In conversation with Sir Rex Nettleford
By Judith Palmer
The National Dance Theatre Company of Jamaica (NDTC) is to be commended for their dedication as a voluntary company. Since the arrival in the UK of the NDTC, I tracked Prof. Nettleford’s movements as well as attending the company’s Premiere performance in London in September, a Seminar chaired by the Hub and a Lecture he delivered at the opening of the Caribbean Studies department of Birmingham University.
Sir Rex Nettleford is the Vice Chancellor of the University of the West Indies, where he edits Caribbean Quarterly and directs the School of Continuing Studies. He is also the founder, Artistic Director, and principal choreographer of the NDTC. “A Rhodes Scholar, he is a leading Caribbean intellectual and renaissance figure who was Cultural Advisor to the Prime Minister of Jamaica. (African Dance, Kariamu Welsh Asante.)
In my opinion…. a brilliant scholar, a compassionate and strong-willed Artistic Director as well as one of the world’s few existing custodians of the cultural heritage of Africa’s Caribbean Diaspora.
The privilege was entirely mine when I was granted an ‘audience’ with the Right Honorable Professor on
Saturday 29th September 01. Upon entering the lobby of the Hotel in Birmingham, I was reminiscent of magazine interviews that describe the ambiance and what the interviewee was wearing etc. so I was armed with dictaphone, camera, notepad and pen and proceeded to the front desk, asking them to inform him that his ‘11 0’clock’ was here.
At that moment the lift doors opened and a rush of flattery, nerves and beads of sweat overwhelmed me, I thought, “on time just for me!” It was when Prof. Nettleford looked at me in puzzlement that I realised that I wasn’t as high up on the honors list as I had thought! However, he suggested that I accompany him on his walk to the Alexandra theatre and we could ‘talk on the way’.
Nettleford describes Jamaica as a Diaspora containing many Diasporas, as “everyone is part this and part that but totally Caribbean. The white people are ‘Negrified’ and the black people ‘Europeanised’”.
With regard to the term ‘Black Dance’, Nettleford agrees that it is very limiting. Choreographically he acknowledges the African presence as a “significant embodiment of colour, rhythm and movement” and that experimentation should involve “creativity without losing the African presence”.
Nettleford says his view of aesthetics has not changed since he started the company. He continues to work with cross-fertilization and says his new artistic products become classics after being worked and re-worked until there is a sense of inner harmony that cannot be bettered.
Hence, Donald Hutera’s rhetoric of the company, ‘Time seems to have passed it by’ QEH. The Times 25/9/01. The common thread that exists in reviews such as this one is that the critique is detailed and specific when it comes to delivering a response to ballet, contemporary and any other forms which can be identified with. For example, Judith Mackrell’s description of Arlene Richards’ duet ‘Side by Side’, “ladled coy ardour over a girl gymnast’s routine” The Guardian 25/9/01. However, when the choreography ventures into an arena of little knowledge then terminology such as “a veritable orgy of rippling torsos, flat-footed shuffles, slapping steps and stomps” - Hutera, 25/9/01 embodies a sense of abandonment of critical analysis.
The NTDC has a training system through the Jamaican School of Dance, studying ballet, modern and Graham technique, before they can join the company. ‘The company’s way of moving is influenced by the vocabulary and gesticulation of traditional Caribbean dances. Arms are held strong and angular, the spine is supple while the torso undulates. The choreography is expressive of the Caribbean environment, the choreographic use of canon is suggestive of the rolling hills, the use of Mass inspired by African art. – ‘Funmi Adewole’
Nettleford believes that European critics cannot come to terms with what is happening on stage, and that they seem to feel that the audience enjoys the show too much! Judith Mackrell confirms that “sitting in the middle of this collective embrace [between audience and performers] made locating a critical response difficult”. - The Guardian 25/9/01.
In the words of David Muirhead, Jamaican High Commissioner, ‘the NDTC symbolises the achievements of the nation and embodies Jamaican culture as constantly evolving forms, thus combatting stereotypical views by demonstrating a return to Jamaican roots in all its diversities’
After stopping on several occasions to ask for directions the Professor and I walked for approximately 10 minutes, when we arrived at the theatre, I thanked him and he returned the compliment, then asked for directions to the nearest pharmacy, to get something for a runny nose!
