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Creativ Edge Philip Sherlock Centre For The Creative Arts

Arts Review Vol. 7 No.1 2011

Featuring the

Nuturing Creative Minds Embodied Knowledge


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Creativ Edge Executive Editor Finance Manager Production Co-ordinator Content Co-Ordinator Photo Editor Art Direction & Layout Design

Home Of The Creative Imagination Meet the Philip Sherlock Family and Find out about the history of the Centre.

Clubs and Societies The Centre is home to many of UWI’s Clubs and societies. Find out about what each one is up to this year.

Nurturing Creative Minds Many have passed through PSCCA and found themselves swept into careers in the arts. Meet some of the Centre’s alum that have forged paths as Creative Entrepeurs.

Artist In Residence: Kevin Ormsby

This renowned dance and choreographer joins our Philip Sherlock Family for a while as our most recent ‘Artist in Residence’.

Embodying the Creative Genome Kevin Ormsby takes a look at the creative atmosphere of the PSCCA.


Editorial Team Michael Holgate Deby-Ann Stern Kaiel Eytle Jheneall Johnson Ryan Esson Kaiel Eytle

Contributing Writers Brian Heap, Marjorie Whylie, Kevin Ormsby, Carl Hines Photography Credits: Ryan Esson, Maya Wilkinson, Chris Benjamin, Kristina Hosin, Winston Young, Jheanell Johnson, Tricia Bent


Philip Sherlock International Arts Festival

Taking a look at all the events of the Philip Sherlock International Arts Festival.

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Embodied Knowledge The Centre plays home to some of the Caribbean’s finest and most distinguished creative minds.

Jamaica Dance Umbrella

A photographic look at the 2011 showcase with photography by Tricia Bent.

2010 year in review: “A Suh It Fi Guh” A trip back to all our major productions in 2010.

The Creative Arts in The Academy Brian Heap examines the role of the creative arts in the academic institution.

About the PSCCA Find out about the academic offerings at the Philip Sherlock Centre.


Neo-African principles and the music/ dance complex of the NDTC


Philip Sherlock Centre for the Creative Arts

Cover Image

Brian Heap


BA (Hons.), PGCE (Leeds), B.Phil. Drama in Education and Therapy (Newcastle) Head/Senior Lecturer in Drama, PSCCA, UWI, Mona.

uring his tenure at the UWI Mr. Heap has introduced significant new programmes in Drama and Theatre to the Mona Campus, and has coordinated Curriculum Development in these disciplines at both at the National and Regional levels. Among his numerous achievements in this area is the writing of the R.O.S.E. Drama Curriculum, part of the World Bank/Ministry of Education, Reform of Secondary Education in Jamaica. In addition he has developed Drama curriculum for the Joint Board of Teacher Education for use in Teacher Training institutions throughout the Region. He is a recipient of the Silver Musgrave Medal awarded to him by the Institute of Jamaica for Outstanding Merit in the Field of Drama Education, in which he has distinguished himself, throughout his long teaching career in Jamaica. Mr. Heap’s work with the techniques of Applied Theatre in the area of HIV/AIDS education, has taken him to Zambia and the Eastern Caribbean, where he has conducted highly acclaimed training workshops for Save the Children (Sweden and South Africa) and participated in the creative development of public awareness campaigns in a wide range of media for the Caribbean Family Planning Affiliation (CFPA)

“The Actor” a sculpture by Winston Patrick which adorns the Centre’s front steps is illuminated during the PSCCA’s annual “Guerilla Lighting” workshop. A showcase of the talents of our technical team, plying their craft in a variety of unusual locations.

In addition, Mr. Heap has significantly raised the international research profile of the UWI in Drama and Theatre, not only through his collaboration with overseas colleagues on numerous books, articles and other publications but also with his winning bid to host the Fifth International Drama in Education Research Institute (IDIERI) at Mona, Jamaica in 2006, for which he was both Convener and Conference Director. As a direct result of this event, the University of the West Indies has been invited to participate in an ongoing international study on Creativity. Mr. Heap also serves as one of the International Adjudicators for the Central Adjudication of Drama in English in the Singapore Youth Festival. His joint publication with Pamela Bowell, Planning Process Drama (2001) is required reading in Drama/Theatre and Education departments in colleges and universities worldwide, and an expanded second edition is scheduled for publication in 2012.

The Creative Arts in the Academy Brian Heap, Senior Lecturer, Head, PSCCA


he Creative Arts have always played a central role in the academic life of any university worthy of its name. University campuses worldwide have traditionally functioned as sites of excellence in music, dance and theatre, and many indeed, are the trustees of collections of notable and valuable works of art. The Mona campus of the University of the West Indies is no exception in this respect. Significant works including sculptures, paintings, murals, and photographs are to be found across the length and breadth of the university campus, in the Library, in the Chapel, in the Administrative buildings, on faculty facades, in quadrangles and meeting rooms. Edna Manley, Christopher Gonzalez, Valerie Bloomfield, Denise Forbes, Winston Patrick, Ras Dizzy, Philip Supersad, and Clinton Hutton are just a few of the artists represented in the works on display. Yet frequently they are passed by with hardly a second glance, so familiar, so ‘right’ and reassuring is their presence in the university landscape. Much the same can be said for the Philip Sherlock Centre for the Creative Arts, it remains largely unacknowledged as the ‘soul’ of the campus because it continues to serve the university and wider community so unobtrusively. Yet since its inception in 1968, first serving the University of the West Indies in its entirety and subsequently turning its focus on Mona, it has established a reputation as a centre of national and international excellence for Caribbean creative expression and scholarship. There are still those critics even within university circles who question the validity of including the creative arts within the academy, and who resist any notion of alternative approaches to inquiry other than rigid scientific method. Even the enormous artistic legacy of a ‘giant’ like the late Professor R. M. Nettleford, who clearly demonstrated throughout his career as a world class choreographer that dance could be a serious part of academic discourse, has failed to persuade these critics otherwise. Nevertheless, creative artists continue to fulfill the dual aspect of their role as reflective practitioners, whose main purpose is to disturb any complacency in audiences by challenging them through exposure to alternative perspectives on a range of subjects, incidents, jealously guarded belief systems, styles and forms. The aesthetic subjects are no longer confined to the margins of academic life, but impact daily on the lives of not only those who participate directly in the creation of art, but who also support and appreciate their creative endeavours. Similarly, aesthetics in the academy should not merely be regarded as a branch of philosophy, but recognized as an essential organizing principle of social life. As Professor Nettleford wrote:Children growing up in untidy, undisciplined and disorderly environs cannot hope to be clear-thinking, disciplined and orderly. And admirers of Marcus Garvey should again read his sayings to appreciate that the world he envisaged for the black man was not one of ‘ragamuffins’, filth and grime. Tom Mboya, a former Kenyan leader, once told the world that Africa’s poverty (expressed in recycled motor-tyre sandals and seminudity) should not be mistaken for its culture…..Many of our people will have to be de-socialized out of their negative perceptions about order and gentleness or compassion and tenderness being ‘against the roots’ while violence, aggression and terror spell manliness and courage. (Jamaica in Independence, 1989) ❍

-Photograph by Ryan Esson



home of the creative imagination. Message From The ACTING Head Of Department About The PSCCA History The Creative Arts Centre was opened in February 1968 with the assistance of the Calouste Gulbenkian Foundation in Lisbon and the Friends of Canada. The Centre was the brainchild of Sir Philip Sherlock, who believed that it was essential to provide a place for the development of the creative imagination at the centre of the University. In his honour, the CAC was subsequently re-named The Philip Sherlock Centre for the Creative Arts in 1993. Function The PSCCA is mandated to provide a large proportion of the cultural life of the 15,000 plus population of the Mona campus. It is estimated at present that the activities of the Centre involve approximately one half of the student body. This is through direct participation in the activities of the clubs and societies attached to the Centre, special events such as the annual Tallawah Drama competition, and Faculty and Hall events held at the Centre such as the Medical Students’ Annual ‘Smoker’, the Law Society’s ‘Silk’, the Mr. and Miss Preston pageant, the Taylor Hall Chorale and the Department of Modern Languages’ ‘Noche Latina’ and Inter-campus Modern Languages Drama Festival.

Deby-Ann Stern U.W.I. - MSc. , BSc., Cert. Senior Administrative Assistant

Named after one of the founding fathers of the University of the West Indies, (Sir Philip Sherlock), then guided through infancy by Jamaican intellectual and cultural giant, (Vice Chancellor Emeritus, Ralston ‘Rex’ Nettleford), it is no surprise that the Philip Sherlock Centre for the Creative arts is the hub of creative arts development on the UWI, Mona campus. The arts and culture has always been central to Jamaica’s development as a nation and since its establishment in 1968, the PSCCA has played an integral role in supporting both national and regional development of the creative arts. Even without offering degrees in the creative arts, the centre has found ways to provide formal training in dance, theatre and music at the highest level through its student societies and its programmes. In these and other ways, the PSCCA has also helped to foster cultural enterprise and entrepreneurship as well as build career artists. What is particularly interesting is that numerous UWI past students/alumni whose first degrees fall in non-arts related areas, credit the PSCCA at least in part for nurturing their careers in the arts. Many of these are cultural entrepreneurs and creative arts professionals whose testament that they found support for their ambitions at the PSCCA, underscores the real value of the centre beyond just providing a creative outlet for students. Importantly, the centre is: •

developing leaders and nurturing careers in the creative arts.

guiding and supporting those students in the academy who are arts inclined and interested in professional grade training at the level of their academic work

Senior Administrative Assistant at the Centre since 1991 after graduating from Alpha Business College.Her journey at the Centre has been dynamic but her Social Sciences background has blended superbly with the Creative Arts and the varying challenges and diversities that comes with arts administration.

