​Day 2 of Miami Art Week (for me) and she’s booked and busy! Still working on the Knight Foundation Art Champion Celebration recap from Monday!

November 29th, I performed at the LOOP art showcase and exhibition at the Claire Oliver Gallery. I am still basking in the overwhelming brilliance of artistic expression that included several of the nine dimensions of “erotic performance” that I am investigating in my dissertation research!): power, pleasure, sexuality, virtuosity, desire, autonomy, play, sensuality, and freedom.

The vocal savant and goddess Mumu Fresh shared her gift with an intimate group at the Historic Lyric Theater. After her performance, the audience was invited to walk next door for cocktails, art, dance, and fashion at the Claire Oliver Gallery. I opened the fashion show with a solo featuring signature CaribFunk dance and fitness movement performed to AfroBeat and Soca, setting up the beautiful models to showcase the collaboration between Bahamian visual artist Gio Swaby and the fashion designer duo BruceGlen.

The critical and engaging art exhibition was the perfect backdrop for the moving art exhibition/fashion by the designers. The artists featured in the exhibition were: Robert Peterson, Gio Swaby, Stan Squirewell, Simone Saunders, Lauren Fensterstock, Aaron Stephan, Barbara Earl Thomas, and Jeffrey Henson Scales. Please feed your soul and spirit by stopping by the gallery to view the imaginative and profound work by the artists.

It was a pleasure to participate in this event because of the Bahamian connection. Even the videographer Charlie Bahama is Bahamian! I will provide a full recap of all the events I attended and/or participated in at the end of Art Basel.

Image 1: AC and Gio Swaby
Image 2: AC and BruceGlen
Image 3: AC Pre Performance w/Jacket
Image 4: Designers and Hostess
Image 5: Mumu Fresh
Image 6: Gio Swaby: “Self Portrait 2”
Image 7: Simone Sanders: “A Prayer”
Image 8: Stan Squirewell: “Bonita & Blu”

#culturalcritic
#dancewriter
#fashion
#art
#danceandculture
#bahamas
#artbaselmiami

​Art Basel: Le Art Nior, Diversity in Color (Review)
The African Heritage Cultural Arts Center (AHCAC) hosted Le Art Nior, Diversity in Color last night (12/1/22) which is a part of the “Art of Black Miami” series. It was an evening of Art, Fashion, and Entertainment but it was also a homecoming and family reunion for me. The AHCAC and Marshall Davis, the Director serve as my dance education home. Mr. Davis offered me my first teaching job in 1998 and I remained there for 8 years serving as the Dance Director and the Artistic Director of the resident dance companies before leaving for graduate school in 2005. Driving up and seeing the transformation of the campus and the expansion of the buildings was such a joy because I can recall staff meetings where Mr. Davis and other employees shared their vision and to see the manifestation of these ideas was gratifying. I saw former colleagues Bayunga Kialeuka, a featured artist, Darryn Ferguson, who was there volunteering his time to assist with the setup, and Isis Roberts, Arts Administrator. My heart was full.

The First Frequency art exhibition in the Amadlozi Gallery was developed by Bayunga Kialeuk:  the artists featured are Boris Anje, Precy Numbi, Sesse Elangwe, Nicole Grace, Kingtsey, Aurelia Djena, Hako Hankson and many more! As I entered the gallery space, I was blown away be the work—many of the images didn’t have the artists information because they are still preparing for the official opening which is today (12/2/22). There was a range of mediums, textures, and themes on display. The work is brilliant and vivid, drawing you in multiple ways. I overheard conversations with a few of the artists and visitors; they were very generous as they discussed their process and inspiration. The gallery on the west side of the building offers a different experience and energy. As soon as you walk into the space you are greeted with deep and rich colors, reminiscent of Nick Cave or Junkanoo artwork set in den like space. The gallery on the side (around the corner) is more open and lighter with large pieces which will captivate the senses.

