National Dance Theatre Company of Jamaica: celebrating who we are

This year’s headline visitor at Let’s Dance International Frontiers in Leicester is the National Dance Theatre Company of Jamaica. David Mead talks to artistic director Marlon D. Simms about the company, and what audiences can expect.

The assertion of who we are. An expression of the Jamaican national identity and national pride. A celebration of self through music and dance. All things part of the National Dance Theatre Company of Jamaica (NDTC), says artistic director Marlon D. Simms.

The company dates back to 1962, the year Jamaica gained independence. “It was felt that it was time to focus inwardly, look at who we were, our history, our culture, then to determine how best to use that to build a national identity. Dance and music, two important parts of Jamaican culture were just the vehicles for that,” Simms explains.

Led by Rex Nettleford and Eddy Thomas, the co-founders of the company decided that the NDTC could be a vehicle for that cultural expression. As such, the company has always made a conscious effort to create a movement language that reflects the people of Jamaica, “How we move, how we relate to each other, how we express love. Thematically, we had to express certain ideas as well.”

NDTC definitely has a movement style, says Simms, who explains that one of the aims has always been to look at traditional folk forms found in communities, and how they could be put on the stage as art. But these are then blended with ballet, long present in the Jamaican dance community, modern dance from United States, and West African dance.

“At the heart of the company’s expression is finding that unique language that expresses how we move as Jamaicans: the isolation of the hips, the shifting of the rib cage, the groundedness of the movement, the swing of the body, all a sort of reflection of the landscape. You won’t find us doing high extensions like skyscrapers! We don’t have that kind of topography in Jamaica.”

The result is dance that people can easily relate to, Simms believes. “Apart from seeing the movement and recognising it as being reflective of your own culture, you also hear the music of artists coming out of Jamaica. With so many familiar aspects indicative of the country’s culture, people connect with what they see on stage. You leave feeling hopeful, inspired, as though your culture matters, your representation matters, who you are as an individual is important.”

While the company has abstract works in its repertory, storytelling is particularly important to NDTC, says Simms. “It’s not just about movement for movement’s sake. It’s about using movement and music to tell the story of the Jamaican and Caribbean experience. Stories about us, parts of our history that are important, that must not be forgotten.”

NDTC’s singers and orchestra are completely integral to what it does too. “We have works that are based on traditional folk forms that are part of our African ancestry. To bring authenticity to the presentation and the integrity of them, we have to represent them as they are in the field. Only then do you get a true sense of what it is like when that particular ritual or traditional form is performed in the community, he insists. “It would not be the same if any part was recorded. It would not be the same if an element was missing.”

Among the works being showcased at Let’s Dance International Frontiers is Kumina, choreographed by Nettleford in 1971. With live music, singing and dance, “It’s one of the truest representations of traditional folk culture of Jamaica. We insisted on bringing it to England because it’s one of those works that electrifies the audience. It really gives you a good idea how we celebrate ourselves and our history, how we view ourselves as a people and how we wish to be viewed by others. The piece is very dear to us.”

Coming right up to date, Circa 2K, made in 2023 by Orville McFarlane, described by Simms as, “One of Jamaica’s young, up-and-coming choreographers,” is a coming together of modern dance and the vocabulary that you find in dance halls. “It’s very inventive in terms of movement. The fusion gives it a real richness. It’s very exciting to watch.”

Rough Drafts by Chris Walker from 2014 is a similar exploration of but drawing on traditional folk forms including Rastafarianism, which is a part of our traditional folk culture, a part of Jamaican expression, Simms says. “It has a live music component as well. So, the singers are singing, there is live music and of course, a very vibrant, energetic dance. It’s very celebratory.”

And there is Simms’ own Introspection, also from 2023, which explores masculinity, an aspect of Jamaican culture that he’s been researching. How men view themselves, their role, the challenges that they face, and how the internal conflict and questions about ‘Who am I?’ becomes problematic at times. “At heart, it shows the vulnerability of a human being who has found himself in a particular construct of masculinity and trying, as best as possible, to break out of it and just be himself.”

Although the NDTC’s work is rooted in Jamaican culture and heritage, Simms is adamant that does not mean focusing solely on the past. “We must remain squarely focused on our lives here and exploring and distilling the experiences around us. There’s always something to explore. There’s always something that needs to be told.”

