On Saturday, October 28, 2023, I attended Program 1 of the curated performances of COCO Dance Festival 2023 in Trinidad and Tobago. The evening began with a pre-show performance titled “How We Danced Our Way Back Home” (Nigeria and T&T, 2023) choreographed by Amir Denzel Hall and Ayodamola Okunseinde and performed by PACCINO. The performance took place outside in the courtyard area with the beautiful backdrop of the city lights and buildings.
As Kieron Sargeant and I entered the theater, it took several minutes for us to be seated in the “dance writer/reviewer” area as it seemed no one knew who I was—what a travesty! We were finally seated upstairs in the center section—the seats were decent. After viewing the program, I realized that this was a very full show with 14 pieces. There is absolutely no way to feature every piece in its entirety for this review so, I will write about the works that stood out to me (for various reasons) and I must share beautiful images of each piece featuring the amazing dancers and choreographers that were captured by Karen Johnstone’s Motiontography.
ACT 1 opened with a dance film titled “The Color of Transformation” (UK, 2022) choreographed by Ming, Oluwatosin Omotosho and Carolyn Bolton. This work was a celebration of Black women, centered around nature/mother nature, and offered food for thought through the evocative text which stated, “futures unprepared,” “stay small seems like abuse,” “expand yourself,” “I am the color of transformation,” ““You are nature, nature is you” and other powerful nuggets. The women danced to a reggae beat with strength and groundedness. Their bodies undulated demonstrating a clear articulation of the spine. There were high knees, representations of Yemaya, and a movement vocabulary that was rich. The dancing women dressed in black, juxtaposed with the image of the woman in blue, the diety Yemaya was just gorgeous.
I have questions concerning the protocol for late arrivals. A whole crew of audience members came sauntering in after the dance film finished which delayed the start of Terminè (USA, 2021) choreographed by Amanda McCorkle.
Tamisha Guy performed “Signals” (USA, 1970), a Merce Cunningham (staged by Jean Freebury) work. Ms. Guy embodied that technique YOU HEAR ME? She began the piece seated in a chair wearing a black top and rust bottom/pants. The stark stage was the perfect canvas to view this phenom execute this work. “All eyes on me” was the unspoken rule. She captivated the audience as she worked in minimalism and counterpoint, effortlessly holding beautiful extensions in a la secondè and arabesque positions. As the dance progressed, I got very anxious, and then just like that, I felt relief when the piece ended.
The second dance film featured was “Ausencia (Absence)”, conceived and performed by Jaruam Xavier. Some late audience members were let in mid performance (why?). People were talking, chatting, and laughing during the performance, so things were missed. It would have been great to have a talk back so that audience could express their thoughts on areas of the work that may not have been clear.
LaKeisha Johnson’s “4 Women” (USA, 2020), a.k.a Nina Simone’s “Strange Fruit” was interesting. This song is quite profound and recognizable and has been choreographed by many people. I was curious to see what Johnson was going to do with it. The women are exceptionally strong individually, I mean legs, power, strength, and explosiveness but as a collective, I was surprised that these elements weren’t demonstrated as an ensemble.
Dust to Dust: The Final Hour (T&T, 2023) choregraphed by Bridgette Wilson was very reminiscent of the conservatory program that I was enrolled in for undergrad (briefly). The dancers wore light colored unitards with their hair pulled back. The movement is grounded in Graham and Horton technique, and they executed the movements beautifully, fiercely performing motifs of pain/openness, surrender/searching and anguish/redemption.
Un/Bound (USA 2022) choreographed by Daniel Garcia closed ACT 1. During intermission the audience viewed “Since Though Wast Precious In My Sight (USA, 2014), choreographed by Danielle Russo in the lobby downstairs. This contact improvisation was a full-bodied masterpiece of chaos and calm.
ACT 2 was fast moving full of energy, excitement, cultural politics, and fusion forms representing some of Trinidad’s premier dance companies. “I Was Walking” (Two Excerpts) (T&T, 2023) choreographed by Dave Williams began with the dancers interacting with each other and connecting with square boxes offering support and connection. The image on the scrim was unclear and dark throughout the entire first section. When the section ended, the image became clearer the audience let out a collective “ah.” There was a sense of familiarity as the image on the scrim was revealed, showcasing beautiful locs. During the piece there was a heaviness/sadness. The dancers touched, embraced, and caressed their hair. The personal was political as it was later revealed that the piece addressed an issue pertaining to students being punished for their wearing their hair loc’d as school. I would have liked to see a smoother transition into the second work which would offer a sense of cohesiveness from one piece to another.
