NDTC Booklet

50TH ANNIVERSARY UK TOUR SOUVENIR BOOKLET

Kajans ChairmanThe board and staf f are extremely proud to be given an opportunity to bring the NDTC to the UK following a 10

year absence. In this anniversary year for Jamaica and several Caribbean islands I know that we are going

to experience the very best that Jamaica and the Caribbean has to of fer in terms of dance and culture which

is world class. We are very much looking forward not just to the performance but the contribution that they

will make as regards to teaching young people the excellence of dance and culture which will enrich the

Diaspora and the wider community. On the back of what has been an extremely successful and celebrated

Olympics and Paralympic for GB and the Jamaican teams, we have proposals in place to establish a longer

term partnership that will prof ile, grow interest and celebrate the excellence of Jamaican and Caribbean

dance. Our intention is that we will leave an important legacy through the enrichment of the dance vocabu-

lary in the UK. On behalf of the board we would like to thank the following who have assisted in our journey

to reach out and encourage the NDTC to the UK; Hillary Carty, The Voice and Gleaner Newspaper, The Arts

Council who has understood the vision and purpose, Kajans Board for their continued support and to Hermin

and Viv who have worked extremely hard to make possible this event.

In the words of Martin Luther King, Jr, ‘almost always the creative dedicated minority has made the world

bet ter’ so let’s continue to strive for and share the best of all cultures.

Derek Douglas

Kajans Chairman

Barry Moncrief fe - Artistic DirectorAchieving f if ty years is a remarkable feat for any organisation existing in today’s environment, not least one

that is dependent on the voluntary ef forts of individuals who give of their talents and of their time to pursue a

common vision.

As Jamaica gained Independence in 1962, Prof. the Hon Rex Net tleford and Eddy Thomas co-founded the

Company with 16 other Founding Members, “to forge out of Jamaican and Caribbean life, an art form faithful

to reality while being part of a wider world and universal landscape of the creative arts.”

Today, the NDTC’s vision remains the same – to provide opportunities for well-trained dancers, choreogra-

phers, composers, singers, musicians and creative technicians to create works of excellence that are rooted

in the experience of Caribbean peoples. As we ref lect and celebrate our journey, we are proud and humbled

to be Jamaica’s premier and longest-serving dance theatre ensemble.

The 50th Anniversary Season of Dance will celebrate our passage of Renewal and Continuity. Audiences will

be treated to a blend of works which have shaped the NDTC’s identity by preserving important cultural

traditions while experimenting with various concepts, forms and techniques. Together, the works commemo-

rate our past, rejoice in our present and give insight into future dialogues.

The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by

a repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parent-

age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David

Brown, a Jamaican working out of New York. Dance works by NDTC Founding Members Bert Rose and

Barbara Requa; and other alumni, Clive Thompson, MoniKa Lawrence, and Arsenio Andrade-Calderon will

also complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new genera-

tion’ choreographers.

also complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new genera




also complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new genera


also complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new genera




also complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new genera




also complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new generaalso complement works by the Company’s late Artistic Director, Rex Net tleford and the NDTC’s ‘new genera

Barbara Requa; and other alumni, Clive Thompson, MoniKa Lawrence, and Arsenio Andrade-Calderon will Barbara Requa; and other alumni, Clive Thompson, MoniKa Lawrence, and Arsenio Andrade-Calderon will Barbara Requa; and other alumni, Clive Thompson, MoniKa Lawrence, and Arsenio Andrade-Calderon will Barbara Requa; and other alumni, Clive Thompson, MoniKa Lawrence, and Arsenio Andrade-Calderon will Barbara Requa; and other alumni, Clive Thompson, MoniKa Lawrence, and Arsenio Andrade-Calderon will


Barbara Requa; and other alumni, Clive Thompson, MoniKa Lawrence, and Arsenio Andrade-Calderon will Barbara Requa; and other alumni, Clive Thompson, MoniKa Lawrence, and Arsenio Andrade-Calderon will Barbara Requa; and other alumni, Clive Thompson, MoniKa Lawrence, and Arsenio Andrade-Calderon will Barbara Requa; and other alumni, Clive Thompson, MoniKa Lawrence, and Arsenio Andrade-Calderon will








Barbara Requa; and other alumni, Clive Thompson, MoniKa Lawrence, and Arsenio Andrade-Calderon will Barbara Requa; and other alumni, Clive Thompson, MoniKa Lawrence, and Arsenio Andrade-Calderon will

Brown, a Jamaican working out of New York. Dance works by NDTC Founding Members Bert Rose and Brown, a Jamaican working out of New York. Dance works by NDTC Founding Members Bert Rose and Brown, a Jamaican working out of New York. Dance works by NDTC Founding Members Bert Rose and Brown, a Jamaican working out of New York. Dance works by NDTC Founding Members Bert Rose and Brown, a Jamaican working out of New York. Dance works by NDTC Founding Members Bert Rose and Brown, a Jamaican working out of New York. Dance works by NDTC Founding Members Bert Rose and Brown, a Jamaican working out of New York. Dance works by NDTC Founding Members Bert Rose and Brown, a Jamaican working out of New York. Dance works by NDTC Founding Members Bert Rose and




Brown, a Jamaican working out of New York. Dance works by NDTC Founding Members Bert Rose and Brown, a Jamaican working out of New York. Dance works by NDTC Founding Members Bert Rose and Brown, a Jamaican working out of New York. Dance works by NDTC Founding Members Bert Rose and



age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David

a repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parent

age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David


age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David


age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David age, and other Guest Choreographers, Ramon Ramos Alayo of Cuba, Jeanguy Saintus of Haiti and David

a repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parent


a repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parent


a repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parenta repertoire including works by Cuban icon, Eduardo Rivero-Walker, iconic Afro-Cuban of Jamaican parent

The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by The NDTC’s treasured connection with contemporary companies across the Caribbean will be evidenced by

rate our past, rejoice in our present and give insight into future dialogues. rate our past, rejoice in our present and give insight into future dialogues. rate our past, rejoice in our present and give insight into future dialogues. rate our past, rejoice in our present and give insight into future dialogues. rate our past, rejoice in our present and give insight into future dialogues.

traditions while experimenting with various concepts, forms and techniques. Together, the works commemotraditions while experimenting with various concepts, forms and techniques. Together, the works commemotraditions while experimenting with various concepts, forms and techniques. Together, the works commemo

be treated to a blend of works which have shaped the NDTC’s identity by preserving important cultural be treated to a blend of works which have shaped the NDTC’s identity by preserving important cultural be treated to a blend of works which have shaped the NDTC’s identity by preserving important cultural

The 50th Anniversary Season of Dance will celebrate our passage of Renewal and Continuity. Audiences will

-

tion’ choreographers.

