Dancing with respect: a member of Dance Strides Barbados shows how it's done. Photo Copyright © 2018 by Dance Strides Barbados.
FROM GYRATING KADOOMENT revellers to rent-a-tile romantic couples, people are captivated by dance. Many have taken up line dance. Initially for exercise, but now at every social gathering, all rhythms are put to the test of the electric slide. Latin fans own the floor in similar fashion. What is the fascination? There are myriad theories, but the common denominator, whether it be recreational or theatrical dance, is that the social, psychological and emotional benefits are the same. In Barbados, dancers enjoy an audience that other art forms would envy. Yet, paradoxically, dance is not fully recognized or understood.
Unlike recreational dancing, theatre dance is not merely kinetic. It is fundamentally cerebral. It confounds the emotions: lifts the heart, washes the soul. Cathartic. A moving experience, whether you are on the stage or in the audience.
There are many types of dance: ballet, modern, jazz, folk (traditional dances that reflect a people’s culture), and hip hop, to name a few. Barbados owes a debt of gratitude to the trailblazers who introduced dance, among them Madam Ifill (given name Elise), Sheila Hatch, Penny Ramsey, Mary Stevens, and Virginia Seeley of Barbados Dance Theatre; and to community groups like Pinelands Creative Workshop, Country Theatre Workshop and Trents Northern Youth Group. There are many others. More than fifty years later, enthusiasm for this performing art still flourishes.
The benefits of dance are invaluable. Having danced for most of my life, I can attest to this. Despite the lack of proper performance facilities, Combermere School’s hall being the Mecca, and the shortage of job opportunities, forcing me to live in two worlds, dance had a tremendous influence on my life. And still does.
Dance is a unifying force. A cohesive group of dancers are so bonded, they become family. Lifelong friendships formed extend to one another’s families. When performing, the cohesiveness of spirit is what drives the corps to project a unified idea or emotion so intensely that the audience would say, “I felt that.”
Dance heightens creativity for choreography, performing, and for life. Born of the imagination, it is boundless. Incidentally, when you see stick-licking, stilt-walkers and fight scenes, you are enjoying choreographic skill at work.
Dance builds confidence. And you shed inhibitions. There is no room for shyness in freedom of expression, quick changes in the wings or inadequate dressing rooms. For instance, during Carifesta IV in 1981, on arrival to perform at the Barbados Museum & Historical Society, much to the attendant’s dismay, she realized there were men in the group. She only had one dressing room, what was she to do? “No problem,” we said, “we’ll share.” As we brushed past her and started to get ourselves settled, she watched nonplussed, or perhaps scandalized.
Dance demands fitness. It significantly improves your fitness on a scale of wellness to outright athleticism. Mentally, it unlocks your creativity, and, in my opinion, it is a great outlet for stress relief. Creativity is highly valued by employers. Also discipline, good work ethic, and determination, especially handy to successfully navigate an eight-hour day after marathon tech rehearsals the night before.
Dance is a great motivator. The most inspiring person I know, and one of my dearest friends, was given a poor prognosis at fourteen years old. One of her short-term goals was to become a dancer. Once she started, her progress was rapid. She earned a scholarship, was selected to perform in a dinner show, and ultimately progressed to company dancer. Years later, she joined the cast of a popular cabaret show. That dance commitment was the imperative for her to get up and go. Now in her mid-fifties and a liver transplant recipient, she still dances to help bolster her health.
The popularity dance enjoys is grounded in the art form itself, for it is addictive. It drives dancers to continue regardless, and build on what the trailblazers started. Louise Woodvine, Sheron Trotman and Elizabeth Bailey, after studying overseas, established their own schools. Today, there are more schools. Dance is included in social and cultural events perfunctorily, from state ceremonies to small events. However, dance is seen but not recognized. Unlike music and the fine arts, it is not on the primary or secondary curriculum. Tertiary students who did not attend a dance school are at a distinct disadvantage, and it is painfully obvious on stage. I humbly offer a simple solution: government could initiate a bursary programme across all established dance schools.
Such a program would start change at the most fundamental level—change in the national mindset. Things like the recognition of dance as a viable profession and understanding that the body is the dancer’s instrument, therefore performing in a safe environment is essential, would be the norm. Once fully entrenched in the national psyche, greater regard for the art form would grow. With understanding comes respect.
Wendy Green is the Projects Coordinator of Dance Strides Barbados.
