liturgical
 Performances
 in
 which
Neville
Black’s
Ave Verum
was
performed
by
Rex
 Nettleford
 and
 Yvonne
 daCosta
 [then]
 in
 a
 history
 making
 church
 service
 at
 Scots
 Kirk,
 Kingston,
 at
 Easter
 of
 1968.
 The
 Company
 was
 invited
 to
 perform
 Sheila
 Barnett’s
 iconic
 (1974)
 dance‐drama
 The Rope and the Cross
by
Rev.
Easton
Lee
at
Church
of
the
Holy
Family
in
 Miami
 Gardens,
 Florida
 in
 April.
 The
 performance
 featured
 New‐Generation
 Principal
 Dancers
 Tamara
 Noel
as
Mary
and
Candice
Morris
as
Judith.

 
 CLIVE
THOMPSON
 Senior
 Choreographer
 and
 noted
 landscape
 artist
 Clive
 Thompson
 has
 continued
 contributing
his
time
and
expertise
in
other
areas
of
the
Visual
and
Performing
Arts.

This
time
he
lends
his
talent
to
the
commissioning
of
Metal Art Work
mounted
both
 at
 the
 NDTC’s
 Studios
 and
 the
 Edna
 Manley
 College
 of
 the
 Visual
 and
 Performing
 Arts
 while
 alluding
 to
 the
 fact
 that
 more
 metal
 art
 work
 will
 be
 mounted
 at
 the
 home
of
NDTC
at
a
later
date.
Nonetheless,
the
following
works
below
are
seen
and
 adored
by
many:
 
 
 ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐

Counterclockwise:
Chris
Walker
and
Kerry‐Ann
Henry
in
Legacy of the Duke,
Marisa
Benain
and
Marlon
Simms
in
Ode,
Mark
 Phinn
in
Of Sympathy and Love, Rex Nettleford (center), Marlon
Simms
in
Congo Laye,
Kerry‐Ann
Henry
and
Allatunje
Connel
 in
Ode,
Arsenio
Andrade
and
Candice
Morris
in
Dimensions.


 
 BELOW: ‘Dance’
capturing
the
shapes
of
dancers,
graces
the
entrance
to
the
School
of
Dance
Edna
Manley
College
of
the
 Visual
and
Performing
Arts.

‘Dance’
 capturing

NDTC
THANKS
BOG
WALK
POLICE
OFFICERS
 • A
presentation
was
made
to
the
police
officers
at
the
Bog
Walk
Police
Station
who
 provided
 much
 needed
 support
 on
 September
 30,
 2012
 when
 the
 Company
 returned
 from
 touring
 England.
 Heavy
 rains
 which
 had
 kept
 the
 Company
 from
 travelling
through
the
Bog
Walk
Gorge
did
not
dampen
the
hospitality
of
the
officers
 who
provided
a
place
of
shelter
and
security
while
the
Company
waited
overnight
 for
 the
 flood
 waters
 to
 recede.
On
 hand
 to
 receive
 the
 gift
 of
 a
 microwave,
 which
 was
 one
 of
 the
 station’s
 specific
 needs,
 were
 District
 Constable
 Glenton
 Mullings,
 Detective
Sergeant
Oral
Israel,
Sergeant
Richard
Ebanks
and
Woman
Constable
Ruth
 Mullings.
 The
 presentation
 was
 made
 by
 Mr.
 Barry
 Moncrieffe
 and
 Mrs.
 Bridget
 Spaulding.

COURTESY
CALL
 •

Nigeria’s
 Ambassador
 to
 Jamaica,
 Peter
 Layi
 Oyedele,
visited
with
the
Company
on
Monday,
 November
 26,
 2012.
 After
 meeting
 with
 the
 Artistic
 Director
 and
 viewing
 the
 Company’s
 official
class
as
taught
by
Prof.
Nettleford
he
was
 presented
 with
 a
 copy
 of
 Prof.
 Rex
 Nettleford’s
 last
 publication
 on
 the
 Company
 –
 Dance Jamaica: Renewal and Continuity: National Dance Theatre Company of Jamaica 1962‐

2008.

 The
 Company
 also
 welcomed
 a
 delegation
 from
 Namibia
which
included
Dr.
Peingeondjabi
Shipoh,
The
 Permanent
Secretary
in
the
Ministry
of
Youth,
National
 Service,
 Sport
 and
 Culture
on
 Monday,
 November
 12,
 2012.
 He
 was
 also
 presented
 with
 the
 Company’s
 historical
 book
 and
 the
 50th
 Anniversary
 programme
 brochure
as
memorabilia
of
his
visit.

ORBITUARY MADGE
BRODERICK
and
MONICA
McGOWAN

 The
 NDTC
 once
 again
 went
 into
 mourning
 for
 the
 lives
 of
 two
 of
 its
 alumnae
 –
 former
Principal
Dancer
Madge
Broderick
and
Founding
Member
Monica
McGowan.
 Broderick
who
was
hailed
as
a
veteran
educator
passed
on
in
March
2012.
Morning
 of
 Movement
 and
 Music
 held
 on
 Sunday
 April
 8,
 2012
 was
 dedicated
 to
 her
 memory.
 
 Founding
 Member
 Monica
 McGowan
 who
 was
 a
 veteran
 ballet
 teacher
 and
 who
 is
 best
 known
 for
 her
 unparalleled
 role
 as
 Judith
 in
 Sheila
 Barnett’s
 The Rope and the Cross
 succumbed
 to
 complications
 due
 to
 a
 stroke
 in
 August
 2012.
 Both
women
were
revered
for
their
longstanding
commitment
to
Education
and
to
 the
NDTC.

EDUARDO
RIVERO‐WALKER
 Long‐time
 friend
 of
 the
 NDTC,
 Choreographer/Mentor/Teacher/Artistic
 Director
 of
 Compania
 Teatro
 Dela
 Danza
 Del
 Caribe
 Eduardo
 Rivero‐Walker
 died
 after
 a
 brief
 battle
 with
 cancer
 in
 his
 home
 in
 Santiago,
 Cuba
 on
 Thursday,
 November
 1,
 2012.

 Prior
to
his
death
he
was
one
of
the
featured
tutors
in
the
NDTC
workshop
held
at
 the
 NDTC’s
 studios
 on
 Sunday,
 February
 19,
 2012.
 He
 also
 completed
 the
 task
 of
 remounting
 his
 seminal
 work
 Sulkari
 on
 the
 Company
 as
 part
 of
 the
 50th
 Anniversary
repertory
offerings
prior
to
his
grave
illness.

LETTER(S)
 Addressed:
 The
Administrators
and
Company
 
 “…I
wish
to
let
you
all
know
how
pleased
I
am
to
have
been
considered,
and
humbly
 receive
 iti.
 I
 do
 indeed
 thank
 all
 and
 would
 like,
 as
 well,
 to
 thank
 profoundly
 the
 following
 persons
 and
 organisations
 who
 contributed
 and
 encourage
 me
 in
 my
 development
as
an
artist.
 
 A
tremendous
“Thanks”
to
my
family,
especially
my
dear
mother,
Violet
Guy,
who
 died
a
few
months
ago.