Nadia Roxburgh, BA. (UWI), MA(Disc), Man U Technical Assistant/Resident Lighting Designer A Graduate of UWI, Nadia has been a long standing member of the theatre’s technical team. After acquiring her masters in Theatre Practices at Rose Bruford College, Nadia has taken up the role of the centre’s technical director.

Lorna Bailey(Mrs.), BA, UWI

As a student, I was clear that my interest was in the creative arts and getting a degree from the UWI. Numerous others whose stories are shared in this magazine, created opportunities to make exactly such a mission possible through the help of the Philip Sherlock Centre.

Administrative Assistant

My colleague Mr. Brian Heap is fond of mentioning three strands of theatre technique; imagination; appreciation the nurturing of which is of primary importance to all artists and of great relevance in a space such as the PSCCA. Here at the centre, the three strands mentioned play a role in creating and developing not only the artist, but also his/her audience. Not everyone who passes through the centre will become a performing artist or director but all can assimilate and learn enough to build a certain respect and appreciation for the arts which in itself provides the kind of support the creative industries need. For those who do however master the use of techniques and imagination, then decide to pursue careers in the arts, the foundation laid at the PSCCA has proven to be substantial. For all these reasons and more, the Philip Sherlock Centre for the Creative Arts continues to be a hub of creative intellect and expression and the home of the creative imagination at the UWI as well as in Jamaica and the region.

Michael Holgate BA (UWI), MPhil (Cultural Studies, UWI)

Mrs. Bailey is an aspiring Playwright, Director and Producer. She obtained a Bachelor’s Degree in Drama(major) and Cultural Studies(minor) from the University of the West Indies, Mona. Currently she is pursuing the Master’s Degree in Heritage Studies here at Mona.

‘Art is the social within us, and even if its action is performed by a single individual, it does not mean that its essence is individual ’

- Lev Vygotsky (The Psychology of Art, 1971)

Technical Team The centre is home to growing talent not only on the stage but behind the scenes. Our technical team is host to some of the best developing talent in Lighting, Audio and Stagecraft.

Acting Head of Department



Clubs & Societies

Philip Sherlock Centre’s


Clubs Societies

The Centre is home to eight creative arts societies which use the facilities for rehearsals; exhibitions and performances. The students come from all faculties and include both commuting students and those on halls of residence. All the societies do free lunch hour concerts for students and a major production each year.



n the year 1948 the University Dramatic Arts Society was christened as the University Players. This society was the first of its kind on the UWI Mona Campus and was led by Owen Minott and Denise Mitchell. Regular readings were conducted by the society but during a three year period nothing was produced. In 1951 Joan Swaby, the secretary, produced two one-act plays, “Harry Dernier” written and directed by Derek Walcott and Herbert Farce “ Two gentlemen of Soho”. In 1956, at only four years old, UDAS created a major impact within the Caribbean. The four West Indian Plays produced by the society-“ Now for now”, (Wilfred Red Head), “Bond for matrimony”, (J.S Baker), “Ping pong”, (Errol Hill) and “the sea of Dauphin”, (Derek Walcott) sparked the public’s interest in West Indian drama and signaled the development of West Indian theatre.

Among the many awards earned by UDAS are Best production (Tallawah), Club/Society of the year (Guild), and Most Outstanding Club/Society (OSS). In addition, from year after year, members of (UDAS) capture the Premier awards for culture. Graduates of the society include poet and storyteller, Jean Small (Guyana),playwright, poet, Noble Laureate for Literature, Derek Walcott (ST. Lucia), founder/choreographer of NDTC and Vice Chancellor of the UWI, Prof. Rex Nettleford (Jamaica) and many more.

University Dramatic Arts Society

The University of the West Indies Camera Club, established in 1948, holds the distinction of being one of the oldest societies on the Mona Campus, and is one of the first photographic clubs in Jamaica that continues to exist today.

The highlight of the Club is the annual exhibition, held at The Sir Philip Sherlock Centre for the Creative Arts, which showcases the photographic artistry of the young and upcoming photographers of the region, working in the medium of black and white. The exhibition has risen to national prominence over the years, and is seen as one of the largest display of black and white photographs setting standards of excellence to which all members aspire and attain. The Club has also been the birthplace of many photographers, some of whom have chosen to pursue the medium professionally. The Camera Club is continually advancing itself through its members, while staying true to darkroom traditions and embracing digital technology, broadening their creative horizons and bringing their images into focus.

Photographic Credits: “The Aftermath” Jheanell Johnson, “Danice 2011” Kristina Hosin, “Negril Falls” Winston Young



he University Dance Society (UDS) is a non-profit, studentrun organization that actively provides co-curriculum activities for students. UDS provides a space for persons to explore their creativity and passion for dance through fun and fellowship. It strives to provide invaluable experiences in honing the organizational skills of members through planning, implementing and staging a major performance each academic year. Each year the society hosts an Annual Season of Dance that exhibits our talents and accomplishments throughout the year featuring UDS dancers executing the choreographic works of past and present members as well as those of well-established choreographers. Next year, 2011, the Dance Society hosts its 40th Season of Dance. Scheduled for March 25th, 26th and

27th 2011 the performance is specially focused on showcasing the vision of the late Professor Rex Nettleford, the founder of the Society. In honour of his vision of Renewal and Continuity, we are seeking to focus on reconnecting with our foundation in order to move progressively into our future. Anticipate paying tribute to past foundational members of the Dance Society including Jackie Guy, one of the original foundation members of the Dance Society, who has been to be our patron for our 40th Season of Dance as we seek to pay tribute to those who have had substantial influence in the creation and continued existence of the Society through which we now have the opportunity to learn, grow and express ourselves freely.


Clubs & Societies


the island. We continue to educate and display the intricacies and versatility of the instrument so that it may gain wide recognition.

The orchestra was one of the first steel band formed in Jamaica, and is an ambassador for steelpan music in

Many Panoridim pannists are now some of the best steelpan players in Jamaica and are also prominent musical arrangers, directors and composers. We have assisted with the formation and leadership of many other professional, church and school bands throughout the island and continue to increase our reach each year.

he UWI Panoridim Steel Orchestra is a 23-piece steel band with an aim to broaden the reach and scope of the music of steelpan in the ears and minds of others. Our mission is to foster a wider appreciation of the instrument and as such our repertoire of music covers an array of genres including reggae, pop, classical, folk, soca and jazz among others.

The University Singers


he University Singers has distinguished itself as one of the leading choral groups in the Caribbean, widely noted for its versatility, spanning a varied number of musical genres including Classical, American Negro Spirituals, Jazz, Folk, Gospel and Local and International Popular music. A special feature of the choir’s repertoire is the original music of Caribbean composers. It is noteworthy that a number of these composers have emerged from and are current members of the group. The choir is the leading choral group on the Mona Campus of the University of the West Indies (UWI). In 1957, the group began with seven undergraduate students, who met for the sheer joy of singing. Today, the choir has a full complement of over forty members, comprised of undergraduate and graduate students of the University. Each year, the University Singers presents its concert season which is seen by a diverse audience which who primarily come for the performance, but also to support the number of benefit holders


he University of the West Indies Pop Society comprises a group of artistes: singers, DJs and musicians who seek to better themselves as performers of the art of music. This group exudes a love and passion for music like no other and have an appreciation for all genres of music, from R&B to Jazz to Reggae to Soul to Hip Hop. The society is of a performing nature, thus, the group is always required to perform at events on campus. They have accompanied the “Glass Routes” production as well as the University Chorale. They have also played at


“Coffee Expressions” which was hosted by Mary Seacole Hall, awards ceremonies, “Jazz Night” at Rex Nettleford Hall and the Miss UWI competition

Pop Society


he University Chorale (UWI Chorale) begun in 1995. It was known then as the Thursday Choir under the directorship of Noel Dexter the group’s founder. Specifically, the UWI Chorale was born after Mr. Dexter realized the burgeoning need for another choir apart from the renowned University Singers that would serve as a route for creative expression through choral performance. In the earlier years the group performed

who have purchase houses. In addition to the concert season the Singers performs at a number of venues nationally and also undertakes international tours. The choir has toured extensively presenting concerts in some major parts of the United States: New York, Connecticut, Florida, Virginia and Alabama; several islands of the English Speaking Caribbean: Antigua, Barbados, Dominica, St. Lucia, Trinidad and Tobago, the Bahamas, St. Kitts and Nevis, St. Martin, St. Vincent, Tortola and Guyana. Most recently, Summer 2010, the singers toured to the United Kingdom and Germany presenting performances in London, Birmingham, Manchester, Nottingham, Harpenden, Reading and Berlin. One of the highlights of that tour was the I Love Jamaica Day presented by Jamaica National Money Transfer where the group performed to a large crowd of over 15,000.

