For the second year running, local company Artistic Expressions has sought to expose Jamaicans to dance techniques and presentations from other parts of the world.

In 2010, it was the Rick Odums Ballet from Paris, France, and this year was the turn of New York Contemporary Ballet Company headed by choreographer Cherylyn Lavagnino and our neighbours from Danza Contemporeana de Cuba. As it was last year, these visitors were pegged with guest choreographers as well as our own National Dance Theatre Company (NDTC) for an entertaining event over two night last weekend.

On the night the Sunday Observer attended, it was the New York Based ballet company which presented with the locals.

The presentation by Lavagnino’s group was made that more special as her female dancers for the most part performed en pointe — that technique in classical ballet which sees ballerinas dancing on the tips of their toes. This is not readily seen locally and was therefore quite refreshing.

Of the works presented the opening piece an excerpt from Fell of Night featuring Sarah Beck and Patrick O’Neil, and A Bird Came Down to Walk with dancers Selina Chau and Joshua Palmer, were the clear standouts. The latter draw gasps of appreciation and later thunderous applause as Chau ably demonstrated the weightless, sylph-like properties of dancing en point as she gently glided off stage mimicking a bird at the end of the piece.

The local dancers were not to be outdone.

Guest choreographer/dancer Jamaican Jermaine Rowe leapt, stretched and took his body to great lengths as he interpreted Affirmations, set to Nina Simone’s version of He’s Got the Whole World in His Hands. Stephanie Thomas’ head of hair was the ideal prop for Bella Doncella. Her flowing mane became a seductive extension of her body and part of the dance set to a smooth bossa nova.

Wherever there is dance and the NDTC, the name Rex Nettleford could not be far behind. In this instance, it was the tableau Jesu Joy from Blood Canticles. Here the trio of Tamara Noel, Marisa Benain and Keita-Marie Chamberlain represented for the late choreographer and artistic director.

Benain would round out the local presentations later in the programme with Freedom choreographed by Monica Lawrence.

Dressed in a flowing white costume, Benain brought to mind dancer Judith Jamison in Alvin Ailey’s Cry, as she interpreted the civil rights anthem I Wish I Knew How it Would Feel to Be Free. She truly captured the essence of the piece with the rippling muscles of her back, a determined facial expression and an infectious exuberance.

Credit must be give to the organisers of the event who continue to expose Jamaicans to the world of dance.

— Richard Johnson