When we think of the future, it is natural to contemplate our youth, whether past or present. One of my greatest accomplishments during my pre-adolescent years was my starring role in a dance performance at my elementary or primary school (as we say in Jamaica) when I was 8 years old. I remember now, 19 years later, the final rehearsal… pacing the steps, feeling the hot concrete on my bare feet, as I wore my big sister’s long, blue nightgown as my costume. The dance was choreographed in the spirit of a revivalist experience. It was an exciting time for me – head wrapped with a colourful scarf, anchored by two No.2 pencils on either temple. The tricky part about this last rehearsal was that I would not do the final, most electrifying segment of the Pocomania-flavoured piece on the burning, concrete, open-air platform.
I nailed the performance later in the afternoon. When I realized after the performance was over, how something else took over as I did the tun yuh roll, tek rebuke demon, get behind me Satan routine, how my commitment to the piece made me forget all the discomfort; focus and become the child revivalist in the moment - I knew I wanted to dance for the rest of my life.
Sadly, after that, within a year, I transferred to a primary school in another part of the country that did not have an active dance troupe. And after that, I started high school in St. Andrew, the urban centre of Jamaica. Sadly again, during my 8 years at the institution, there was no dance troupe for the students to belong. My dream of being a dancer died.
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How many of us have given up on dreams? Of dancing? What does it take to make it in this art? Will dance matter in the next 10, 20, 1000 years? How do “Caribbeans” feel about our dance art? Can Caribbean dance match up with the forms from elsewhere? Should it? Should cultures be measured against each other? I probed these notions, playfully assaulting the minds and reservations of some of the most accomplished dance artists in the Caribbean region….
We were taught as regional high school students that our African forefathers danced to solidify and unite themselves with each other and their motherland: in essence to reaffirm who they were. Caribbean descendants of Africans allegedly fared better in having an African culture more readily accessible due to the fact that African slave
dancing was not prohibited; African-Americans perhaps search a bit harder to identify with Mama Africa because their forefathers’ homeland dance culture was severely restricted. ….Then again, in Jamaica, we say [Black] people are a clever people because “we tu[r]n we hand and mek fashion”. I’m sure Africa lives on in a good portion of our dances today.
Thus, we go to the interviews. We probe the mentioned issues and more to have a better view of Dance in Jamaica and Trinidad & Tobago.
Barry Moncrieffe. Artistic Director, NDTC - Celebrated and internationally acclaimed Jamaican dancer and fashion designer . Newly at the helm of Jamaica National Dance Theatre Company (NDTC), following the passing of Professor, the Hon. Rex Nettleford, founder of NDTC and essential, seminal Caribbean culture academic. Barry began dancing with NDTC at its inception as a principal dancer in 1962 but he mentions first that come 2012 he would have been a part of the company for 50 years. He is looking ahead.
NDTC is a Jamaican dance powerhouse, honing the skills of some of the region’s finest dancers and leading the way in upholding a standard of excellence for the Caribbean dance art form.
DJ: What is NDTC’s mission statement?
BM: Same as the title of Prof’s most recent book - “Renewal and Continuity.”
DJ: What does it take to make it as an NDTC performer?
BM: Commitment! All of our dancers have careers, are professionals with sometimes very demanding schedules. They dance out of dedication to their passion because there is no monetary compensation for being an NDTC dancer. And we meet 3 times for the week.
DJ: What do you want NDTC to mean to Jamaica, the Caribbean and the world in the many years ahead?
BM: NDTC performances must be identified as special, coming from the Caribbean.
DJ: What is NDTC’s current preoccupation?
BM: Prof. choreographed over 70 pieces for NDTC. We want them to survive - we honour his spirit.
DJ: Where do you see dance in Jamaica going in the near and distant future?
BM: The only way we can go is forward. Experimentation will happen. But we (NDTC) are concerned with keeping our culture alive.
DJ: What, if any, are some substantial challenges that the Art of Dance MUST overcome in Jamaica and the Caribbean in order to (further) validate itself in the wider global arena in the future?
BM: There has to be more respect for dance. There is not enough financial support or credit given to dance in the Caribbean. Cricket gets so much more support.
DJ: Is there a story behind the name NDTC?
BM: Well, it’s straight-forward: National Dance Theatre Company because we are a theatrical production, more than dance – we have singers, musicians, narrative storylines….and dance.
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Arsenio Andrade. Cuban Master Teacher, Choreographer & Dancer, NDTC – Arsenio started with the NDTC in 1995. Vital to modern day NDTC’s image, Andrade thrills his audience with his clean, soulful, expert and powerful technique – he is definitely a landmark and a highlight of each NDTC season.