The choir has over the years produced critically acclaimed recordings, including See It Yah, Lift Every Voice, and Season of Light. They cover a number of genres reflecting the varied musical offerings of the group. The mission of the University Singers throughout its years of existence has remained the same, to share the joy of making music together for the entertainment of its audiences, while at all times retaining a high level of musical expression and remaining true to its objectives of being a standard bearer of Caribbean music and an ambassador for the University of the West Indies..

University Chorale

mainly at lunch hour concerts held in the Philip Sherlock Theatre. However, as the years passed the group has been booked for programs broadcasted on local television as well as weddings, funerals and functions hosted by the University and corporate companies alike. With assistance from musicians Ewan Simpson, Heston Boothe, Franklin Halliburton, Kathrine Brown and Noel Dexter who now assumes the role of facilitator the UWI Chorale has, made gradual progress particularly in the last ten years. Earlier in the group’s history there was a single major concert staged each year in the Philip Sherlock Theatre that has grown since 2005 to a weekend of shows running generally from Thursday to Sunday. The directorship and administration of the group

has also evolved to reflect the growth and transformation that has taken place since 1995. In 2009, O’Neil Jones a past student of Cornwall College in St. James became the group’s first student director. With the coming of Mr. Jones there was a revamp of repertoire and expansion of the executive body that presides over the administrative issues of the UWI Chorale. Previously, the group explored Folk, Gospel, Pop and Classical music. Negro Spirituals, Broadway, Renaissance, Reggae, Dancehall and World Music have been added to the style that the UWI Chorale now presents. As an arm of the Philip Sherlock Performing Arts Centre the University Chorale exists as a sculptor of the bounteous talent that exists on the campus and with its sustained progress continues to contribute to the presence of the arts on the Mona campus.


Creative Minds

Nurturing Creative Minds

All Photos Contributed


ario Guthrie who goes by ‘Mario Evon’ on stage is a multi-talented singer, song writer and trained medical



His first encounters with the Philip Sherlock Centre for the Creative Arts (PSCCA) were long before he entered the gates of the UWI as a student. Evon vividly recalls seeing productions such as “Cinderella” and “Beauty and the Beast”, staged by the Jamaica Musical Theatre Company (JMTC), and how they excited him and inspired him to per-form. These shows planted the seed in his mind that he would one day grace that stage. In 1999 Mario auditioned and scored the role of understudy for Timon in the “Lion King” and graced the stage for the first time. In 2000 as a Medical student, Evon auditioned for the University Singers and was successfully accepted, and then contin-ued to grace that stage for another 8 years. Prior to heading to the Berklee College of Music in 2007, Evon held his very own fundraiser in

Mario Evon

the PSCCA theatre called ‘Live on Stage’, featur-ing himself, many of his talented friends and prominent local artists such as Bryan Art and Benjy Myaz.

The PSCCA has been an instrumental part of Mario’s growth as a performer and he feels that “without it I truly do not think I would be where I am right now”. That stage and its surroundings feels like a second home to him, as he can recall many late nights spent rehearsing to get every-thing perfect. “It has truly been an awesome space to learn the discipline that the performing arts instills, and how to work with a group of like minded people, and the intricacies of stage, to create beautiful art”, notes Mario. “ Thank you PSCCA for many years of great memories.”

Neila Ebanks


’m a graduate of the Social Sciences department @ UWI. In 1997 I completed the Bachelor of Science in Sociology (started in 1994).  Throughout my tenure @ UWI - except for probably my initial 2 months there - I danced with the University Dance Society, day in, day out, almost 7 days a week. The PSCCA became the centre of my UWI life and was the primary reason for my decision to keep studying @ UWI. I had, from my first end of semester Sociology exams, realised that the Arts were where my study focus should have been. At the time of that revelation, I wanted to leave the programme immediately, but had to hold strain as the parental units gently insisted that I complete the(ir) dream. The PSCCA became my home for the three years of my degree. It provided me with so many opportunities to meet and form bonds with like-minded and likespirited persons on the campus who were also strangers in their ‘academic’ lands, who although performing relatively well in their studies - ranging from Law to Medical Science to Mathematics - had the hunger to dance and act and live an artistic life. I got the chance also, through the UDS and, by extension, the Centre, to dance with persons I had never worked with before. We became a team, in spite of differences in artistic lineage and experiences, differ-

ences in cultures and backgrounds, and we almost always succeeded in presenting a united consciousness in our shows. The pedigree of the Centre also allowed for the UDS to be able to attract wellknown choreographers to work as guest presenters and as tutors. It was my time at the Centre as a member of UDS that gave me my first taste of working in experimentative ways, with Caribbean mavericks like Howard Daly and L’Antoinette Stines leading the charge. My love for improvisation, though not beginning @ the Centre was certainly grown there. As a leader of UDS and as a Student Coordinator of the PSCCA, I was given the chance to contribute to the direction of the campus’ creative vision. I was made to feel integral to the processes of decisionmaking as regards the Centre’s plans for heightening the profile of Arts and Culture on the Campus and I particularly loved that Professor Nettleford was so interested, committed and accessible to us studentleaders. The Centre helped to encourage in me an understanding of the balance between academic and artistic, the melding of the administrative and the aesthetic, lessons I consider to be fundamental to the artist I am today and am still becoming.

Shelly-Ann Maxwell


helley got accepted to study Actuarial Science in the depart-ment of Natural Sciences at UWI Mona in 1995. During her tenure at UWI, it is fair to say that she ended up living at the Phillip Sherlock Centre for the Creative Arts (PSCCA). Though Shelley was good at Mathematics her true passion really resided in dance. She joined the University Dance Society and consequently found herself spending all of her free time at the PSCCA. It was truly her source of sanity in the mayhem and madness on campus. Maxwell would sneak into the theatre to eat lunch or would take the opportunity to pounce on the stage to explore movement. Many a well needed power nap happened on the floor of those theatre wings. The PSCCA be-came the place where Shelley could recharge or even better where she could wholly be herself. It provided a way for her to express her voice, as she not only performed on its stage as a dancer but also created choreography. Whether it was having a quick chat in the office or simply exploring movement in the round, the PSCCA fed Maxwell’s artistic creativity and helped to shape her future

destiny. Needless to say Shelley dropped out of The Actuarial Science programme in 1997 to pursue her true passion for the Performing Arts. Following studies in Cuba, Maxwell returned to Jamaica where she became a member of the National Dance Theatre Company and a teacher at the National School of Dance. But her career hasn’t stopped there, Shelley is currently living in London where she has been fortunate enough to grace the stage as a member of the Tavaziva Dance Com-pany and a cast member of Disney’s the Lion King. Maxwell is currently performing at the National Theatre in London in the hit broadway production of “Fela!” Shelley fondly remembers her time on campus and treats those memories with utmost respect as her actions during that time provided the nucleus for something that grew beyond her personal expectations.


Creative Minds


ston Cooke began writing since in high school at Wolmer’s Boys’ School when he penned the award winning one act play “Pickle” entered by Wolmer’s for the Secondary Schools’ Drama Festival.

Marcos James


arcos James graduated from the University Of The West Indies, (Carimac), with a first class honours degree in Media and Communication Studies. While at the institution, he was also part of the Philip Sherlock family as a member of the University Dance Society. While with the dance society, he performed several solo and lead parts on the Philip Sherlock stage and also delved into his creative abilities as a choreographer. According to Marcos “the Philip Sherlock Centre played an integral part in molding me into a mature and focused performer, capable of handling demanding leading and solo performance roles”.

he played the lead role of Arjuna and Aida with The Royal Opera House. Beyond theatre, Marcos also played the lead in a film entitled reunion, which will be screened at the London Film Festival in January 2011. Additionally, he is also involved in a commercial music project as a singer/songwriter ( and is presently in talks with management companies in London which have expressed great interest in him.

While being a Mass Communication undergraduate in the 1980s, the Creative Arts Centre (now the Philip Sherlock Centre for the Creative Arts ) became Aston’s second home on the UWI campus . Cooke was an active member of Uni-versity Drama Arts Society (UDAS) and took the opportu-nity to perform in and direct a few plays for both the UDAS annual productions and Taylor Hall’s entry in Tallawah. The great John Hearne taught Aston how to edit his own work when he supervised “Creative Writing Workshop”; a course Cooke took at the Centre in his final year. John Hearne was brutal in his criticisms of Aston’s manuscripts yet sensitive in his comments. In fact, the script Cooke wrote in class that year, “River Mumma and the Golden Table” became the LTM (Little Theatre Movement) National Pantomime in 1986-87.

Since his time on campus, Marcos has continued with a career in the arts and has several credits with leading theatrical organizations across the United Kingdom, including, the Disney musical The Lion King, the Sadler- Wells production of The Mahabharata where

Aston was responsible for writing the first episodes of “Oliver at Large” for Jamaica’s King of Comedy Oliver Samuels‚ which

became Jamaica’s most successful television series to date. He also wrote for the once popular radio series “Home Runnings”‚ presented by the Jamaica National Housing Trust on RJR and LOVE FM.I n 2004, Cooke joined up with young playwright Sabrena McDonald to write the television drama “High Grade” which aired on TVJ, CVM and CTV. Cooke’s full length drama “Concubine?” won the Best Actress Award for Dahlia Harris. The play has been performed in Kingston, Montego Bay, Florida, New York, Cayman Island, Toronto and UK. Cooke has been the recipient of ten Actor Boy awards and his writing portfolio includes “River Mumma and the Golden Table”, “Children-Children”, “Jamaica Run-Down”, “Jamaica Pepperpot”, “Front Room”, “Country Duppy”, “Kiss Mi Neck”, “Single Entry” ,the multiple award-winning “Jamaica 2 RAHTID”, “Concubine?” and “Pupalick”. Cooke was recently inducted into the Carib-bean Hall of Fame for his contribution to Jamaican theatre. Cooke is the Artistic Director of the Jamaica Youth Theatre, a group he founded in 2004 which serves as the performing arm of the Schools’ Drama Festival of Jamaica. He continues to serve the Secondary Schools Drama Festival of Jamaica as Co-ordinator of this annual Festival.