 
 I
would
like
also
to
pay
homage
to
the
following
pioneers
who
are
no
longer
with
us
 but
 who
 live
 on
 through
 their
 art
 and
 were,
 individually
 and
 collectively,
 my
 constant
inspiration:
the
Hon.
Edna
Manley;
Ms.
Ivy
Baxter;
Mr.
Noel
Vaz;
the
Hon.
 Louise
Bennett‐Coverely;
Mr.
Trevor
Rhone;
Mr.
Neville
Black;
Mrs.
Sheila
Barnett;
 Ms.
Joyce
Campbell;
and
Professor
the
Hon.
Rex
Nettleford.

 
 To
those
still
alive,
kindly
convey
if
you
can,
my
very
special
thanks,
and
I
refer
to
 Mr.
Eddy
Thomas;
Dr.
Olive
Lewin;
the
University
of
the
West
Indies
Dance
Society;
 the
 Jamaica
 Cultural
 Development
 Commission
 (JCDC);
 The
 Social
 Development
 Commission;
the
Jamaica
School
of
Dance;
Movements
Dance
Company;
and
to
my
 dear
 friends
 Marjorie
 Whylie,
 Barry
 Moncrieffe,
 and
 Dr.
 L’Antoinette
 Stines;
 but
 most
of
all
to
Alma
MockYen
CD,
my
first
dance
teacher
and
mentor
of
FIFTY
years
 who
received
the
award
on
my
behalf.

 
 As
 a
 Dancer,
 Teacher,
 Choreographer,
 and
 more
 recently
 as
 an
 Archivist
 and
 a
 mentor
myself,
i
am
proud
that
I
was
trained
in
Jamaica
and
have
been
able
to
hold
 brand
Jamaica
high,
as
the
country’s
fantastic
athletes
are
doing.

 
 So
 here
 I
 am,
 having
 finally
 earned
 not
 only
 my
 Senior
 Citizen
 Bus
 Pass
 and
 Rail
 Card,
but
have
received
as
well
–
the
Prudential
Award
for
Excellence,
Innovation,
 and
Creativity;
the
“Lifetime
Achievement


Award”
from
the
Association
of
Dance
of

the
African
Diaspora;
and
God
willing,
I’ll
go
later
this
month
to
Buckingham
Palace
 for
 the
 Investiture
 ceremony
 to
 receive
 my
 MBE
 from
 Her
 Majesty
 the
 Queen.
 I
 write
you
this
long
‘Thank
You’
letter
because
the
NDTC
and
the
others
mentioned
 have
been
with
me
on
the
journey
that
takes
me
there.

 
 I
can
never
thank
sufficiently
all
whose
prayers,
acts
of
kindness
and
encouragement
 helped
 me
 attain
 my
 goals,
 and
 once
 again,
 I
 sincerely
 thank
 the
 NDTC
 for
 remembering
 me.
 May
 you
 continue
 to
 embrace
 your
 mission
 of
 “Renewal
 and
 Continuity”
for,
at
least
another
50
years.
 
 With
a
grateful
heart
and
my
prayer
that
all
be
blessed”
 Carlton
‘Jackie’
Guy,
MBE
 ___________________________________
 1 
‘It’
–
made
reference
to
award
presented
by
the
National
Dance
Company
Theatre
(NDTC)
in
 continued
celebration
of
its
50th
anniversary
held
at
the
Mona
Visitor’s
Lodge
on
October
28,
2012.
 See
also
the
list
of
Awardees.

NDTC Easter concert pleases again Published: Wednesday | April 11, 2012 Every Easter morning for 31 years, the National Dance Theatre Company's (NDTC) dancers, singers and orchestra, in collaboration with the Little Theatre Movement, have been giving tremendous pleasure to large audiences at the Little Theatre. The annual event is a concert titled 'Morning of Movement and Music', and Sunday's presentation received the usual enthusiastic applause. While the concerts have tended to favour movement, on Sunday last, there was much more singing ‐ by the numerically augmented NDTC Singers ‐ than usual. There were some complaints about the change, and no doubt NDTC artistic director Barry Moncrieffe and musical director Marjorie Whylie will meet to discuss the most suitable balance between the two art‐forms. One aspect of that discussion should be the difference between the concerts remaining spiritual rather than becoming religious. In the past, many have praised them for being the former, this because of the preponderance of dance. On the other hand, the more hymns and other Christian sacred songs are sung, the more religion will present itself onstage. Words are less ambiguous than movement. Perhaps not unconnected to the opinion of one patron, a musician, that the mood of Sunday's concert was more solemn than usual was the fact that it was dedicated to the memory of the late Madge Broderick, a former NDTC dancer, and that one dance, Milton Sterling's 'He Watcheth', was a tribute to the late Ed Gallimore, whose daughter dances with the company. But the morning began cheerfully enough, with the Singers in blue (women) and black (the men, behind them) belting out Whylie's one‐word song Alleluia. Then, while they sang the hymn Now Thank We All Our God, the theatre's huge red curtain opened to reveal the NDTC dancers, in black.

Gliding, running, leaping, twirling, mostly with arms extended, the dancers exultantly demonstrated their fitness (in terms of skills, knowledge and attitude) to entertain and uplift the audience. The work, the company's opening dance for years, was choreographed by NDTC member Kevin Moore. His most recent dance, 'Inward Stretch Outward Reach' (2012), which is also celebratory, and more colourful (it features five men in red pants), was staged about half‐an‐hour later. Three suites of songs The first of the Singers' three suites of songs, each comprising three songs, was titled 'Songs of Praise' and comprised evocative words and music by Whylie. While, generally, there was a minimal amount of movement in this suite, there was more in the second, 'Canticles', which featured a heartfelt solo by Dawn Fuller‐Phillips of 'The Magnificat'. By the time the Singers presented their third suite, there was quite a bit of movement. The gradual increase in movement might have been a deliberate strategy, but the quality of the singing was uniformly high from start to finish. The songs in the third suite, Jamaican Spirituals, were Bright Angels, Nuh Touch Me (a caution to Mary by Jesus before his ascension) and Don't You Trouble Jesus. At other times, the Singers, or some of them, appeared more briefly. Three 2012 dances were premiered on Sunday and, no doubt, they will be brought back and revised for the company's month‐long season in the summer. Oneil Pryce's 'Jordan River' was the first of these to be staged. A generally leisurely work, with many Tai‐chi‐like movements and much posing, it was danced by seven women, some in blue, others in purple dresses.

The second 2012 dance was 'Requiem' by Marlon Simms. To Andrew Lloyd Webber's Pie Jesu, sung by the Singers led by Faith Livingstone and Fuller‐Phillips, two couples dance within the entire stage area with long, graceful, ground‐covering movements. Their mood cheerful, the men, in white T‐ shirts and blue slacks, and the women, in white tops and black skirts, ended the dance with an applause‐eliciting tableau. Clive Thompson's 2003 work 'Of Sympathy and Love', based on the biblical story of Jesus raising Lazarus from the dead, was one of the most interesting choreographically. It was performed by two of the NDTC's best dancers, Mark Phinn (Jesus) and Marlon Simms (Lazarus) and shows Jesus preparing himself mentally and spiritually for the miracle, and then Lazarus rediscovering, almost muscle by muscle, the power of movement. The final two dances, an excerpt from 'Ritual of the Sunrise' and Psalm 150, both by the NDTC's late artistic director, Rex Nettleford, were the most cheerful of the lot and brought the concert to an upbeat end.

