NDTC DIAMOND ANNIVERSARY BROCHURE

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MESSAGE

FROM THE CHAIRMAN As we commemorate the 60th Anniversary of the Company’s existence, we do so in reflection of the vision, sacrifice, and sterling achievements of the Company’s Founders and Founding Members with the same love, passion and respect as seen in Rex Nettleford’s “Gerrehbenta”. We share in celebration of the vibrant energy that is representative of our Jamaican and Caribbean persona as portrayed in Chris Walker’s “Rough Drafts” And, we earnestly pursue the NDTC’s continuity, by showcasing the amazing creations of this new generation such as in Paul Newman’s “Gratitude”.

All of this, while honouring and paying tribute to the generations of diversely talented and passionately loyal NDTC members who have given voluntary service to the Company over these 60 years.

I have been honoured to serve as Chairman since 2016 and to have helped in guiding the Company though these turbulent times. I had leapt at the opportunity, having had a long appreciation for the importance of the NDTC as the esteemed institution that it is in the dance theatre and cultural space in Jamaica and the region.

And as we emerge from the pandemic our steadfast work continues in ensuring the NDTC in stronger in facing even tougher times ahead.

Notwithstanding the inherent challenges faced by any and all voluntary organisations, all NDTC members share a deep and abiding love for the company. This love extends far and wide to fans and friends of the NDTC across the globe.

The Board of Directors of the NDTC and I are therefore committed to steering the Company in a strategic direction that will see it expanding its reach nationally and internationally, and becoming more accessible to Jamaicans and international audiences.

As demonstrated by the repertoire presented this year for our Anniversary Season, the NDTC aims to stay relevant and meaningful to our audiences by producing works that balance tradition with current realities and future trajectories. We are working toward ensuring the overall sustainability of the Company, reaching new and diverse audiences, strengthening our education pillar by extending access and to creating and sharing our knowledge products.

It is my esteemed honour to welcome you to our special 60th Anniversary Season of Dance. We are very excited to share this significant milestone with you and thank you all --our members, past and present, our prized audiences, generous sponsors and friends, for your invaluable support. We look forward to seeing you again soon.

Enjoy the show!

Milton J. Samuda, Esq Chairman

MESSAGE

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FROM THE ARTISTIC DIRECTOR Welcome to the Company’s diamond anniversary Season of Dance. Each year it’s a celebration of not only how far we have come as a Company but as a country. For any institution, let alone an arts institution, to have lasted 60 years is a remarkable achievement. It has been by no means an easy feat. As we reflect on how the Company began, we remain grateful for the hard work of the cofounders Rex Nettled and Eddy Thomas, the founding members, the bridge generation, and the new generation members who have sacrificed so much to create and sustain the legacy we enjoy today.

It has also been 60 years of partnership between the Company and organisations and individuals who have an enduring love for the arts. It is through their support that the Company has been able to sustain a rich tradition of excellence even through turbulent times. The Company holds the view that the spirit of our people is resilient. As such, we will forge ahead to keep our history, culture, and the legacy of the NDTC alive regardless of the challenges we may face. And as we emerge from the era of renewal and continuity, which was under the leadership of artistic director and co-founder the Professor the Honourable Rex Nettleford and artistic director Barry Moncrieffe, we step boldly into the future grounded in the founding principles on which the Company was built and the mantra Energise and Illiminate.

This Season we revisit works that have been audience favourites such as Rex Nettleford’s Drumscore (1971) and Gerrehbenta (1987) as we reflect on our history of a people shaped by our African ancestry. Chris Walker returns with the critically acclaimed Rough Drafts (2014), Arsenio Andrade Calderon’s “My Cry” (2022), Gene Carson’s “Cry of the Spirit” (1996) and Milton Sterling’s “He Watcheth” (1996). “Sweet in the Morning” (1992) by Leni Wylliams has been added to the repertoire along with “Don’t Leave Me” (2013) by Jamie T. Thompson, Treadmill (1985) choreographed by founding member Barbara Requa and David Brown’s “Labess” (2002).

Among the newer works are Choke (2019) by Orville McFarlane, “Cascade” (2021) by Marlon D. Simms and “Gratitude” by Dance Captain Paul Newman. The sole new work making its debut on the Season is Reneé McDonald’s “Unbroken” (2022).

The Singers and Musicians will celebrate the contribution of Reggae music icon Rita Marley who celebrates her 76th birthday this year. Arranged by Acting Musical Director Dr. Kathy Brown, the suite features some of Mrs. Marley most popular songs. We thank the Rita Marley Foundation and the other sponsors who have helped to shape the offerings for this year’s diamond celebrations - Ministry of Culture, Gender, Entertainment and Sport (MCGES), CHASE, Rex Nettleford Foundation, Musson Foundation, TVJ, Christine and Phillip Gore and Family Foundation, Sagicor, Popeyes, Starlight Productions, Martin Lewis Productions, Jamaica Observer, WATA, Sandra Glasgow and BizTactics Limited and Starlight Productions.

We hope you enjoy the performance and thank you again for your support.

Marlon D. Simms Artistic Director

Sweet in the Morning (Chor. Leni Wyllians, 1998)

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NDTC AT 60

BEYOND SURVIVAL: The Company as a Role Model

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ixty years in the life of a dance company may be considered a long time. But for a cultural movement that seeks to discover its own aesthetic, logic and consistency as part of society’s wider process of selfdefinition, it is a short time indeed. Seedling years are significant, however, and the early period of the National Dance Theatre Company of Jamaica—which operates as part of the movement of self-definition, even giving it shape and articulation—could be of interest not only to dancers and other performing artists all over the world but especially to performers in developing countries who share common concerns about their people’s material well-being and creative potential.

The development and survival of the National Dance Theatre Company is the story of a voluntary action group operating continuously in a developing country over a period of sixty years. The Company’s very existence is based on collaborative management as well as the dynamic interaction of all its participants, with creative skills and leadership being mutually reinforcing. This group has succeeded in making a strong impact on the cultural life of Jamaica. Its unpaid members, who have occupations as students, teachers, doctors, lawyers, civil servants, farmers, and bankers, among others, are dedicated to the view that their efforts in the area of dance will contribute discipline as well as a sense of process and cultural awareness to the task of nation building.