Joan Andrea Hutchinson


ike all young men from the uppermiddle class, Keiran tried to run to the promised land of America out of high school. Fortunately, America—or at least the half-dozen schools he applied to—did not have any space for him. So he ended up at the University of the West Indies, where he promptly joined the campus steel band, Panoridim, out of equal affinities for music and the band’s mostly-female musicians. Although he did not complete his degree, he did manage to arrange orchestral scores and stage concerts for the band, which either speaks to the unattractiveness of the degree, the attractiveness of the band, or both. Keiran subsequently did travel to America, where he gained, after considerable effort, a degree in cinema, photography, theatre and writing. This


Keiran King made him happy, although extremely unlikely to be driving a Jaguar to any future high school reunions. Since returning to his poor but bounteous homeland, he has taught workshops on screenwriting, filled in as musical director for the same campus steel band, entered commercial theatre with a hand-ful of major roles, and written a stage play. He retains an inexplicable affection for both the Uni-versity campus and, in particular, the Philip Sherlock Centre for the Creative Arts, one of Kingston’s most vital and vibrant artistic spaces.

Aston Cooke


oan Andrea is the consummate communicator, and quintes-sential Jamaican woman. A graduate of St. Andrew High School for Girls and the University of the West Indies, she has made her mark and stamped her brand in Jamaica and internation-ally as a champion of the retention of many aspects of Jamai-can culture. Joan Andrea pulls has acted in a number of plays including LTM Pantomimes, a number of television docu-dramas and several television commercials. She was one of the writers and also acted in two highly acclaimed productions: Children Children, which she co-wrote with Aston Cooke and Laugh Jamaica, which after a successful local and international run, was eventually made into a DVD. Joan has done a number of lunch hour concerts at the Philip Sherlock Centre. She tells the story of the genesis of the play Children Children: “Aston Cooke and I were asked to do a lunch hour concert and apart form the few poems, we were not quite sure how to fill the hour. We decided to dress as children and clown around on the stage. The audience loved it so much that we set bout writing Children Children the week after.”

Joan Andrea’s work is extremely valid for Diaspora based Jamaicans trying to hold on to aspects of Jamaican culture, and pass it on to their children and nonJamaican friends, family members and co-workers. Her performances, lectures, three books and seven CDs are also very helpful for anyone who wants to better understand how to deal with Jamaicans. On stage she has the kind of magic on stage which holds audiences spellbound, as she weaves stories and poems about Jamaican traditions and Jamaicans, shares Jamaican proverbs and Anancy stories, and mesmerizes you with information and facts about Jamaican culture. For her work she has received several awards including the Caribbean Hall of Fame Award for Excellence in the Performing Arts; the Jamaica Music Industry (JAMI) Award for poetry; the City College of Birmingham, Language Ambassador Award; and the Sir Shridath Ramphall Award for Cultural Excellence.


Creative Minds


ay Magnus love of music began at an early age while a student of the piano. She joined the University of the West Indies Panoridim Steel Orchestra at Mona in 1989 while pursuing a bachelor’s degree in Botany. She maintained active membership with the Orchestra holding several positions of leadership including Band Captain, Music Director and Band Arranger, a post she continues to hold. In 1999 she decided to pursue further studies in steel pan. She received a bachelor’s degree in Musical Arts with first class honours from the University of the West Indies, St. Augustine, and a master’s degree in steel pan performance from Northern Illinois University (U.S.A.), making her the first person in Jamaica to hold a masters degree in steel pan. Gay was the coordinator of the Music Elective Programme at the University

Gay Magnus of Technol-ogy of Jamaica and taught steelpan at Northern Caribbean University for five years. She was also the Music Director of the University of Technology Steelband and Musical Apostles Steelband. Currently, she is also the Music Director of the Stella Maris Steel-band and Director of Steel Pan and Percussion at the Jamaica Symphony Orchestra. She has performed on several recordings and participated in steel band competitions and concerts worldwide. In 2008 and 2009, she published steel pan method books designed to teach the fundamentals of correct pan playing. She is also the administrator for a steel pan information website In August


Bianca has now branched out from performing into songwriting and arranging, and is also actively involved in artist management. Although still working in technology, Bianca is chart-



hile an undergraduate student at CARIMAC, Jermaine was actively involved with the daily activities of the Phillip Sherlock Centre.A member and tutor of the University Dance Society, Jermaine would teach classes, choreograph as well as dance in the annual Lunch Hour concerts and Sea-son. He was also an actor with the University Players and was in the Actor Boy nominated cast of the “Black That I Am”, as well as gaining a nomination for Best Choreographer for “Maharani’s Misery” which he helped workshop in his CA300 course.

of 2010 she was awarded a Fulbright scholarship to study Orchestral Percussion at SUNY at Fredonia (USA)

While still a student, he would also host his own Lunch Hour concerts, and in his final year, assisted the late Prof. Nettleford in staging University Singers in Concert. He was honored in 2004 by the University with the Premier Awards for Excellence in Culture. After graduating with honours from Carimac, Jermaine decided to pursue a career in theatre. Being so at home at the Philip Sherlock Centre, Jermaine was able to develop his skills and

talent in an atmosphere where he felt comfortable to do so; as such when the international artistic world became overwhelming, he could always rely on the coaching and foundation he has gained from his prior experiences. His career has now taken him to new heights, working with international dance companies such as the Alvin Ailey American Dance theatre, Dance Theatre of Harlem, as well as Tony Winning Broadways shows Disney’s “The Lion King” and at present original cast member of “Fela!” at the National Theatre in London.Now the work must continue, Philip Sherlock Center helped to nurture and talent that which was in its initial stages of development, and today Jermaine is very grateful for every day he sat in front of the center waiting for his time to shine his light.

Coleen Lewis

Bianca Welds

aving come to UWI in 1995 with dreams of studying Mathemat-ics, Bianca chose instead to do a Computer Studies major which allowed her to mix Computer Science with Social Science courses such as Accounting, Management and Economics. Always looking for interesting activities outside of school, she agreed to join the steel band with a friend and never looked back. Over 15 years later, Bianca is still an integral part of the UWI Panoridim Steel Orchestra as an active member who has served on various committees and held various leadership roles including captain, public relations officer and section leader for several years.

Jermaine Rowe

ing a course that merges her love of technology and the arts. She studied Arts and Cultural Enterprise Management at UWI in Trinidad, which she saw as a vital addition to her Masters in Information Systems, and is developing research ideas on the impact of technology on arts and cultural organizations in the Caribbean, which will be the focus of her intended doctoral thesis.


oleen first came to UWI in 1991 and pursued a first degree in History. As a student she was a member of the University Singers and University Dramatic Arts Society (UDAS). She was elected as Student Coordinator at the Creative Arts Centre (now the Philip Sherlock Centre for the Creative Arts) for two consecutive years. Lewis received a University award for her involvement in the Univer-sity Singers and UDAS. Coleen was also selected as UWI’s Cultural Woman of the Year.

theatre’s production of White Witch, “Cassandra”, Robin Baston’s “A So it Go” and the list goes on. While practicing in the British Virgin Islands, Lewis was a part of the not-forprofit theatre company, and in Belize, she directed and co-produced the Rotary Club of Belize’s production of “Children Chil-dren”. After that experience the Rotary Club was inspired to establish a theatre company. On returning to Jamaica Coleen co-created and produced the TV show “Comedy Buss”.

Lewis went on to act in Trevor Rhones’ “Old Story Time”, Jambiz’ “Children Children”, Oliver Mair’s revues “Dis Ting” and “Dis Ting 2”, MADKOW’s “Season Rice”, Montego Bay’s Fairfield


Artist In Residence The Coffin Builder © A Monologue By Teneile Warren Arise. A male in his mid 40’s sits SR with tools in his hands, there is an image projected on the screen of a carpentry shop. He is a coffin builder. There is live acoustic guitar music playing.