The gallery on the east side of the building provides a wonderful cultural stamp, offering pieces that are reminiscent of both moments in history in terms of Black activists and also work that features men and women who could be our friend, neighbor, or partner. The art moves you and seems to move with you, this is what Louis Oliver (one of the hosts of the event) stated as he viewed the work.
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After, I viewed the galleries, I noticed that there was a buzz occurring and it was time for the program to begin. The DJ was in full effect, hyping the audience up with Afrobeat and remixed 70’s and 80s classics. There was also a saxophonist rocking with the beat which added to the funky vibes of the event. He later stated that he also plays at the Miami Heat games. After his performance, Louis Oliver and his event co- partner welcomed us, thanked their sponsors, and brought them all up on stage to offer a few words. Mr. Davis greeted us in his usual “short and sweet” performance, then the fashion show commenced. The lovely ladies of all shapes, sizes, and ethnic backgrounds, wore various indigenous inspired pieces; nude dresses, multiple versions of a fringe long leather vest over unitards, thongs, and pants, a light-colored two-piece (skirt and mid riff cut out top). There were various versions of sheer dresses revealing cheeks of all proportions.  The designer also featured a full figured look. Most of the models wore feathered headpieces accentuating their unique designs. I would definitely rock any of these looks! If only I knew her name. Unfortunately, there was no information immediately available for the designer. If, you are interested in a piece of artwork or the fashion, please call the center at 305-638-6771 and definitely make your way out there to see the amazing work of the artists. On Sunday, December 3 @ 3pm (3:30pm – 9:00 pm) the AHCAC is hosting the 6th Annual Art, Blues & Soul Festival with special performances by Marsha Ambrosius, Meli’sa Morgan, Next, and more! Check out www.ahcacmiami.org for more information. See and do something “Noir” this weekend!

A’Keitha Carey
Cultural Critic and Dance Writer
#culturalcritic
#dancewriter
#fashion
#art
#danceandculture
#bahamas
#artbaselmiami
 
Image 1: A’Keitha Carey
Image 2: A’Keitha Carey (Artist Unknown)
Image 3: A’Keitha Carey (Artist: Bayunga Kialeuk/”Protect Your Seed”)
Image 4: A’Keitha Carey (Artist Unknown)
Image 5: A’Keitha Carey (Artist Unknown)
Image 6: Artist Unknown
Image 7: Artist Unknown
Image 8: VanJoe: “Heart of the City

eOh “Come Ye” into the tabernacle of “Grace.” Enter the divine with an agile spine, rotating pelvis, and open back. Breathe in the fullness of the Continent, Caribbean, and the Americas. Have “Mercy.” Asé! I was overjoyed and ready to partake of this fresh manna from the heavens served by this glorious company. As I walked into the Amaturo Theater at the Broward Center for the Performing Arts for the final show (Friday), I was stunned by the fact that there was no program or QR code to scan. And then dumbfounded by the ridiculously low attendance (I will address this separately). There were more empty chairs than bodies. In a state of confusion, I walked to my chair and tried to remain focused on the show.

The first piece “Come Ye” (2002) featured music by Nina Simone and Fela Anikulapo Kuti. The costumes were various denim designs. The work was presented in several sections with Brown’s signature phrase work illuminating Afro Cuban movement and various dances from the Continent. Shoulders were rolling, machetes were slicing, and hands and torsos were pounding. The second section offered a lovely contrast with an adagio. Dancers bourreéd across the floor while Nina Simone belted out “One More Sunday in Savannah.” The Third section was all about revolution; we saw the notable swagger and groove that has become synonymous with Brown’s aesthetic. A strong moment featured the full ensemble travelling around the stage showcasing signature movements in the repertoire. If “hit it and skin it” was a person, it was Baby Love, Ms. Joyce Edwards. Her presence is ethereal, captivating the audience with her command of the space. She is giving height, strength, power, grace, and femininity. The clarity in her movement brings life to Brown’s narrative. The men’s section in the Fela moment felt nostalgic taking me back to Baba Richard Gonzalez’s Afro Caribbean and Orisha Dance class at Djoniba Dance and Drum Center and Peridance Center in New York.

