 Dancer/writer Nicole Bain interviews Jamaican choreographer and dancer Stefanie Thomas. Last week the National Dance Theatre Company of Jamaica (NDTC), along with the general communities of dance and academia, paused to celebrate the life and legacy of Professor, the Honourable Ralston "Rex" Nettleford. One of the mantras for which the Professor was known was “Renewal and Continuity”, and one of the ideas he implemented in this vein was the Young Choreographers workshop/showcase. Formed several years ago to give a voice to budding dance composers within the NDTC, the showcase is held once every two years in December and has become a well-supported undertaking - anticipated by patrons as much as the company’s regular season. Some of the pieces coming out of the workshops have gone on to be included in the company’s repertoire. The 2010 showcase featured choreography from company dancers Marlon Simms, Kerry-Ann Henry, Kevin Moore, Tovah-Marie Bembridge, Tamara Thomas, Natalie Chung, Terry Ann Dennison, Benton Morris and Stefanie Thomas. Cultural Jamaica Magazine sat down with Stefanie recently to reflect on her journey as a young dancer and choreographer.  Dancer, choreographer Stefanie Thomas (photo contributed) CULTURAL JAMAICA: How long have you been a dancer and how did you end up dancing with the NDTC? STEFANIE THOMAS: I started ballet as a bee buzzing across Ward Theatre’s stage at 3 years old with Norma Spence at the Ballet Centre and continued ballet until my teenage years. I took my first modern class with Barry Moncrieffe as a teenager at the Jamaica School of Dance (Edna Manley). After taking a few years’ break from formal dancing I rediscovered a love for it with modern dance teacher Jane Schwartz at Colgate University, my alma mater. After graduation from Colgate and while pursuing further studies at the University of the West Indies, I started taking classes at the Edna Manley School of Dance, and in November of 2005 Arsenio Andrade invited me to take a class with the NDTC, whereafter Professor Nettleford encouraged me to continue taking classes with the company. CJ: Dancing is a part-time occupation for you, as it is for most dancers in Jamaica. What is your “day job”? ST: I’m a Project Development Consultant. CJ: Not every dancer makes the foray into choreography. What motivated you to do so? ST: I don’t remember the initial motivation but I think it may have been an exploration generally of using dance to communicate and connect with others. CJ: Describe your choreographic process. What inspires you? ST: I’m inspired by Music, Conflict, the Abstract, and Art. My choreographic process is evolving, but for sure, it starts with an idea or inspiration point, and is influenced by choice of music, dancers, and personal connection to the subject matter. I tend to develop a movement theme early in the process which serves as a motif for the development of the piece.  Dancer, choreographer Stefanie Thomas (photo contributed) CJ: What are some of the pieces you have worked on in the recent past? ST: I choreographed Analogue X in 2009, Caprice, Jus’ Cause There’s Always a New Day and IN DEH in 2010. And I’m currently working on a piece for Campion College’s Dance Drama for their upcoming season in March. CJ: You choreographed IN DEH and Jus’ Cause... for the NDTC Young Choreographers show. Tell me a little bit about them. ST: IN DEH was dedicated to women of war who have fought various battles historically on the front-line. The dancers were Alicia Glasgow, Kerry-Ann Henry and myself with each of us fighting our individual battle, but gaining collective strength from the mutual understanding of the struggle and the need for support. Jus’ Cause was inspired by the music and it’s simply a ‘feel good’ piece about always needing that hope for a new day. Danced to Nina Simone’s A New Day, it had a jazzy motif and vocabulary. The dancers were the same as for IN DEH.  Kerry-Ann Henry dancing in IN DEH, piece choreographed by Thomas (photo: Ryan Esson) CJ: Was it your first time choreographing for the show? ST: It was actually my second time choreographing for Young Choreographers. CJ: How did you feel going into it? Was there ever any pressure to live up to the expectations of those who might have been watching just a little more intently to see what Professor’s young protegees had learnt from him? ST: Displaying a piece always makes me a little nervous, though I was really looking forward to learning from the ensuing critique, especially of the older generation of NDTC dancers and choreographers. It helped that I felt very connected to the music and the subject matter of the pieces and connected to my fellow cast members Kerry-Ann Henry and Alicia Glasgow, both dancers whom I admire. CJ: What was the response to your work? ST: The response was energising, especially for IN DEH. I received a lot of positive feedback as the work seemed to connect on varying levels to members of the audience. There were those also who expressed appreciation for the use of the traditional NTDC style