GOLDEN REBIRTH: NDTC’s 50th restores the beauty and joy of dance theatre Published: Sunday, July 29, 2012 TALLAWAH Magazine By Tyrone Reid The 2012 Season of Dance of the National Dance Theatre Company is an excellent example of how to make the vintage and the utterly modern co‐exist in harmony. Equal parts dazzling and daring, celebratory and reflective, the presentation finds the venerable company moving into a new chapter (another half‐a‐century, no less) firmly touting – and achieving – its mission of continuity and renewal. In essence, living up to the Nettleford ideal. This past Friday when I went to take in the show at the Little Theatre, the programme offered seven works, a hugely enjoyable mix of revived classics and fresh mountings, opening with Nettleford’s The Crossing, an impassioned and painful work that comes off as a paean to oppression, struggle and redemption. Making ample use of Negro spirituals and references to slavery and colonialism, it features controlled, graceful movements, including some lovely solo work by that lithe creature Kerry‐Ann Henry, who never fails to dazzle with beauty and precision. I equally enjoyed the work’s sequencing and contrast of moods (joyous one moment, lugubrious the next), but in the end, The Crossing transcends all that, ultimately offering a display of how to fashion pure art out of suffering and adversity. Stage legend Melanie Graham was a welcome leading presence in Bert Rose’s Edna M, a moving and poignant story centred on art and memory, and featuring choreography as delicate as the woman herself. Showing us that age ain’t on her page, Graham kept pace wonderfully with the new‐gen performers, particularly a quartet of sinewy male dancers portraying semi‐nude sculptures. Truly provocative stuff. But that’s precisely the thing with the NDTC – especially creative masterminds like Rose and Nettleford and Clive Thompson – it’s about rising above the confines of convention and pushing the boundaries of artistic creativity. And speaking of Thompson, I found his Ode a thoroughly fresh, freewheelin’ and fun ball of spunk and energy (with a contemporary flair), which lent a change of pace and mood to the evening’s proceedings. Among the highlights: Marley tunes given a groovy jazz‐funk treatment, a frisky‐flirty Marisa Benain, Henry again in all her agile glory, not to mention some subtle erotic undertones. The crowd‐pleasing Siempre Corriendo by Ramon Alayo is a study in power and athleticism, with a four taut males (locals Marlon Simms/Mark Phinn and Cuban invitees Delvis Savigne Friñon/Edsinol Gonzalez) moving in near‐perfect sync to a menacing operatic soundtrack. Eduardo Rivero’s Sulkari, meantime, is a haunting tribal‐esque affair marked by stunning imagery in spite of the dim lighting and gorgeous costumes, while Barbara Ramos’ lukewarm Valhala features a solo male clad only in passion‐red pants and a riot of fierce curls atop his head. It virtually goes without saying that any special NDTC performance must conclude with Nettleford’s visceral masterpiece, Gerrehbenta, the most joyous work of the company’s vast repertoire. Spectacular with its kaleidoscope of vivid hues and inspired early‐Jamaican movements, it’s a slice of genuine terpsichorean splendour. I’ve seen it performed year after year, and each time it feels, quite incredibly, like a new experience. This year, that warm sensation extends to the company’s entire 50th anniversary season, an involving and compelling mélange of the new and the old, reminding viewers of the power and sheer magical joy that is excellent dance theatre.

Do Black Dance Companies Hit a Glass Ceiling? Anya Wassenberg – Huffington Post (Canada) "The platforms for black dance are so narrow," states acclaimed Australian independent choreographer Bernadette Walong‐Sene. It was a sentiment that echoed over and over in the panel discussion I attended at the 2012 International Association of Blacks in Dance (I.A.B.D.) Conference that just ended Sunday, January 30 in Toronto ‐‐ comments that were similar no matter where the locale. Even in 2012, with a collective body of work that's dazzling in every respect from technical and athletic prowess to expression, the playing field for black dancers and choreographers is nothing like level. From Alvin Ailey in the 1950s to people like Bernadette, who's currently in the process of setting up a company under the name bwsene !nmotion Australia, the answer has been to create opportunity where none is on offer. Deborah Badoo set up the U.K.'s State of Emergency in 1986. "At that time, there was a growing body of black choreographers who weren't being heard," she says. "It's our mission to change the landscape of dance in the U.K." That includes setting up The Heritage Project to record the history of black dance in Great Britain. A study that interviewed prominent black artists and choreographers just last year confirmed that, while some things have definitely changed during the company's 25‐year existence, some aspects have not. "There's still a sort of glass ceiling as far as black choreographers are concerned." The mission of bwsene !nmotion Australia is similar: "To increase the level of support for non‐European traditions in a contemporary dance context," explains Bernadette. Reinforcing the importance of those traditions to the larger Australian culture goes hand in hand with that goal. She described a frustrating dance environment where there is basically one "official" black dance company and seemingly no room for others when it comes to funding or touring, particularly one whose work doesn't fit into a narrowly defined category of traditional dance. Add to it the fact that work which involves storytelling and social commentary ‐‐ a common theme in the group ‐‐ is often discouraged, especially in academia. "I'm considered outspoken and angry," she admitted, and later in response to a question from the audience as to whether she felt isolated, she answered with a resounding, "Yes!" Here in Canada, we've got our own flavour of inequality. "Canada has a lot of problems dealing with race," states Charles C. Smith bluntly. A lecturer at the University of Toronto Scarborough with a history of community work, including serving as the first Equity Advisor to the Law Society of Upper Canada, he's also a published poet and author. He was at the conference to talk about The Wind in the Leaves, a multi‐ disciplinary performance project that includes dance among its many components. The lack of recognition

of racial issues came as a surprise when he arrived from New York City in 1980. He pointed out that black Canadian history is largely unknown, particularly the story of slavery in this country. "There still is a major, major barrier to Canada recognizing our contributions. Our stories are foundational to the country we call Canada." In the meagre overall landscape of arts funding, all the panelists agreed that non‐European based dance companies operate at a distinct disadvantage. "We have massive problems," Charles says. The dream of dance is a potent one, however, and so strong that the art itself flourishes no matter what the hurdles; the conference's nightly showcase events were ample evidence of that. I caught Saturday's International Showcase, a feast of 12 companies who seemed to cover every permutation of black dance. While Chicago's Muntu Dance Theatre offers traditional dance with a modern sense of visual display in energetic and elaborately costumed pieces, some, like Cuba's Danza Corpus, Salia ni Seydou of Burkina Faso, and Lula Washington Dance Theater's The Healers take those traditional movements and reworks them into a fresh and dramatic sensibility. Even an excerpt of The Healers impressed the audience with its athleticism driven by an ecstatic response to the drum. The drum was central to many of the works performed, and in some the time‐honoured movement is only the basic outline of an entirely new interpretation, as in the mesmerizing work of Montreal's Zab Mabougou/Compagnie Danse Nyata Nyata. In bwsene !nmotion's piece, an excerpt from Hover, tradition is transported to an avant‐garde present in a hypnotically theatrical performance. Bob Marley got an electronica remix in Urban Fissure, performed by the National Dance Theatre Company of Jamaica, with a hip shaking swagger and physical flair. Choreographed by Namibian Gregory Maqoma, State of Emergency's Desert Crossings explores the common geological history of the Jurassic Coast in southwest England and Namibia's Skeleton Coast with a decidedly contemporary vocabulary. In many companies, dance defies any kind of cross‐cultural definition. The Philadelphia Dance Company brought the audience to its feet with the athletically elegant, "Guess Who's Coming to Dinner?" Alvin Ailey American Dance Theatre's "The Evolution of a Secured Feminine" is a sexy and sophisticated homage to American dance forms set to the classic jazz recordings of the likes of Ella Fitzgerald and Nancy Wilson. Dallas Black Dance Theater and Denver's Cleo Parker Robinson Dance Ensemble performed pieces that were both timeless and contemporary, combining physicality and expression in perfect proportion. With such a wide ranging repertoire even in the one showcase I took in, it's hard to understand a rationale for the lingering reluctance of mainstream society to truly embrace the work of people of colour as an essential element of its own culture ‐‐ not an exception, not as a special category forever locked in a time vault of supposed historical purity. The era of homogenous cultural expression is long gone.