Objectives and Achievements of the Company The original objectives of the National Dance Theatre Company were: (1) to provide a vehicle for well-trained dancers and other dance theatre artists, such as choreographers, composers, and musicians, who want to participate in the creation of works of excellence rooted in Jamaican and Caribbean cultural realities; (2) to help create an informed Jamaican audience critically responsive to works of excellence in the theatre arts; (3) to experiment with various dance forms and techniques; (4) to develop a style and form that faithfully reflect Caribbean movement patterns; (5) to encourage serious research into the indigenous dance and music forms of Jamaica as well as the Caribbean.

Each objective has had evidence of success. Besides gaining an international reputation for dance performance through its many tours, the National Dance Theatre Company during six decades of continuous work by its highly skilled and dedicated members has spawned not only a distinctive style of Caribbean dance theatre but also a training system and a national School of Dance as well as a framework for community activities, particularly in the area of traditional dance, which since the 1960s has become an indispensable source for research into dance and folklore in general. In a wider sense more has been achieved. For example the Inter-American Foundation, based in Washington, D.C., funded this cultural agents project in the Jamaica School of Dance and facilitated the development of the curriculum for the diploma programme as well as the core course of Caribbean studies in the Cultural Training Centre in Kingston. In recognition of the special achievements of the National Dance Theatre Company the Ford Foundation, based in New York, has funded this valuable documentation of the Company’s work in the book Dance Jamaica.

But what specific qualities have made the Company succeed where it has? To begin with, it is fair to state that there has been a high level of satisfaction on the part of individual members.

Despite the relatively low turnover of members there have been some unavoidable negative factors that have caused a few individuals to withdraw from the group. These factors turn on such issues as the limits imposed on personal ambitions because of group obligations; the inability of having certain economic needs satisfied; or the inevitable personality clashes. Yet there has been continuous membership by the majority as well as residual goodwill expressed by most individuals who have left for whatever reasons. The basic reasons for such loyalty involve not only the nature of the task in which all members are engaged but also the international dynamics of the group’s operations.

The nature of the task must be analyzed in the wider context of the creative process. The making and performing of a work of art is a complex process involving the mobilization of individual skills to effect collective action. Dependence on individual effort ensures the fullest collaboration of all members of the group. In this sense there is more worker participation in the process of creation than in a typical industrial operation. The

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participants gain satisfaction from the knowledge that their separate contributions are essential to the whole.

Thus, the emphasis on social recognition, ego satisfaction, and self actualization within one’s work takes precedence over economics and other practical needs. Performing arts companies are likely to offer more of this kind of intrinsic satisfaction than other marketplace endeavors, and thus chronic tension and resentment against management are lessened. When tension occurs which is inevitable in the competition over roles or the persistence of personal points of view, it is likely to be resolved in creative compromise, since ego satisfaction and self-actualization are made possible through actual performance.

At this point lets elaborate two propositions that is believed to account for the survival of the National Dance Theatre Company: (1) the Company has maximized for the majority of its members the possibility of high levels of intrinsic satisfactions and at the same time has promoted minimum concern for practical needs; (2) the Company retains a leadership structure that perceives management power not as a case of property but one of relationship.

The first proposition, the maximizing of satisfactions, has involved a number of factors, such as the very nature of the creative process; the relative economic independence of most Company members; the members’ commitments to the ideals of nation building; and the scope that individuals are offered to gain national recognition from related careers in dance education, research, community development, and freelance choreography. Another factor that has tended to augment satisfaction within the group is the networking of individual responsibilities, which are organized in subtle inter-meshing arrangements rather than in a hierarchical pattern. Thus the concept of the direct line of authority from the top, common in conventionally structured organizations, is secondary to the semi-autonomous subdivisions of the group.

This takes us to the second proposition, involving the Company’s leadership structure as one of relationship rather than property ownership. This definition of power, is rooted in a perception of management in all organizations as the leader—follower process of dialectical and symbiotic relationship. This dimension of power as relationship rather than absolute control is an important consideration of the effective management of cultural institutions like the National Dance Theatre Company.

Although the Company’s management is predicated on these very assumptions, there exists outside the Company the erroneous view that absolute leadership obtains, on the part of the Artistic Director. Naturally an artistic director’s strong sense of leadership must be in evidence. There is no doubt that he should be pivotal in every aspect of a company’s operations, responsible for major policy decisions regarding administration, funding, and the group’s public image. But he is something like the conductor of an orchestra rather than absolute commander. He succeeds in retaining loyalty because of his own dependence as a leader on the consent and trust of the group. The decisive personality of the artistic director must also be taken into consideration. Self-discipline and persuasive leadership must also be by example rather than precept.

Members need to be motivated by a belief that the objectives set by the group are worth working for and that it is necessary to reinforce the vision and perception of the group as a whole. In the final analysis moral authority will be demonstrated by the successes of the leader’s artistic initiatives.

There certainly should be no delusions about the leadership role in terms of a group like the National Dance Theatre Company. Like any leader, the artistic director becomes the target of criticism as well as praise. Not all decisions will please everyone, but the decisions should be made in good faith and for the benefit of the whole group. Not only personal integrity but also respect for those being served is necessary. Self-pity cannot be indulged. Disloyalties and recriminations are all part of the deal.

Strong charismatic leaders of theatre groups are not infrequently regarded with a certain awe, almost as if they were political dictators. At the same time these leaders may attract inordinate admiration. But even affection is likely to be transformed negatively when certain decisions of the artistic director are resented by a particular theatre member. In such situations veiled threats of withdrawal are not uncommon. But the most that any leader should strive for is the acknowledgment of the values informing the vision shared by everyone in the group. These values must be emphasized even while everything else appears to be peripherally chaotic, as frequently happens in theatre productions.

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THE MUSIC OF THE NDTC

by Marjorie Whylie, Musical Director Emerita

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n celebrating an earlier milestone in the life of the National Dance Theatre Company, I expressed the thought that a visit to the Little Theatre by a blind patron on any performance night would be as enjoyable as it would be for a sighted member of the audience. The reason for this is the enormous variety of music that is used by choreographers in the creative process, and the presentations from the repertoire of the NDTC Singers.