in its movement motif. CJ: Yes that’s right. I know that for me, although your impetus was women in literal wartime situations, the piece also spoke on the level of Woman in the daily struggles of her life, raising children, “fighting” to make a living etc. And yes I did see a little bit of the Professor’s influence in there. Anybody can string movements together to make a dance. Not everyone can choreograph, if you understand what I mean. What in your opinion makes the difference? ST: (laughs) One of the choreographers who serves as an inspiration to me, Geraldine Armstrong a Grenadian-French choreographer, told me that all she does is string movement together and that she is not really a “choreographer”, and yet to me her pieces seem to contain the most inspirational and intuitive choreography. CJ: Hmmm... Okay, so then what is it about a piece of choreography that speaks to you when you watch it? What are the elements that make it "work"? ST: For me choreography should evoke some form of emotion for the viewer. Professor Nettleford in Spirits at a Gathering, one of my favourites of his masterpieces, takes audience members on an intimate journey with the two "virgins" as he explores community interactions during their journey of self realisation. This to me is what choreography is about. But of course each choreographer has a different method and process.  Alcia Glasgow dances in Jus Cause, choreographed by Thomas (photo: Ryan Esson) CJ: Who, apart from the Professor, are the choreographers who inspire you and why? ST: Oh dear, this list is quite exhaustive. Well, Bejart was a part of revolutionizing Modern Ballet with his edgy and new interpretations of the centuries old tradition. Then there is Jean Guy Saintus. His pieces connect with me spiritually. One of my favourite pieces in the NDTC repertoire is Incantation. David Dorfman is also on the list. I love the energy of his choreography and the engagement of his dancers within his choreography, also the ability of his company to portray some very complex and touché subject matters effectively. Geraldine Armstrong, of course. Her style is eclectic and transcends one genre. She is able to take African, Caribbean, Ballet, Modern and Jazz and make it her own with very effective and powerful results. With Clive Thompson I love the lines and interesting shapes that often emerge from his masterpieces. And there is Arsenio Andrade who inspires me because of his rehearsal work ethic and the passion with which he choreographs. CJ: I couldn’t let you go without asking you this. It’s been a year since the Professor’s death. How did he impact you in life and how do you see yourself and the other dancers carrying on the mantra “Renewal and Continuity” ST: I still feel Professor Nettleford’s presence in the NDTC dance space. His philosophies continue to challenge me daily and his encouragement and compassion lingers. At times, when feelings of doubt creep in I always think of Professor and his unique expectation of excellence and commitment and it gives me energy to continue. Professor has set the proverbial stage and we continue to dance within the paradigms and also to make new ones that generations to come will also challenge.  Dancer, choreographer Stefanie Thomas (photo contributed) CommentsNancy De Vries 02/18/2011 06:02
It was my unending pleasure to watch Stephanie Thomas' work at Colgate University. Her entire being emobides grace, love, harmony, beauty, spirituality and strength. Stephanie and her work are a gift to the universe. Thank you for drawing our attention to this amazing woman. Nicole 02/18/2011 11:33
Thank you very much for your kind words. The interview was a pleasure :) 02/21/2011 08:50
This was a very touching piece and a great interview. I was able to see learn about how Stefanie grew up dancing from her childhood into adolescence and then her days in university. The knowledge of her disicpline and the respect which she carries for her teaches, professor, colleges, fellow chorographers is apparent. I know that Stefanie will continue to carry on the tourch of the NDTC whereever she goes, and the company will continue showcase Jamaican Dance has true talents in the thearter as well. Simone Bell 02/24/2011 14:46
It has always been a pleasure to watch Ms. Thomas as she performs, and her transition into choreography to me appears to be a natural progression. Her exposure to the art on both the national and international levels, has allowed her to produce a distinct style, which has a sort of modern, jazzy ballet -ish eclectic feel. I hope that she continues to share her talents with the younger generation, and perhaps her name will too be iconic like those of her dance mentors. Keep up the good work, and a lovely interview. 03/28/2011 20:06
The article is worth reading, I like it very much. I will keep your new articles. Leave a Reply | Quote"We refuse to be what you wanted us to be, we are what we are, that's the way it's going to be." - Robert Nesta Marley, 1945 - 1981 ArchivesOctober 2011 CategoriesAll |
RSS Feed