The second piece “Mercy” (2019) with music by Meshell Ndegeocello featured beautiful ensemble work. I was immediately drawn in by the white fabric dropped from the ceiling. This was contrasted with the blue backdrop and black costumes. The second woman who enters wears a black hat/crown like the Zulu inspired hat worn by Queen Romonda in Black Panther; this took me out. Demetrius Burns’s solo was pure fiyah! He embodies the seamless synthesis of African Diaspora movement journeying through space and time which is amplified by his costume, a chiffon balloon top and black flowing pants.

“Grace” (1994/2004), the third and final piece with a sound score by Duke Ellington, Roy Davis, Jr., and Fela Anikulapo Kuti was deep. Joyce Edwards solo begins the crossing with power, strength, grace, beauty, elegance, confidence. It’s the walk for me! In this work, some of the dancers were a little stiff in the hips, back, and torso, and the movement aesthetic, that groove/flow is not so obvious and pronounced. The energy level noticeably dropped. I questioned if they were feeding off our (the audiences) energy? The house was dead. From where I was sitting, heads were not bopping, backs were not contracting, and shoulders were static.
Michelle Murray and I did our call and chants to liven up the house. I did my Fela “Yea Yea” call and Michelle chimed in with her high pitched “Yaowww.” This seemed to work because some of the audience members verbalized their appreciation as well. This appeared to revitalize the company because the fiyah was stoked; this was demonstrated as they concluded the piece.

Brown’s aesthetic includes a softness that hits and funks within the steady pulse that grooves yet conjures up a fiyah that demands the body: head, neck, torso, shoulders, back, hips, and legs to respond. When it’s there, it is remarkable and when its off, it leaves the (informed) viewer somewhat disappointed. Some of the company members have not found this yet or it’s not consistent. This doesn’t negate the fact that they got it in. They are all fiercely strong, but the newness of the group is observable. I am certain they will find Brown’s poignant groove.
Evidence, a world renown dance company is always a soul fulfilling experience and something not to be missed. It was painfully embarrassing as a Florida dance artist to see what Broward Center for the Performing Arts offered their guests. I’ve seen local high school and dance studio performances with a better turn out. What happened Broward Center for the Performing Arts? Were the tickets just not purchased due to poor marketing and/or did the people who purchased the tickets all decide not to show up? What say you? There was “No evidence of Evidence…”  (Shanna Woods 2022) in terms of what the presenting agency demonstrated.  Let’s do better South Florida.

Images
Image 1: Come Ye
Photographer: Julieta Cervantes
 
Image 2: Mercy
Photographer: Ernesto Mancebo
 
Image 3: Grace
Photographer: Julietta Cervantes
 
Image 4: Michelle Grant-Murray and A’Keitha Carey
Photographer: A’Keitha Carey
 
Image 5: Empty Seats
Photographer: A’Keitha Carey
 
Image 6: A’Keitha Carey
Photographer: Michelle Grant-Murray
 
 
 
 
 
 
 
 
 
 
 

I attended the Saturday performance of Shamel Pitts’s Touch of RED (A Miami Light Project and Young Arts Collaboration) at Miami Theater Center in Miami Shores, FL. I was intrigued about the performance based on several narratives that I read by Pitts, particularly his discussion of the “Afrofuturistic performance art landscape,” “Male vulnerability,” “Aggression into softness,” and “Futuristic and Voyeuristic gladiator entertainment.” I thought about what that means philosophically and how that translates aesthetically and kinesthetically.

In my most recent writing “A Response: As We See It: Black Elders On Writing On Dance (Eva Yaa Asantewaa in Conversation with Brenda Dixon-Gottschild, and Charmain Warren)” in The Movement Performance Journal #56 (Summer 2022), I was intrigued by Dr. Warren’s discussion of her blog “What I Saw” which offered her the opportunity to “say something there before [she] had it in print at The Amsterdam News” (Warren 2022, 29). I thought that this approach was most fitting for this review.