Jamaican ballet packs out New Alexandra Theatre Published: September 24, 2012 ­ Express & Star (Birmingham, UK) By Deborah Hardiman

A nearly packed house was at the New Alexandra Theatre to see the spectacular National Dance Theatre of Jamaica ballet ensemble in action ‐ along with its singers and drummers. The troupe, renowned in its own right on the international dance scene, was in town for its 50th anniversary tour having been founded the same time that the Caribbean island got independence. Right from the start the dancers hit the stage in colourful costumes gyrating to the rhythms of the African drums. Much of the programme featured fabulous routines celebrating traditional folklore, music and dance inter‐woven with west African forms, in keeping with the strong historical links. The standard of dancing was high with some interesting movement and techniques particularly evident in the intricate Afro‐Cuban routine Sulkari, a study of the man‐woman relationship. Adapted for the troupe's needs 30‐years‐ago it included some difficult lifts, superbly danced by three couples. Another outstanding performance was the solo Sweet in the Morning by dance captain Marlon Simms based on music by Bobby McFerrin. The whole production was full of exuberance with the dancers giving it their all in fabulous colourful costumes. The ensemble's singers also gave a great account of themselves, the appreciative audience was amused by a medley of traditional rhymes and swayed to Bob Marley's rarely aired love songs. Having waited 10 years to finally see them perform, it would have been good to see more lyrical dance content in the show, but it was still a very impressive programme and gave exposure to classical Caribbean culture, often overshadowed by reggae and rap music. In the words of one lady in the audience at the end of the performance, “It was a brilliant night, but I wanted to see more.”

NDTC dedicates Easter Sunday to Madge Broderick Published: Sunday | April 8, 2012 The National Dance Theatre Company (NDTC) stages its 2012 Easter Sunrise performance, A Morning of Movement and Music, this morning at 6 o'clock, in continuation of its year‐long 50th Anniversary Celebrations. This annual "act of worship", held in association with The Little Theatre Movement, will be staged at The Little Theatre, Tom Redcam Avenue. This year's programme is being dedicated to Madge Broderick, veteran educator and former NDTC dancer who passed away recently. The programme follows the company's highly successful performance at the Brooklyn Centre for the Performing Arts, Brooklyn College, New York, in March of this year. New generation choreographers Marlon Simms, Kevin Moore and Oniel Pryce will present new dance works at the sunrise event, alongside remounts of Clive Thompson's Of Sympathy and Love and Arsenio Andrade‐Calderon's solo work, My Prayer. The commemorative full‐length work, He Watcheth, choreographed by the late Milton Sterling will also be performed in tribute to Ed Gallimore, who passed away earlier this year. OTHER PERFORMANCES Additionally, an excerpt from Rex Nettleford's Ritual of the Sunrise, set to the music of David Rudder, will be presented. Marjorie Whylie's The Lord's Prayer and Noel Dexter's Psalm 150 will, as usual, close the act of worship. Whylie, NDTC's musical director, will lead the NDTC Singers and Orchestra in her own compositions ‐ Mass in A, a setting of Psalm 23 and three songs of praise. The NDTC, in a release, spoke fondly of Broderick. "It is with a deep sense of loss that the National Dance Theatre Company of Jamaica has learnt of the passing of Madge Broderick, veteran educator and one of its former dancers," the release read. According to the release, Broderick joined the NDTC in the late 1960s and was one of the dancers who assisted the company in its experiments toward discovery and added texture to its continuing. "She may perhaps be best remembered as the slinky goddess in Tommy Pinnock's ghetto‐inspired Desperate Silences (1972), but her tall athletic frame highlighted several other works in the repertoire with a special touch of statuesque elegance." According to the NDTC, Broderick's flair for dancing meant works like Sheila Barnett's Shadows, Bert Rose's The Lord's Prayer done to Rastafarian drumming and the John Jones ballet, Resurrection were better for her involvement. The NDTC also issued condolences to Broderick's family.

Madge
Broderick
remembered Tuesday,
April
10,
2012
 
 MADGE
Broderick,
former
dancer
with
the
National
Dance
Theatre
Company
of
Jamaica
(NDTC)
and
former
St
Andrew
Preparatory
School
principal,
is
 fondly
remembered
as
a
talented
professional.
 
 Broderick
passed
away
on
Sunday,
April
1
after
a
brief
illness.
She
was
73
years
old.BRODERICK...
will
be
buried
on
her
birthday
April
14
 
 Cheryl
Rhyman,
former
dancer
with
the
NDTC,
recalled
Broderick
being
one
of
the
"tall
girls".
 
 "There
were
five
of
us
tall
girls
‐‐
Noelle
Chutkan,
Barbara
Requa,
Yvonne
DaCosta,
Madge
Broderick,
and
myself.
Joyce
Campbell
would
sometimes
try
 to
squeeze
herself
into
the
group,"
she
said.
 "But
there
was
just
something
about
Madge
that
made
her
such
a
wonderful
person.
She
also
had
a
very
elegant
model
walk
which
we
often
teased
 her
about
it,"
she
reflected.
 
 But
for
Rhyman,
one
of
Broderick's
most
endearing
qualities
was
her
maturity.
She
said
Broderick
was
already
a
professional
when
she
joined
the
 NDTC
and,
therefore,
not
one
of
the
"flighty‐flighty
girls".
This
made
her
worthy
of
emulation
for
a
young
dancer
like
Rhyman.
 
 "I
remember
us
rooming
together
while
on
tour
and
we
shared
the
stage
as
part
of
the
chorus
in
Kumina
and
Celebrations.
We
also
alternated
the
 lead
role,
along
with
Barbara
Requa,
in
The
Brothers
which
was
choreographed
by
Patsy
Ricketts,"
Rhyman
said.

 Another
tall
girl,
Requa
recalled
how
proud
the
brilliant
educator
and
school
administrator
was
of
the
standard
she
set
at
the
prep
school.
 "On
stage
she
had
great
performance
skills
and
brought
that
with
her
to
the
NDTC,"
Requa
said.
 
 For
her,
Broderick
will
be
remembered
for
her
performance
in
Nettleford's
Court
of
Jah
and
Sheila
Barnett's
Mountain
Women.
 