The Singers have always been an integral part of performances, presenting suites of songs which have taken a searching look at the music of the Caribbean, including that of our Spanish-speaking and Francophone neighbours. In Jamaica a great deal of research is undertaken into the songs which accompany and energize work, social activity, socio-religious observance and the music of religion, be it orthodox Christian, African derived, or creole creations. The ever-changing scene of popular music is also a source of material and energy, and the ‘classics’ of these idioms are presented in arrangements which show respect for the genre, and for those whose creative output has stood the test of time.

An understanding of the melodic contours, harmonic language and rhythmic complexity of these forms have also led to original compositions heard mostly in the Easter morning presentations, created in an effort to establish new traditions, while remaining true to the spirit and soul of worship. By happy coincidence, many of our Singers are senior choristers, cantors and choirmasters, assuring us that this music finds its way into the established churches.

Yet, the Singers are best known as a ‘choral orchestra’, adding broad harmonies, rhythmic chant and traditional songs to the sound of the small group of musicians that form the NDTC orchestra. Always in the orchestra pit, at the ready to play national anthems, overtures, and instrumental interludes, the orchestra is often employed in the creative process of choreographers, providing rhythmic impulses, sound collages and music which expresses mood and style reflected in the movement sequences.

The NDTC Orchestra led by Marjorie Whylie on piano.

Musicians (l-r) Irvine Jarrett, Antonio Henry, Ronan Critchlow, Steve Golding, Barbara Boland, Lloyd Mason, Albertina Jefferson.

Choreographers work in interesting ways, making the process of composition an often daunting task. Some complete a dance work by using counts (note here that a dancer counts in the way that is often counter to the musician) and a kind of ‘dance-speak’ which suggests duration, texture and intensity. All of this has to be translated by the composer. Yet others use already existing recorded music, which may then be augmented by sequences on the drums and percussion to highlight sections which lack the necessary Jamaican feel.

The choreographer may also use recorded music as a kind of working score, then requiring the composer to create original music, guided by the pulse, impulses, dynamics and mood of the ‘working’ music. The mixture of the recorded and the live often runs to the insertion of whole live sections, and an ultimate return to the recorded. NDTC’s music is full of surprises, some soothing, others so contrasting as to make the listener

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sit up and take notice. It is not unusual for music heard first at an NDTC performance to find its way to the airwaves and into the personal collections of those with catholic tastes. In the early years, the music of the Impressionists was introduced, as was the avant-garde, in later years the sounds of the synthesizer and the electronic modes, followed by the music of Southern Africa and Brazil, but the music of the classical masters has been used with equal aplomb — from the Baroque to the Romantic to Musique Concrete, with more than passing obeisance to the masters of Jazz, from Ellingtonian odyssies to Brubeck, Don Shirley and the jazz fusion of world musics.

Our musical palette can be bold and colourful, pale and pastel, striking, and awe-inspiring. We can state with no fear of contradiction, that the soundscape of the National Dance Theatre Company is never predictable, never boring.

NDTC Singers and Musicians led by former Musical Director Ewan Simpson on drum.

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THE 2022 REPERTOIRE NEW‌| ACTIVE | REMOUNTS NEW WORKS

UNBROKEN (2022) Choreography Music

Costumes Dancers

RENÉE I. McDONALD “Into the Abyss” – Jackson Mullane; “We Rise” – Amanda Gorman, voiced

by Tamara Noel; “Valentin’s Blood Flows” – Grandbrothers; “Amar: Dam in China” – The City of Prague Philharmonic Orchestra Renée I. McDonald (Execution Lisa Crosswell) Mishka Williams, Gillian Steele, Kristina Graham, Ashley Bromfield, Shadé Thaxter, Joelle Flimn, Dannielle Mullings COMMISSIONED BY POPEYES JAMAICA

RITA MARLEY TRIBUTE (2022) Arrangement Music Performers

DR. KATHY BROWN “Love Iyah”, “Good Morning Jah”, “A Jah Jah, Thank You Jah (Lord)”, “Harambe” NDTC Singers and Musicians COMMISSIONED BY THE RITA MARLEY FOUNDATION

GRATITUDE (2022) Choreography Music Dancer

PAUL NEWMAN “Thankful” – Josh Groban Dwauntea Chambers

ACTIVE REPERTOIRE

KUMINA (1971) Based on the Jamaican Afro-cult to be found largely in the Parish of St. Thomas. The rites are held for a variety of occasions – for mourning, tombing, healing, thanksgiving and even when help is needed to win a court case or for winning a lover. Included is a dance combat called “Warrick” (stickplay).

Choreography REX NETTLEFORD Music Traditional arranged by Marjorie Whylie, with NDTC Singers, Musicians and Drummers Costumes/Décor Don Bucknor Dancers The Company with Marlon Simms (King) & Keita-Marie Chamberlain Clarke (Queen)

GERREHBENTA (1983) The dance takes its name from two of the major traditional rites practised in Jamaica – “gerreh” in Hanover & “dinky-mini” which uses the musical instrument, the benta, in St. Mary.

Choreography Music Costumes Dancers

REX NETTLEFORD Traditional arranged by Marjorie Whylie, with NDTC Singers, Musicians & Drummers Don Bucknor The Company

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HE WATCHETH (1996) His eye is always on us, watching our every move, hoping that we become peaceful in His name.

Choreography Music Dancers

MILTON STERLING “Eye on the Sparrow” – from Sister Act II Soundtrack Shadé Thaxter, Mishka Williams, Gillia Steele, Joelle Flimn

MY PRAYER (2002) Choreography Music Costumes Dancer

ARSENIO ANDRADE-CALDERON “Fieldhand” – Jevella Steele Arsenio Andrade-Calderon Kerry-Ann Henry

DON’T LEAVE ME (2013) Have you ever been alone?