The audience enters in groups. We are confronted with the challenge of navigating the tight dark space to get to our seats; this design element captures the vibe and authenticity of a boxing/wrestling match/arena. There is also excitement in seeing the beautiful red bold structure that contained the two male dancers Tushrik Fredericks (performer) & Shamel Pitts (concept direction and choreographer) who were already in motion when we arrived. They were contracting and bouncing in a very close and contained manner. As I sat in my seat, taking in the elements, I was reminded of Nora Chipaumire’s prolific piece Portrait of Myself As My Father which also features a boxing arena. I was curious to see and experience how Pitts would articulate his impressions and deconstruction of masculinity through this design and concept.

My focus shifted on the costumes designed by Dion Lee. Pitts wore red cut out leggings with a red mid-riff top with his arms exposed.  Fredericks wore a red bikertard with long sleeves. Both men wore black socks and black slip-on shoes/boots which balanced the bold frame of red (costume, marley/floor, lighting, frame of the arena). The original music score was created by Sivan Jacobovitz and Taylor Antisdel was the featured cinematographer. The sound score was a seemingly abstract melodious concoction that was reminiscent of a muffled house groove at certain points in the work. The cinematography and soundscape were engaged in a performative matrimony. Spatial patterns moved on the diagonal, sometimes clockwise and counterclockwise. The dancers maintained close contact most of the work and separated heading to their opposing corners to hydrate and recalibrate.
The movement vocabulary features a multitude of forms and aesthetics. I saw: Gaga Movement; Lindy Hop; House/African/Afro Beat(ish); Child’s play; Pedestrian, Animals Playing and Copulating, Irish Clogging, Yoga, Pas de deux: Tango/ Paso Doble (sans the passion, intensity, and eye contact). There is quite a lot happening in the work. I also saw some elements of Lil Buck’s alluring aesthetic. The duo’s strongest moments were when they were actually touching, feeling, and allowing themselves to become enthralled with each other through touch, play, sensuality, sexuality, challenge, and trust.  

There are some strong elements and others that are not so clear and don’t connect to the narrative and the cinematography, and at times overshadowed the dancers’ performance. Pitts’s discussion of male vulnerability was not as prevalent aesthetically. This concept, juxtaposed with the boxing ring, which is the epitome of male power, strength, and at times vulnerability (when they are holding on to each other, embracing each other out of necessity and desperation) was lost at times. I looked for moments when Pitts was going to queer heterosexuality “and “relationships [within] normative social and political structures” (Ellis 2020, 208). I did not see this but that’s OK. At the end of the performance, the dancers went to each quadrant and shared a story with the audience. I appreciated this moment offered by the performers. I did see elements of these reflections demonstrated in the work. Pitts’s reflection was evidenced in the duet that featured the “strongest moment” in the work. Fredricks reflection was evident at various times throughout the piece where it appeared that they were both in a club together unaware of anyone else’s existence. This is WHAT I SAW.

Image 1 (photo credit): Young Arts
Image 2 (photo credit): Miami New Times

References:
Ellis, Nadia. 2022. “Out and Bad: Toward a Queer Performance Hermeneutic in Jamaican Dancehall.” In Dancehall: A Reader on Jamaican Music and Culture, ed. Sonjah Stanley Niaah, 205-222. The University of the West Indies Press: Jamaica.
Yaa Asantewaa, Eva. 2022. “As We See It: Black Elders On Writing On Dance (Eva Yaa Asantewaa in Conversation with Brenda Dixon-Gottschild, and Charmain Warren)” in Movement Performance Journal (56):27-35.
           
