DANCE IS the unique expression of a people's soul. The continuance of its traditional performance not only brings forward the history and the innovations of time, but also issues of interpretation and crosses many bridges of the mind. Just over 30 years ago a small group of specially gifted Jamaicans, deeply moved by their own individual training and relationship with the Muses in various parts of the Caribbean, put their ears to the ground and heard a message of the time that inspired them with a new and vibrant vision. These sons and daughters, some of them still happily with us today, were driven by a compelling urge to accept a challenge requiring enormous discipline to forge an instrument for social change through the medium of the dance, a medium which would reflect their own self-confidence in their fellows.
It was an act of pure faith that our people could ride the political, social and cultural transformations taking place at the time and reveal the new energies of creativity suddenly released from the cold, confining clasp of colonialism.
The fragmented region of the Caribbean at that time had been blessed by such geniuses as Ivy Baxter, George Lammie, Beryl McBurnie, Madam Soohih no less than the afterglow of Bedward, Paul Bogle, Marcus Garvey, C.L.R. James and others. In the midst of this cultural and intellectual inflorescence we saw such early fruit as Rex Nettleford and Eddy Thomas, among others who gave articulation to this vision long delayed.
Such movement gave rise to the National Dance Theatre Company, which over many difficult years has not only silenced those early critics who thought that "made in Jamaica" was an inferior label, but has shown brilliantly at home and abroad that there are many things in Jamaica that qualify to be among the best in the world.
Always close to the people from whence it sprung, it has produced such jewels of entertainment and intellectual edification as 'Roots and Rhythms' and scores of other performances which have secured its place in our halls of fame.
The NDTC had great influence on such other dramatic developments as the pantomine, the L.T.M., The School of Dance and the truly great names of the period associated with them.
Aside from the dancers, choreographers and musicians, they produced veritable small armies of technical workers, drummers, musicians back-drop artists, administrators, all contributing in the happy community of dedicated players.
It would be invidious to select individuals but there are some names like Sheila Barnett, whose artistic talent as seen in 'The Rope And The Cross', reveals an extensive and elegant vocabulary of dramatic eloquence.
Eddy Thomas, among others, brought a cross-culturism as well as a sophistication which did much to advance the productions. Bert Rose revealed a genius in stage-setting as well as choreography. Barry Moncrieffe, Marjorie Whylie and Brigette Spauldings have portrayed continued excellence through the years, while Melanie Graham, who had her early training in ballet has brought agility, grace and charm in performances like 'Tribute To Cliff' and 'The Crossing'.
To fully assess what the NDTC has done for the advancement of drama on this island let us recall the earlier beginnings of the Little Theatre, the pantomine and Louise Bennett, all institutions growing in an expression of our time.
The early founders of the NDTC perceived a new vision that added colour...local colour to the situation. It began to define a cultural expression of an indigenous art form without Government or other outside support with the state objectives:
To provide a vehicle for well trained and talented dancers to create and perform works of excellence arising out of their own historical experience.
To educate and widen the critical audience of Jamaica and simultaneously build up our own esteem, self-confidence and national pride.
To experiment, study and research techniques, style and interpretation of the dance form reflecting expressions of Jamaican life,
To collaborate with the growing movement towards integrating the Caribbean theatre.
The success after 38 years of existence, consisting of assiduity, sacrifice, determination and commitment is reflected in the high reputation the NDTC has earned for itself at home and abroad. The penetration into the heartland of Jamaica, where community effort is now a fixture in our social agenda, has undoubtedly sensitised the common folk to their own creative potential.
There can be no doubt that the NDTC after 35 years of continuous striving for excellence at home and abroad has succeeded in making a remarkable and indelible impact on the cultural life of the West Indies.
Dudley Thompson
