Amina Blackwood Meeks (left) interacts with two dancers during L'Acadco's presentation of 'Waves of Pearls' at the Sir Philip Sherlock Centre for the Creative Arts, University of the West Indies, Mona on Saturday night.
L'Antoinette Stines, who choreographed much of the work of the L'Acadco dancers, gives a show at the company's 'Waves Of Pearls' presentation at The Sir Philip Sherlock Centre for the Creative Arts, University of the West Indies, Mona, on Saturday night. - Winston Sill/Freelance Photographer
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Marcia Rowe, Gleaner Writer
"Pinch the person next to you, and if you do not know the person, introduce yourself with a pinch. And if the seat next to you is empty pinch it too," Amina Blackwood Meeks instructed the audience who attended the L'Acadco dance [b style="color: blue !important; font-family: Arial, Helvetica, sans-serif; font-weight: 700; position: static;"]company 2013 season of dance on Saturday.[/b]
The prolific storyteller was a sort of emcee for the refreshingly different dance show.
Not by any stretch of the imagination would one expect a dance company's concert to begin that way, but Blackwood Meeks' opening was just one of a series of intrigues to unfold throughout the second of two shows on the day.
Aptly titled '30 year L'Acadco Waves of Pearl', the show was mounted at the Sir Philip Sherlock Centre, on the Mona campus of the University of the West Indies.
Waves of Pearls, was more than a programme of dances, it was a narrative told from the perspective of Blackwood Meeks at intervals, a character 'Skittles Boy' (performed by Webster McDonald) armed with an unopened oyster, the battle of the drummers and the choreography and movements of the dancers.
All three subplots came together in the final dance Abuzuike.
Central to Abuzuike, a L'Antoinette Stines-choreographed dance, is the theme harmony in relationships, told from the perspectives of some mythical beings.
Spectacular headgear, set, special effects, and lights reinforced the magical experience.
The dancers' fine interpretation also contributed to the clarity of the conclusion to the narrative.
After Blackwood Meeks' attention-grabbing opening, the programme continued with the silent appearance of Skittles Boy. While the dancers opened their account with 'Satta', a dance first choreographed by Stines, founding member and artistic director, for the company's first season of dance in 1984.
Satta was performed by an all-female cast. It was energetic, controlled and served as a good introduction of the dancers, as well as gave an insight into the L'Antech dance technique.
Best described as a fusion of African, Indian, ballet with some sprinkling of Jamaican contemporary dance steps, this form of choreography, according to the programme notes, embodies 'wholeness of body, mind, and soul'.
Boasting colourfully appropriate costumes, great use of lights, clinically executed choreography and an abundance of energy, the programme continued to fulfil its promise of history, rituals and spirituality.
It came in the form of the full company of dancers along with the drummers in another of Stines' choreographs called 'Hounfour of the Drum'.
Nathalie Corthhesy's 'Leaving to Zion', performed by Jacqueline Logan, utilised the dance-video technique to tell a story of passion for music and dance.
Renee McDonald's 'Stages of Love' tells another story. Beautifully danced by Amanyea Stines and Oraine Frater, the dance speaks of love, distraction and reconciliation.
Alpha explores the concept of evolution. Danced by six females wearing brown unitards, the dance, choreographed by Caron Cumberbach, illustrated the development of the human race.
The at times edgy dance relied heavily on synchronised movements from the dancers who were, for the most part, successful.
In the dance 'L'Antech Meets Reggae', Stines was most creative.
Jessica Shaw's 'Breathe' seemed to speak of the importance of taking a moment, but in some parts was too similar to Hounfour of the Drum.
The drummers' solo acts were 'Initiation' and 'Amaton'. They were well delivered and received.
Amaton was more than performance, it was a showcase of some unfamiliar African musical instruments and costumes.