Performances by NDTC’s former Principal dancer Melanie Graham and other NDTC alumni, as well as Delvis

Savigne Friñòn, Edisnel Rodrìguez Gonzàlez, Deury Cisneros Marzal and Amós Rivero Asosta from Compania

Teatro Dela Danza Caribe will enhance the corps of dancers led by Dance Captain, Marlon Simms and Ballet

Mistress, Kerry-Ann Henry. The NDTC Singers and Orchestra led by Musical Director Marjorie Whylie will be

an integral part of the performances, and all will be supported by the behind-the-scenes talents of our Lighting

and Sound Directors, Wardrobe Mistress and Stage Manager.

This Anniversary Season, we pay tribute to our Founders and Founding Members, and all (including the

many members who have passed on) who have supported the Company in various ways over these f ive

decades. The Company is indebted to those who continue to carry the torch and have given unbroken

service for more than 40 years: Bridget Spaulding, Secretary/Treasurer/Tour Director and Chief Administrator,

our multi-talented Musical Director, Marjorie Whylie; Assistant Musical Director, Albertina ‘Minkey’ Jef ferson;

Lighting Director, Michael ‘Rufus’ McDonald; Costume Mistress, Barbara Kauf fman; Soprano and Treasurer

Carole Reid; and Company Photographer Maria LaYacona.

We thank Derek Douglas and his board for their leadership of Kajans Women’s Enterprise as the sponsoring

organisation of our visit and with whom NDTC has had a long and positive relationship. In the spirit of the

Olympiad and as a legacy to the Olympics NDTC and Kajans will develop special a relationship for an annual

plat form of participatory dance in the newly refurbished Albert Hall dance studios. This will be our second

presentation of our work under the auspices Kajans in the UK, with a shared vision and commitment to

promoting the best of Jamaica’s cultural expression at home and in the diaspora. Together we move

onward into the next generation facing each challenge with a seriousness of purpose in public service,

creative excellence, artistic integrity, sustained discipline and dedication.

In this year of the Games of the Cultural Olympiad, our dear Professor Net tleford would remind us that “we are

not sprinters, but long-distance runners”. The hard work and sacrif ice would not be worth it without our loyal

and faithful sponsors, supporters, fans and friends, locally and overseas. We look forward to becoming an

ongoing tradition for the next 50 years.

Enjoy!

Barrington Moncrief fe

The National Dance Theatre CompanyDescribed as one of the most innovative dance companies to have achieved world acclaim in the last half

century, the National Dance Theatre Company of Jamaica blends the lore, music and dance traditions of

Jamaica, Africa and the America South with both modern and classical ballet forms. Formed as the island

of Jamaica gained its independence from Great Britain in 1962, the Company shares its f if tieth anniversary

with its home nation this year (2012).

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 f if ty 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.

Besides gaining an international reputation for dance performance through many international tours, the NDTC

during f ive decades of continuous work by its highly skilled and dedicated members had spawned not only

a distinctive Caribbean 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.

It’s unpaid members, who have occupations as students, teachers, lawyers, civil servants, and administra-

tors among others, are dedicated to the view that their ef forts in the area of dance will contribute to the task of

nation building.

The original objectives of the NDTC 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 Cultural realties; (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 ref lect Caribbean movement pat terns; (5)

to encourage serious research into the indigenous dance and music forms of Jamaica as well as the wider

Caribbean.

Each objective has evidence of success. 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 at the Edna Manley College of the Visual and Performing Arts in Kingston.�

In recognition of the special achievements of the NDTC, the Ford Foundation, based in New York, has funded

the documentation of the Company's work in the book, "Dance Jamaica". A second version was published

in 2010.

The tours of the NDTC had taken the Company to all parts of the World, from London’s Sadler’s Wells to the

Theatre Royal in Sydney, Australia to Mexico City’s Palicio Belles Artes, to the Palace of Culture in Kiev. In the

United States they have performed at the New York City’s Centre Theatre, the Brooklyn Academy of Music,

Brooklyn Centre for the Performing Arts, at the Dade County Auditorium and the Guzman Theatre in Miami, as

well as many colleges and universities, including Howard University, Atlanta University, Temple University,

Antioch College and the University of Hart ford. The Company has also performed throughout the Caribbean,

Canada, Europe, South and Central America and annual Seasons of Dance in Kingston, Jamaica. In this 50th

anniversary year for both Jamaica and NDTC, celebrates with audiences across the world and the UK

especially where they have always enjoyed a warm appreciation from both audiences and practitioners.

The ArtistsMarlon Simms (Dance Captain) has emerged as a frontline dancer in the NDTC which he joined in 1999

and to which he brought tremendous dedication, concentration, intellectual savvy and performing perfection.

His early exposure to dance at high school was sustained throughout his University sojourn where he danced

with the University Dance Society and started to do basic research into the art. He completed a Master of Fine

Arts degree at Southern Methodist University in Dallas, Texas and a Certif icate in Intermediate Labanotation

from the Dance Notation Bureau in New York af ter taking a f irst degree in English at the University of the West

Indies and a Postgraduate Diploma in Education at the University of Technology, Kingston, Jamaica. He now

lectures in Dance and English at the Edna Manley College for the Visual and Performing Arts where he also

acts as the Assistant Director of the School of Dance. He is one of the directors of the Choreography is

Copyrightable initiative conducting regional workshops in Labanotation. In 2005 he co-choreographed [with

Christopher Walker] the musical production “Zuzu Macca” for the Lit tle Theatre Movement Pantomime

Company and remounted for the NDTC Leni Wylliams’ Sweet in the Morning from a Labanotation score. It is

featured in the NDTC active repertoire with him dancing it always to enthusiastic audience acclaim both locally

and internationally. He is currently the Dance Captain of the NDTC working in close association with Ballet

mistress Kerry-Ann Henry and Artistic Director Barrington Moncrief fe in the remounting of major dance-works

in the Company’s wide-ranging repertoire.