 Broderick's
brother,
politician
Laurie
Broderick
was
lost
for
words
when
the
Jamaica
Observer
caught
up
with
him.
 
 However,
he
composed
himself
and
noted:
"She
was
such
a
talent.
She
excelled
in
the
arts
and
education,
and
brought
a
new
meaning
to
early
 childhood
education
having
been
trained
at
Columbia
University
in
the
United
States.
She
was
also
a
great
netballer
who
represented
Jamaica
 alongside
the
renowned
Leila
Robinson,"
he
noted,
while
referring
to
her
as
his
second
mother.
 
 He
also
remembered
his
late
sister
as
being
the
family
umpire,
who
steered
down
the
middle
ground
in
a
large
family
with
differing
political
views.
 The
family
included
her
brother
the
late
Percy
Broderick,
agriculture
minister
during
the
1980s.
 
 Madge
Broderick
will
be
buried
on
her
birthday,
April
14,
following
a
service
at
the
St
Robert
Bellarmine
Roman
Catholic
Church
in
Chapleton,
 Clarendon.

NDTC mourns passing of founding member Published: Tuesday | August 28, 2012 The National Dance Theatre Company of Jamaica (NDTC) has announced with deep regret the passing of Monica McGowan, founding member and former principal dancer. She died at her home last Wednesday after a brief illness. McGowan was one of the 16 founding members of the internationally acclaimed company, which was founded in 1962 by the late Professor the Hon Rex Nettleford and Eddy Thomas. NDTC artistic director Barry Moncrieffe said McGowan had served the 50‐year‐old organisation with distinction, both on and off the stage. He said McGowan's gift for dance was evident in the more than 52 works performed with the company. Her depth and range as an artist was palpable in the leading dance roles she played, which included Liza in Legend of Lovers' Leap (Eddy Thomas, 1962); Lucifer Lucifer (Rex Nettleford, 1970); the protagonist in Shadows (Sheila Barnett, 1970); and Mountain Women (Barnett, 1972). She was revered in her role as Judith, the mother of Judas in The Rope and the Cross (Barnett, 1974); as Jamaican heroine Nanny in Ni‐Woman of Destiny (Barnett, 1976) and in Wonder, Love and Raise (Nettleford, 1977). The late Professor Rex Nettleford in his 1985 book, Dance Jamaica, described the petite‐framed McGowan as "a stylish and intelligent dancer with dramatic power and an impeccable gift for phrasing," and a "highly intelligent artist and performer". Extensive touring She toured extensively with the NDTC to the United States, Canada, Germany, England, Guyana, Barbados and Trinidad, and also performed in the Little Theatre Movement's Pantomime as well as in productions by the Sohhih School of Dance and the Ivy Baxter Creative Dance Group. McGowan's early training in the Cecchetti method of Classical Ballet was at the Soohih School. She also studied with Dance Theatre of Harlem and with Madam Naila in New York, as well as with Caridad Nicholas and Roni Mahler. That, along with her training in modern dance with Ivy Baxter and Neville Black, the Martha Graham School and Lavinia Williams, built the foundation for her role as dance educator at the Jamaica School of Dance where she taught for more than 20 years.

NDTC founding members Barbara Requa and Bert Rose who co‐founded the Jamaica School of Dance with the late Sheila Barnett, and worked and danced alongside McGowan, described her as a highly dedicated dancer and teacher. "Monica was a true professional who lived for the dance. She was always elegant and sweet and only had kind words to say. She was a good friend and a good human being with an enormous heart," Rose said, adding that she will be dearly missed. Requa remembers McGowan as "a most dedicated, diligent and meticulous teacher in how she prepared and worked with her students". "Many students benefited from her commitment to teaching the Cecchetti method of ballet in Jamaica, and she was instrumental in sustaining its success, following through with preparing students for exams until only days before she took ill." On a personal level, Requa says she was a "wonderful spirit". "She had a great sense of humour that she applied in her teaching methods." McGowan was a member of the Cechetti Council of America and the Professional Dance Teachers' Association (USA). She trained thousands of children and adults in ballet and modern dance at the Holy Childhood Ballet School where she was artistic director and principal tutor and at the Soohih School of Ballet. Her spirit of voluntarism was not limited to the NDTC. She was also as an adjudicator for the National Festival Competition, taught summer school dance courses in the Cayman Islands, worked with the Institute of Jamaica and gave more than 20 years of services to the Junior Creative Dance. In recognition of this, McGowan was the recipient of several accolades for her contribution to dance and dance education, the highest of which was the Institute of Jamaica's Centenary Medal for Dance and Drama in 1979. In its release, the NDTC said: "The National Dance Theatre Company extends heartfelt sympathy to her sister Micky McGowan and to the rest of her family. The NDTC will pay tribute to its late founding member at the service in celebration of her life, to be held at the Holy Cross Church on September 8."

Tribute to Miss Monica McGowan Nicholeen
DeGrasse‐Johnson – Edna Manley College‐Sch. Of Dance Junior Department It was the American dancer and choreographer Agnes DeMille who said, “To dance is to be out of yourself, larger, more beautiful, more powerful” and this was clearly demonstrated in Miss McGowan’s subtle gestures, regal bearing, dignity and graceful carriage. Though of a petite stature, she was indeed “larger, more beautiful, and more powerful.” She demonstrated discipline, dedication, gentleness, good memory, and she remained current – she frequently attended international ballet conferences and shared her knowledge with her students and colleagues. Hair neatly styled in a bun and wrapped with a headband and never without her make‐up, Monica McGowan epitomized at once the quintessential dancer and the meticulous ballet teacher. Miss McGowan served the Junior Department of the School of Dance at the Edna Manley College for almost 30 years; she demonstrated a very fluid classical ballet style, no wonder she became the first Jamaican to sit on the Cecchetti Council of America. Dancers Enter – Performance: Her students, past and present had this to say: Janae (8 years old): she’s sweet; she’s kind, loving and a nice teacher Robyn (14 years old): an excellent teacher and a role model for all of us and she made me love ballet Charlotte (16 years old): she taught me for 13 years, she’s like family, she taught me how to dance and that's why I want to be a dancer Stephanie (12 years old): I think it’s a privilege to be taught by her and she is an excellent teacher Alicia (adult): she was a wonderful teacher, caring; and had a lot of faith in us and she made me love dancing even more Keita­Marie (adult): she taught me everything I know about the carriage of my arms and legs along with stage presence. This was also seen in her demeanour. She was very encouraging and built my confidence by recommending me to do two ballet exams at one sitting. She was such a lady. Miss McGowan, you exemplified the delicate balance between professional teacher and artist. Today we salute you not only for your considerable talent and achievements in dance, but for your invaluable contribution to the growth and development of bodies, minds and souls.