 
 
 
 
 
 
 
 
 

“As We See It…” is featured in The Movement Performance Journal #56 (Summer 2022). This topic of dance writing was of interest due to the prolific dance artists, scholars, writers, curators, and critics that were featured in this edition. It spoke to my recent endeavor as a self-proclaimed “Cultural Critic and Dance Writer” which is more so out of necessity in my South Florida community. Yaa Asantewaa dives in, boldly with the first affirmation and “read” concerning the erasure, invisibility, and lack of recognition of writers of color in the field (29). White dance critics affirm and recognize each other but do not offer that same level of regard and distinction to dance writers of color (29). That set the tone of the article. In terms of erasure and invisibility, we have a similar concern in South Florida. The issues are the lack of 1. Black dance writers; 2. dance writers who know dance kinesthetically, historically, and culturally; 3. previewing/reviewing of Black dance companies and 4. support of Black dance artists in the community by mainstream presenters and media outlets. The article is timely, I wrote five pages of notes; the nuggets were nuggeting!

The women tackled pertinent topics such as appropriate compensation for “Knowledge, skill, labor, and time…” (Yaa Asantewaa 2022, 28) and the erasure and invisibility of Black dance writer’s voices in mainstream outlets. I have asked myself and several members of Florida Black Dance Artists Organization (FBDAO) this question concerning how we can get compensated for doing “the necessary work” particularly outside of our communities? There are so many talking points which I can’t address in this response, but I will present some of the poignant statements/themes from the “Trinity” (Yaa Asantewaa, Dixon-Gottschild, and Warren!).

• “To me the only way to talk writing and to write talking about dance is to be in that frame of reference so that you’re more like an anthropologist who is working from the emic frame…rather than an etic frame [from an outside perspective]” (Dixon-Gottschild 2022, 30).
• “…Racism is encoded in the white DNA, if you will…But is so deeply embedded in our Euro-American culture that, in a sense, the critic is bringing that with them all the time” (Dixon-Gottschild 2022, 30).
• “How are we to reach people who are not already clued into how magnificent an art form dance is and the geniuses we have in it?” (Yaa Asantewaa 2022, 30).
• “We need our writers, and we need them writing from a variety of different motivations and perspectives” (Yaa Asantewaa 2022, 30).
• “We need both our own platform and mainstream” (Yaa Asantewaa 2022, 30).
• “Just because a person is designated a dance critic doesn’t mean that they know what they’re talking about” (Yaa Asantewaa 2022, 32).

This article distinctly informs us of where we are and points us in the direction where we need to go, even proffering ideas and suggestions centered on authenticity and “being in it,” (the emic versus the etic). It was made abundantly clear that we need our own spaces to discuss our brilliant, Black moving bodies but we also need other platforms that will allow us to extend our reach to other communities (Warren 2022, 33). That can happen through the ways we discuss the “history, analysis, and perspective” (Warren 2022, 34) of our artist’s work. We are still dealing with many challenges in the field which is heavy laden with white supremacy and non-Black voices writing about cultures they have no knowledge of or investment in. Warren offers staunch advice, “write what you see” and “make our own.”

This “Trinity” of Black excellence has modelled how to beautifully make that happen, Warren through “Black Dance Stories,” Yaa Asantewaa with her Gibney projects, and Dr. Dixon-Gottschild with her plethora of scholarly literature of Black dance aesthetics and history (this is of course a too brief list of their many accomplishments!). I want to thank you all for your contribution, influence, and legacy. You have mentored more of us than you are aware of, and it is with great gratitude that I share my ardent appreciation for all that you have done for our Black dance community globally.

We move with joy and power
We write with fiyah
We see through the lens of wisdom, knowledge, and history
We are students of your brilliance

A’Keitha Carey
Cultural Critic and Dance Writer

Photo credits
Dr. Charmaine Warren (Tony Turner)
Eva Yaa Asantewaa (Queer-art.org)
Dr. Brenda Dixon-Gottschild (Humanitiesfutures.org)

P. Funk Junkies written and directed by Teo Castellanos premiered at the Miami Light Project with preview shows, October 3-5. The show opened Thursday, October 6 and closed Saturday, October 8th.  It was BRILLIANT! The casting was superb capturing the beauty of multigenerational cultural wisdom, knowledge, and artistry. The ensemble included Michelle Grant-Murray (co-choreographer/performer), Dr. Keshia Abraham (performer/dramaturg), Niurca Marquez (performer), Inez Barlatier (performer), Maria “Mercy” Lopez (performer), Teo Castellanos (performer/writer/director) and Augusto Soledade (co-choreographer).
 