Hana Delong performed “Journey Unknown” (USA, 2023). This beautiful Black woman devoured the stage. Sis ate and left no crumbs. She mesmerized the audience with her virtuosity, pristine technical prowess, and the articulation of her body, arms, feet, and chest. It was scrumptious. Delong carved space like an artisan sculpting a prized artifact. This piece was a contemporary, urban funk fusion that was liquid gold.
“Reciprocal” (Excerpt/USA, 2022) choregraphed by Katie Gutmann made the audience gasp when the dance film began, I guess they were like “oh no not another dance film!” The video mirrored the duet of the dancers. The movement was Cunningham-esque which was inclusive of points in space, directional changes, reaching, and pointing. The male dancer reminds me of David Dorfman in the ways that he uses his body.
“Inside Out—A Journey Not Finished” (T&T, 2023) choreographed by Shakeil Jones was a fusion of modern and Caribbean styles with great use of space and creative variations and juxtaposition of movement and timing.
Mariposa De Papel (USA, 2023) choreographed by Eloy Barragan is another political work. In my interview with Barragan, he stated that this work is an excerpt of a larger work that he set on a company in Mexico. He revealed that in Mexico, young women and girls bind their chest so that they won’t be captured, and the piece is exploring this. The piece is about transformation which explains the butterfly metaphor which is demonstrated when the dancer unwraps herself in fabric as she enters the stage. The dancer beautifully translates this tragic issue with her flawless artistry.
The last two pieces of the evening Faderles (T&T, 2023) choreographed by Matthew “UGK_Matt” McClean and HER! (T&T, 2023), choreographed by Zidane Roopnarine were FANTASTIC fusion forms that included Classical Indian, African, Jazz, Hip Hop, and Ballet. The Faderless piece included 7 dancers. They offered a very funky and cultural version of Papa Was A Rolling Stone.” The red back drop complimented their fiery movement. The dancers were young but oh so strong and fierce!
HER! (T&T, 2023) was the perfect ending to the fabulous evening of dance. This work was more traditional in terms classical Indian movement and also their costume which featured bright yellow, orange, pink, and fuchsia colors. The 6 dancers served a Baratynatyam/Mohiniyattam fusion that was unmatched. The hips circled and swayed. The transitions were seamless and the choreography was engaging. The articulation of the arms and feet were immaculate. I appreciated the choices made in terms of spatial patterns, which added to the ebb and flow of the movement. The high energy, deep expressions and ferocity of the choreography and execution of the movement captivated the viewer. MORE PLEASE!
Images
As Kieron Sargeant and I entered the theater, it took several minutes for us to be seated in the “dance writer/reviewer” area as it seemed no one knew who I was—what a travesty! We were finally seated upstairs in the center section—the seats were decent. After viewing the program, I realized that this was a very full show with 14 pieces. There is absolutely no way to feature every piece in its entirety for this review so, I will write about the works that stood out to me (for various reasons) and I must share beautiful images of each piece featuring the amazing dancers and choreographers that were captured by Karen Johnstone’s Motiontography.
ACT 1 opened with a dance film titled “The Color of Transformation” (UK, 2022) choreographed by Ming, Oluwatosin Omotosho and Carolyn Bolton. This work was a celebration of Black women, centered around nature/mother nature, and offered food for thought through the evocative text which stated, “futures unprepared,” “stay small seems like abuse,” “expand yourself,” “I am the color of transformation,” ““You are nature, nature is you” and other powerful nuggets. The women danced to a reggae beat with strength and groundedness. Their bodies undulated demonstrating a clear articulation of the spine. There were high knees, representations of Yemaya, and a movement vocabulary that was rich. The dancing women dressed in black, juxtaposed with the image of the woman in blue, the diety Yemaya was just gorgeous.
I have questions concerning the protocol for late arrivals. A whole crew of audience members came sauntering in after the dance film finished which delayed the start of Terminè (USA, 2021) choreographed by Amanda McCorkle.
Tamisha Guy performed “Signals” (USA, 1970), a Merce Cunningham (staged by Jean Freebury) work. Ms. Guy embodied that technique YOU HEAR ME? She began the piece seated in a chair wearing a black top and rust bottom/pants. The stark stage was the perfect canvas to view this phenom execute this work. “All eyes on me” was the unspoken rule. She captivated the audience as she worked in minimalism and counterpoint, effortlessly holding beautiful extensions in a la secondè and arabesque positions. As the dance progressed, I got very anxious, and then just like that, I felt relief when the piece ended.
The second dance film featured was “Ausencia (Absence)”, conceived and performed by Jaruam Xavier. Some late audience members were let in mid performance (why?). People were talking, chatting, and laughing during the performance, so things were missed. It would have been great to have a talk back so that audience could express their thoughts on areas of the work that may not have been clear.