MONICA McGOWAN: Remembrance By Barbara Requa NDTC Founding Member Family and Friends, good afternoon: It is my pleasure to share with you some memories of Monica McGowan that have provided many hours of friendship and laughter, as we celebrate her life this afternoon. I will speak about her first as a dancer, then as a teacher and finally as a friend. Monica, the Dancer: I first met Monica in the early 50’s when I joined the Ivy Baxter School of Dance. I am not sure if she came before or after me, but we were there together and spent a number of years as part of the troupe. Monica was a very feisty, no‐nonsense lady – I remember an incident that occurred when the late Rex Nettleford, also a member at that time, in an attempt to attract her attention for whatsoever reason, beckoned to her using his index finger (the way we Jamaicans are want to do). She immediately drew herself up to her imposing 5 ft. stature and haughtily responded – “Don’t you dare crook your finger at me!!!” and walked briskly away. I think Rex was duly chastened and probably forgot what he wanted to say to her. Her years of study with the Baxter group and the Soohih School of Dance, as well as studies abroad with a number of international dance schools, honed her dance skills and adequately prepared her for the next stage of her dancing career. Monica was one of the sixteen Founding Members of the National Dance Theatre Company, in l962. She has the record of being one of the longest performing dancers in the company – dancing for 37 years; during that period she performed more than 52 works, many of them being leading roles. She was particularly noted for her character roles and was a favourite of Choreographer Sheila Barnett, who used her in many of her works; she is particularly remembered for her outstanding performance as LIZA in Barnett’s signature work, The Rope and the Cross. The late Professor Nettleford in his book – Dance Jamaica (1985) described her as (and I quote) “a stylish and intelligent dancer with dramatic power and an impeccable gift for phrasing, who in the 1970’s emerged as an artist of major stature.” (end of quote). And so she was! In a recent event to honour Monica’s years as a teacher at the Junior Department, School of Dance, Edna Manley College, the introduction read (I quote) – ‘Distinctive in her ballet costume, hair neatly styled in a bun and wrapped with a headband, Monica McGowan epitomizes at once the quintessential dancer and the meticulous teacher” (end of quote). This description is a perfect way to introduce Monica the Teacher.

Monica, the Teacher: In the early 1980’s she worked with Judith Pennant (also an NDTC dancer) to introduce the Cechetti method of classical ballet, working with the Junior Department, School of Dance. When Judith left Jamaica in the mid 1980’s, Monica took over the management of the ballet department; she also founded a Cechetti ballet school at the Holy Childhood Prep where she taught Physical Education and Christian Living. Over the years she developed a strong relationship with the Cechetti Dance Association in Florida, USA and was instrumental in bringing down accredited examiners annually, to conduct examinations for both schools. Her relationship with this Association also provided an opportunity to take refresher courses annually and teach classes at a number of schools in Florida, during her summer vacations. I remember her as a diligent, dedicated and caring teacher who took great pains to ensure that her students did well. She had a great ‘sense of humour’ and she applied this to her teaching methods, in order to get the best out of her students. She never missed a class. I can recall with a smile our brief encounters as we passed each other on the corridor of the school – “Hi Monica…what’s up?” I would say. “A little bit of this and a little bit of that” she would reply, gesturing in her usual ‘classical’ style. She would then proceed to share one of her many jokes that seemed to ‘pop up’ out of her head without much urging; and they were very good jokes too. This repartee continued regularly over the many years we worked together and helped to cheer up my Mondays and Wednesdays immensely. I truly believe that had she not settled on a career as a dancer/teacher she could have been a great ‘stand‐up comedian”. Over the years Monica has won many awards for services to dance and education that include: The Institute of Jamaica Centenary Medal The Hall of Fame Award for contribution to Arts and Culture in the field of Dance The NDTC 35th Anniversary Lifetime Achievement Award The Roman Catholic Education Association Award In 2003 she became the first person from the Caribbean to be invited by the Government of the Ukraine to attend the World Festival of Ballet Stars, as a guest of the Ukraine President.

Monica, the Friend: Monica and I were friends for more than fifty years; it is uncanny that we both followed the same career paths through our lives, as Physical Education teachers, members of the Ivy Baxter Group, the National Dance Theatre Co. and as dance educators at the School of Dance, Edna Manley College. Over these years we developed a wonderful rapport because we shared the same career choices and had the same passion for dance; we also shared a love for gardening. These similarities provided a bond that did not require us to be in each other’s house on a weekly basis. Whenever we met, it was as if there had been no separation….and the jokes were always a part of the reunion process. I have good memories of visits to her home for ‘high tea’ – not to be missed at any cost. We would be given a tour of the back garden with its wide variety of fruit trees and vegetables; this was followed by a tour of the front garden where we could discuss and compare a variety of flowering plants and shrubs. We would then repair to the verandah to be treated to a

delicious repast of delicacies prepared by her sister Micky and herself….and the jokes would naturally be a part of the afternoons entertainment. Monica McGowan lived for dance, both as a Performer and more particularly as a Teacher of Dance. She saw dance as the fusion of body, mind and soul and continued to participate in this Art form right up to the time she collapsed while rehearsing her students for an end‐of‐term production at the School of Dance. What more can we say! Yes, Monica, you will be greatly missed, but the memories are positive and refreshingly strong in our minds. Walk good my friend, may you rest in peace and light perpetual shine upon you. Barbara C. Requa Friday, September 7th, 2012

NDTC
Remembers
Cuban‐Jamaican
Cultural
Icon
 Alicia
Glasgow,
PR
 Members
of
the
National
Dance
Theatre
Company
(NDTC)
and
others
in
the
 Jamaican
dance
community
continue
to
mourn
the
loss
of
Cuban‐Jamaican
 Professor
of
Dance,
Eduardo
Rivero‐Walker,
who
passed
away
in
his
Havana
 home
after
an
illness
on
Wednesday,
October
31.
 
 The
NDTC’s
relationship
with
Rivero‐Walker
spanned
more
than
four
decades.
 His
 was
 a
 former
 principal
 dancer
 and
 choreographer
 with
 Danza
 Contemporena
 which
 hosted
 the
 NDTC
 on
 highly
 successful
 tours
 of
 Havana
 and
Santiago
in
the
1970s,
and
later
for
CARIFESTA
in
1978.

 
 Barry
Moncrieffe,
Artistic
Director
of
the
NDTC,
explains
that
since
that
time,
 the
two
companies
have
enjoyed
a
close‐knit
bond
of
friendship
and
cultural
 exchange.
 The
 then
 Jamaica
 School
 of
 Dance
 and
 the
 NDTC
 first
 engaged
 Rivero‐Walker,
 who
 is
 of
 Jamaican
 descent,
 during
 the
 1970s
 and
 he
 also
 appeared
as
a
Guest
Performer
with
the
Company
in
1980.
 
 Only
 this
 year,
 the
 NDTC
 again
 invited
 Rivero‐Walker
 to
 Jamaica
 to
 remount
 his
highly
acclaimed
choreographic
work
Sulkari,
as
a
special
component
of
its
 fiftieth
 anniversary.
 Additionally,
 four
 of
 his
 company
 members
 performed
 works
as
part
of
the
Season
of
Dance.
 
 “He
 was
 a
 masterful
 dancer
 and
 teacher,
 a
 meticulous
 choreographer
 and
 a
 loving
 spirit.
 Eduardo
 will
 continue
 to
 be
 an
 inspiration
 for
 generations
 of
 dancers,
singers,
musicians
and
other
artists
who
were
privileged
to
know
and
 work
with
him,”
the
Artistic
Director
added.