The piece began with Inez, the Haitian American empress demarcating the space, placing white tape on the floor in the shape of a cross creating boundaries that were crossed, disrupted and trampled on. She wore a red long sleeve fitted shirt with black palazzo pants, cowrie shell bra, black corset, and African fabric draped around her hips. Was she the devil woman? When she completed her ritual, the rest of the cast entered to a reggae beat. Niurca and Michelle carry linen and prepare their area and take their seated positions.
Michelle and Niurca wear pants in various earth tones. Michelle is wearing goggles on her head, body paint, a cowrie shell bra with African fabric attached to it, providing a rich layered effect and can we talk about the diverse movement technologies that live in this woman’s body? I’ll wait. Niurca dazzles us with a yellow print bustier, pants split up the thighs serving us legs hunny. She also has feathers in her hair; I’m getting indigenous vibes. You can see the gorgeous tattoo that extends from her hip to her shin/ankle. Tao enters, wearing red loose pants, a printed vest, cowrie shell necklace, and arm band, the cast starts singing. Mercy’s costume boldly informs us of duality or identity struggle. There’s a rough and edgy element to her look, juxtaposed with a calmer persona. And girlfriend is rockin’ bantu knots, okay! And then Queen Keshia! Melanin is poppin’; her essence is giving all kinds of fierceness! She wears several shades of blue, a crown, gold chunky necklace, a feathered top that resembles some sort of breast plate, cowrie shell belt, leggings and carries her most important artifact, the Moses rod. Queen Keshia takes her seat upstage center in all her regality. All I can think of is Tarrus Riley’s song “She’s Royal” to describe this vision.  Queen Keshia looks at Nuirca, identifies her as “lover”; now we are ready to begin!

Each cast member shared powerful monologues ranging from being in love with a god (Niurca), engaging in religious rituals with church elders and a baseball reference (Michelle), being half punk and half skin (Mercy), the challenges of expressing feminine energy in a male body (Tao), and colonization, slavery, and the inequities and injustices in the prison system for Black and Brown people (Keshia). The topics were heavy, but the integration of satire allowed for a realism that is indicative of Black culture, “you gotta laugh to keep from cryin’”. These are our survival strategies, right? Thematically, the work is deep, overtly addressing the “isms” of society—much of this went over, around the corner, and down the street to the predominantly white audience (missed, ignored, avoided etc.). I mean the ensemble were calling out and SCREAMING colonialism, inequality of Black and Brown lives, and racism, and the space was ripe with ancestral spirits which was visible in the costuming, the monologues, movement, music, and artifacts.
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Tao offered us his absolute best and got it all in. There was dub; punk; rock; capoeira; African dance; modern dance; twerking; popping; winning; grooving; waacking; LGBTQ references; the Orishas Ogun and Yemeya; and Haitian loas Demballa/Yanvalou and Ghede, Latin culture (language and aesthetics), Dionysus and so much more. This was a political work with so many contemporary cultural references that you had to sit with it and make connections and decisions—if you wanted to. Congratulations P. Funk Junkies…y’all did that! 
Photographer: Kevin Alvarez Cordova
 
 

The Woman King Review

I had the pleasure and privilege of watching The Woman King this weekend, a film directed by Gina Prince-Bythewood— it doesn’t disappoint! It is not only brilliant in its story telling and acting by a powerhouse cast of amazingly talented and sublime Black women and men; but the love, ferocity, tenderness, dignity, and humanity that was performed was breathtaking. My reactions were visceral; I breathed deeply, shouted, cringed, cussed, celebrated, and danced with these women. 