Kevin Ormsby Returning Artistic Resident


evin A. Ormsby, Artistic Director of KasheDance; a dance company hinging on the traditions of modern dance, ballet and the Diaspora works independently as a Marketing Consultant as well as dance teacher, choreographer and movement coach. He was a member of Garth Fagan Dance, the Assistant Artistic Director of Ballet Creole, Associate Artistic Director of Caribbean Folk Performers, Canboulay Dance Theatre, Caribbean Dance Theatre and Dance Caribe Perform-ing Company and currently works with the Heritage Singers, Baby Boyz Dance Group as a Choreographic Facilitator. He holds a double major degree in Mass Communications and Political Science. Produced, choreographed and acted in the production Love ‘n Movement as well as self published a photography book “Dance through Life”. A passionate advocate of Dance Education, writing and outreach, he


has presented papers at Visualizing/ Performing Africa Conference at Ohio University (2007) and Canada Dance Festival (2009), sat on panels for the Canada Dance Assembly, International Association of Blacks in Dance, written for Expose Entertainment Magazine and the Dance Current. Through his dance outreach initiatives, Mr. Ormsby has conducted intensive dance workshops in Grenada and master classes in Vancouver, St. Lawrence College, and to priority neighborhoods in Toronto. For over twenty five years, Kevin’s unique dance history has taken its form from blending Afro-Caribbean culture through modern and classical dance tech-niques. His repartee with the Arts started at age three on famed JBC’s “Ring Ding” then at Calabar High School under the direction of noted drama teachers like Pauline Mattie, Cecile Dixon and Luke Williams. He performed with Kidstuff Young Peoples Theatre, under the leadership of Pierre Lemiere, and also attended Edna Man-

ley College of the Visual and Performing Arts Youth Programs in Dance and Drama. His artistry has garnered awards from The JCDC, The Toronto Board of Education “Excellence in Education” Award for Performing Arts, The Royal Canadian Legion Award, Metropolitan Toronto Caravan- Best Script Award and an Emerging Artist and Mid Career Grant from the Canada Arts Council, a Dance Research Development, Artists in Education and Access and Career Development Grant from the Ontario Arts Council and most recently a Creation grant from the Toronto Arts Council for his slated choreography to be presented at the upcoming Canada Dance Festival 2011. He has also sat on the Ontario Arts Council’s Dance Initiatives Jury, Artists in Education Panel, Toronto Arts Council’s Dance Jury and was appointed to Toronto Arts Council’s Community Arts Programs Committee.

You know how hard it is at my age to start over. And yes the 21st century is the age of new beginnings but I am a classic man; a man of tradition. My father taught me this craft carefully and with pride. I never understood it but then I realised that in those days we all did something to keep the wheels turning. My grandfather was a carpenter, so my father was a carpenter. They made all the furniture in the district but they were still poor, the people were poor only so much to trickle down and no more. The finest furniture from the best woods- someone had to pay, so they did. See, my grandfather believed in giving people the best no matter who they were. So he and my father lived in one room; it could have been bigger but it was all about the shop. One thing my grandfather did was building a good bed frame and getting really bed foam. He used to say “a man can survive anything once he had a nice bed to go home to”. Then my father had to build his father’s coffin, his final resting place. Now, I’m a coffin builder because fathers teach their sons their trades. But I don’t want build coffins anymore. Its sounds stupid because let’s be honest, this is a good time to be in the coffin business. But the thing is when my father taught me to build coffins, he made me smell the wood, hold silk and satin against my skin, close my eyes and ask myself would I sleep on this for a 100 days. “Squeeze the foam in your hand Neville”, would that make a good bed. You don’t just build a box and throw it in the ground. You meet that person’s family, you get to know them, and you touch their bed, learn their favourite sent and build one room condo or something like that. You craft each coffin, you’re like a tailor for the dead…when you came to a funeral you knew who was in that coffin just by looking it. But people don’t need coffins

anymore, they just need boxes. saying to yourself but once it never seen again but a man has work and it’s our final show of

And I know you’re goes in the ground it’s to take pride in his respect.

If you’re a lawyer, you coffin has perfect angles, straight corners, brass fittings, no ornaments with a medium to firm bedding. If you’re a dancer, you’re coffin has curves, the lines in the wood stream like water, a baby or child gets cedarwood- it calms sooths and comforts just the smell of it cause babies aren’t suppose to die. And that’s just a generic coffin. I could tell you something special about almost every coffin I ever made; maybe even give a name just by looking at it.

Since 2009 the Philip Sherlock Centre for the Creative Arts has hosted the Philip Sherlock International Arts Festival. The festival is geared towards ‘Celebrating Cultural Diversity in the Caribbean’ and showcases excellence in arts and culture through music, dance, theatre, literature, film and visual arts.

But with all that’s happening in this world it doesn’t mean anything to be a coffin builder. Bodies are like the red money you see tossed on the ground and coffins are worth even less. I built my father’s coffin on March 26, 2008. Since that date I’ve built almost 200 coffins- 200 worthless coffins. The last coffin I built was my own. It took two weeks to build that coffin; I’ve never felt closer to my father than I did in that moment…it sounds kind of morbid but it was then I finally understood why my daddy became a coffin builder. Most people never get a good night’s of sleep in the life...they deserve at least one.

Each year, the centre taps into its resource pool of: performing arts companies; student societies; creative and technical directors, choreographers, cultural agents and creative arts practitioners to produce a festival which continues to grow and offer exciting new arts showcases. The festival has five core events which includes: ‘Nneka’ – a Showcase of poetry, drumming and unplugged music; Guerilla Lighting – A technician’s lighting showcase; ‘Lymelight’ – featuring the performing arts clubs and societies; The Philip Sherlock Lecture & ‘Jamaica Dance Umbrella’ – featuring local and international dance troupes under one roof for four nights.

At Close. Actor walks away and leaves his tools on stage. Scene closes with images of coffins being built on screen with live acoustic guitar music.

This year, additional events included a workshop in filmmaking with independent filmmaker Atif Lanier and a collaboration with the Confucius Institute to present the Beijing Language and Culture University.



‘Diversity is not about how we differ. Diversity is about embracing one another’s uniqueness.’


Presenting L’ANTECH:

he Philip Sherlock International Arts Festival (PSIAF) is a three week long event held at the Philip Sherlock Centre for the Creative Arts, University of the West Indies Mona. The Centre is one of the most celebrated venues for the performing arts in the Caribbean.

Daaancing in Patois - A Carimod Dance Technique

NNEKA: Drum Language

Dr. L’Anoinette Stines, Artistic Director of L’Acadco , introduced L’Antech, an eclectic caribbean contemporary technique (Carimod) . A synthesis of African influence, Caribbean Folklore , dominated by the Jamaican afro-caribbean forms with shades and elments of other regional retentions and elements and adaptations of jamaican social dance.

Nneka is a Black History Month celebration, with poetry and drumming and featured poetry by Joan Andrea Hutchinson and drummer/musician Denver D.

-Ola Joseph, Author


Creative Marketplace

The lawns of the Philip Sherlock Centre played host to a sprawling display of local art and craft.

Tallawah: Rescene The ‘Best of Tallawah’ was restaged, revitalized and renewed.

Tapestry Director Fabian Thomas and cast presented a potpourri of vignettes depicting Jamaican life.

‘Tech It As Is’

The Techicians of PSCCA made light of their experiences working behind the scenes at the centre in this light-hearted farce.

Film Workshop with Atif Lanier

For all those fascinated by film: writer, producer and actor Atif Lanier conducted a film workshop. After which he screened his latest film “Computer Love—Logging on has never been like this”.

Philip Sherlock Lecture ‘Theatre and the Marketplace’

Presenter Dr. Barbara Gloudon spoke on journalism and the creative arts in the latest of the annual Philip Sherlock Lectures.

Jamaica Dance Umbrella The four night dance showcase featured prominent local and international dance companies as well as the works of independent choreographers.

Beijing Language & Culture University Art Ensemble Presented in association with the Confucious Institute

LYMELIGHT: “Spirit of Togetherness”

A Showcase of Excellence from the various Performing Troupes, Halls of Residence and individual artists that reside within the UWI Community along with special guest performers.


BLCU Art Troupe, founded in October 2003 and headed by the Vice President in charge of Beijing Language and Culture University, is composed of both Chinese and international students and also the university staff. The visit of BLCU Art Troupe served to enhance the friendship between Chinese and Caribbean students, strengthening cultural exchange and enriching our colourful campus life.


JAMAICA 1 1 0 2


Photography by Tricia Bent




EBCCI Dance Company Choreography: Olivia Hall

TENSION Dance Theatre Xymaca Choreography: Kameica Reid

MEDITATION IN BLUE The Company Dance Theatre Choreography: Shelly Maxwell

DI(S) SYSTIM ArabesK Dance Collective Choreography: Kyisha Patterson

“YUTE!” University Dance Society Choreography : Liane Williams


WAITS, WEIGHTS, BALANCES...GOTGF KasheDance Choreography: Kevin A. Ormsby

YOUTH IS WASTED ON THE YOUNG: PART 2 Desiree’s Dance Theatre Choreography: Onaje Bell

PHASES OF THE MOON National Dance Theatre of Jamaica Choreography: Clive Thompson