Kerry-Ann Henry (Balletmistress) is a scintillating talent who shared her time at dance with studies on the

Mona Campus of the University of the West Indies as an undergraduate in Actuarial Science complete with

Mathematics and Social Science subjects before graduating. A product of the Jayteens (directed by Joyce

Campbell, NDTC founding-member), Henry exhibits tremendous dance-intelligence and theatre sense

ef fortlessly claiming stellar status. Her sense of “form” comes through in challenging works and her own

celebratory approach to the art adds welcome dimensions to the repertoire of the NDTC in performance as

well as choreography (Caged, The Silencing and ...minutes and seconds). She pursued a diploma dance in

education at the Edna Manley College of the Visual and Performing Arts, post�graduate studies in Theatre and

Development in the University of East Anglia UK and a Masters in Education Technology at the University of

British Columbia, Canada (April 2012). She has toured extensively with the NDTC and returned to the

Company af ter a three year engagement with the London production of the Disney musical “The Lion King”.

There she performed as a swing and Sarabi cover for two years. While in England she participated in the

co-ordination and conduct of workshops and taught dance programmes for children, adults and at-risk

teenagers. She is currently the ballet mistress of the company remounting works and teaching company and

trainee classes.

Mark Phinn, the Company’s archivist and one of the most distinguished of the new generation dancers

began to at tract wide-spread at tention for his almost f lawless line and sharpened stage presence. He

became a full member in 2002 af ter joining in 1998 and has toured extensively with the Company and

played a vital role in the success of the Company’s participation in Carifesta IX in Trinidad and Tobago 2006.

His solo work in Clive Thompson’s Of Sympathy and Love and Ode which always wins critical acclaim

played second to his break out role in Bert Rose’s Edna M and later in Arsenio Andrade-Calderon’s Congo

Layé in 1999. The duo Millennial Beings created by Marlon Simms for Phinn and Simms remains in the

NDTC’s repertoire as one of the most expressive of works designed on male strength, perfection of form,

concentration and kinetic control.

Keita-Marie Chamberlain started dancing at the Junior Department of the Jamaica School of Dance (JSD).

There she learned various styles and techniques including Cicchet ti Ballet, Contemporary Modern,

Afro-Caribbean Folk and Jazz. In 1998 she graduated from the Junior Department of the JSD and joined the

National Dance Theatre Company the following January (1999). In 2002 she went to England to dance with

Bimba Dance Theatre and has represented Jamaica at various events internationally and locally. A certif ied

Pilates instructor she has a B.A. in Geography, an LLB (Law) with Certif icate of Legal Education and Post

Graduate Certif icates in GIS and International Comparative Environmental Law. She is currently the Senior

Legal Advisor in the Revenue Appeals Division of the Ministry of Finance and serves as Honorary Legal

Counsel of the Jamaica Chamber of Commerce.

Kevin Moore is a graduate of the Edna Manley College of the Visual and Performing Arts and the State

University of New York (at Brockport). A powerful instrument and sound dance intelligence at tract many of the

choreographers to him. He too has toured extensively with the Company and is noted for his work in Renewal

of the Spirit and Odyssey. He lef t the NDTC in 2005 to join Garth Fagan Dance in New York returning to the

NDTC in 2007 for successful appearances in Eduardo Rivero’s Sulkari and Net tleford’s The Crossing. Besides

lecturing at the School of Dance (Edna Manley College) he has, since its 2007/2008 production choreo-

graphed for the Lit tle Theatre Movement pantomime, following in the footsteps of many NDTC members.

Candice Morris is a new generation dancer who gained full membership in the NDTC in 2005 with her

development of very good performing skills, a constantly improving technique and a command of the

vocabulary and �style of the Company. She studied dance locally at Ballet School and Edna Manley College

before completing further studies at Florida International University where she gained a Bachelor in Fine Arts.

She has worked as a lecturer at several local institutions and also co-directed Yendi’s Summer Camp

(2007/8). Endowed with good f lowing lines and dance intelligence she has served as a muse for leading

choreographers in the NDTC. She recently completed a 14 months stint as a member of the cast of the

London production of The Lion King, and on her return to Jamaica has founded the Dixie Studio and the

Dixie-Claire Children’s Arts Programme.

JSD and joined the

Tamara Noel has come out of her early apprenticeship in the dance and theatre arts at St. Jago High School.

Her basic technical skills are enhanced by a good grasp of the style and vocabulary of the Company as well

as the special at tributes of movement pat terns of contemporary Jamaican dance and music. Having

completed an undergraduate course in Urban and Regional Planning at the University of Technology,

Jamaica, she remains one of the main manifestations of the renewal thrust in the NDTC's current

renewal/continuity mode. She has now taken over major roles in much works as The Crossing, Gerrehbenta

and Sulkari.

Marisa Benain having done undergraduate studies at Hunter College of the City University of NY in Media

Studies and English has recently completed a Masters degree in Education at the London Metropolitan

University. Her dance training began with the Cathi Levy Players and continued at the Edna Manley College

with further studies at the Broadway Dance Centre. She is a charismatic and dynamic performer who has

at tracted rave reviews for her featured roles in Variations A Ska, Of Prophecy and Song, Earth Birth, Sulkari and

for her solo performance in Freedom. Marisa is currently the Director of Culture, Policy and Monitoring in the

Ministry of Youth and Culture and is also a Law student at the University of the West Indies, Mona.

Patrick Earle joined the NDTC as a supporting dancer in 2001 and subsequently at tained full membership

in the corps of male dancers. Af ter pursuing a Diploma in Computer Studies at the Portmore Community

College, he began his formal training in dance at the Edna Manley College of the Visual and Performing Arts.

There, he gained Diplomas in Education and Theatre and Production. He later pursued further studies at State

University of New York (at Brockport) earning a Bachelor of Science degree in Dance with a minor in Informa-

tion Systems. At present, Earle lectures at the Excelsior Community College in the School of Performing Arts

and serves as an adjunct lecturer at the University of Technology and at the University of the West Indies.