This movie is a classic! It’s teachable beyond its historical references of the Agojie, an all female army of “mi nah rump” women who protected the African Kingdom of Dahomey in the 1800’s. And, then there’s Black feminism/womanism, African spirituality, African and African Diaspora cultural theory…which are all of massive proportions. This film is the embodiment and manifestation of survival, power, mothering/motherhood, and Ovahstanding the assignment! There is not enough time to discuss the choreographed fight scenes and the costumes (which I would definitely rock). Yassss ma’am!  It’s giving chiseled core, arms, back and legs hunny!  Just go and see the movie!

Moving Forward:
I am (re)thinking my own work/performance of the Warrior Woman (CariDad) that I constructed and how I can/should/need to approach this project with the superb level of attention and care to Black womanhood, virtuosity, and erotic performance (my dissertation research!) that I witnessed on screen. This is one of THE BEST movies I have seen in a longgggggg time. You is a boss Ms. Viola! No, you is a Woman King!!! Big up ya self!❤️❤️ Thank you to Viola Davis, her cadre of Warrior Women, and supreme production team for centering us and showing us that we are more than enough and have always been.

Image 1. Black woman at dinner prior to seeing Woman King thinking about the wonderment soon to come.

Image 2. CariDad Warrior Woman (2022)
Photographer:Melanie Valle

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Miami Broward Carnival 2022 Review

“What a time” as my grandmother Annie Diggiss would say. It was sumtin’ last night boy! I attended Miami Broward Carnival Parade and Concert at FIU’s Fair Grounds. But first can we address why we had to “walk a mile and a half” to get to the entrance? I was walking so fast, my Apple Watch activated assuming I was working out; but I digress.

The devil was busy because the weather was not trying to let these hips activate. It was storming in both Dade and Broward. I finally made it on di road at 7:45pm and after looking for parking and my 18 mile hike, I made it to the entrance—it was well after 9pm and di party done at 11pm! So, I had to get it in quick. I was already warmed up from my sprint. As I got closer, the music was blasting, bass pumpin’, hips rollin’, and di herbalist dem was in full effect—it was ripe!

As I walked in Blaxx’s “Mash it up” was pumping on the soca stage. Mi reach! I haven't been to Carnival since COVID so, it was a celebration for many reasons. It felt right. In natural riddim, I walked and wined looking for a familiar face. I finally located my crew after 20 minutes of texting back and forth and I was able to settle into my excitement.

All di Queen’s were representing Nadia Baston and Patrice “Again” Robert’s were carryin’ on bad. The crowd continued to thicken gravitating towards the stage as all of our favorite tunes were playing. Then it shifted—the crowd in unison chanted “Backyard Jam” to Farmer Nappy’s smooth and groovy tune…eyyyyy! And den di stage get mash up with Skinny Fabulous! Woieeeeeeeee! Listen, rags were waving, people were jumpin’, waist lines were wukkin’ up! It was sweet!
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And di man dem couldn’t stay off of Shanna Woods CEO of Lavish Lovin. Dem oils and cremes was poppin’ hunny. I mean left and right dey was pulling up for a wine! Yassss sis…and she gave them what they were looking for. Y’all bettah get these natural products.
The evening ended with our ritual of receiving the blessings from the Carnival Costume Gods! Thank you for another wonderful year of embodied freedom, cultural expression, and multicultural diasporic joy! See you next year!

National Dance Theatre Company (Full Review)
Profound, Prolific, Brilliant, and Joyous! This briefly encompasses the National Dance Theatre Company’s (NDTC) performance at both The South Miami Dade Cultural Center and The Miramar Cultural Center. Sir Rex Nettleford’s legacy, spirit, and impact was felt during the company’s performances which is a testament to the boundless investment of culture, dance, history and tradition that Nettleford gifted the company, Jamaica, and Caribbean dance scholars and practitioners globally.
 