Choreography Music Costumes Dancer

JAMIE J. THOMPSON “Ne Me Quitte Pas” – Nina Simone Jamie J. Thompson Mark Phinn

CHOKE (2019) When we feel stifled by people, situations and spaces and our atmosphere becomes unconducive to growth and progress, inevitably, we CHOKE. Choreography Music Costumes Dancers

ORVILLE McFARLANE “Construct 2” – Michael Wall; “The Lynch” – Ezio Bosso Lisa Crosswell Kerry-Ann Henry, Mishka Williams, Dannielle Mullings, Kristina Graham, Shadé Thaxter, Paul Newman, Kanille Brudy, Dwauntea Chambers

CASCADE (2021) Choreography Music

Costumes Dancers

MARLON D. SIMMS The Water Diviner (“The Water Diviner”), “Experience” by Ludovico Einaudi, “Clockwork” – Philipp Klein (Epic Music/Steampunk Music) Marlon D. Simms (Execution Lisa Crosswell) Kerry-Ann Henry, Mishka Williams, Kristina Graham, Ashley Bromfield, Shadé Thaxter, Joelle Flimn, Dannielle Mullings, Mark Phinn, Paul Newman, Kanille Brudy, Dwauntae Chambers

REMOUNTS

DRUMSCORE (1979) When God created the earth, He first created the drummer (Ghanaian proverb) Choreography Music

Costumes

REX NETTLEFORD Caribbean traditional rhythms, melodies arranged by Marjorie Whylie with voices of the NDTC Singers Pansy Hassan and Rex Nettleford

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Dancers The Company led by Keita-Marie Chamberlain Clarke/Tamara Noel, Kevin Moore/Phillip Earle

TREADMILL (1985) A daughter of Sisyphus reflects Choreography Music Costumes Dancers

BARBARA REQUA Don Shirley Selections (“Waterboy”, “All By Myself”) Denise Robinson Kerry-Ann Henry, Mark Phinn, Marlon D. Simms, Patrick Earle

SWEET IN THE MORNING (1992) Choreography LENI WYLLIAMS

Reconstructed from the Labanotation Score by Marlon D. Simms Music Bobby McFerrin Costumes Barry Moncrieffe Dancer Marlon D. Simms

This piece is performed by permission of Pat Brooks and the Dance Notation Bureau

LABESS (2002) Choreography DAVID BROWN Music Zap Mama Costumes David Brown Dancers Kerry-Ann Henry/Shade Thaxter, Gillian Steele/Kristina Graham,

Keita-Marie Chamberlain/Ashley Bromfield, Tamara Noel/Joelle Flimn, Mark Phinn,

Paul Newman, Kanille Brudy/Dwauntea Chambers Dedicated to G. Arthur Brown and Jean Robertson

ROUGH DRAFTS (2014) i. Burden Bearers ii. Tenants iii. Spine be Strong iv. Dearly Departed v. From the Cane Piece Choreography Music

Costumes Décor Dancers

CHRIS WALKER “1-2 Prelude Sub D Visions” and “4-5 Sub D Visions” by Major Andre Scurlock, “Eva” – traditional, “When you leave” – Chris Walker and “Memba di Memba” – Ewan Simpson, arranged by Ewan Simpson performed

by NDTC Singers and Musicians Dexter Pottinger 3D and Barry Moncrieffe Bert Rose The Company

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THE COMPANY Artistic Director MARLON D. SIMMS

DANCERS KERRY-ANN HENRY, MARK PHINN, MARLON D. SIMMS, KEITA-MARIE CHAMBERLAIN CLARKE, TAMARA NOEL, KEVIN MOORE, PATRICK EARLE, MARISA BENAIN, PAUL NEWMAN, PHILLIP EARLE Kristina GRAHAM, Mishka WILLIAMS, Gillian STEELE, Ashley BROMFIELD, Shadé THAXTER Joelle Flimn, Kanille Brudy, Dannielle Mullings, Tajay Henry, Dwauntea Chambers, Kamloy Thomas, Navesha Vickers, Janae Deslandes

Acting Musical Director DR. KATHY BROWN

SINGERS FAITH LIVINGSTONE, Toni BARRETT, Carolyn Reid Cameron, Christine Walters (sopranos), HELEN CHRISTIAN, Kamala NICHOLSON-JOHNSON, Debrah-Ann ROSEWELT MILLER (contraltos), KEMAR LEE, Kevan WILLIAMS, Joshua PAGE, Shane Wright, Emil Livingstone (tenors), HESTON BOOTHE, CONROD HALL (basses) MUSICIANS HENRY MILLER, JESSE GOLDING (drums), Kevan WILLIAMS (keyboard), Rajay Henry (bass guitar), Daniel Edwards (guitar) PRODUCTION TEAM Lighting Director Stage Manager Sound Director Sound Operator Sound Editor Wardrobe Ballet Mistress Dance Captain Music Captain Movement Director (Singers) Public Relations Officer Logistics Photographer Graphic Designer Scoail Media Marketer

MICHAEL McDONALD, TARYN BRIDGEWATER KENARDO PHILLIPS TESFA EDWARDS BLAINE REID CONROD HALL MARK PHINN KERRY-ANN HENRY PAUL NEWMAN CONROD HALL KEVIN MOORE ALICIA GLASGOW GENTLES LEIGHTON JONES STUART REEVES KENNEIL SMITH DESHAWN D. LA CROIX

MANAGEMENT COMMITTEE Milton Samuda (Chair) Hilary Phillips (Deputy Chair) Carole Reid, Sandra Shirley (Treasurer), Keita-Marie Chamberlain Clarke (Company Secretary), Michael McDonald, Marlon D. Simms (Artistic Director).