SATTA L’Acadco: A United Caribbean Dance Force Choreography: L’Antionette Stines

STILL. BORN. (Excerpt) Renee McDonald Choreography: Renee McDonald

NuMuRune Collaborative in



Embodied Knowledge

Embodying the Creative Genome: A Building has a Lived Experience by Kevin A. Ormsby


hat lies in a building through which people walk every day? How are these walks by bodies a dance, an expression of a lived /shared experience? One can say that architects are indeed masters of movement like choreographers or artists in their use and manipulation of space, musicians and how architects use of windows lights etc are like the inflection and control in the vocal cords of singers. Buildings do more than get people to and from their destinations. What of the functionality in space, depth in architectural form? These are indeed qualities of an artist is it not? I argue that buildings offer the individual an interaction with its form (shape, functions, spaces used) as the participant go in and out of its walls, the building embody the emotions, the energy of an individual. Making the relationship between the individual and the building an integral one. I go further to propose that building lives like humans do. The vents I see as (its lungs) the plumbing (its arteries) the windows through which we look (its eyes) and the structural framework (its skeleton) What of its muscles? What makes the building move and embody the life ideology of life to which I refer? Beyond electricity, water, individuals who use the structure for their regular day to day activities are for me a part of the muscles, the inertia on which the skeleton was initially created. Journey with me as I take a look at the Philip Sherlock Center for the Creative Arts; a building living the life of experience base on the tradition on which fuelled its creation but


the “ energy of continuation with a rich and historic tradition anchored on a solid foundation creative excellence for the future. It’s a cutting edge foundation that offers a smorgasbord of creative endeavours that is conducive to the academic directive of higher education. And If I might take this sentence to be political, then this is where I put forward the assertion that higher education must involve the creative Arts. The creative Arts are a reflection of society. The artists are the eyes that sees, internalize, inquire and with help from the muse of creativity; unleash the capacity for society to understand itself. What then is held in the structure of a building, if not the embodied knowledge of those who finds something else about their being inside? In an in depth conversation with Brian Heap, Senior Lecturer and Acting Head of the Center he mentions that “the centre was conceived as a space for creative imagination within the university, and this was important to Mr. Sherlock who placed an enormous value on connecting the university with its creative imagination. It’s prolific in its formation visa vis artistic negotiation; it fosters a freedom to nurture the artistic creative understanding. This, the center nurtures in its active or passive participants. Its value and reach is intangible to money, but its influence is invaluable and ever – present. It’s about history, culture, archiving and heritage with nostalgic connections to students and alumni; a creative arts center for the region in its original creation... it was about grassroots outreach with a regional focus.”

The Philip Sherlock Centre for the Creative Arts breathes as mecca for the performing arts. Linguistically in the center’s name, we get a sense of what the building was built for... Creative Exploration, Creative Refuge, and inquiry all leading to clarity in the creative imagination. What’s empowering as in Mr. Heap’s statement is the notion of fluidity in the word imagination. Everyone possesses imagination but it is how and when this imagination is honed that is so important. Unlocking the creative imagination of any individual is important to the understanding of the psyche of the human being which in turn feeds our passions to create. I attempt here, to take you on a small journey of creativity as I unlock the imagination into a space I have visited and will now see through an imaginative scope in the hope that the next time you interact with a building or with the Center you will see it differently. A sculpture sits at its entrance, a visionary looking south into the sunset on the horizon, across the Long Mountain to the Kingston Harbour and the Caribbean Sea. Could this sea, be the idea of ebb and flow of the waters that washes our shores that Professor Nettleford alludes? Nestled in the left hand corner while approaching the steps to the center, the sculpture looks out, poised on the edge of its supporting base, confident in its creative energy; a spectator and a spectacle. If you dare gaze for a moment and even stop to embody the sculpture’s viewpoint, one sees the colonial past in the aqueduct, the intellectual future in the bookstore, the financial dependency in a bank (with its famed song “ ode to student loan”), the canteen (wid di plight of di hungry belly), The Graduate Studies and Research Center ( weh di bank ah go laugh till dem belliy buss cause yuh come back fi more money) and the Dramatics Arts Theatre facility with its own set of history and deep connection to the Centre. How can one forget the Radio Education Unit and Carimac (Caribbean Institute of Media and Communication) two institutions that have become increasingly important for the proliferation of the ideas of the creative arts? The Centre’s positioning is ideal in my mind as a dancer and Arts Mar-

☐ continued on page 32


he Centre is home to some of the Caribbean’s finest and most distinguished creative minds. They have chosen the PSCCA as the place to share their passion and knowledge with the creative community.

Jackie Guy


ackie Guy is an international choreographer and one of Britain’s leading tutor/lecturers in the area of Afro-Caribbean dance forms. Dynamic and inspiring, he fuses traditional dance vocabulary and Folklore with elements of modern/contemporary dance technique. He has blended all these into a unique and vibrant dance art form.

A Kingstonian, he was educated at Windsor High School and the College of Arts, Science and Technology (now the University of Technology) in Personnel Management, Industrial Psychology and Accountancy. He started his professional dance career at age 19 and credits his career to his first dance teacher, Ms. Alma Mock Yen. Mr. Guy is a graduate and former Principal Dancer of the National Dance Theatre Company of Jamaica; Artistic co-ordinator for Movements Dance Company of Jamaica, and Tutor/Artistic Director for the University of the West Indies Dance Society for seventeen years. Using dance as therapy, Jackie extended his creative skills working with the Jamaica Social Development Commission catering for youths in prisons; remand centres, community centres and youth clubs in poor and inner cities areas. The knowledge and experience gained was to serve him well when he relocated to England in 1987. Jackie was appointed Artistic co-ordinator to plan and developed the curriculum for the second international summer school organised by the Black Dance Development. In 1988 he was appointed Artistic Director of Kokuma Dance Theatre Company in Lozells, Birmingham. Under Jackie’s artistic vision and guidance, Kokuma Dance Theatre not only won the Black Dance awards for Outstanding Choreography and Production, and the Prudential Commendation Award for Excellence, Innovation and Creativity but also was regarded as the “Brightest Jewel in Birmingham’s Crown” by the Observer newspaper in 1989. Jackie has been the recipient of many Certificates and Awards for outstanding contribution to Dance. His work as dancer, tutor and choreographer has taken him throughout Europe, Africa, Australia, USA, Canada, Mexico, and the Caribbean. Jackie Guy is the choreographer for the stage musical version of the Jamaican iconic movie ‘The Harder They Come’ which completed a highly successful tour to Toronto and Miami. His work remains inspiring, grounded in a rich Caribbean cultural tradition and immensely accessible.

Jean small


t would be true to say that Jean Small’s passions are the French Language and Theatre Arts. She sees herself first as a teacher, then as actor and creative writer. A graduate of UWI in Foreign Languages, she returned to the Mona Campus in 1992 as the Secretary of the Creative Arts Centre. After meeting with Sir Philip Sherlock who explained that the Centre was originally administered by a committee headed by a Secretary, Mrs. Small lobbied for the change of the name of the Centre to the Philip Sherlock Centre For the Creative Arts (PSCCA) and the title of Secretary to Tutor- Co-ordinator. This made her the first female Tutor-Co-ordinator of the PSCCA. In this position she made several innovations by creating courses in WRITING STORIES FOR CHILDREN, CREATIVE WRITING, VOICE AND SPEECH, NAIL TECHNOLOGY, FASHION DESIGNING, FLORAL ARRANGEMENT which provided the necessary financial stability of the Centre. Since 2000 to the present Mrs. Small has been directing a play in French every year with the students of the Modern Languages Department for the Intercampus Foreign Language Festival. Mrs. Small was the first Convener of the Modern Languages Panel of the Caribbean Examinations Council and served as the External Examiner of French and Drama for the Joint Board of Teacher Education for many years. She has taught Drama from 1977 to 1988 at the Jamaica School of Drama where she devised a course titled A CARIBBEAN LABORATORY to explore the use of Caribbean Folk Forms as the base of an aesthetic for Caribbean Theatre. She performs her own plays, including A BLACK WOMAN’S TALE which was selected as the best Jamaica play in 1998 for the World Cup Series of Playwrights in France. She has performedinternationally in Suriname, Toronto, Liverpool, France, Antigua, and Guyana. Among her awards are the MUSGRAVE BRONZE MEDAL in 2010 for Distinguished Eminence in the Arts. Mrs. Small retired from the PSCCA in 2002 and is currently the Chairman of the Fine Arts Board of the University Council of Jamaica and the chairman of the proposed National Foreign Lan27 guages Board of Jamaica in the Ministry of Education.

REX NETTLEFORD: Neo-African principles and the music/dance complex of the NDTC.

Embodied Knowledge

Noel Dexter


distinguished musician and composer, his name has become synonymous with all things choral here in Jamaica. The Choral consultant to the choirs of the UWI Mona campus and a vocal teacher at the Edna Manley College School of Music, Mr Dexter has worked extensively with the voice as an instrument. For over thirty years, Mr Dexter has been the Musical Director for the University’s flagship choir and the University Singers. An internationally recognized composer of hymnody, Mr Dexter is a household name in the Anglican community for his hymns, and he is annually commissioned to contribute another to the list. Some of his most loved contributions in this regard are: The Right Hand of God, Lord Make Us one, and his setting of the Hundred and Fiftieth Psalm. As an academician in the discipline of Music, Mr Dexter has contributed many articles on the folk music of Jamaica, his bachelor’s in Sociology from his days as a student at the UWI a boon to this end. His contributions may be found in not only his publications but in the refining of the work of others as a reviewer of articles of fellow contributors. An avid proponent of lifelong learning, Mr Dexter works constantly at keeping himself abreast of the advances made in his discipline, and training himself in order to more suitable train others in the craft of the voice. A holder of the Order of Distinction Commander class, a skim of Mr Dexter’s C.V. would include his contributions to the preservation of Caribbean folk music through his arrangements which his choirs, (for he is in charge of several such in the island, and is credited as having under his belt award winning groups in the past such as The Kingston Singers, The Youth Fellowship Singers, The Ardenne High School Choir, all of which, under his direction had received international acclaim, having toured their native land and the Caribbean as well as the United States), and the publication of Songbooks, collections of our Region’s music. He is currently working on a collection of Jamaican Christmas songs, the composers of which ring from such halls as Anthropology and Natural Science, such as the late Prof. Barry Chevannes, and other distinguished colleagues in music, such as Mrs Paulette Bellamy.




ubbed by some as “Jamaica’s foremost woman musician”, Miss Whylie has been one of the most instrumental collectors and preservers of the traditional folk forms of her native Jamaica, and a researcher of her indigenous Jamaican and Caribbean culture. Her approach to this mandate is an awe-inspiring combination of the eager academician and proud reverent patriot. It is no surprise then, that in her journey she has not only made a name for herself in the unearthing and perpetuating of Caribbean music but also with the exposition of Art music, the music of the North and of Europe with her longstanding loves Jazz and piano.