LaKeisha Johnson’s “4 Women” (USA, 2020), a.k.a Nina Simone’s “Strange Fruit” was interesting. This song is quite profound and recognizable and has been choreographed by many people. I was curious to see what Johnson was going to do with it. The women are exceptionally strong individually, I mean legs, power, strength, and explosiveness but as a collective, I was surprised that these elements weren’t demonstrated as an ensemble.
Dust to Dust: The Final Hour (T&T, 2023) choregraphed by Bridgette Wilson was very reminiscent of the conservatory program that I was enrolled in for undergrad (briefly). The dancers wore light colored unitards with their hair pulled back. The movement is grounded in Graham and Horton technique, and they executed the movements beautifully, fiercely performing motifs of pain/openness, surrender/searching and anguish/redemption.
Un/Bound (USA 2022) choreographed by Daniel Garcia closed ACT 1. During intermission the audience viewed “Since Though Wast Precious In My Sight (USA, 2014), choreographed by Danielle Russo in the lobby downstairs. This contact improvisation was a full-bodied masterpiece of chaos and calm.
ACT 2 was fast moving full of energy, excitement, cultural politics, and fusion forms representing some of Trinidad’s premier dance companies. “I Was Walking” (Two Excerpts) (T&T, 2023) choreographed by Dave Williams began with the dancers interacting with each other and connecting with square boxes offering support and connection. The image on the scrim was unclear and dark throughout the entire first section. When the section ended, the image became clearer the audience let out a collective “ah.” There was a sense of familiarity as the image on the scrim was revealed, showcasing beautiful locs. During the piece there was a heaviness/sadness. The dancers touched, embraced, and caressed their hair. The personal was political as it was later revealed that the piece addressed an issue pertaining to students being punished for their wearing their hair loc’d as school. I would have liked to see a smoother transition into the second work which would offer a sense of cohesiveness from one piece to another.
Hana Delong performed “Journey Unknown” (USA, 2023). This beautiful Black woman devoured the stage. Sis ate and left no crumbs. She mesmerized the audience with her virtuosity, pristine technical prowess, and the articulation of her body, arms, feet, and chest. It was scrumptious. Delong carved space like an artisan sculpting a prized artifact. This piece was a contemporary, urban funk fusion that was liquid gold.
“Reciprocal” (Excerpt/USA, 2022) choregraphed by Katie Gutmann made the audience gasp when the dance film began, I guess they were like “oh no not another dance film!” The video mirrored the duet of the dancers. The movement was Cunningham-esque which was inclusive of points in space, directional changes, reaching, and pointing. The male dancer reminds me of David Dorfman in the ways that he uses his body.
“Inside Out—A Journey Not Finished” (T&T, 2023) choreographed by Shakeil Jones was a fusion of modern and Caribbean styles with great use of space and creative variations and juxtaposition of movement and timing.
Mariposa De Papel (USA, 2023) choreographed by Eloy Barragan is another political work. In my interview with Barragan, he stated that this work is an excerpt of a larger work that he set on a company in Mexico. He revealed that in Mexico, young women and girls bind their chest so that they won’t be captured, and the piece is exploring this. The piece is about transformation which explains the butterfly metaphor which is demonstrated when the dancer unwraps herself in fabric as she enters the stage. The dancer beautifully translates this tragic issue with her flawless artistry.
The last two pieces of the evening Faderles (T&T, 2023) choreographed by Matthew “UGK_Matt” McClean and HER! (T&T, 2023), choreographed by Zidane Roopnarine were FANTASTIC fusion forms that included Classical Indian, African, Jazz, Hip Hop, and Ballet. The Faderless piece included 7 dancers. They offered a very funky and cultural version of Papa Was A Rolling Stone.” The red back drop complimented their fiery movement. The dancers were young but oh so strong and fierce!
HER! (T&T, 2023) was the perfect ending to the fabulous evening of dance. This work was more traditional in terms classical Indian movement and also their costume which featured bright yellow, orange, pink, and fuchsia colors. The 6 dancers served a Baratynatyam/Mohiniyattam fusion that was unmatched. The hips circled and swayed. The transitions were seamless and the choreography was engaging. The articulation of the arms and feet were immaculate. I appreciated the choices made in terms of spatial patterns, which added to the ebb and flow of the movement. The high energy, deep expressions and ferocity of the choreography and execution of the movement captivated the viewer. MORE PLEASE!
Images
- Faderles
- How We Danced Our Way Back Home
- Terminè
- Signals
- Dust to Dust
- 4 Women
- Her!
- Mariposa De Papel
 |  |
RSS Feed