THE COMPANY

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FROM 1962-2022

Dancers Founding Members Audley Butler Barbara Requa Bert Rose Bridget Spaulding Eddy Thomas Gertrude Sherwood Joyce Campbell Maureen Casserly Mavis Stoppi Monica McGowan Pansy Hassan Rex Nettleford Ronan Critchlow Rosalie Markes Sheila Barnett Shirley Campbell Yvonne daCosta

Others

Abeldo Gonzalez-Fonseca Adrian Fletcher Alaine Grant Alicia Glasgow Gentles Alison Symes Allatunje Connell Andrea Lloyd Andrea Nash Arlene Richards Arsenio Andrade-Calderon Barry Moncrieffe Beverly Kitson Candice Morris Carol Miller Carol Murdock Carol Orane-Andrade Cheryl Ryman Christopher Morrison Christopher Walker David Blake Denise Francis-Robinson Dennis Scott Derek Williams Deroi Rose Dorothy Fraser Dorothy McFarlane Duran Hylton Ernest Cromwell Fitzroy Hunt Fredericka Byfield Gabrielle Harban Gene Carson George McGann

Jackie Guy Jacqueline Smith Janira Bremner Jean Summers Jermaine Rowe Jihan Palmer Jillian Samms Judith Pennant Judith Wedderburn Karyn Neysmith-Johnson Keita-Marie Chamberlain Clarke Kerry-Ann Henry Kevin Moore Madge Broderick Maia Pereira Marc Hall Marisa Benain Mark Phinn Marlon D. Simms Melanie Graham Michael Richardson Milton Sterling MoniKa Lawrence Natalie Chung Natasha Abrahams Neil Summers Neville Black Noel Hall Noelle Chutkan Oniel Pryce Paul Newman Patrick Earle Patsy Ricketts Phillip Earle Rolande Pryce Samuel Bailey Sandra Minott-Phillips Sandra Monroe Shelley-Ann Maxwell Sophia McKain Staci-Lee Hassan-Fowles Stefanie Thomas Tamara Noel Terry-Ann Dennison Thomas Pinnock Tony Wilson Tovah-Marie Bembridge Yvonne Ffrench

Provisional/Supporting Aaliyah Hall Abbey Gibbs Andrea Douglas Anneika Hill Ashley Bromfield

Ashley Miller Atardo Henry Barbara Kaufman Benton Morris Bunny Heron Calvin McDonald Carole McLaren Catherine March Charline Hylton Charmaine Warren Chelcia Creary Christina Gonzalez Clare Requa Damario Gútzmer Danielle Johnally Danielle Nembhard Danielle Requa Danniel Mullings Debroah Powell-Valentino Dennis Lindo Derek McCarthy Desmond Caesar-Brown Diane March Dominic Saunders Dona Campbell DeVaughn Allen Dwanuntea Chambers Dwight Lee Eleanor Ferguson Frank Ashley Franklyn Bryson Gillian Edwards Gillian Steele Glenford Brown Glenn Dhyll Heidi-Anne Hanson Hillary Phillips Hugh Williams Hyacinth Beckford Jada Buchanan Jahmai Paul Janae Deslandes Javal Lewis Joan McLeod Jodi-Ann McFarlane Jodi-Ann Smith Joelle Flimn John Hunt Joye Abraham Junior McGlashan Kafi Jones Kamar Tucker Kamloy Thomas Kanille Brudy Karlene Samuels

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Katharine Lee Kathy Barber Kayon Wray Keisha Amory Keisha Steele Keith Fagan Kelly-Ann Robinson Kemar Francis Khadija Johnson Khama Phillips Kim DeCastro Kristina Graham Lauryn Rickman Lois Requa Loretta Breakspear Malikah Johnson Mariana Samuda Marilyn Sanguinetti Matthew Richards Melissa Llewellyn Melissa Myers Merril Dunstan Michael Binns Michael Small Michelle Patterson Milton Dawes Mishka Williams Nadani Dixon Nadia Williams Nancy Epinat Navesha Vickers Neila Ebanks Netricia Miller Nneika Staple Orlando Barnett Oswald Blackwood Patrick Edwards Paula Monroe Pauline Khan Peta-Gay Pryce Rachel Walter Ricardo Martin Shacile Harrison Shadé Thaxter Shaday Gallimore Shakee Dobson Shama Harding Shanice Neita Sita Dickson Suzanne Watts Sydney Barned Tajay Henry Tamara Thomas Taneilla Francis Tiffani Smith Victor Brown Wayne Campbell Wayne Daniels Yendi Phillipps Yvonne Hutchison

Yvonne Jones

Singers

Carl Bliss Carmen Gordon Carole Reid Charles Wright Cleonie Whyte Conrod Hall Damion Evans Dawn Fuller-Phillips Dulcie Bogues Earle Brown Faith Livingstone Helen Christian Heston Boothe Hope Freeman Howard Cooper Jhana Williams Joyce Lalor (FM) Kaydene Gordon Kemar Lee Kenneth Runcie Leighton Jones Leo Tyson Lloyd Hall Louraine Emmanuel Marie Cunningham Marjorie Whylie Marlene Buckeridge Noel Heron Paula Asontuwa Robert Dunkley Stan Irons Vibart Seaforth Vin James Vivienne Dewdney Wesley Scott

Provisional/Supporting Akeil Dickson Anna Blankson Carolyn Reid-Cameron Cecile Cooper Christine Walter Claire Miller Claudette Allen Connie Francis Dave Buchanan Debra-Ann Rosewelt Emil Livingstone Hazel Sinclair Hendrick Hamilton Howard Phillips Joseph Roach Joshua Page Kamala Nicholson-Johnson Kevan Williams Kimone Johnson

Larry Wright Linda Hamilton Lurline Bennett Martha Thompson Maureen Ebanks Oswald Davis Pauline Davis Peter Allen Purcess Mattheson Roy Hall Rhonda Lumsden-Lue Sandra McKenzie Sarina Constantine Shane Wright Sonia Campbell Tah-je Thompson Toni Barrett Vernon Darby Winston Ewart

Musicians

Andrae Wilson Barbara Boland Daniel Edwards Delroy Thomas Desmond Ivey Ervin Lloyd Ewan Simpson Ferdinand Campbell Franklyn Constatine Godfrey Taylor Jeffrey Cobham Kamau Khalfani Keith Reid Keturah Gray Kevan Williams Kevin Kerr Leighton Johnson Lloyd Mason Marjorie Whylie Minky Jefferson Nikolas Groskopf Rajay Henry Roel Miller Rohan Reid Steve Golding Tanagari Manning Tony Holness Wigmoore Francis

Drummers

Adrian Locke Andre Latouche Antonio Henry Billy Lawrence Carl Messado Earl Edwards Ewan Simpson Horace Wedderburn

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Irvine Jarrett James Walker Jesse Golding John Walker Kirk Goulbourne Leaford McFarlane Lloyd Patterson Milton Osbourne Obadiah Lewis Paul Green Richard Cunningham Robert Stewart Ronan Critchlow Sean Cunningham