Talk about full production and ensemble—vocalists, musicians/drummers, and dancers. As we waited for the performance to begin, the vocalists entered the space and set themselves up in the orchestra pit. The curtains opened—the drumming and singing were mesmerizing. The piece Drum Score (1979) commenced the Caribbean music and dance celebration. I appreciated the multigenerational representation allowing for a sense of community, acceptance, and inclusion. The dancer’s bodies breathed, giving life to the space. Torso’s contracted and undulated, evoking Yanvalou, the snake deity in Haitian Vodou. Hips were winding and rolling, matching the intensity of the vocalists. Afro Cuban deities Ogun and Shango were evidenced in the movement as arms flung with power, articulation, and intentionality. I asked myself when was the last time I witnessed something similar? I had no answer. It was a moment not only of awe but also pride that as a Caribbean artist, we are tremendously gifted and proficient.
 
Rita Marley’s Tribute (2022) boldly demonstrated the depth and strength of Rastafarian culture, aesthetics, and spirituality. The backdrop was a beautiful image of the Rasta lion/lion of Judah, colors (red, gold, and green). Performers entered with the Rastafari diamond gesture wearing all white with red, yellow, and green fabric draped around their shoulders and neck. The nyabinghi drumming was alluring and hypnotic, drawing the audience in through the rhythmic pounding and slapping of the drum. My back arched and sank continuously in sync with the cadence. As I grooved with the music, I asked myself “how does this music make my body feel and what does it remind me of ?” There was a sense of familiarity as I reminisced on the bodily gestures that I observed in many of the Rasta’s I saw who dance to reggae music. The ways their bodies float in the air and the oppositional pull of the shoulder to knee while the torso salutes the heavens as the back spirals in a circular-linear manner is a sight to behold.
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The woman’s piece Unbroken (2022) which addresses the support and encouragement for women and Kerry Ann’s Solo “How Long Sweet Jesus” demonstrates the power, strength, virtuosity, and dexterity of the women in this company. What an alluring expression of erotic performance, beauty, agility, and grace.
Rough Draft (2014) and Gerrehbenta (1993) were full ensemble works with the former taking on a contemporary vibe while engaging in traditional and social dance forms while the later demonstrates traditional Jamaican song and dance. Both works feature Jamaican culture and aesthetics drawing the audience in through sensory stimulation.
 
Rough Draft’s (2014) set design includes asymmetrical framing with a slanted pilar with fabric draped from upstage right to downstage left. The colors ranged from dark pink/fuchsia with the backdrop lighting changing from red, blue/purple, and green. Dancers entered the stage draped in fabric rolling in from stage right. There was so much going on, a cacophony of movement, sound, costume design; I mean the dancers must have had 4 costume changes all of which belonged in my closet!
 
The energy was constant even in moments of stillness. There was constant energy and flow; their bodies devoured the space, and the sense of Jamaican national spirit and pride were threaded through the movement and costume—and the bow—this was fiyah! We witnessed everything from gerreh, traditional African dance movements, Rastafarian gesture and walks, dancehall moves, and the aesthetic of the cool (hot and cold).
Gerrehbenta (1993) was an immediate and profound YASSSS! The audience jumped right in clapping and singing, most of them knew the songs and rhythms which was amazing to see and hear. Dinky-mini and gerreh movement were central to the work and the feet and hand rhythms added to the intricate soundscape. The various movement patterns across the floor supported the festive costumes and vibrant lighting.
 
After the performance, the director of NDTC, received an award presented by the Consul General. The mayor, Wayne Messam, joined the company for the finale and they both showed us their best dinky mini. As the audience exited, many were singing and dancing. I watched a woman seated behind me dinky mini out the isle, gathering the attention of those nearby. It was a beautiful evening! Well done NDTC and thank you to the Louise Bennett Heritage Council; Ms. Olivia Grange and the Minister of Culture, Gender, Entertainment, and Sports; Consulate General of Jamaica Mr. R. Oliver Mair; and Mayor Wayne Messam for supporting this project.