Tanya Batson-Savage, Freelance Writer
Arsenio Andrade in Memorias de un Burocrate, one of the 10 dances featured at 'Physical Labrish', at the Edna Manley College of the Visual & Performing Arts, last Sunday. - ANDREW SMITH/PHOTOGRAPHY EDITOR
'PHYSICAL LABRISH: Body, Sound, Power' admirably lived up to its name. It was a vibrant conversation in dance that celebrated the body and was (re)soundingly powerful in message. The show took place at the School of Dance last weekend and featured choreography by the school's faculty members who performed alongside a few students.
Sunday night featured 10 dances choreographed by the school's director, Nicholeen DeGrasse-Johnson; the show's artistic director, Arsenio Andrade; along with Oneil Pryce, Sherine Bailey, Shelly-Ann Maxwell, Chris Walker and Lisa Dobson-Wilson.
One would be particularly hard -pressed to suggest which dance was most outstanding, but in several cases, the 'labrish' was riveting, using graceful eloquent lingua. Overall, the most impressive element of 'Physical Labrish' was that it highlighted the varied 'tongues' of which dance is capable.
Dobson-Wilson spoke of religion with 'Celebration of Baptism'. In keeping with her skills, she brought a refreshing take to dancing for the Lord which fully explored the passion of the Christian experience, tapping into the joy of the faithful. Through her own body and with the assistance of Oneil Pryce and Shama Harding, she spoke of the near painful bliss of faith followed by the sheer ecstasy of post-baptism. The dance was beautifully enhanced by Nina Simone's haunting vocals.
ABSTRACT CHOREOGRAPHY
Pryce continued his journey into more abstract choreography and 'Shades Of' was a wonderfully conceived and beautifully executed dance, featuring Neila Ebanks, Harding, Dobson-Wilson, and Maxwell. As one gentleman in the audience eloquently said when the dance ended, "Now that's how you do it!"
DeGrasse-Johnson's 'Mama's Eyes' was another intriguing dance that eloquently combined drama and dramatic dance. The duet featured DeGrasse-Johnson, mainly with dialogue that provided the soundtrack for her son's (Marlon Simms) life of misdeeds for which she vehemently refuses to find him guilty. 'Mama's Eyes' speaks perfectly to Jamaica's current situation and the Mama in question, from her dramatic wig to her powdered chest, which could have been ripped from the evening news. The dance points unrepentant fingers at those who mother and nourish criminal elements.
SOCIAL COMMENTARY
Andrade brought a witty turn to social commentary with 'Memorias de un Burocrate' which juxtaposed what a bureaucrat has to say, with going to the toilet. It combined, talented dancing and choreography and a wicked sense of humour.
Walker's 'Variations A Ska' was another element of the night that stood out. The dance was particularly interesting because of Walker's exploration of ska. The dance translates ska into more than a dance for enjoyment, using the ska-derived vocabulary to express a range of emotions and situations. The use of the Jamaican colours in the costumes further cemented 'Variations A Ska' as Jamaican speech.
Sunday night also featured Bailey's 'Scream' and 'Poetry of Significance'; 'Cause and Effect' choreographed by DeGrasse-Johnson; Maxwell's 'Lament of the Tormented'; and 'Salo', a celebration of the queen of Kumina, choreographed by Alice Berry Gayle.
Interestingly, the curtain call was also a quite enjoyable part of the evening. 'Physical Labrish: Body, Sound Power' eloquently explored the social significance of dance, highlighting the possibility for message in the movement. The night's sole shortcoming was that it left one with a desire for more.
