Marcia Rowe, Gleaner Writer

Dancer and choreographer Onaje Bell. - Contributed

Dance Theatre Xaymaca 13th Season of Dance at the Little Theatre, located on Tom Redcam Avenue, in Kingston, last Sunday evening, was a dazzle of creativity and a pang of repetition.

The first part of the programme started on a high. The opening dance choreographed by Barbara McDaniel, and titled 'Spirit of the Dance', was lively; a display of creativity and a demonstration of control, beautiful coordination and formation.

Performed by the dance company, clad in short brown tights and leotards, 'Spirit of the Dance' began with a cluster upstage right, with the dancers gradually moving as one body across the stage. The dance ended as it began, in the cluster upstage right. The use of props (brooms) further enhanced the spectacle.

Sensual dance drama

Next on the nine-act programme was 'House of the Rising Sun', a sensual dance drama choreographed and danced by Onaje Bell, guest choreographer. There were two performers in this dance: a man (Bell) and a female (Allison McLean). The plot is simple - a woman reflects on her past. Using a wall and door for the set, Bell used his body to express the thoughts of the female.

A powerful dance drama, also choreographed by Barbara McDaniel, titled 'Choices', concluded the first half of the programme.

'Choices' is divided into three movements. Using a set comprising of a zinc panel and a stand pipe and a very high romp, the dance presents two persons (Racquel Bragg and Gillian Lee) making choices. Both Lee and Bragg were convincing in execution of characters and showed flexibility in movement.

Segment two began with '2tha Bone'. Choreographed by McDaniel and Kameica Reid, the dance commenced with six dancers emerging from behind a prison bar and proceeded to show what it is like to feel 'bad'.

This piece was followed by 'Concrete Rose', 'My World', 'Passive Consumption', and 'Mother Land'. All were choreographed by McDaniel, except 'Passive Consumption', which was choreographed by Bell.

Local dancehall movement

'Concrete Rose' seemed to be a tribute to the local dancehall movement, as the company gave a very entertaining demonstration of dances such as 'Nuh Linga' and 'Gully Creepa' thus receiving the loudest screams from the enthusiastic audience.

Unfortunately, the second half of the show did not live up to the standard of the first half, despite the use of spectacular sets, including an excellent backdrop in 'My World'. This weakness was due mainly to the repetition of the same dance movements already presented in the first segment.

Except 'My World' and 'Choices', the dominant costumes were leotards and tights in black, brown and white, which only helped to make the movements appear more repetitious.

Also making a cameo appearance on the show was a group of drummers to the delight of the audience. Though their performance was brief, the musicians performed with skill and passion.

By all accounts, the continuous screaming throughout the programme was a clear indicator that the capacity-size audience had a wonderful time.