Allatunje Connell joined the Company as a supporting dancer in 2005, af ter earlier exposure with Cathi

Levy’s Lit tle People, and the Movements Dance Company. He has become a strong member of the male

corps of the NDTC. A strong and reliable performer, with powers of concentration and dedicated sustained

application to the dance, Connell has become a featured artist in works such as Sulkari and The Crossing.

Stefanie Thomas is Business Development Manager for Mint Management and Finance Services Limited

and team leader of ‘Katalyxt’, an initiative focused on the development of SME’s in Jamaica. Stefanie serves

as Director of Artistic Expressions Limited, Creative Editor of 'Cultural Voice eZine' and is currently developing 'Art

in Alternate Spaces', a series of exhibitions aimed at increasing the visibility of artists in Jamaica. Stefanie holds

a Master of Science degree in Economic Development Policy from the Sir Arthur Lewis Institute of Economic

and Studies at the University of the West Indies, a Bachelor of Arts in Economics and Biology from Colgate

University and has worked in Policy Development and Implementation in both the public and private sectors.

Stefanie joined the NDTC in 2005 and has featured in Clive Thompson’s works including Vision and Folk Tales,

Bert Rose’s, Steal Away and Eduardo Rivero’s Sulkari. Stefanie is a choreographer, debuting Analog X in 2009.

Maia Pereira started dancing through the Junior Department of the Jamaica School of Dance. As a student

of the school, she participated in various productions and the Dance and the Child International conferences

in Finland (1997), Canada (2000), and Brazil (2003). Her passion for dance also led her to become a

member of the University of Toronto Varsity Blues dance team, the University Dance Society (UWI), and the

Webster Memorial Church Senior Dance Group. During her childhood years, she avidly at tended NDTC’s

Seasons of Dance and developed a love and appreciation for the richness and style of the company. In

2006, Maia achieved a lifelong dream of becoming a member of NDTC. She holds a BSc. in Psychology from

UWI, and a Masters in Education from OISE, University of Toronto.

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Paul Newman joined the NDTC in 2008 af ter receiving early exposure to dance-theatre with the Ashe

Performing Arts Company and later, Movements Dance Company. He went on to study dance at the Edna

Manley College of the Visual and Performing Arts (School of Dance) where he graduated with a BFA in

Performance and Choreography and was awarded the prestigious Sheila Barnet t and Bert Rose awards for

Most outstanding Performer and Most Outstanding Student respectively. Paul is a dynamic and versatile

dancer whose modern/contemporary training and technique is equally matched by his Afro-Caribbean,

African and Jamaican folk and Traditional dance techniques and styles.

Orlando Barnet t Trained at the Edna Manley College of the Visual and Performing Arts Orlando returns to the

Company af ter his sojourn as group choreographer at Sandals and Beaches Resorts. In his pursuit of a

Bachelor’s Degree in Performance and Choreography and his four years with the Company he has worked

with several noted choreographers who have helped to shape his talent. He is presently a dance educator

and choreographer.

Terry-Ann Dennison joined the NDTC in 2008 and has been a promising and dedicated dancer in the

company. She was f irst introduced to dance at the age of four as an extracurricular activity in school, and

further participated in summer programmes hosted by Patsy Ricket ts as well as ‘Kaleidoscope’ at the Edna

Manley College of Performing Arts. Her dance education continued in the Junior Department at the Edna

Manley College for a further six years. She joined the University Dance Society in 2005, while at tending the

University of Technology, Jamaica and became President of the Society for the year 2007/2008. She

successfully read for a Bachelor of Science in Quantity Surveying (Hons.) degree, while keeping on the Dean's

list and acquiring various awards. She currently works as a Junior Quantity Surveyor at an established f irm

and plans to pursue further academic studies.

Krist ina Graham began dancing with the Tony Wilson School of Modern Dance. She demonstrated a keen

sense for dance, having excellent f lexibility and poise earning her the distinction of “Most Outstanding Student’

at various levels. During her pre-High School years she remained an active participant in the JCDC Dance

Festival Competition where she has been awarded numerous gold medals and she also participated in the

JMTC Musical “Cats” where she was voted the “Best under Sixteen Dancer”. Kristina is currently a student at

the Hillel Academy and a recent graduate from the St. Andrew’s High School for Girls. This is her second

Season of Dance with the NDTC and she has graduated to the rank of Provisional Member.

THE COPYSHOP Tel: 020 8766 6688

GREAT CUSTOMER SERVICE FROM DESIGN TO THE FINISHED PRODUCT

e: [email protected] ˜ www.thecopyshop.org.uk

FREE LOCAL DELIVERY SERVICE (subject to availability) YOUR LOCAL COPYING & PRINTING SERVICE

(entrance in Knights Hill Square) 45 Knights Hill, London SE27 0HS

THE COPYSHOTel: 020 8766 6688

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17th & 18th SeptemberMalvern Theatre, Worcestershire: £16 - £25 Evening 7:30pm(18th Matinee 2:00pm £11-£16) Box Off ice 01684 892277�21st & 22nd SeptemberAlexandra Theatre, Birmingham: £16 - £26 Evening 7:30pm(21st & 22nd Matinee: 2:30pm £11-£16) Box of f ice 0844 871 3011�23rd & 24th SeptemberAshcrof t Concert Hall, Fairf ield Halls, Park Lane, Croydon, London, CR9� 1DG: £16-£28 Evening 7:30pm (23rd Matinee: 2:30pm £11-£16) Box Off ice 0208 688 9291�28th & 29th SeptemberThe Black-e, Liverpool£10-£24 Evening 7:30pmBox Off ice 0151 709 5109

UK Tour Producers:Kajans Women’s Enterprise Ltd Albert Hall, Wit ton Road, Aston, Birmingham, B6 5NU. Telephone 0121 507 0904

Hermin McIntosh UK Producer Hilary Carty Project Advisor Vivienne Lambert-Blackwood Project DevelopmentAaron Mapp UK TechnicianChief Dawethi UK Technician UK Marketing Ambassadors Jackie GuyTony Kelly Celia Grandison-Markey Paulet te Simpson Sasha Henry Crawford

