Two dancers perform 'Mas-querade' during One Body, One God dance ministry's presentation of 'The Breaking' at the Courtleigh Auditorium on Saturday night.
Dancers from One Body, One God dance ministry (OBOG) perform 'Hope, The Profession of our Faith' during the goup's presentation of 'The Breaking' at the Courtleigh Auditorium, St Lucia Avenue, New Kingston, on Saturday night.
One Body, One GOD Dance Ministry members perform 'The F Word' during their season of dance titled 'The Breaking' at the Courtleigh Auditorium on Saturday.
Members of One Body, One God dance ministry (OBOG) presents 'We Wait For You' during the group's 2013 season, 'The Breaking' at the Courtleigh Auditorium on Saturday. - Winston Sill/Freelance Photographer
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Marcia Rowe, Gleaner Writer
Three young Christian female dancers of different denominations had one goal: to glorify God to the fullest. They were not aware of each other's desire - until February 2012.
"It is so hilarious every time we think about it." said Sherona Wright, fourth-year medical student.
She explained that after praying about the desire to take dance to another level, a number of circumstances began to manifest themselves, beginning with her meeting Judene Edwards in February of last year and subsequently, Charissa Clementson.
Within a week of these initial contacts, the plans for their dance ministry took shape. And in October 2012, they were able to execute it. One Body, One God dance ministry was formed.
"Its all God's doing," they affirmed in unison.
The conversation with the three up-and-coming artistic directors took place on Saturday at the end of the first of two shows in their 2013 season, The Breaking.
They, as can be expected from a small budding company, not only choreographed the dances, but also danced. This can be a bit challenging as they have other commitments.
Clementson, in addition to her commitment to the company, will be taking her nuptial vows at the end of August. According to her, being able to undertake both events simultaneously couldn't have been done without help.
"God is faithful. And I have amazing friends and bridesmaids to help me out with a lot of things, and my fellow leaders are very helpful, and everyone just came together to lend their support, so I could organise properly. I could have wedding times and show times.
"It was not hard because we did it last year. It was pretty easy getting the sound and the lights to this [season 2]. In terms of the dancers, they were pretty pumped. When we told them we were doing a show, they said 'Yes, when?' It was not hard. Everybody caught the vision quickly," said Edwards.
Fair turnout
The vision was passed on to a fair turnout at the Courtleigh Auditorium through the language of the dancers.
The company comprises dancers from different denominations, seven in total, but that did not prevent them speaking in the same tongue. Yes, The Breaking was more than a dance show. It was a sermon preached through movement.
Each dance, in various genres, was choreographed with reference to a book, chapter, and verse of the Bible.
The 'service' began with Clementson's Lifted. The lesson was taken from Philippians 2:9-11.
Though well presented, Lifted was not as passionately danced to as her closing number, We wait for You (Psalm 42:5).
From the curtains opened, the dance evoked interest. Each dancer was seated on black-covered, silver-framed chairs and appeared to be focusing on an invisible preacher requesting an altar call.
As the song, Shakeena Glory, progressed, fuelling the intensity of the altar call, Clementson's creativity was solidified.
The dancers used the chairs to explore levels (kneeling, standing, bending with raised arms or bowed heads) and spaces (vertical, circular, etc). But at no time did they forget the purpose of the dance.
Wright's Dry Bones came from Ezekiel 37: 5-12. It was delivered through the language of ballet.
Once again, the dancers moved not only with great passion, but with great balance and control.
Edward's choreography of Mourning to Dance was a reminder of pain and suffering. Her use of symbolism was powerful.
Choreographers Nicola McDonald (Master's of Cloak and Ubuntu-Unity) and Kathryn Fletcher (Masquerade) were well choreographed and justly executed.
Overall, The Breaking was of a commendable standard, but for next season, the team may want to ensure the programme entails dances of a wider range of emotions. They may also want to vary the pace of the movements and stagger the dancers.
Part proceeds of the show will go towards paving the surfaces at the Young Men's Christian Association, the group's home base since 2012.