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Dancer and writer Nicole Bain reviews the latest L'Acadco performance. (Photos courtesy of Ryan Esson.)
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Patsy Ricketts in Stines-Jones's 'Ravine'
Last weekend at the Philip Sherlock Centre for the Creative Arts L’Acadco presented its 26th season of dance, ‘Ship’s Log: Daaance Coconut Daaance’. This was not an evening for those seeking light entertainment. The narrative production carried the audience from the motherland of Africa, across the Middle Passage, into the Caribbean, through the experience of slavery, past Emancipation and up to the present day. However, ‘Ship’s Log’ was not just another look at history but a platform to present the message that, although the physical shackles are no longer present, the struggle for true freedom must still be fought in the Black pysche. The show’s mysterious title has its roots in the Yoruba religion where the coconut is an intrinsic part of the sacred rituals and everyday life of its practitioners. The fruit - much like the dance and the drum - is seen as a symbol of West African culture that has managed to survive the slavery experience. Weighty subject matter, but Artistic Director L’Antoinette Stines and her production team must be commended for cleverly interweaving dance, drama, music, and visual art to create a work that is both strong in statement and aesthetic appeal.
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The militant 'Chat bout'
Ms. Stines’ wore the choreographer’s hat for most of the pieces in the show, including a highly energetic and emotionally charged performance from the male dancers in Massa’s Conscience set to Nina Simone’s “Sinner Man”. The men possessed all the ingredients for a good technical performance, but importantly they were also able to convey the character of a slave owner tormented by his conscience. However, for this writer the two show-stoppers among Ms Stines’ work were Hounfour of the Drum and Chat Bout. In the former, the dancers paid homage to the drum, perhaps the most powerful symbol of African culture in the Western world. At times they “became” the drum, signifying the intrinsic connection between man and rhythm. Honfour beautifully showcased elements of L’Antech, the technique created by Ms. Stines, and the dancers danced it with commitment and passion. The latter piece, Chat Bout, was a feisty, militant, contemporary assertion of black pride, with descriptions of black achievements given intermittently by the dancers and riveting poet Davian Grant.

A major highlight of the production was the brief appearance of the legendary Ms. Stines herself as well as that of Jamaican dance icon Patsy Ricketts. In Kumina, Ms. Stines proved that she is still fleet of foot, limber in body and full of charisma. In Ravine, a piece choreographed by Amanyea Stines-Jones, Ms. Ricketts put the crowning touch on a powerful performance delivered by Samantha Daley, Trudy-Ann Smart and Stephanie Bromfield. Regal in blue, she effortlessly commanded the audience’s attention with simple yet graceful movement, representing in art - as in life - a source of guidance for the younger generation. Additionally it was nice to see the beautiful Jacqueline Logan (a member since 1988) leading the younger generation in this year’s offerings.
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Amanyea Stines-Jones in Jacqueline Logan's 'Jezebel'
Generally the show moved seamlessly along, with the dances flowing into each other, enhanced by the spoken word - narrated on Saturday night by David Crossgill and electrifying drumming by the L’Acadco drummers, led by Aaron Vereen. The show’s only inconsistency was an awkwardly placed section exploring sex and relationships, which did not advance the main narrative. However this segment did yield some worthwhile moments. One such piece was the combined Rangila/Dancehall in which a traditional Indian wedding celebration is broken up by a dancehall diva and a bunch of drunken stragglers. Here classical Indian dance and classic dancehall butted heads with comic results, and fans of the popular duo Hiyah Style got to see them in action. Also of note was the sweet Stages of Love: Part Two, choreographed by Renee McDonald and performed by the very gifted Adrian Wanliss and the multi-talented Amanyea Stines-Jones. The piece explored the struggle of a man to be faithful to the woman he loves and his eventual decision to commit fully to the relationship. The two young dancers worked beautifully together in this well-crafted lyrical duet. 

It was a very young cast that performed on Saturday night (a number still in high school), and this lack of “life experience” showed in some of the performances. However if they remain under Ms. Stines’s tutelage they are sure to develop into mature, well-seasoned performers, which can only be an asset to the company. From this season’s performance it is obvious that L’Acadco possesses an impressive cadre of dancers.

 
Additional Resources
To keep up with L'Acadco events visit their Facebook page

Gleaner review of earlier show

Earlier article by Nicole Bain
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The comical 'Rangila/Dancehall'
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Artistic Director L'Antoinette Stines in her element
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'Hounfour of the Drum'
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The militant 'Chat bout'
 


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herve leger link
03/25/2012 12:26

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