Tesfa Edwards Tony Holness

Stage Managers

Wardrobe

Don Bucknor Dwayne Brown Felix Barnett Frederick Hickling Kenardo Phillips Noel Vaz Ricardo McFarlane Tony Locke

Lighting Directors George Carter (FM) Michael McDonald Taryn Bridgewater

Musical Director

Dr. Kathy Brown (Acting) Ewan Simpson Heston Boothe (Acting) Mapletoft Poulle Marjorie Whylie

Ballet Mistress/Master

Sound Operator Blaine Reid

Movement Director (Singers) Kevin Moore

Associate Artistic Director Barry Moncrieffe Marlon D. Simms

Barbara Kaufman Keita-Marie Chamberlain Clarke Mark Phinn Patrick Earle Shelley-Ann Morgan Shirley Campbell

Logistics

Daniel Dailey Photographers Bryan Robinson Denis Valentine Jacqueline Gainne Maria LaYacona Ricky Gore Stuart Reeves Tony Wong

Committee Members Chairman

Arlene Richards Arsenio Andrade-Calderon Audley Butler Kerry-Ann Henry Pansy Hassan Yvonne daCosta

Carlton E. Davis Jeffrey Cobham John Cooke Joseph Cools-Lartique Maurice Stoppi Milton Samuda Sandra Shirley

Dance Captain

Secretary

Music Captain

Treasurer

Keita-Marie Chamberlain Clarke Marlon D. Simms Paul Newman Conrod Hall

Sound Directors Baldwin Lennon Clyde Cunningham Rudolph Clennon

Bridget Spaulding Keita-Marie Chamberlain Verona Ashman (FM) Baldwin Lennon Bridget Spaulding Carl Bliss Carole Reid Paul Green

Public Relations

Alicia Glasgow-Gentles Barbara Gloudon Heather Royes Roy Burns

Ex Officio

Artistic Director Associate Director Ballet Mistress/Master Leader, NDTC Singers Lighting Director Musical Director Photographer Public Relations Officer Sound Director Movement Director (Singers) Sound Operator Logistics Stage Manager Wardrobe

Choreographers

Arlene Richards Arsenio Andrade-Calderon Barbara Requa Barry Moncrieffe Bert Rose Chris Walker Christina Gonzalez Clive Thompson Denis Scott Eddy Thomas Eduardo Rivero-Walker Elizabeth Keen Gene Carson Jacinta David Jackie Guy Joyce Campbell Keita-Marie Chamberlain Clarke Keith Fagan Kerry-Ann Henry Kevin Moore Leni Wylliams Lesme Grenot Lester Horton Liane Williams Marlon D. Simms Meaha Soni Milton Sterling Momo Sanno MoniKa Lawrence Natalie Chung Neila Ebanks Neisha-yen Jones Neville Black Oniel Pryce Orville McFarlane Patsy Ricketts

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Patrick Earle Patrick Earle Paul Newman Ramon Ramos Alayo Renée I. McDonald Rex Nettleford Sheila Barnett Shelley-Ann Maxwell Stefanie Belnavis Stefanie Thomas Thomas Pinnock Tony Wilson

Other Voluntary Contributors Set Designers Allyn Bully Bert Rose Collin Garland David Boxer Denise Francis Robinson Donat Bucknor Eugene Hyde Howard Parchment Jerry Craig Kofi Kayaga Michael Lorde Milton Harley Moira Small Pansy Hassan Petrona Morrison Richard Montgomery Seymour Leichman Staci-Lee Hassan-Fowles

Costume Designers

Arlene Richards Arsenio Andrade-Calderon Barry Moncrieffe Bert Rose Billy Dumont (accessories) Brian Heap Bruce Jones Chris Walker Claudia Robinson Colin Garland Denise Francis Robinson Donat Bucknor Easton Lee Gabrielle Harban Garth Robinson Grace Hamilton Kevin Moore Kofi Kayaga Lisa Crosswell Maria Smith Marlon D. Simms Michael Bryne Orville McFarlane Paul Newman

Renée I. McDonald Richard Montgomery Sally Montgomery Sonia Vaz Tom Cooke Tony Wilson

Paul Jurek Rona Barnett Sydney Clarke The Frats Quintet Wilfred Warner Winston White

Composers (original)

Courtesy Tutors

Bob Sinicrope Carlos Malcolm Marjorie Whylie Noel Dexter Oswald Russell Peter Ashbourne

Arrangers

Adrian Clarke Carlos Malcolm Conrod Hall Dr. Kathy Brown Ernest Ranglin Ewan Simpson Heston Boothe Mapletoft Poulle Marjorie Whylie

Guest Choreographers Addison Ector David Brown Eduardo Rivero-Walker Elizabeth Keen Hope Boykin Jeanguy SAINTUS John Jones Terk Lewis Troy Powell

Guest Performers

Alston Blair Altamont Wilson Ann Lake Barbara Wilkin Celia Holton Clive Thompson Delvis Savigne Friñón Edisnel Rodíguez González George Wedderburn Granville Lindo Jamie J. Thompson Jennifer Muller & Co. Johnnoiry St. Philippe Joye Thompson Lorna Goodison Michelle Hebert Micky McGowan Nicole Taylor Norman Namron Patsy Barnett Paul Bicknell

Barbara Fonseca Betty Rowe May Soohih Punky Facey

Technical

David Ashley Donat Bucknor Emma Crooks Norman Cunningham Phillip Morris Vin Mckie Drummers Ivan Harban Sonny Bethelmy

Musicians

Byron Lee & the Dragonaires

Secretarial

Claudette James Daphne Headley Doreen Barrow Dorothy Hollingsworth Eula Morgan Janet Liu-Terry Joy Blake Louise Carter Mignonette Peter Mildred Brooks Oscar Carwin Peggy Greaves

Photography

Amador Packer Delroy James Edward Massias Jamaica Information Service Jamaica Tourist Board Jamie Barnett Marvin Bartley Monica daSilva Owen Minott Roy Cruise Sam Hillary

Film & Video

ABC (Australia) BBC (Great Britain) CBS (Canada)