DJ: How did you come to be a part of the NDTC?
AA: My dance teacher in Cuba, Eduardo Rivero Walker knew Prof. Nettleford well. He came to Jamaica on three occasions to conduct workshops with NDTC. He encouraged me to come to Jamaica, be a part of NDTC and continue his work which was to develop dance throughout the Caribbean. I came to help.
DJ: What was your perception of NDTC before you became a member and in what ways, if at all, has this perception been modified?
AA: I always considered it a privilege to be a part of NDTC even when I was still living in Cuba. When I just moved here, I didn’t understand why the dancers came to each class and rehearsal, stayed til late at night 
and came back the next day: for free. It was only after a while that I understood and saw that Professor’s dream was coming true which was for people to be professional, take what they are doing seriously yet be passionate about it and feed their passion.
DJ: How is the culture here different, if at all, from your culture? Do you have any desire to promote your culture while residing in Jamaica?
AA: Big, big difference in culture. 85% of Cubans know art. In Cuba, if an artist walks down the street, people will whisper “There is the great artist So and So.” It’s not like that in Jamaica. In Cuba, to be a dancer is to be proud of what you do. In Jamaica, there is a problem with how dancers are summed up. In Cuba, boys and girls walk down the street in their leotard tights showing under their uniforms. In Jamaica, it’s mostly girls who dance in schools.
Yes, I always promote my culture fully. When I teach however, I tend to add a Jamaican flavour – I incorporate kumina, Dinki Mini, a bit of reggae etc. I use different ethnic techniques but I stay true to my roots.
DJ: Where do you see the art of dance positioned in 20 years?
AA: There is a new generation of Jamaican dancers coming up. They need a lot of strong guidance. They are the future. They want to become professional, I hope they reach their destination. Everyone has to come together, work hard and be exceptional ambassadors for the Caribbean. The whole region needs to support the youth; everyone: government, everyone.
DJ: Do you believe the Caribbean needs a revolution in how we contemplate, treat and promote art forms? What are your thoughts?
AA: I notice that here, everything is “Jamaica, no problem”. But still, we cannot find a solution. I think we have to back up our art with compensation. Most are not interested in dance auditions when they are advertised in the papers. But I am sure if the ads also said that for instance, you could earn J$20,000 if successful at the audition, there would be crowds. It is time to take dance and art in general more seriously, in every way. But, no, no revolution needed. Just more dedication and a more serious approach.
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Marlon Simms. Dance Captain, NDTC. A young but still well-seasoned headliner for NDTC, Marlon always wanted to teach, dance and make a strong impact on the younger generation. He currently lectures Dance at the Edna Manley College of the Visual and Performing Arts (EMCVPA), fulfilling this dream. Marlon is passionate about all he does and hates the fact that people assume that dancers are unintelligent. His father is very supportive and makes it to every season of NDTC’s productions.
DJ: Do you go to nightclubs and gully creep/nuh linga/sweep/dagger/wine down low? Is this encouraged at NDTC?
MS: We call it “cultural research.” We go to parties from time to time to observe what we term “urban folk” which is really popular dancing. We’ve noticed that the majority of these new dances that keep springing up have roots in traditional folk dancing. Sometimes, I watch and then say “that’s not new!”
DJ: Where do you want to see dance from the Caribbean in the next 15 to 25 years?
MS: I want to see dance in every school. I want to see dancers surviving from their craft. I am proud to affirm my involvement in the creation of the Bachelor of Fine Arts degree now available for a choice of study at EMCVPA.
DJ: What is the future of dance in the Caribbean?
MS: EMCVPA is pivotal to the future of dance in the [English-speaking] Caribbean. Several plans and new ventures are being initiated in the near future with the objective to really take Caribbean Arts including Dance to a higher level. I am very proud to be a part of this strategy for positive change.
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Tricia Melville. Jamaican Professional who resides and dances with Youthquake, a dance company in Tobago – Tricia has always wanted to experience dance in its original setting. After living in Tobago for over 6 years, she unapologetically states that her Jamaican culture has been ‘diluted’. “I think this is inevitable,” she says, mentioning that her Jamaican accent has been affected by the change in location. A star performer with excellence as her constant motivation, she dreams of making it big!
DJ: How important is passing on a legacy to the youth? Of your country? Of the wider Caribbean?
TM: More important to me would be the older culture, older values, older morals. They are richer [while, now] we are being heavily influenced by the American culture… [it can be] hard to change or make a difference.
DJ: Where do you see the art of dance positioned in 20 years?
