By Justin Whyte,
Entertainment Editor
IT WAS an invitation to a dance of a new era Saturday night, when the Xaymaca Dance Theatre presented its 2000 Season of Dance, at the Little Theatre, Tom Redcam Drive, Kingston.
It was an exposition of existing dance vocabulary with ornamentation. Whereas the core vocabulary was preserved, experimentations were interwoven, which enabled the dancers to explore their talents to new depths.
Both audience and dancers were caught up in a 'web of modern approaches' and a new attitude, under the guidance of Barbara McDaniel.
The vocabulary used was a mixed one, comprising the religious and traditional, transformed into funny and sexy works, through the use of contemporary hit songs and instrumental stylings. The type of avant garde orchestral treatment, with a Dolby-kind-of-clarity, haunted the emotions of patrons and motivated the dancers to excel.
The dancers used their limbs, coupled with their enchanting costumes, designed by Arlene Richards and Lurlyne Walsh, to convey their various messages.
There is a movement towards showcasing integrated song and dance at concerts nowadays. And it was delightful to see the inclusion of drumming, as has been the case among some choreographers.
The psychedelic effects of the astutely operated lighting by Michael McDonald and the well selected and amplified music by Vincent Chin-Penn made for an attention-grabbing presentation.
The choreographers ensured that the dancers projected different moods - some stronger than others - but all included graceful dances and leaps.
The duet by Kevin Moore, guest dancer and Najah Peterkin, lead dancer with Dance Theatre Xaymaca, choreographed by Sabdiel Hardware, designed for performers with swift feet and a good sense of rhythm, provided a suitable bridge to the various works. Both dancers exuded poise and theatrical presence, to make it an outstanding piece.
But the highlights of the evening were 'The Quest', which portrays life's struggles and ways of overcoming them to achieve life's goals, choreographed by Dwayne Barnaby, using the exciting Great Expectations sound track and Emanon, choreographed by Miss McDaniel, using excerpts from Variations by Andrew Lloyd Webber.
