Fast-paced, tight, crisp choreography; creative lighting and on-point execution are just some of the high points from last Sunday’s presentation of the L’Acadco 42nd season of ‘daaance’, Modupe’, which took place at the Philip Sherlock Centre for the Creative Arts at The University of the West Indies, Mona.

Patrons comprising young professionals, representatives of the Government, entertainment and media personalities, showed their appreciation to the various pieces by the L’Acadco dancers, under the tutelage of renowned choreographer L’Antoinette Stines.

The first piece, dubbed Modupe’, was about giving thanks to the Divine Creator. The dancers moved rhythmically in context and colour to the presentation, never missing a step, as they moved in sync to the rhythm and the beat. This while covered in costumes that were both attractive and appropriate.

Disdain, choregraphed by 12-year veteran Yakeem Reid, was another crowd-pleaser. It was a piece that dared to speak to the quiet ache of rejection and the maddening weight of loneliness, stories that are often carried in silence and worn with a smile.

Choreographer and dancer Yakeem Reid

Luminary, choreographed by Jessica Shaw, saw three male dancers dancing in circles with limited lighting. The choreography was tight, and Orville McFarlane, Yakeem Reid and Leonardo Parkinson, made it seamless.

Other pieces included Brinersy, an abstract interpretation of the language of L’Antech, an Anglo-Caribbean modern dance technique created in Jamaica by Stines and choreographed by Orville McFarlane; Terra Sacra — representing spaces imbued with spiritual significance — symbolising a connection between the divine and the earthly, fostering reverence and cultural identity (choreographed by Arsenio Andrade Calderon); Bodies Punctuating Music (BPM) — an abstract work that plays with movement dynamics, and Binghi: A Mystic Revelation of Rastafari – choregraphed by Stines.

Special mention must be made of the L’Acadco Drum Xplosion and all the musicians who added to the enjoyment of the production.

Musician Jordashe Jones and Ian Gage were recognised during the presentation for their contribution to L’Acadco over the years.

Minister of Foreign Affairs and Foreign Trade Senator Kamina Johnson Smith, a former dancer herself, was in attendance. She shared her thoughts on the production in an interview with the Jamaica Observer during the intermission.

Jessica Shaw performs in Binghie.

“The production has been fantastic, the lighting has been fantastic, and the dancing has been absolutely incredible. The energy is high, and the technique has been at its finest point. I think L’Antech is really just that Jamaican dance on show today. It’s just a joy to see how the technique has developed over the years. It’s beautiful to see, it’s Jamaican,” said Johnson Smith.

Businesswoman, event coordinator and artiste manager Jade Lee says she has been supporting the L’acadco season of dance for several years.

“I’ve been coming to L’acadco for many, many years. I’ve missed a few along the way, but for me, what has been very impactful is the actual technique, the L’Antec technique is solid. It really has such definition, you can see all the movements, the hands, the feet, and over the years, I’ve seen L’acadco grow. The highlight for me was the piece Luminary. It kinda grows with excitement, it builds up to a moment that was so amazing. It really wowed you at the end,” said Lee.

Singer Nadine Sutherland described the production as incredible.

“It was incredible. I mean, you get everything that L’Antoinette is. The first piece, Modupe’, then I loved Disdain, that’s pretty hot. Luminary, I love the music and the creativity. Just to see black Jamaican bodies of all forms, the different shape of Jamaican women, was extremely Jamaican for me,” said Sutherland.

Disdain was choreographed by Yakeem Reid. He shared what went into the piece.

“Well, the process was a bit tedious because it was coming from a personal space. The piece was not necessarily choregraphed to show rejection, but it was choreographed with rejection in mind, so the movements came from an emotional place and not necessarily from a place of storytelling,” Reid disclosed.

Asked how challenging it was, Reid said, “I pride myself on technique, so the focus was to ensure that throughout the process, technique was at the foundation of everything, which was the most challenging bit.”