NDTC catering supplied by Mangos Caribbean Catering

Showcase Dates and Credits

PROGRAMME I

DRUMSCORE (1979)When God created the earth, He f irst created the drummer (Ghanaian proverb)Choreography REX NETTLEFORDMusic Caribbean traditional rhythms and original pat terns arranged by Marjorie Whylie with voices of the NDTC Singers, Finale – Marjorie WhylieCostumes Pansy Hassan and Rex NettlefordDancers The Company with Kevin Moore and Keita-Marie Chamberlain

SWEET IN THE MORNING (1992)Choreography LENI WYLLIAMS (Directed from the labanotation score by Marlon Simms)Music Bobby McFerrinCostumes Barry MoncrieffeDancer Marlon Simms

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

NDTC SINGERS

SULKARI (1980)A dance of exaltation in fecundity and fertility, so that through the man-woman relationship the life of man will continue. The forms of the dance were inspired by, and originate from the sculpture, carvings, headdresses, masks, stools and other elements and details of African sculpture, as well as the movement of the Yoruba peoples of Arara (Dahomey).Choreographer EDUARDO RIVERO-WALKER

Music Tradit ional Afro-Cuban (Yoruba) collected and arranged by Eduardo Rivero-WalkerCostumes Eduardo Rivero-WalkerDancers Keita-Marie Chamberlain/Terry-Ann Dennison, Candice Morris, Tamara Noel/Marisa Benain, Marlon Simms, Kevin Moore/Orlando Barnett, Allatunje Connell

NOTE: This dance was originally from the repertoire of the Danza Nacional de Cuba and was premiered on May 13, 1971 at the Teatre Garcia Lorca, Havana. It was f ilmed in 1974 and of fered to the NDTC in 1979/80 as part of a cultural exchange arrangement.

Intermission

PROGRAMME UK TOUR 2012ASI SOMOS (2008)Choreographer ARSENIO ANDRADE-CALDERONMusic Percussions Henry Miller, Dem Rep-Kawela Mix, Unhoome Alah – World BeatCostumes Arsenio Andrade-CalderonDancers Marlon Simms, Kevin Moore, Patrick Earle, Orlando Barnett, Paul Newman, Allatunje Connell, Mark Phinn

ODE (2005)A Suite of Marley’s Love SongsThe body of his work speaks volumes of his philosophy and vision, found in his timeless lyrics and music,

Choreography CLIVE THOMPSONMusic Bob Marley arranged and performed by *Prisoners of the SystemCostumes Catch A Fire – Designed by Cedella Marley Dancers Tamara Noel, Terry-Ann Dennison, Marisa Benain, Kerry-Ann Henry, Mark Phinn, Marlon Simms, Paul Newman * ‘Prisoners of the System’ a unique collection of philosophically and musically diverse Canadian artists with Jamaica connections, headed by Producers Damon Mair And Jevon Rudder, used a collection of Bob’s classic songs, tweaked with unusual creativity and craf tsman-ship to create a new sound around the perfection of Marley’s lyrics. The CD is called TIME HEALS and was released on May 11th, the anniversary of Marley’s transition.

or

URBAN FISSURE (2004)Choreographer CHRIS WALKERMusic B o b Marley’s No More Trouble featuring Erika Badu and Bob Marley’s Rastaman Chant featuring Busta Rhymes Costumes Dexter Pott ingerDancers Kerry-Ann Henry, Keita-Marie Chamberlain/Tamara Noel, Candice Morris/Chelcia Creary, Mark Phinn, Paul Newman/Patrick Earle

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 REX NETTLEFORDMusic Tradit ional arranged by Marjorie Whylie, with NDTC Singers, Musicians & DrummersCostumes Don BucknorDancers The Company

MATINEE PROGRAMME

DRUMSCORE (1979)When God created the earth, He f irst created the drummer (Ghanaian proverb)

Choreography REX NETTLEFORDMusic - Caribbean traditional rhythms and original pat terns arranged by Marjorie Whylie with voices of the NDTC Singers, Finale – Marjorie WhylieCostumes Pansy Hassan and Rex NettlefordDancers The Company with Kevin Moore and Keita-Marie Chamberlain

…minutes and seconds (2010)Life is sometimes very complicated… Lets purposely learn to enjoy the simple yet powerful things God has created! – Joyce Meyer

Choreography KERRY-ANN HENRY & MOMO SANNOMusic “Roads” by Port ishead Costumes Momo Sanno and Kerry-Ann HenryDancers Kerry-Ann Henry and Marlon Simms

NDTC SINGERS

SULKARI (1980)A dance of exaltation in fecundity and fertility, so that through the man-woman relationship the life of man will continue. The forms of the dance were inspired by, and originate from the sculpture, carvings, headdresses, masks, stools and other elements and details of African sculpture, as well as the movement of the Yoruba peoples of Arara (Dahomey).Choreographer EDUARDO RIVERO-WALKERMusic Tradit ional Afro-Cuban (Yoruba) collected and arranged by Eduardo Rivero-WalkerCostumes Eduardo Rivero-WalkerDancers Keita-Marie Chamberlain/Terry-Ann Dennison, Candice Morris, Tamara Noel/Marisa Benain, Marlon Simms, Kevin Moore/Orlando Barnett, Allatunje Connell


Intermission

PROGRAMME UK TOUR 2012PROGRAMME IIDRUMSCORE (1979)When God created the earth, He f irst created the drummer (Ghanaian proverb)

Choreography REX NETTLEFORDMusic Caribbean traditional rhythms and original pat terns arranged by Marjorie Whylie with voices of the NDTC Singers, Finale – Marjorie WhylieCostumes Pansy Hassan and Rex Net tlefordDancers The Company with Kevin Moore and Keita-Marie Chamberlain

…minutes and seconds (2010)Life is sometimes very complicated… Lets purposely learn to enjoy the simple yet powerful things God has created! – Joyce Meyer

Choreography KERRY-ANN HENRY & MOMO SANNOMusic “Roads” by Port ishead Costumes Momo Sanno and Kerry-Ann HenryDancers Kerry-Ann Henry and Marlon Simms

