Left: The use of a chair by this dancer, demonstrated how an inanimate object can help to stretch the imagination. Right: This dancer showed offsome elegant moves.

Jamaica in general, and Kingston in particular, are endowed with a number of dance companies. Most showcase their repertoire between September and November. The seasons unfold as weekend tag games or a relay. And, the Little Theatre, located on Tom Redcam Avenue in St Andrew, becomes the premier venue. Last weekend, Dance Theatre Xaymaca picked up the baton with their 14th season of dance.

With its very skilled company of dancers and eight guest choreographers - Kirk Rowe, Robertha Daley, Sabdiel Hardware, Honore Van Ommeren, Patsy Ricketts, Michael Holgate, Tony Wilson and Christopher Walker - it was clear that the objective of this season was to remove the creases of the very "creative but repetitive" 13th season. But, there were some inconsistencies in choreography.

Season 14 kicked off last Saturday night with a fitting title, Awomanda, from the 2004 season. But the piece, choreographed by Walker, was somewhat flat for an opening, despite the almost clinical and beautiful extension of bodies by the dancers. The dance, which involved only some of the all-female dancers, began in silhouette (this became the signature beginning for all subsequent dances) and comprised of many leaps, creating the impression of dancers in a preshow warm-up session.

Next on the programme was Wilson's Portrait of Nina. Wilson is known to choreograph some great pieces over his long dancing career, but this was not one of them. Except for the long, white, swirling dresses; the poignant vocals of Nina Simone and a few new faces along with a solo part tucked in, Portrait of Nina was similar to Awomanda in movements, formation and energy. It was the third piece, Space of Mind, choreographed by Dance Theatre Xaymaca artistic director, Barbara McDaniel, that really began the display of creativity that the company is known for. Taken from the 2004 season, the dance was an exploitation of space, levels and an exhibition of acrobatic movements that produced wonderful extensions; all aided by large gold-painted drums placed along the up-stage areas. The full red unitards not only contrasted beautifully with the drums but also complemented the movements.

The flow of creativity continued with Hardware's Chemistry (U & Me), from the 2000 season. The dance was risqué in nature, and the dancers, Tara Price and Paul Newman, were fantastic in their interpretation. They held the attention of the audience as they tumbled and rolled across the stage, depicting what seemed to be a tumultuous relationship.

Season 14 came into its own with Holgate's three movements titled Suite Faith of the Fallen. This dance began with the full company then shifted to a soloist in the second movement and back to the company in the third movement.

Holgate captured the essence of the Jamaican spirituality through local dance moves. His use of live music, in the form of vocalists, Diana Rutherford (former Digicel Rising Stars fina-list) and Carlbert Smith, accompanying dance soloist Anika Jobson was well executed, except for the split focus displayed.

Segment two began with another very entertaining McDaniel choreography titled Good Girls Gone Wild. The dance drama engaged the full company and told the story of a group of good girls who ended up behind prison bars. Despite their protests and attempts to escape, the two wardens kept them in tact (all told through the language of dance). The Atlan Lopez set, along with the costumes designed by McDaniel, were very effective in establishing the changes in setting - from the streets to the prison.

Another refreshing exhibition of creativity was Sphere, choreographed by Robertha Daley. With four dancers, Kari Douglas, Renée Grant, Natalie Nash and Katherine Kerr and a chair, Daley demonstrated how an inanimate object can help to stretch the imagination. The chair was the creative source for the four characters (dancers) who stood, sat, jumped and rode on the chair creating different pictures.

The event concluded with a colourful costume dance in four movements, Freedom Song, from the 2000 season. The second movement, danced by Jeunette Small, Loeri Robinson and Ghana Hyatt was splendid. The master of ceremony was Ed Gallimore, who made his announcements from backstage, only emerging at the start of the second segment to pay tribute to a speechless McDaniel.

One of the fine finishes at Dance Theatre Xaymaca's 14th Season of Dance. - photos by Winston Sill

Left: One of the colourful pieces presented.