NATIONAL DANCE THEATRE COMPANY

CBS (United States) CPTC CVM Harvey Films Jamaica Information Service Mediamix Natalie Thompson NBC (United States) Telstar (West Germany) TVJ

Paid Freelance Contributors Musicians: Paino Adrian Clarke Mapletoft Poulle

Violin

Flo Wilson Pete Stewart Noel Peck Flute Alphonse Clarke Carol Becon Harty Cedric Brooks

Trumpet

David Madden Elnathan Brackenridge Ossie Wilkins Winston Graham Winston Turner

Clarinet/Saxophone Bertie King Neville Graham Peter Hudson

Guitar

Ernest Ranglin Irvine Lloyd Janet Enwright Jimmy Steele Rupert Bent Wallace Wilson Johnny Grant

Bass

Boris Gardener Henry Miller Herbert Nelson Maurice Gordon Trevor Bitter

Drums

Eric Phillips

Congas

Larry McDonald Lighting Operators Ainsley Wright David Samuels Derrick Tomlinson Donovan Tomlinson Gillian Hickling Leslie Dawkins Marcel Blackburne Patrick Tomlinson Roy Thomas

Stage Crew

Derek Shaw Donald Thomas Kenneth Morgan Lloyd Schloss Michael Locke Stanley Dawkin Terrence Marriot

Scene Builder Donald Howell Phillip Morris

Costume Execution

Arlene Richards Arnold Kerr Aston Levy Audrey Mantock Barry Campbell Claudia Robinson Denise Francis-Robinson Dennis Lindo Dexter Pottinger Enid Rattray Gem Williams Gertrude Moncrieffe Grace McIntosh Jean Lee Key McFarlane Millicent Matthie Mrs. Caesar Brown Sally Thompson Sonia Vaz The Mushroom Violet Guy Lisa Crosswell

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CHOREOGRAPHERS AND THEIR WORKS THE FIRST AND MOST RECENT DANCES FOR THE NDTC

REX NETTLEFORD

African Scenario (1962) Afro-West Indian Suite Dialogue for Three Plantation Revelry Pocomania Gallandar la Pava Two Drums for Babylon Diarist in Sand Kas Kas Recollections Dance Andante Masque of God Misa Criolla The King Must Die Folkform All Gods Children Lucifer Lucifer Married Story Synthesia Journeys Kumina Celebrations Ballad of a Lady I’ve Been Buk’d Homage Street People Myal Tribute to Cliff Backlash Court of Jah Peace Offerings Character Sketches Wonder, Love and Praise The Crossing Elements Drumscore Back to Bach, Viva Bach Caribbean Suite Two Drums for Babylon Rockstone Debate The Gospel According to…

The Visitor Litany Gerrehbenta Soulscape Vibrations Dream on Squatters Mountain Islands Puncie Sanctify Children of Mosiah

Flash of the Spirit Dis Poem (His Story, Her Story) Praise Songs Spirit Brothers Sister Friends Caravanpanscape Ancestral Echoes Interconnections O Come All Ye Faithful Spirits at a Gathering Blood Canticles Bujurama Ritual of the Sunrise River Diaspora Brazilian Ode Redemption of Me Cave’s End Bird Song Odyssey Katrina Character Sketches 2 Apocalypse (2009)

EDDY THOMAS

Legend of Lovers Leap (1962) A Time To Rejoice Footnotes in Jazz Afro-West Indian Suite Games of Arms Liza And It Came to Pass Concert Suite Country Wedding Parade Kingston 13 Jamaican Promenade Omegan Procession (1987)

SHEILA BARNET

Jazz Fantasia (1963) Foiled Encounter Homecoming Ring Hunt Images Shadows In the Spirit Murals Mountain Women A Question of Balance The Rope and the Cross Ni Woman of Destiny I Not I Woman Song

Chainlinks Summer Is One Time The Vow One Time (full work, 1991)

JOYCE CAMPBELL

Dance Time Cascade (1965) Mood Suite Matribond Makers and Made Bruckins (2002)

NEVILLE BLACK

Night Dances (1965) Rites Waltz Suite The Awakening Night Shelter Fables Sonata Legendary Landscape Bach Brubeck & Co. Cantos Airs and Graces (1969)

DENNIS SCOTT Bread (1968)

TOMMY PINNOCK

Desperate Silences (1972) Ballot (1981)

JOHN JONES

Resurrection (1972) Windsong Supernova (1985)

BERT ROSE

Thursday’s Child (1973) Glory Road Reflections Caro Jubilate Moods Switch Ebb-Flow Encounters Reminiscence Edna M Caribbean Canvas

NATIONAL DANCE THEATRE COMPANY

Steal Away (1997) PATSY RICKETTS Someday (1976) The Brothers (1978)

Malungo The Question (2014)

Intervalos Reflection (2009)

ELIZABETH KEEN

KEITH FAGAN

Three Penny Pieces (1987)

EDUARDO RIVERO WALKER Sulkari (1980) Romance Tribute (1995)

JACINTA DAVID

JACKIE GUY Solitude (1981) Echo Bankra (2013)

Mask (1992) Into the Light Cry of the Spirit Sanctuary (2013)

TONY WILSON Phases (1982) Just Time Progeny Heiress Forest Rituals Fedora Primal Encounters Dance Jamaica Legacy Adam Cameos If? Michezo Weeping Widow (2016)

BARBARA REQUA

Fantasy (1982) Trio Treadmill Sunday Morning Caught and Bowled (1995)

CLIVE THOMPSON

Recollections (1983) The Black Widow Diva Of Prophecy and Song Anima Journeys Beyond Survival Phases of the Three Moons Romance Vision Ancestral Echoes Babjala Bonke Legacy of the Duke Journey Through the Labyrinth Ave Maria Ave A Of Sympathy and Love Folktales Ode Earth Birth Rah Souls Vignettes of Life

Sisserou (1990)

GENE CARSON

MONIKA LAWRENCE Antithesis (1992) Cross Currents Liza Selah The Edge Freedom Identity A New Dawn (2015)

ARLENE RICHARDS Cocoon (1994) Rah Earth Crisis Voices Awakening Side by Side Azure Sacred Ground Salome Renewal of the Spirit Enchanted (2004)