NDTC SINGERS

SULKARI (1980)A dance of exaltation in fecundity and fertility, so that through the man-woman relationship the life of man will continue. The forms of the dance were inspired by, and originate from the sculpture, carvings, headdresses, masks, stools and other elements and details of African sculpture, as well as the movement of the Yoruba peoples of Arara (Dahomey).Choreographer EDUARDO RIVERO-WALKERMusic Traditional Afro-Cuban (Yoruba) collected and arranged by Eduardo Rivero-Walker

Costumes Eduardo Rivero-WalkerDancers K e i t a - M a r i e Chamberlain/Terry-Ann Dennison, Candice Morris, Tamara Noel/Marisa Benain, Marlon Simms, Kevin Moore/Orlando Barnet t, Allatunje Connell


Intermission

ASI SOMOS (2008)Choreographer ARSENIO ANDRADE-CALDERONMusic Percussions – Henry Miller, Dem Rep-Kawela Mix, Unhoome Alah – World BeatCostumes A r s e n i o Andrade-CalderonDancers Marlon Simms, Kevin Moore, Patrick Earle, Orlando Barnett, Paul Newman, Allatunje Connell, Mark Phinn

URBAN FISSURE (2004)Choreographer CHRIS WALKERMusic B o b Marley’s No More Trouble featuring Erika Badu and Bob Marley’s Rastaman Chant featuring Busta Rhymes Costumes Dexter Pott ingerDancers Kerry-Ann Henry, Keita-Marie Chamberlain/Tamara Noel, Candice Morris/Chelcia Creary, Mark Phinn, Paul Newman/Patrick Earle

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 NETTLEFORDMusic Tradit ional with the NDTC Drummers & SingersCostumes/Décor Don Bucknor (design)Dancers The Company with Marlon Simms (King) & Keita-Marie Chamberlain (Queen)

ODE (2005)A Suite of Marley’s Love SongsThe body of his work speaks volumes of his philosophy and vision, found in his timeless lyrics and music,

Choreography CLIVE THOMPSONMusic Bob Marley arranged and performed by *Prisoners of the SystemCostumes Catch A Fire – Designed by Cedella MarleyDancers Tamara Noel, Terry-Ann Dennison, Marisa Benain, Kerry-Ann Henry, Mark Phinn, Marlon Simms, Paul Newman * ‘Prisoners of the System’ a unique collection of philosophically and musically diverse Canadian artists with Jamaica connections, headed by Producers Damon Mair And Jevon Rudder, used a collection of Bob’s classic songs, tweaked with unusual creativity and craf tsmanship to create a new sound around the perfection of Marley’s lyrics. The CD is called TIME HEALS and was released on May 11th, the anniversary of Marley’s transition.

or

URBAN FISSURE (2004)Choreographer CHRIS WALKERMusic Bob Marley’s No More Trouble featuring Erika Badu and Bob Marley’sRastaman Chant featuring Busta Rhymes Costumes Dexter Pot tingerDancers Kerry-Ann Henry, Keita-Marie Chamberlain/Tamara Noel, Candice Morris/Chelcia Creary, Mark Phinn, Paul Newman/Patrick Earle

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 NETTLEFORDMusicTradit ional with the NDTC Drummers & Singers. Costumes/Décor Don Bucknor (design). Dancers The Company with Marlon Simms (King) & Keita-Marie Chamberlain (Queen)

orGERREHBENTA (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 REX NETTLEFORDMusicTraditional arranged by Marjorie Whylie, with NDTC Singers, Musicians & DrummersCostumes Don BucknorDancers The Company

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Tribute to Rex Nettleford Rex Net tleford: a life of exceptional service

The late Professor Ralston ‘Rex’ Net tleford, vice-chancellor emeritus of the University of the West Indies,

Caribbean man of let ters and wisdom, was well known for his mastery of the English language. Witnessing

the frequent use of the word ‘icon’ to describe persons deemed to have achieved in some f ield of endeavour

or other, he cautioned that in time everyone could be an icon, and we would be hard put to f ind words to

describe really outstanding examples of excellence. He never saw himself as ‘an icon’.

Now that the time has come to pay tribute to this truly amazing Jamaican-born scholar, teacher, cultural

activist, nationalist, historian and author, to mention but a few of his at tributes, the word icon does seem

insuf f icient. In its original def inition, an icon is a treasured religious object. In contemporary times, it is also

def ined as one having some well-known signif icance, or embodying certain qualities. Rex Net tleford was all

that and more, whether he cared to admit it or not.

It is hard to choose which area of accomplishment makes Professor Net tleford most deserving of the respect

and admiration which he has earned over the years. His capacity for outstanding scholarship was demon-

strated throughout his personal career, from elementary school in deep rural Bunker’s Hill, Trelawny, to

Cornwall College, then the University College of the West Indies from where he went to Oxford University on

a Rhodes Scholarship. There he excelled not only in academics but in the performing arts.

University times

Back home, he joined the staf f of the university and under the tutelage of the eminent Sir Philip Sherlock, he

became tutor in the Extra Mural Department, taking the message of life-long learning throughout the entire

Caribbean. This had a profound ef fect on him, heightening the realisation of what it meant to be a citizen not

just of his native Jamaica but the wider region. His advancement through the university system led him eventu-

ally to the top, becoming vice-chancellor and then, on retirement, vice-chancellor emeritus. He gave to the

lat ter designation the same energies as he did while in full-time service, dedicating himself to connecting UWI

alumni to their alma mater and fund-raising for development.

Throughout all the years and the many responsibilities, he added to his considerable workload, service to his

country and the region, as an impartial adviser to prime ministers and leaders of civil society. His skills also

benef ited the Common-wealth of Canada, which sought out his participation in plot ting their nation’s path into

a new age. He represented Jamaica at UNESCO where he was highly respected for his acumen and

passion, especially for righting the wrongs of slavery. He became a lecturer of renown on the international

circuit. Honours and accolades poured in from far and wide and he took them all in his stride.

dance his greatest passion

His greatest passion was the National Dance Theatre Company which he co-founded with Eddy Thomas in

the year of Jamaica’s entry into nationhood and built it into an institution respected at home and abroad. With

all that, he still found time for acts of quiet altruism, assisting a new generation of young persons to acquire

advanced education, among them, worker-delegates in the trade-union movement.

