"Out of many people, one people,
Out of many musics one music.
Out of many dances one dance,
out of many races one race.
Out of many love, one love."
- Extract from the concert programme of Bob Marley Youth Dance Theatre of London, England.
THE ABOVE philosophy caused the Carl Campbell Dance Company, a Caribbean dance company, based in London, to realise that for continuity and relevance it had to divest its talents into a new core of dancers after 21 years of existence.
The new off-shoot, the Bob Marley Youth Dance Theatre was formed in 1998 with members ranging in age from eight to 18.
According to the Jamaican artistic director, Carl Campbell, the move is an effort to "educate the youth - citizens of the future - through dance".
Showbiz asked Mr. Campbell if he had received the blessings of the Bob Marley Estate to use his name in this way. And he gave the assurance that the Estate had given permission.
In addition to working with the dance company, Mr. Campbell has been working in schools and colleges, through residences and workshops. One such workshop, held in the Borough of Southwark, had more than 200 young people, their families and friends.
"What do you focus on in these workshops?" Showbiz asked.
"We focus on issues such as freedom, respect, cultural identity, confidence and spiritual well-being", Mr. Campbell responded.
Founder/artistic director of the Carl Campbell Dance Company was born in Epsom, St. Mary and emigrated to Britain in the 1960s. The ensemble celebrated its 21st anniversary last year.
"Many people think they know what is Caribbean dance...but it is limbo, it is reggae...and some can recognised the shango and exciting religious dance forms, which form part of the Caribbean culture, or the quadrille influenced by French colonialism", he said.
According to him, the Caribbean dance is powerful and is a fitting conduit to building an understanding among peoples with a diversity of cultures.
The desire to portray black art and culture, motivated Mr. Campbell and the late Elroy Joseph, a leading scholar of black dance, to form the company to assist in the development and give a sense of self-worth to blacks in Britain.
"In the 1970s there were few, if any, opportunities for black dancers or artistes in general. Our audiences were mainly white. And with the assistance of the Greater London Council (GLC) funding was provided for the launch of our company," Mr. Campbell told Showbiz.
"People were hungry for work from other cultures and so we received tremendous support," he continued.
Since then the company has worked internationally.
"Young people today seem more vulnerable, indisciplined and have little self-esteem. Their 'spiritual health' is suffering," he said.
"As a result of working with them we receive appreciation, especially from teachers and schools show records of high attendance. We have also been getting requests for longer programmes," he explained.
According to Mr. Campbell, "the dynamism of the Caribbean dance comes from the echoes of Asian and African characteristics and influences of European social dances. This tapestry of cultures proves an excellent medium for working in communities. It gives history and depth which forms the basis on which dance companies operate".
However, the artistic director said for the future there will have to be a strong infrastructure of established black professionals.
"Young blacks are in a limbo where their identity is concerned. Even if they receive training in the arts, there are few employment opportunities. As the company enters the new millennium, we will focus on working with young people, especially males, because we feel the system has failed them miserably. We are hoping to save them through the medium of dance", he declared.
The company has also embarked on a project for the elderly, called 'Dance - Recycled Teenager', an income-generating project.
