Movements Dance Theatre Company celebrates 40 years of excellence

In a time of coronavirus when many organisations have been brought to their knees, at least one Jamaican dance company, which is firmly on its feet, continues to perform powerfully before local and international audiences with appropriate aplomb, limitless diversity and exceptional energy. Despite the challenges, the Movements lives on.

Movements Dance Theatre Company, which is celebrating its 40th anniversary this year, has stood the test of time and the challenges of the pandemic, beating impossible odds to keep the contemporary Jamaican dance theatre alive and well.

A few months ago, it participated in the launch of Africa Rise! Healthier & Stronger, the virtual musical fundraiser hosted by international artiste Doug E. Fresh.

For their 40th-anniversary celebrations, they’ve stepped into high gear with a spectacular performance of a set of dances created by resident and guest choreographers. The signature works offered a soul-searching worship experience, glorious thanksgiving and bold apocalyptic and even prophetic pronouncements.

Interestingly, with the achievement of 40 years of outstanding dance theatre, Movements has managed the challenges of regeneration and reintegration over the years very well. Today, the dancers in residence are young professionals, mainly in their 20s, stepping in the footprints of generations of excellence before them.

Co-founder and artistic director Monica Campbell McFarlane graciously attributes the longevity of the company and the miracle of thriving despite the pandemic to the commitment and inputs of the young people who have built this movement, despite it being beyond their years.

McFarlane acknowledged that Movements is larger than any individual dancer at any given point in time and encapsulates the bigger aspirations and dreams of the team.

TRADITIONAL AND MODERN

For their celebratory performance, the group began with a blessing in ‘The Anointing’, which McFarlane choreographed herself. To the music of Tasha Cobbs’ Your Spirit, McFarlane’s work was as modern as it was traditional. The dancers, appropriately clad in white, moved in uniformed lunges and lurches from different angles, creating a feast of worship and a deep praise experience. The power of the divine dance drama was boosted by the enchanting music.

‘Searchlight’, another Monica McFarlane creation, was intensely colourful and quite contemporary. It painted a picture of recognisable movement in any metropolitan district. To the sound of Barrington Levy’s What we Need is Love, the piece visited the popular inner cities and townships through a rigorous study of character types. It spoke of familiar street vibes, capturing popular Jamaican stereotypes, haunts and styles. If McFarlane intended to deliver a message from the movements, it would speak of the motto ‘Out of Many One People’. It was a search for love and harmony among distinct individualism, a convincing thesis of unity and tolerance.

‘Life is a Tango! Let’s dance!’ And that they did. Short and spicy is this modern contemporary love duet created by guest choreographer Robert Hernandez from the Ballet Folkloric de Cuba. The naked emotions of the young lovers were wrapped in the natural, earthy movements, peppered with sharp and unexpected surges. The potent passion of the dance carried through to even the costuming of the dancers in the bright red dress of the female dancer and male dancer in formal attire.

In a moving piece, rightly titled ‘For Those We’ve Lost’, Movements recognised the contribution of its members who have passed, including veteran film-maker and lighting director Franklyn ‘Chappie’ St Juste, former veteran dancer Patrick Johnson, photographer Bryan Cummings and veteran teacher and choreographer Jackie Guy. Of importance ‘For Those We’ve Lost’ is also the theme of the anniversary performance, which reaches beyond the historic achievements of the Movements to acknowledge and celebrate those who have been lost in the ongoing pandemic. This global outlook of the dance and the group’s focus on the current plight of humanity places the performance above and beyond the limits of the local stage. Dancers were appropriately dressed in grey for the solemn celebration.

Award-winning gospel songwriter and performer Daron made his signature guest appearance at the recital. Daron, who is also a Movements member, confidently belted out his original song Already Loved, adding to the already high standard of the celebrations.

With a number of outstanding performances, the icing on the cake was the Movements’ gold standard ‘The Wrath of God’, choreographed by artiste in residence Christopher Huggins to the music Requiem by Carl James.

This fitting end to the performance captures the gripping fear of the current and future pandemic, the sudden death and unexpected natural disaster, and scaremongering that threaten humanity. The militancy to looming threats and ongoing uncertainty are all captured in the movements. The music builds to a screaming crescendo that heightens tension, even for the audience. Expertly choreographed and costumed to depict the darkness of days and the gloominess of life, fear and mayhem, and the urgency of sirens make for high drama.

The sole lead dancer in full white and terrifying against the cowering minions is the power centre of an angry God. ‘The Wrath of God’ is terrifying, electrifying, power-packed, eerie, futuristic and prophetic.

This celebratory performance was magical and mystical. The commitment of the dancers and choreographers to the group and the craft signalled their continued belief in an ideal that others, some 40 years ago, must have established. It was clear, for the young men and women, who currently make their contribution to Jamaican contemporary dance under the banner of Movements Dance Company, believe that they too can plant their footprints in the oath set by those who went before them.

Sponsors of the programme include the Public Broadcasting Corporation, Philip Sherlock Centre for the Creative Arts, MegaMart, and Jamaica National under the patronage of Earl Jarrett, chief executive officer of the Jamaica National Group.