Rex Net tleford was blessed with unbounding energy, belying his advancing years. He was a man for all

seasons, a man of high ideals, commit ted to the service to fellow human beings, generous in spirit,

consumed with a desire for excellence. The fruits of his endeavours are to be seen far and wide and will

remain monuments to inspire generations to come. Was he an icon? Perhaps, but this is not a time for seman-

tics. It is suf f icient say, in the words of a popular song: “He was simply the best – bet ter than all the rest.”

The SingersCarole Reid has built up for herself an enviable reputation as a leading soloist and chorister with a number of choral groups in Kingston and remains in much demand for a number of patronal festivals as well as other events. She sings with the National Chorale as well as with the Diocesan Festival Choir and Jamaican Musical Theatre Company, but remains a lead soprano with the NDTC Singers to which she brings her remarkable stage presence and vibrancy. She was a Silver Medallist in the South African Eistefodd of 1997. She has been in private life a personnel director and doubles up as Assistant Treasurer in the NDTC. She has worked as an execu�tive public banking in Jamaica, and has toured extensively with the NDTC.

Faith Livingstone a cultural worker in the public service and soprano with the NDTC. An alumna of the University Singers while an undergraduate at University of the West Indies, Mona, she has had experi-ence in performing before joining the NDTC.

Dahlia Dawn Fuller-Philips studied voice at the Jamaica School of Music and in the USA with Joyce Britton and Vernon Harleston respectively.. She is a management training executive and also a lecturer by profession.

Carl Bliss is a former member of the Kingston College Choir and during his under-graduate years performed with the University Singers. He joined the NDTC as a tenor soloist in 1977 and doubled as the Company’s Treasurer for several years. Mr. Bliss continues to collaborate as soloist with the Jamaica College Choir in their annual rendition of cantatas and oratorios. In the NDTC his personal triumphs have been his featured singing for such works as Misa Criolla, Gerrehbenta and his solo rendition of “Eye on the Sparrow”. He is in private life a management consultant as well as a Network Marketing professional, after pursuing graduate studies at the University of Miami.

Earl Brown did much of his early singing at Ardenne High School and in the Kingston Singers under distinguished choral director Noel Dexter. He was to bring to the NDTC by the 40th anniversary (2002), musicality, good stage craft and quick-wittedness. Noted for his dedication and self-discipline he quickly became a figure of renewal by the end of the 1990’s.

Conrod Hall who was recruited to the Company in 2010 began his musical journey in 1998 when he entered the JCDC’s Festival with the piece from the “Phantom of the Opera”. He is currently the Musical Director for the Phillippo Baptist Church.

THE NDTC ORCHESTRA

Marjorie Whylie (Musical Director) an accomplished music educator and musicologist, composer/arranger, performer and band leader, in her second year of retirement as Head of the Music Unit UWI, has retooled, now drafting project and public relations documents, teaching voice, keyboard and percussion at home, presenting lecture-demonstrations on Jamaican and Caribbean music and culture at home and abroad when requested, and has rekindled her interest in theatre behind the scenes in production. A prolific writer of music for the church, with her compositions forming a considerable part of the offerings of the NDTC Singers at Easter Sunday’s Morning of Movement and Music for many years, she has also developed workshops on the use of Caribbean forms and compositions for worship which have been given at churches of several denominations. A passionate devotee of Jazz, member and soloist of the Jamaica Big Band, she is band manager/coordinator since the passing of its founder Sonny Bradshaw and continues as an active committee member of the Jamaica International Ocho Rios Jazz Festival. Ms Whylie is known for elevating the drum in education as a serious instrument and as a teaching tool, having developed a technique of notation for traditional rhythms of Jamaica, the wider Caribbean and parts of Africa. She was honoured recently by the Order of the Drum Circle as a Supreme Grand Master Elder at a ceremony at the Edna Manley College.

Wigmoore Francis, guitarist, is a much acclaimed talent in music circles in Jamaica. He holds an A.Mus.T.C.L. in the teaching and practice of musical composition from Trinity College, London, and has lectured in music at the Mico and at the Jamaica School of Music. At the latter school he also served as head of the guitar department

and head of the Caribbean, Latin American, and Jazz Department. A long-standing member of the NDTC, he has toured extensively with the Company and has composed music for MoniKa Lawrence’s dance-work, Liza. His love for knowledge led him to the University of the West Indies at Mona where he obtained a First Class Honours degree in Philosophy and History. He later gained his Ph.D. in history there, specializing in intellectual history. Dr. Francis is a lecturer in the Department of History and Archae-ology and in the Institute of Caribbean Studies at the UWI (Mona).

Henry Miller master drummer is a senior percussionist in the Jamaica School of Dance and has honed his skills in the NDTC under the guidance of Musical Director Marjorie Whylie. Mr. Miller accompanied Barry Moncrieffe’s classes in Hong Kong and at Vassar College, Poughkeepsie, New York. He has toured extensively with the NDTC and remains a drummer on staff of the Jamaica School of Dance, Edna Manley College for the Visual and Performing Arts.

Ewan Simpson, Attorney-at-Law, holds a Master of Laws (LL.M) in Intellectual Property Law, after having completed studies at The University of the West Indies (UWI), Mona (B.A. Geography) and Cave Hill (LL.B), as well as the Norman Manley Law School. A multidimensional, creative and analytical mind, Simpson has a wealth of experience in production and events management, and has been a production and entertainment consultant to major entertainment stakeholders, including the Jamaica Jazz and Blues Festival producers, Art of Music Productions (AMP). A former President and Chief Musical Arranger of the University Singers, Simpson has arranged, and trained the NDTC Singers in, Di Work, a suite of contem-porary Jamaican songs presented in the 50th Anniversary season.

Jesse Golding is an NDTC offspring being the son of Alison Symes a long-time principal dancer with the company and of Steve Golding a former member of the NDTC orchestra. As a result of his rooted experi-ence and broad knowledge of Afro Caribbean rhythms, Jesse is quite the sought after drummer/percussionist, being featured on several studio recordings and live performances with some of Jamaica’s most renowned record producers and singers. He has long emerged from apprenticeship and is now an accomplished practitioner of his art.