The
Cuban‐Jamaican
Connection
 The
 Cuban‐Jamaican
 connection
 in
 dance
 theatre
 is
 undoubtedly
 the
 strongest
 among
 our
 regional
 counterparts,
 Moncrieffe
 opined.
 It
 is
 a
 link,
 he
 declares,
 that
 was
 originally
based
on
a
commonality
of
 “truly
 Caribbean”
 style
 and
 influence,
 both
 which
 successfully
 melded
combinations
of
African
and
 other
 modernized
 cultures
 of
 the
 Americas.
 
 Many
 dance
 companies
 including
 L’Acadco,
 Movements
 Dance
 Company,
 Stella
 Maris
 Dance
 Ensemble,
 Cathy
 Levy
 Players
 and
 the
 University
 Dance
 Society
 have
 been
 enhanced
 by
 the
 Cuban‐ Jamaican
interface
in
dance
through
 a
 combination
 of
 exchanges,
 tours,
 and/or
choreography.
 
 Rivero‐Walker
was
an
advocate
who
 actively
participated
in
the
vision
for
 regional
 cooperation
 and
 interchange
through
the
arts.

Under
his
leadership
Cuban
dancers,
Abeldo
Gonzalez‐Fonseca
and
 Arsenio
 Andrade‐Calderon,
 were
 released
 from
 his
 Compania
 Teatro
de
la
Danza
del
Caribe
in
Santiago
to
join
the
NDTC
in
1995.
 Both
have
served
the
Company
with
distinction
as
principal
dancers
 for
 more
 than
 fifteen
 years
 and
 as
 teachers
 and
 choreographers,
 strengthened
 the
 dance
 programmes
 of
 the
 Edna
 Manley
 College
 for
the
Visual
and
Performing
Arts
and
countless
other
performing
 groups.

 
 
As
 part
 of
 the
 exchange,
 NDTC
 works
 The Crossing
 (Rex
 Nettleford),
 Steal
 Away
 (Bert
 Rose)
 and
 Cry
 of
 the
 Spirit
 (Gene
 Carson
 Cumberbatch)
 were
 added
 to
 the
 repertoire
 of
 Rivera‐ Walker’s
company,
Teatro
Dela
Danza
Del
Caribe
de
Santiago.
 
 Bert
 Rose,
 worked
 very
 closely
 with
 Rivero‐Walker.
 He
 expressed
 that,
 “Eduardo
 was
 like
 a
 brother
 to
 me.
 He
 recognized
 the
 importance
of
the
work
that
the
NDTC
was
doing
to
build
a
dance
 theatre
 company
 that
 reflected
 the
 mood
 of
 the
 people
 and
 that
 was
truly
us.
It
was
an
automatic
bond,
as

he
was
doing
the
same
 with
his
company
in
Cuba.”

 
 Rivero‐Walker’s
 legacy
 with
 the
 NDTC,
 will
 continue
 to
 live
 on
 through
his
choreographic
works,
Rose
affirmed.

 
 Over
 the
 years,
 he
 created
 four
 dance‐works
 for
 the
 Company.
 “Tribute”
was
regarded
as
a
gift
to
his
‘cousins’
in
Jamaica
from
the
 Cuban
 people
 who
 revered
 the
 contemporary
 Jamaican
 music
 of
 reggae
 artists
 such
 as
 Bob
 Marley
 and
 Jimmy
 Cliff.
 He
 also
 choreographed
 a
 duet
 called
 Romance
 for
 Melanie
 Graham
 and
 Barry
 Moncrieffe;
 and
 Ballada de los Abuelos
 (Ballad
 of
 the
 Grandfathers)
danced
by
Andrade
and
Gonzalez.

Master
work
 His
masterwork
Sulkari,
however,
is
perhaps
the
most
significant
of
his
professional
 contributions
to
the
NDTC.

 
 Theatre
historian
Wycliffe
Bennett
once
described
the
powerfully
erotic
piece
as
“an
 essential
 Africanicity
 that
 expects
 to
 be
 judged
 on
 the
 basis
 of
 its
 own
 aesthetics…and
the
results
are
achieved
with
economy
and
impeccable
taste.”

 
 Sulkari
 remains
 a
 much‐loved
 work
 within
 in
 the
 NDTC’s
 wide
 repertoire.
 It
 was
 originally
mounted
in
1980,
following
more
than
five
years
of
negotiation
with
Co‐ Founder
and
late
Artistic
Director
Professor,
the
Hon.
Rex
Nettleford
and
the
Cuban
 authorities
 to
 release
 it
 for
 performance
 by
 the
 Company.
 It
 again
 gained
 tumultuous
applause
when
performed
in
the
NDTC’s
golden
anniversary
Season
this
 summer.
 
 “Eduardo
was
a
friend
to
many
in
the
Jamaican
and
Caribbean
dance
landscape.
We
 have
 lost
 another
 icon,
 master,
 and
 family
 member.
 He
 will
 be
 greatly
 missed,”
 stated
Bridget
Spaulding,
Founding
Member
NDTC.

The
NDTC
extends
condolences
to
his
family,
and
the
extended
dance
fraternity
in
Cuba
and
Jamaica.

NDTC
50TH
ANNIVERSARY
AWARDS
CEREMONY
 Mona
Visitors’
Lodge
&
Conference
Centre
 UWI
Mona
Campus October 28, 2012

by
Rex
Nettleford

LISTS OF AWARDEES – Order of Presentation 1. Current Members 1999 – 2012 Current Members 1999 – 2012 Presenter: Ms. Sandra Shirley Member, Management Committee Jessie Golding 1999 Keita‐Marie Chamberlain 1999 Helen Christian 2000 Patrick Earle 2002 Tamara Noel 2003 Candice Morris 2003 Marisa Benain 2003 Faith Livingstone 2004 Phillip Earle 2005 Allatunje Connell 2005 Stefanie Thomas 2006 Leighton Jones 2007 Maia Pereira 2007 Jillian Samms 2007 Terry‐Ann Dennison 2008 Orlando Barnett 2008 Dwayne Brown 2008 Paul Newman 2008 Heidi‐Anne Hanson 2008 Shelley‐Ann Maxwell 2005 ‐ 2007 + Choreography Neila Ebanks 1999 ‐ 2002 + Choreography

2. Awardees 15 – 30 Years

3. Awardees 40 ‐50 Years

Awardees 15 – 39 Years Presenter: The Hon. Miss Justice Hilary Phillips, JA Member, Management Committee Judith Wedderburn 1963 Noelle Chutkan 1964 Jean Summers 1964 Fred Hickling 1965 Patsy Ricketts 1966 Cheryl Ryman 1967 Jackie Guy 1968 Tony Wilson 1970 James Walker 1971 Judith Pennant‐Wuarin 1973 Alison Symes 1975 Denise Robinson 1975 Clive Thompson 1975 Leighton Johnson 1975 Sandra Minott‐Phillps 1978 Arlene Richards 1978 Carl Bliss 1978 Alaine Grant 1979 Jacquie Smith 1979 Wesley Scott 1979 Clyde Cunningham 1980 Gene Carson 1980