TM: It is growing, being offered at UWI at different levels. The competitions are getting more sponsorship. I don’t think it will ever die. Even the rules for the competitions ask for more authenticity.
DJ: Are you as passionate about the youth as you are about…let’s see….giving your leg muscles a thorough stretch before a strenuous routine?
TM: Those that are involved voluntarily I give a hearty applause. I always encourage youth; dancing is a very good co-curricular activity that can help keep them out of trouble. Ironically the worst ghetto in Trinidad – “Laventille,” has the most successful dance group (Northwest Laventille). If I attend a practice there I have no fear of getting robbed… everyone is just there to lime.
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Damien Jordan. Barbadian Dancer. Silver Medallist – NIFCA. Damien loves dancing especially “wukking up” which is widely acknowledged as a Bajan innate ability. He believes that dance opportunities are more favourable to females in his country and that by 2050 the whole world will be able to wuk up. He “dabbles” in African, Jazz, Caribbean and folk forms of dance. He also coaches track to young athletes.
NIFCA or National Independence Festival of Creative Arts is a well-established and highly revered, annual Barbadian festival. It celebrates excellence in arts and is the jumping board for many gifted Barbadian artists.
DJ: Do you think your genre of dance will last?
D. Jordan: Yes I know it will last because dance is a part of everyday life.
DJ: As a dancer, do you feel misconstrued at times? Do you have to constantly make declarations or prove who you are? Do you give a damn?
D. Jordan: No I don't give a damn. I live my life for me and don't matter what you do people will talk.
DJ: Tell us about your most recent, exhilarating and enjoyable performance.
D. Jordan: My most enjoyable performance was being a part of Blood's winning performance of "Foot on fire" at the recently concluded Soca Royale.
DJ: Are you optimistic and hopeful about Caribbean dance and arts in general? Is it going/to reach far? Have we made it as yet as a region in terms of being leaders in world Arts? What more needs to be done if at all?
D. Jordan: It has come far and it will go even further. We are a talented group - the Caribbean, just like how we dominate track we will dominate dance. I do believe countries can do more by creating more programs to help nurture the arts.
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TIPPA. Jamaican Popular or “Street” Dancer. Co-Host of Jamaican TV Programme – “Intense” – Tippa is an authentic dancehall culture historian who knows various facts ranging from origins of dancehall dance names to what it takes to make it in the industry to how to smartly market and fund popular dance events. He also teaches dancing to various groups not limited to Jamaicans. I met up with him at a fabulously exhilarating dance class in New Kingston, Jamaica.
DJ: Why did you go into dancing as a career, this type of dance and is there something you want to make a statement about or prove by being a “street dancer”?
TIPPA: The industry is lucrative. I make money quietly by teaching, doing workshops, coming in videos etc.
DJ: Is there a place for popular or street dancing in the big picture? How far do you think dancehall moves can go?
TIPPA: Dancehall moves are international – you had Bogle the dance, and Bogle the dancer. Carlene the dancehall queen brought in the dance named Butterfly. And Sean Paul (Jamaican Grammy-award winning Deejay) took dancehall to another level with his Gimme Di Light music video. I choreographed a music video by Wayne Wonder called No Holding Back, and it was big too. The world already knows about dancehall moves and the music. From long, long time.
DJ: Tell me your thoughts on the perception that the dance world in Jamaica is very elitist and hierarchical.
TIPPA: Most of the people in this [dance class] are uptown (privileged class). Times are changing. Music videos have changed the way we look at dance especially dance from yaad (Jamaica). I think that my show on TV helps people to accept popular dance more than before. They realize from my show that it’s not just indecent grinding, but much more than that.
DJ: Do you think street dancing gets the respect and credit it deserves?
TIPPA: It is well respected in plenty foreign countries. Japanese love it, people in the Caribbean and even English people respect it and love when I go there and do shows and workshops. They respect me as a Jamaican man from the ghetto who is about positivity - I don’t smoke, I don’t have a police record – they respect what I stand for.
DJ: Is your genre of dance getting sufficient funding and support from the government? Should they be obligated to enrich your field?
TIPPA: The government helps a little by funding the Jamaica Cultural Development Commission (JCDC) competition each year which has a section for Popular Dance. But nothing apart from that from them. We need more help from them. The private sector does help though, if you go with a smart plan, they will help if they can.
At the end of the interview, TIPPA who I refer to as the Professor of Dancehall Dancing, pointed out to me that I had not asked him a very important question which is as follows:
TIPPA: What is dancehall?
DJ: Ha Ha. Ok, what is dancehall?
TIPPA: Dancehall is Fashion, Music and Dancing Space.