THE CREATIVE TECHNICIANS

Bridget Spaulding (Secretary/Treasurer/Manager) Founding Member and former principal dancer is the Secretary/Treasurer and the tour manager of the Company, succeeding Verona Ashman who served for many years before her passing. A graduate of the University of the West Indies, Mrs. Spaulding works as an executive with the Bauxite & Alumina Trading Company. An excellent administrator who has organized the operations and the business of the Company, she brings to her duties a dedication rooted in a passionate commitment to the NDTC’s mission and vision.

Tony Holness (Sound Director) has been with the NDTC since his days as a student of the trumpet at the Jamaica School of Music. A Sound Engineer by profession he filled in at short notice on the Barbados tour in 1997 in the unavoidable absence of then Sound Director Clyde Cunningham and doubled up as such on subsequent tours to St. Kitts, New York, Canada and the UK. Dedicated and committed, he has toured with the Company on numerous occasions overseas on leave from Radio Jamaica (TVJ) where he works. He was appointed Sound Director in 2000.

Dwayne Brown, (Stage Manager) assistant and protégé, of veteran Tony Locke, graduated into the role of Stage Manager in 2011 with the passing of Mr Locke. A graduate of the Edna Manley College of the Visual and Performing Arts (School of Drama) Dwayne possesses a sound knowledge of theatre arts, which ensures smooth operation backstage. He is currently a Cultural Adviser with the Jamaica Cultural Development Commission (JCDC) with responsibility for the parish of St. Catherine.Development Commission (JCDC) with responsibility for the parish of St. Catherine.Development Commission (JCDC) with responsibility for the parish of St. Catherine.which ensures smooth operation backstage. He is currently a Cultural Adviser with the Jamaica Cultural Development Commission (JCDC) with responsibility for the parish of St. Catherine.Development Commission (JCDC) with responsibility for the parish of St. Catherine.which ensures smooth operation backstage. He is currently a Cultural Adviser with the Jamaica Cultural Development Commission (JCDC) with responsibility for the parish of St. Catherine.which ensures smooth operation backstage. He is currently a Cultural Adviser with the Jamaica Cultural Development Commission (JCDC) with responsibility for the parish of St. Catherine.which ensures smooth operation backstage. He is currently a Cultural Adviser with the Jamaica Cultural Visual and Performing Arts (School of Drama) Dwayne possesses a sound knowledge of theatre arts, which ensures smooth operation backstage. He is currently a Cultural Adviser with the Jamaica Cultural which ensures smooth operation backstage. He is currently a Cultural Adviser with the Jamaica Cultural Visual and Performing Arts (School of Drama) Dwayne possesses a sound knowledge of theatre arts, which ensures smooth operation backstage. He is currently a Cultural Adviser with the Jamaica Cultural

of Stage Manager in 2011 with the passing of Mr Locke. A graduate of the Edna Manley College of the of Stage Manager in 2011 with the passing of Mr Locke. A graduate of the Edna Manley College of the , (Stage Manager) assistant and protégé, of veteran Tony Locke, graduated into the role , (Stage Manager) assistant and protégé, of veteran Tony Locke, graduated into the role

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VENUE HIRE AT THE ALBERT HALL

THREE unique rooms for hire.

Room ONE: is our café/meeting area, which accommodates up to 40 people theatre style and can be used for meetings and social events.

Room TWO: is our exquisite function room with double height Victorian ceilings and crisp white open space can accommodate up to 200 people seated.

Room THREE: is our professional dance studio, which runs the full length of the building and has accommodated the likes of the National Dance Theatre Company of Jamaica.

Additionally: we boast a state of the art commercial kitchen. All these rooms are housed in our newly refurbished 836sq.mtr. Albert Hall building. These spaces can be used for a variety of functions.

Please Call: 0121 507 0904 to book your next special event. !

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Dancers

MARK PHINN MARLON SIMMS KERRY-ANN HENRY KEITA-MARIE CHAMBERLAIN

KEVIN MOORE CANDICE MORRIS TAMARA NOEL MARISA BENAIN PATRICK EARLE

ALLATUNJE CONNELL STEFANIE THOMAS

Maia Pereira, Phillip Earle, Paul Newman, Orlando Barnet t, Terry-Ann Dennison, Chelcia Creary, Heidi-Anne

Hanson, Sophia McKain, Jillian Samms, Kristina Graham, Kamar Tucker, Jahmai Paul, Mariana Samuda,

Ashley Miller, Gillian Steele, Kelly-Ann Robinson

Guest Performers: MELANIE GRAHAM, KARYN NEYSMITH JOHNSON, DAVID BLAKE – NDTC

Delvis Savigne Friñòn, Edisnel Rodrìguez Gonzàlez, Deury Cisneros Marzal, Amós Rivero Asosta – Compania

Teatro Dela Danza Caribe

Singers

CAROLE REID, FAITH LIVINGSTONE, Rhonda Lumsden Lue (sopranos), DULCIE BOGUES, DAHLIA DAWN FULLER-

PHILIPS, HELEN CHRISTIAN (contraltos), CARL BLISS, HOWARD COOPER, Howard Phillips, Kemar Lee (tenors),

EARLE BROWN, LEIGHTON JONES, Conrod Hall (basses)

Musicians

MARJORIE WHYLIE (keyboard), ALBERTINA JEFFERSON, KAMAU KHALFANI (f lute), WIGMOORE FRANCIS (guitar),

TANAGARI MANNING (bass guitar), HENRY MILLER, EWAN SIMPSON, JESSE GOLDING (drums)

Lighting Director Sound Director Asst. Musical Director Stage Manager Dance Captain

MICHAEL McDONALD TONY HOLNESS ALBERTINA JEFFERSON DWAYNE BROWN Marlon Simms

Balletmistress Secretary/Treasurer

KERRY-ANN HENRY BRIDGET SPAULDING

Photographers

MARIA LaYACONA Asst. by BRYAN ROBINSON & TONY WONG

The Company Structure

Art ist ic Director

BARRINGTON MONCRIEFFE

Musical Director

MARJORIE WHYLIE

MANAGEMENT COMMITTEE

Carlton Davis (Chair), Bridget Spaulding (Secretary/Treasurer), Carole Reid (Assistant Treasurer), Tamara Noel

(Assistant Secretary), Barbara Requa, Marjorie Whylie, Albertina Jef ferson, Barbara Kaufman, Marlon Simms,

NDTC Booklet

Documents

Transcript of NDTC Booklet