Group Title: CARIFESTA Newspaper Clippings
Title: Our development in terms of culture
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 Material Information
Title: Our development in terms of culture
Series Title: CARIFESTA Newspaper Clippings
Physical Description: Book
Creator: Osman, Raschid
Publisher: Guyana Graphic
Publication Date: 8/28/1972
Subject: Carifesta (1st : 1972 : Guyana), Festivals - Caribbean Area
Caribbean   ( lcsh )
Spatial Coverage: South America -- Guyana -- Georgetown
Funding: Support for the development of the technical infrastructure and partner training provided by the United States Department of Education TICFIA program.
 Record Information
Bibliographic ID: CA00199886
Volume ID: VID00001
Source Institution: Caribbean Community (CARICOM) Secretariat
Holding Location: Caribbean Community (CARICOM) Secretariat
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: CARIFESTA I 1972

Full Text



in terms of culture
By kRASCHID OSMAN incisive articulation, which is -never allowed to
THE STANDING ovation The Jamatca company can dominate the piece.
accorded the Jamaica Na- also attain towering emotion- In Kumina Nettefotd makes
tional Dance Theatre at the ai heights, not spurning the the most of that shifting euf-
Cultural Centre on Saturday romantic and yet nevef fling movement wtic# dom-
seemed to have been pro- foundering in soentwnentality. inmates his works and which
evoked by just a bit more Dialogue for Three, with is at the core of the company's
than the technical and styl- musie from the slow move- stylish panache.
ish magnificence of the mert of a Rodrigo guitar con- At curtain time. led ry Net-
company. certo. presented another ex- tleford and female soloist
For, for the first time, citing facet of a company full Pansy Hassan, the eomnany
Guyana found itself possess- of surprises. weaved back and forth in
ed of the stage facilities to Hero a male dancer and rhythmic acknowledgeme4t
accownodate fuly a profes- his two lovers mad4 the most of the applause ringing eG and
sional dance company. For f -wonderfully expressive on, coming back again and
the first time a Guyanese lines as the strong dramatic again for bows until `lallv
audience appreciated the use Rodrigo composition formed the perfomerr s themselves
to which wings on a deep an orchestral wave of sound broke into applause in an un-
stage can be put and the raising the dancers to heady usual tribute to their highly
boundless freedom allowed a crests emotional intensity. appreciative audience
choreographer who is as- But it was in KumlEina that The Janmae1 n dancers rte
sured of lots and lots tte and his dancers turn home today ta`i t with
elbow room. really gane into their own. them glowing p ri ~f
The ctinuing rouns of 'This ballet is based on the the immense gratitude6f thf
applause as Rex Nettlegfrd Jamaica Afro-cult to be found Guyanese people. They -aL
and his dancers swung ito in St. Thomas asd is execut- leave behind _recolo tiS' of
thor I ap e W a irtfpit e4 to imsistept kinetic Afro an unforgettable evein1
tribute t the Jamalca for .ams alpwing the company wh'ch must have strenatien-
sharing with -Guyan .0ef to shuffle apnd swing heir ed he airations of _l wh4
shinina talent and fore ak-. eanub lse teselves wi sat in the audieee, setting
ing their hosts delightfully 1 ntep e African mrEvenmet. new goals to be achieved in
aware of what the yet in- Here Nettleford made use of the wake of this most stellar
contplete CtMuMral Centre ha I fefll lnes 0f daneVra, he him. of West India" nattiont daneq
to offer. \ self taking the male solo companies.
An intense involvement
with Jamaica's Arican heri-
tage was unmistakable in the
Saturday night programm,
with explosive African-cult
drunming accompanying the
dancers in their most exprep-
sive moments. But tounder-
director Rex Nettleterd had
wisely realized that regional
material was not varied
enough to sustain a profes-
sional company.
He sent a number of his
dancers to study with Martha
Graham in New York and
today, some of the most
luminous gems in the con-
pany's repertoire take a
great deal from the American
modern dance.
The Jamaicans began their
Programme on a light sry
note with Married Story, the
bride engagingly played by a
dancer not much taken with
line and form. She projects
from all angles in engaging
disarray, crafting a gushing
spontaneity that is always
welcome in ite dance, a
talent she explored much
more fully later in Kas Kaa,
a backyard romp with police-
men and thieves and conni-
ving female neighbours.
Sheila Barnett's Murals
comprise a pot purri of idiom
from classic pas de deux to
alypso pas de quarter to a
modern unhurried ensemble
accompanied by a pian6
rondo. Here the dancers
painted what they had to say
n lush expressive tones like
master artists possessed 6f

RfE NETTLEFORD and PamSy Hassau as the King and Queenx lead the company in a strideAt breat~takng fiale to the insistent pounding of A&r@9 4~Uig
Thi. Winston Oudkerk p-lture was taken-at a Cultural Centre perform ance of Kuisia on Saturday night.

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