Trauma (1999) In Transit Of the Cross (2005)

CHRIS WALKER

Of a Passage (2000) Fragile Urban Fissure Variations A Ska Hill ‘N’ Gully Troubled Water Sen’ Off Mountain Climbing Rough Drafts Dis Connection (2017)

MARLON D. SIMMS

Millennial Beings (2001) Homeland Memories Joyful Joyful Redemption Rite Chromosome X Ode to the Lost Continuum Beres on love Acts of Love Cascade (2021) BARRY MONCRIEFFE Bruckins (2002)

MEDHA SONI

JEANGUY SAINTUS Incantation (2002) Rythme des Dieux Souffle #Extenso (2018)

MILTON STERLING

DAVID BROWN Labess (2002)

Mayur (1995)

He Watcheth (1996) Dance We Must (1996)

LESME GRENOT Unidos (1996)

ARSENIO ANDRADE CALDERON Congo Layé (1999) Footprints Fusion Epilogo My Prayer Dimensions Out of Many Asi Somos

LESTER HORTON The Beloved (2003)

ONIEL PRYCE

Certain Todays/Unborn Tomorrows (2005) Barre Talk Traversing Of Chasing Wings and Island Songs (2018)

SHELLEY-ANN MAXWELL Garvey Lives (2005) Beneath My Skin Six (2015)

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ENI WYLLIAMS

Sweet in the Morning (2005)

KEVIN MOORE

Celebration Courage (2008) Moments of Peace The Beloven Hommage a’ Dambala (2016)

KEITA-MARIE CHAMBERLAIN CLARKE Unconditional Love (2009)

KERRY-ANN HENRY

Unbroken (2022)

LIANE WILLIAMS

Young Veteran (2018)

TERK LEWIS After (2018)

ADDISON ECTOR You (Or) Me (2018)

ORVILLE McFARLANE Choke (2019)

Caged (2009) The Silencing …minutes and seconds (2010)

HOPE BOYKIN

STEFANIE THOMAS

Gratitude (2022)

Analogue X (2009)

STEFANIE BELNAVIS Dear Sylvie (2009)

CHRISTINA GONZALEZ My Skin, My Kin (2009) Far From Heaven (2011)

MOMO SANNO

…minutes and seconds (2010)

PATRICK EARLE

Form in Fusion (2010) Aboriginal Mix (2014)

NATALIE CHUNG The Thin Line (2011)

NEILA EBANKS

For a Splintered Soul (2011) Of Chasing Wings and Island Songs (2018)

RAMON RAMOS ALAYO Siempre Corriendo (2012)

NEISHA-YEN JONES Ode to the Lost (2012)

TROY POWELL

Unscathed (2015)

RENÉE I. McDONALD

Into the Blue (2015) Into the Blue (full work, 2016) Ash

…beauty is (2019)

PAUL NEWMAN

NATIONAL DANCE THEATRE COMPANY

ACKNOWLEDGEMENT – GOVERNMENT AND CORPORATE SPONSORS

JAMAICA

Advanced Integrated Systems Ltd. Air Jamaica Alcan Jamaica Ltd. Alcoa Minerals of Jamaica Incorporated Appliance Traders Ltd. Bank of Nova Scotia BOAC/British Airways BWIA Capital and Credit Carreras Group Cement Company Century National Creative Kitchens CHASE Fund CVM Television Desnoes and Geddes Ltd. Eagle Financial Network Eastern Airlines Edwin Charley Ltd. General Management Service George Brandy Ltd. Grace Kennedy Ltd. Guardsman Group Ltd. Hassan Design House of Dunhill J. Wray and Nephew Ltd. Jamaica Gleaner Company Jamaica National Jamaica Observer Key Homes Ltd. Lithographic Printers Little Theatre Movement Martin Lewis Productions Mediamix Musson Foundation National Commercial Bank National Continental Corporation Phillip & Christine Gore Family Foundation Popeye’s Rex Nettleford Foundation Rita Marley Foundation Rose and Company Royal Bank Foundation Sagicor Saville Rowe House of Fashions Sigma Investments Starlight Productions Stoppi Cairney Bloomfield Texaco Caribbean Incorporated The Rex Nettleford Foundation (UWI)

The University of the West Indies TVJ Waterworks

The Government of Jamaica through the:

• Jamaica Tourist Board • Ministry of Culture • Ministry of Development and Finance • Ministry of Education • Ministry of Foreign Affairs • The Office of the Prime Minister

OVERSEAS

Bermuda Festivals Limited Black Arts Festival (Atlanta) Brooklyn Academy of Music Brooklyn Centre for the Performing Arts Brooklyn College Central Connecticut State University Commonwealth Arts Festival Companie Panamena De Aviacion (COPA) Eastern Caribbean Central Bank Ford Foundation, NY Government of Australia (Elizabeth Trust) Government of Barbados Government of Costa Rica Government of Cuba Government of Federal Republic of Germany Government of Grenada Government of Guyana Government of Mexico Government of Trinidad and Tobago Government of USSR Howard University Institute of Puerto Rico Jamaica Awareness Inc. (Miami) Jamaica National League (Canada) Jamaica Progressive League (New York) Kajans (UK) Kennedy Center (Washington DC) Kuopio Dance & Musical Festival, Finland Mexicana Airlines Miami Herald, Florida National Arts Centre (Ottawa)

New York Visual Arts Research and Resource Center Omar Torrijos Foundation, Panama Organisation for Caribbean Canadian Initiatives (OCCI) Sadlers Wells Theatre, London Sermac, Martinique Spellman College, Atlanta University Stratford Shakespeare Festival, Ontario Symonette Enterprises (Trinidad) University of the Virgin Islands UWI Guild Graduates – Cayman Islands West Indian Foundation Inc. All Past Members of the NDTC ANNIVERSARY GALA COMMITTEE

DESIGN

Ryan Scott: NDTC60th Logo Design Kenneil Smith: Social Media & Print Designs Mark Phinn: Information Layout

PHOTOGRAPHY Maria LaYacona Stuart Reeves Bryan Robertson Tony Wong Jamie Barnett

PRINTER

Lithographic Printer Limited

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NATIONAL DANCE THEATRE COMPANY