Connections with the rest of the world are important too. “There’s a Haitian choreographer that we’ve worked with, Jeanguy SAINTUS. He’s just extraordinary. We have a wonderful relationship with the late Eduardo Rivero Walker’s Teatro de la Danza Del Caribe in Cuba. So we have a few Cuban works. We have works from choreographers who are in North America as well.”

While never losing sight of the company’s ideology and raison d’être, such diversification is important, Simms believes. “You have to challenge your dancers and artists. You have to give them and audiences new experiences, and that includes the experiences of the diaspora. It is much broader than only Jamaica.”

Watching the NDTC perform, it will surely come as a surprise to learn that company members are all voluntary.

Simms explains, “In 1962, when the company was first started, the idea was that Jamaica could be built on communities coming together and contributing their talents and their skills to build the country. The company’s ethos recognises that and how, if we all pull our talents together, much can be achieved. What we derive from that, is a sense of pride, a sense of fulfilment, a sense of satisfaction knowing that you’re giving your gifts towards something that is greater than yourself.”

He concedes that the idea of volunteerism may not be as attractive now as it was back then, “But, at the end of the day, there are people artistically gifted, very talented, but who don’t necessarily want to pursue a full-time career. So, they have their regular jobs, and in the evening they come and bring their talent to the company. We have civil servants, lawyers, teachers, accountants, doctors. When it comes to the art form, they contribute from their different professional perspectives and expertise; and the company does not only benefit from their artistic talent but also from their skills in finance, logistics, technical engineering…”

He also believes people want to be a part of the company because they recognise the importance of the work it does and the impact it has had on Jamaicans and people around the world, not only on stage, but through the School of Dance at Edna Manley College (where he is Dean), started by members of the NDTC, dance curricula written by members of the company, archiving, research and more.

Other programmes at LDIF include by Unbuntu by Raul Reinoso of Acosta Danza at the launch event (April 29); Signatures and Black British Dance Platform (both May 1); a conference, masterclasses, dialogues, conversations and films.

One of those dialogues will look at the future of dance in the Caribbean. Simms is positive. He explains that there is presently a government drive to develop the arts economy, to strengthen the dance community through targeted policies and engagement. “People have opportunities to brand themselves as artists, to travel, collaborate and network. There is active research being engaged and a lot of engagement with other artists and academics across the Caribbean.”

At a time when dance is struggling to maintain its place in secondary education in the UK, it’s encouraging to hear him talk of how most youngsters in Jamaica now have access to dance education thanks to the development of a certificate program in secondary schools, both at the equivalent of GCSE and A-Level, after which students can matriculate into the School of Dance at Edna Manley College to continue their studies right up to degree level. “That, for me, says we’re moving in the right direction. I believe it all bodes well for dance in Jamaica.”

It’s not always easy, though. “You know, it takes tremendous work to push back and say that there is no way that we can ever put ourselves on the map anywhere in the world if we don’t recognise that the driving force of our economy, the driving force of our identity is our culture.

He observes rightly that, whenever you go to a conference, meet someone and you start to talk to them about your country, you don’t begin by talking about the economy. “You talk about the people, the arts, the culture, the history, because those are the most important representations of people.”

Speaking passionately, he notes that, of course Jamaica has the sandy beaches and the sunshine, but one of the main reasons people visit is to enjoy the Jamaican people and culture. “And the only way that we can enrich our country is to ensure that we don’t lose it. That means ensuring it’s part of the curriculum that everyone learns about their history and culture; and that they can take advantage of opportunities if they decide that it’s their passion.”

And passion is what Simms promises the audiences at LDIF. But there’s more. “We are just as good as any other dancers across the world. We can do anything. We are going to stretch ourselves to full capacity, bring our gifts and talents, and say, ‘We are people of excellence.’”

The National Dance Theatre Company of Jamaica perform at Curve, Leicester as part of Let’s Dance International Frontiers on May 3 & 4, 2024.

Marlon D. Simms will also teach a masterclass on May 1, also at Curve.

For more about the company, their history and repertoire, visit ndtcjamaica.org.