An active composer and performer, “Miss Marj” was Inducted into the Jamaican Jazz Hall of Fame in 1997. Praised as “…a pastiche of indigenous Jamaican folk, African polyrhythms, European art music, and classic jazz”. She is known for her uniquely eclectic composition style, which is fostered by her objects of research and interest, and a spirit conducive to experimentation. As musical Director of the National Dance Theatre of Jamaican singers, for whom she arranges song suites and composes, her music is given voice and is put on show for general appreciation. She is also frequently called on to compose interludes and music for dance choreographers of the company. A list of her compositions may include “Alleluia”- which is an exploration of the concept of “cymballing” a style of singing in Jamaican Revival; “Mountain Women,” and “Drumscore,”. Some of her arrangements such as “ Rastafari Suite”, are adaptations of folk religious music for the stage, and are audience favourites. As an educator and researcher, Miss Whylie has distinguished herself within and shed light on the folk forms of the region, not only contributing to the database but also in the refining of the collection and storage process, innovating the way drumming is recorded by developing a notation system for the sounds of the drum. She has published several within this discipline under the hat of ethnomusicologist, notable of which is a chapter titled “characteristics of maroon music in Jamaica and Suriname.” (Agorsah, 1994). She has served as a teacher at the Jamaica School of music, as a member of the folk studies department, and until recently, was music staff tutor and head of the Music Unit of the Philip Sherlock Centre for the Creative Arts, where she lectured on Music history and theory, Music of the English speaking Caribbean, and dance and music in education. Miss Whylie continues to impart knowledge to those who would seek her out, and maintains an active performance schedule as pianist and director of the NDTC.

Articles by Carl Hines

The ideas presented in this paper were originally explored by the writer in a series of seminars of a Conference in honour of Prof. Rex Nettleford on his retirement as Vice Chancellor of the UWI as part of a panel on Nettleford’s Aesthetic, in a presentation at the Philip Sherlock Centre for the Creative Arts on Composing Music for Dance, and in The Apocalyse experience written for the NDTC Quarterly . These have been revisited, updated and expanded for this analysis of Nettleford’s creative manipulation of music.

of the original creator..he hears with African ears, sees through African eyes,and moves with the polyrhythmic undulations of a body carved in all its African grace. That he was a Caribbean man made this exploration and explosion of the creative imagination particularly potent as it was combined with a broad understanding of history and human nature and intellectually rigorous thought on what he named ‘the products of the dynamic collison of the cultures of Africa with the cultures of Europe on foreign soil.’

As a member of the National Dance Theatre Company of Jamaica and its Musical Director for over forty years, there has been much on which to cerebrate and much to celebrate. Of primary concern to me has been the consideration of what comes first, music or dance. This engendered a running debate between Artistic Director Rex Nettleford and myself over an extended period.

We need to examine what it is that constitutes good music for dance creation to appreciate Rex Nettleford’s amazing choices. Composition is the art of creating original works of music and it must be the result of a deliberate creative act, and such a term is not usually applied to folk material, for example, which may have reached its present shape through oral transmission and untutored adaptation, and certainly not to a musical work not thoroughly original but arranged from some other work. Yet, many composers of European Art Music drew heavily and without apology on the folk tunes and common melodic contours and rhythms of low culture that surrounded them, creating large works which are certainly their original compositions They applied various techniques, adhering to the rules of form of their period, then stretched the boundaries and created new forms. Many of these rules are still being applied by Caribbean composers and arrangers, who drew also on African cultural norms in the region and world musics, creating a melange of genres that are recognizably Creole, feeling free to experiment with all the elements of that soundscape.

Nettleford pressed into service and used equally the products of the creative imagination of Bach, Bela Bartok, Art Blakey, Handel, Hindemith and Herbie Hancock, and of generations of traditional creators of African derived music/ dance complexes - Benta and Buru, Gerreh and Gumbay, Kumina and Kromanti, and of the modern popular creators Bob Marley, Jimmy Cliff, Peter Tosh, Mutabaruka, and laterly,the ‘riddims’ of Dancehall. In a chapter of Dance Jamaica, Nettleford refers to choreographers “selecting .... a wide range of compositions from many parts of the world.... for rhythmic and musical support”, but his respect for the drum and the rhythm ensemble of the Company allowed him to take artistic licence in adding drum patterns in support of works created by composers as diverse as Edgar Varese in Spirit Brothers,Sister Friends , Ancestral Echoes which combined excerpts of works by Handel, Bobby McFerrin, Brad Feidel,, Sylvia Olden Lee, Jamaican atheatre and popular music composer/arranger Grub Cooper and the writer, and this was to be followed by a host of works including Interconnexions, Spirits at a Gathering, Tintinabulum, to the point that musicians and music lovers who firstly had been scandalized by this juxtaposition and layering of genres from the Baroque through Rococo, Classical, Romantic, Impressionist, Musique Concrete, subsequently came to accept his manipulation of the expected soundscape, and grew to await his innovations with anticipation. Where did all this originate? One has only to recall his frequent quotation of the West African proverb, “ When God created the world, he first created the drum.” In the paper on Nettleford’s aesthetic and cultural ideas, my interpretation of this approach of his to the music/dance complex is that it lies in his organic acceptance of the impossibility of separating movement from sound, dance from music, a truly African concept.

The most basic element of musical communication between the composer/performer/listener, making the most direct appeal is melody or musical line.The notes are like the words of a sentence, not taken singly but as a complete thought; the contour of the melody, its rise and fall in small intervals or leaps, joined together or disjointed gives the piece its mood. Phrases, statements, questions and answers, countermelodies for contrasting movement are essential, for dance mirrors the movement of music, and perhaps not re-engaing in the debate on what comes first, suffice it to say that music supports the development of dance. Rex Nettleford’s view of the world as providing materials from primary sources for creative manipulation, shaping and moulding, subjecting to rhythmic organization or re-organization, melodic contour and harmonic complexity.. Colour, tone, texture, depth and balance allowed him to be creator, not only in the use of bodies in space and time, and despite his insistence that music supports movement, my feeling is that it does not play a supporting role but becomes an integral part of the tapestry of his own work. And...... his music becomes an overlay or a substrate, however you may want to interpret it.

Herein lies the understanding of Nettleford’s music, and he does make it his own, regardless

Through his various periods and genres of choreography, there has always been a constant

- the vocables that he used to express texture, emphasis, weight, quality, duration of each step. African and neo-African rhythm patterns are taught in the traditional setting by combinations of vocable and sound patterns related to the sound of the material of various percussion instruments. The Artistic Director/choreographer went beyond that, applying the language to the combinations of steps. His sound collages take and demand notice of all these elements: piki tang patang, piki tang patang, tang tang....tang tang yaaaah...pakatang yakatang patang pikitang

and these are but a few of his vowel/consonant combinations. His most obvious tool was the drum, that instrument that displaced the piano as the accompaniment for NDTC technique classes, that first creation of the Supreme Consciousness, that Original Energy Force through which he created added syncopation and counterpoint. His African approach to the use of utterance patterns also guided composer/arranger through the parallel creative process, the expected metre and rhythm being combined with articulation and at times suggestions of pitch, almost tonal, though indefinite. Not only were drummers combined with recorded scores, but his interweaving of live music with the recorded, demanding ornamentation of an existing structure with often surprising stylistic techniques such as the juxtaposition of live variations on a recorded theme were achieved through his suggestion, cajoling and demanding. His use of bodies in his choreographic masterworks also became a subtle manipulation of the musical score, whether created specifically for the dance work, or an already exisiting composition, recorded or for live presentation. The dancers become a part of the orchestra that he conducts. In another life or in another environment, Rex Nettleford would have been a musician, but his tribal memory served him well, allowing that understanding of how inextricably intertwined are music, both vocal and instrumental, dance - interpretative, ritual, ceremonial, social, and language and drama. So true is this that a host of African languages and dialects admit only one umbrella term for all these means of human expression and communication. The music/dance complex of the National Dance Theatre Company of Jamaica and its contribution to the legitimizing of Jamaican and Caribbean music and dance forms and their creators in the traditional, popular and Art music genres owes its genesis to the understanding of the neo-African concept of the unity of movement and music to Rex Nettleford - conceptualizer, innovator, animateur, Caribbean man. Marjorie Whylie Staff Tutor(Music)/Senior Lecturer Head, The Music Unit, PSCCA (ret’d) UWI Mona Campus



2010 Year In Review:

A Suh It Fi Guh’

Glass Routes:

Tallawah 2010:

The Caribbean’s best and brightest rising stars took the stage in week long celebration of theatre.

The Uniersity Dramatic Arts Society took to the stage in their first origninal musical.

Ships’ Log:

L’acadco took the audiences on a journey through history.