4. Companies & Institutions

Eduardo Rivero‐Walker 1980 Kamau Kalfani 1982 Delroy ‘Deroi’ Rose 1983 MoniKa Lawrence 1983 Henry Miller 1984 Wigmoore Francis 1985 Dulcie Bogues 1985 Tony Holness 1986 Dawn Fuller‐Philips 1986 Howard Cooper 1988 Karyn Neysmith‐Johnson 1990 Staci‐Lee Hassan‐Fowles 1991 Carole Orane‐Andrade 1992 Natalie Chung 1993 Kerry‐Ann Henry 1994 Earle Brown 1995 Arsenio Andrade‐Calderon 1995 Abeldo ‘Tokie’ Gonzalez‐Fonseca 1995 Ewan Simpson 1997 Alicia Glasgow 1998 Mark Phinn 1998 Christopher Walker 1998 Marlon Simms 1999 Kevin Moore 2001 Oniel Pryce 2002

Awardees 40 ­ 50 Years Presenter: Dr. Carlton Davis Chairperson, Management Committee on behalf of Hon. Burchell Whiteman Bridget Spaulding 1962 Bert Rose 1962 Barbara Requa 1962 Audley Butler 1962 Rosalie Markes 1962 Gertrude Sherwood 1962 George Carter 1962 Ronan Critchlow 1962 Paula Johnson Asontua 1962 Barry Moncrieffe 1963 Barbara Kaufman 1963 Maria LaYacona 1964 Marjorie Whylie 1965 Albertina Jefferson 1971 Carole Reid 1973 Melanie Graham 1973 Michael McDonald 1977

Companies & Institutions Presenter: Dr. Carlton Davis Chairperson, Management Committee Chase Fund Bank of Nova Scotia National Commercial Bank The University of the West Indies Television Jamaica Ltd. Media Mix Ltd. The Little Theatre Movement NDTC Alumnae & Friends, N.Y. Digicel Foundation Rose & Co. Ltd. Carreras Ltd. Jamaica National Building Society Garth Fagan

Order of Programme

Master of Ceremony ‐ Ms. Norma Brown­Bell National Anthem Invocation ‐ Rev. Ralph Hoyt Guest Speaker ‐ Hon. Barbara Gloudon, OJ Presentation of Awards Presenters: Sandra Shirley The Hon. Miss Justice Hilary Phillips, JA Dr. Carlton Davis Musical Presentation: Harold Davis, Carole Reid Cocktails Vote of Thanks Marlon Simms, NDTC Dance Captain on behalf of Barrington Moncrieffe, CD ­ Artistic Director, NDTC

*NB: Years were based as they appear in the NDTC’s Annual Season Brochure

LIST
OF
PHOTOGRAPHS
 
 
 Page(s)

 2

NDTC
Members
in
Kumina
(1971)
foreground
Marlon
Simms
(King)
and
Keita‐Marie
 Chamberlain
(Queen)
–
Stuart
Lacy
Photography
 7
 NDTC
Members
in
African Scenario
(1962);
Rex
Nettleford
and
Pansy
Hassan
Kumina
(1971)
 8
 Pocomania
(1963);
NDTC
Members
in
The Crossing
(1978)
–
Bryan
Robinson
Photography
 10
 Drumscore
(1979)
Bryan
Robinson
Photography
 11
 Blood Canticles
(1996)
foreground
Chelcia
Creary
–
Bryan
Robinson
Photography
 22
 NDTC
Singers
(l‐r)
Rhonda
Lumsden‐Lue,
Kemar
Lee,
Faith
Livingstone,
Earle
Brown
 24
 Beryl
McBurnie
receives
plaque
from
Prof.
Rex
Nettleford;
background
Ivy
Baxter
and
Lavinia
 Williams

 
 (1987)
 27
 clockwise:
Sweet in the Morning
(1992)
Chor.
Leni
Wylliams
featuring
Marlon
Simms;
Arsenio
 Andrade
Dimensions
(2004)
Candice
Morris
and
Arsenio
Andrade;
Mark
Phinn
in
Clive
 Thompson’s
Of Sympathy and Love
(2003)
and
Incantation
(2002)
Keita‐Marie
Chamberlain
 soloist
in
Jeanguy
Saintus
master‐work
 28
 Milton
Sterling
and
Arlene
Richards
in
Diva
(1990)
Chor.
Clive
Thompson
 29
 The Thin Line
(2011)
Tamara
Noel:
Chor.
Natalie
Chung
–
Bryan
Robinson
Photography

 
 
 32
 The Crossing
(1978)
l‐r
Phillip
Earle
and
Paul
Newman
–
Bryan
Robinson
Photography
 33
 NDTC
Singers
in
Performance
–
Bryan
Robinson
Photography
 34
 Percussionists
Ewan
Simpson
&
Henry
Miller
in
Drumscore
(1979)
 35
 NDTC
Singers
in
Performance
(l‐r)
Carole
Reid,
Faith
Livingstone,
Dulcie
Bogues,
Jhana
 Williams
 39
 African Scenario
(1962)
 40
 Legend of Lovers’ Leap
(1962)
Sheila
Barnett
and
Eddy
Thomas
–
Garth
Morgan
Photography
 41
 Dialogue for Three
(1963)
Barbara
Requa,
Eddy
Thomas,
Sheila
Barnett
–
Garth
Morgan
 Photography

42
 43
 44
 45
 47

 55
 56‐57
 58
 59
 60
 62
 63
 64
 67‐69
 70
 71
 72
 73
 74

Legend of Lovers’ Leap
(1962)
Garth
Morgan
Photography
 Afro‐West Indian Suite
(1962)
Barbara
Requa,
Eddy
Thomas,
Yvonne
da
Costa,
Rex
Nettleford
 Games of Arms
(1963)
Bridget
Spaulding
&
Bert
Rose
born
aloft
in
Thomas’s
satire
on
the
 world
situation
 Juba:
Rex
Nettleford
&
Sheila
Barnett
in
an
African
Caribbean
dance
arranged
by
Lavinia
 Williams
of
Haiti
–
Garth
Morgan
Photography
 African Scenario
(1962)
Eddy
Thomas,
as
the
chief,
leads
the
male
dancers
in
a
war
dance
–
 Peter
Smith
Photography
 Jackie
Guy
with
God
Daughters
Allana
and
Susan
 NDTC
Singers
in
Performance
 NDTC
Members
in
a
Morning
of
Music
and
Movement
Performance
of
Rex
Nettleford
 masterwork
The Crossing
(1978)

 Siempre Corriendo
(2012)
Bryan
Robinson
Photography
featuring
Marlon
Simms,
Edisnel
 Rodíguez
Gonzalez,
Mark
Phinn
and
Delvis
Savigne
Friñón
 Mark
Phinn
and
Candice
Morris
in
Chris
Walker’s
Urban Fissure
(2004)
–
Christopher Cushman
Photography
 Kerry‐Ann
Henry
in
Clive
Thompson’s
Ancestral Images
–
Bryan
Robinson
Photography
 Kumina
(1971)
Stuart
Lacy
Photography

 Madge
Broderick,
Principal
Dancer
 Monica
McGowan,
Founding
Member/Principal
Dancer
 Sulkari
(1980)

 Edisnel
Rodíguez
Gonzalez
and
Eduardo
Rivero‐Walker
 Sulkari
(1980)
foreground
Candice
Morris
‐
Bryan
Robinson
Photography
 Sulkari
(1980)
Bryan
Robinson
Photography
 NDTC
Singers
&
Musicians
featuring
Helen
Christian
in
Eduardo
Rivero‐Walker
Sulkari
(1980)
 Bryan
Robinson
Photography

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