Sing It Loud:

The University Singers put on yet another spectacular season.

“Trusting Love”

Dancers represent the ups and downs of a relationship. This piece, choereographed by UWI graduate Renee McDonald graced both the University Dance Society Season as well as L’Acadco’s ‘Ships’ Log’


The University Players brought the tale of Moliere’s famous con-man to life to great critical acclaim.


31 Photography by Ryan Esson


Embodying the Creative Genome:


he PSCCA is mandated to provide a large proportion of the cultural life of the 15,000 plus population of the Mona campus. It is estimated at present that the activities of the Centre involve approximately one half of the student body. This is through direct participation in the activities of the clubs and societies attached to the Centre, special events such as the annual Tallawah Drama competition, and Faculty and Hall events held at the Centre such as the Medical Students’ Annual ‘Smoker’, the Law Society’s ‘Silk’, the Mr. and Miss Preston pageant, the Taylor Hall Chorale and the Department of Modern Languages’ ‘Noche Latina’ and Inter-campus Modern Languages Drama Festival.

A Building has a Lived Experience ☐ Continued from page 26

keting consultant. Everybadi waan money, mus eat ah food and want a link. :) It beacons you to enter and once inside, you are on an open floor with the same steps design of the outside mirrored on the inside foyer and to the right steps leading up to the music room can also be utilized as seating area. The ceilings are high and inviting summoning a dancer’s leap, a singer’s vibrato, an instrument’s resonance all in a space that’s in an open concept. Modern dance pioneer, Katherine Dunham, speaks of the importance of form and function in her modern dance technique (Dunham Technique which originates from African and Afro-Caribbean aesthetic) and we see the idea in the construction of the centre. Its structural form creates a space where people entering the space must interact in and with it. The building necessitates inquiry and the walls around the foyer invites visual artists to the possibility of hanging their work making the space a gallery in the Round. On a walk to the Dance Studio, one can hear singers practicing; there is a certain energy like that of a conservatory focussed on nurturing the next generation of creative minds. Where do you go to experience the creative arts? The theatre is an integral part of the centre and I bask in the theatre’s smile as it opens welcoming arms pulling you into intimacy. Yes, it’s an intimate theatre, strategically situated in the concept of the buildings form and function.

The ease in access from classes, work rooms and studios allows for the creative product of individuals to be thought out, rehearsed and presented in one building. With a plethora of programming throughout the year, I am insisting that the walls of the center holds the energy of creativity of those that have taken classes, rehearse, performed, seen a performance and administer the Arts in its walls... some of the country’s premier artists have graced the stage, created works and left their mark on the genome of the structure; there creativity lives. From a far, the Philip Sherlock Center stands with its roof jutting up to the skies like that of the pyramidic structures that can be seen around our world. The definition of a pyramid lends itself to understanding the statement above as it highlights that a “structure or system such as a social or organizational hierarchy, conceived of as having the form of a triangle with a broad supporting base and narrowing gradually to an apex” (The New Penguin English Dictionary) It’s a bold statement of continuity, inspiration and timelessness. The structural foundations of the centre are its initial creator’s vision which for Philip Sherlock was, to “provide a rich cultural life for the University and the wider community”. Then along the pyramid from the foundation is a supporting base which is all the hard work that came through support, use and volunteerism, aiding questions in culture and life. They are the Professor Nettlefords, Marjorie Whylies, Noel

Dextors and all the other the artists, administrators, tutors, janitorial staff, that became the fabric of the building experiences; your passions for investigating the creative imagination. The Apex is the enlightenment of creativity, the moment we realize. I have to agree with Brian Heap who with assertive affirmation believes the centre “is a building for the embodiment of revolution in self and society, identity, social movement and creativity. It is courageous acts that open inquiry into creativity and Arts requires a whole set of courageous creative acts. Ignited by the Philip Sherlock Centre for Creative Arts, one can negotiate possibilities into what we believe we cannot do how we think and feel. That is the empowering declaration of the individual which the Centre has sparked in others.” It is my aspiration to embody the life of the building as it houses the keys for unlocking creativity. While being a artist (dance) and the artist in residence (Winter 2011), when I was first given this assignment there were things I never thought of, understood in how I could make the claim that buildings like humans carried the genome of “lived experiences”. However, the Centre in form and function has unlocked another part of my creativity, weaving a thread through my creative imagination. Kevin A. Ormsby ❍Thanks to the Ontario Arts Council for underwriting Mr. Ormsby’s Artistic Residency.

HIDDEN GEMS Sometimes the creative imagination can be found in some of the most unexpected of places. Our (now semi-retired) office attendant Winston Jones recently revealed to us his hidden talent as a painter.

Therefore the scope of the work of the Philip Sherlock Centre for the Creative Arts is extensive but can summarized under the following categories

Teaching Formal Courses for Credit include: Music MUSC1099: Introduction to Music (Year-long: 6 credits) MUSC2099: Music of the English-speaking Caribbean (Year-long: 6 credits) Theatre and Drama THEA2013: The Jamaican Theatre 1655-1900 (One Semester: 3 Credits) THEA3013: Storydrama (One Semester: 3 credits: Pre-requisite EDAR3808) THEA3099: 20th Century Theatre: Styles & Practice (Year Long: 6 credits) Arts Education (with the School of Education) EDAR3808: The Arts in Primary Education: The Teaching of Visual Arts and Drama in the Primary School (One Semester: 3 Credits) EDAR3811: The Arts in Primary Education: The Teaching of Music and Dance in the Primary School (One Semester: 3 Credits) Formal courses of study both for credit and non-credit are offered in-house, as well as in collaboration with the Institute of Education; the Joint Board of Teacher Education; CARIMAC; the School of Advanced Nursing Education; the Radio Education Unit; the Social Welfare Training Centre; Department of Literatures in English; the University Health Centre (Counseling Section); the Edna Manley College etc.

Co-curricular Activity The PSCCA functions as the home to the Arts related clubs and societies, the staff is responsible for the generation of Co-Curricular transcripts for students involved in these clubs and societies. Additionally, members of the staff sit on the Co-curricular Awards and Bursaries Committees.The groups that call the centre home are: • • • • • •

The University Singers The University Chorale UWI ‘Panoridim’ Steel Orchestra University Dramatic Arts Society (UDAS) UWI Camera Club University Pop Society

Drama in Education (Process Drama) Theatre Research Performance Analysis Dance Education and Analysis In addition the UWI recognizes the following in lieu of formal written research New Literary Works New Dramatic Works The Staging of new and established Dramatic works New Choreography and Dance composition Musical composition and arrangements Recent International research-related projects have included: • Hosting the Fifth International Drama in Education Research Institute at the UWI, Mona • Internationally acclaimed ground-breaking publications on the use of Process Drama, including foreign language translations • International Collaborative research project on Creative Teaching and the Teaching of Creativity with Queen’s University, Canada; the University of Arizona, USA; the University of Stavanger, Norway • International Collaborative research project between the PSCCA, UWI, Mona and the Ministry of Education, Zambia, on Process Drama and the delivery of HIV/AIDS Education. • International Research Networking with contacts established as a result of invitation from the Ministry of Education in Singapore to adjudicate the Singapore Youth Festival, Secondary Schools Drama competition, and to conduct workshops with teachers including members of the Singapore Drama in Education Association • PSCCA Staff members sit on the Editorial Boards of International Refereed Research Journals Non-Academic Development The centre hosts many non-academic courses aimed at personal development and income generation. These include, Voice and Speech training, Creative Writing, Floral Arrangement and Yoga. In addition, the centre is developing further courses in choreography, direction, acting and technical theatre.

Artistic Production and Programming

Cross-Faculty/Campus Facilitation

In house productions The majority of staged productions done at the PSCCA are in-house. Produced by the staff of the centre or by our societies or the UWI family. These productions include productions by the University Players, Tallawah Drama Festival, Jamaica Dance Umbrella, weekly Lunch Hour concerts and the major annual productions staged by Clubs, Faculties, Halls and other UWI based organizations.

The Philip Sherlock Centre continues to work as part of the wider campus community forming collaborative efforts in various areas with groups such as, The Office of Student Services, The School of Education, The Joint Board of Teacher Education, The Social Welfare Training Centre, CARIMAC, First Year Experience and even inter-campus, regularly collaborating with The Errol Barrow Centre for the Creative Imagination on the Cave Hill Campus of UWI.

Guest productions The Centre plays host to many cultural events ranging from local musical theatre and dance companies, to international guests. Over the years the PSCCA has played home to the likes of the Jamaica Musical Theatre Company, L’Acadco, Tony Wilson Dance Company and international guests such as the Japanese Jazz Fusion band “Otodama”. In addition to these larger scale productions, the centre hosts more intimate sessions such as book launches and various notable lecture series.

PSCCA Staff members also work on projects for Home-coming Week, Special Convocations, Graduation etc. as well as off-Campus with • The Mico University College • All the major Teachers’ Colleges across Jamaica, including EMCVPA • In-service staff development with Basic, Primary and Secondary level teachers

Research and Publications Research is conducted in the following areas Ethnomusicology Compilation of music anthologies




he Creative Edge seeks to present and appraise the works of the ‘Creative Intellect and Imagination’ at The University of The West Indies, covering theatre, music, writing, film, dance, and visual art.


Arts Review of the Philip Sherlock Centre for the Creative Arts, UWI, Mona, Kingston, Jamaica