Confirming the enduring nature of great art, a selection of award-winning pieces made a return to the stage as the 50th anniversary of the National Independence Festival of Creative Arts (NIFCA) culminated at the Garfield Sobers Gymnasium on Sunday night with the Performing Arts Gala.
Drawn from various disciplines, the highlighted pieces conveyed powerful messages that have stood the test of time, with their themes as poignant as the first time they were performed.
Winston Farrell’s De Bus Man resonated with the appreciative audience. With replays of that piece being a staple in CBC television programming, it evoked nostalgia for many in the audience who knew the words by heart and even accompanied it with the familiar movements. The rhythmic beat and timeless storyline captivated both those familiar with the piece and younger members of the audience, providing a connection to our current reality of continued transportation woes.
Adrian Greene, drawing from his highly acclaimed body of work, presented a blend of four memorable pieces. Transitioning between each, he engaged the audience with the call-and-response interaction of “Out that” and the enthusiastic response of “Light it back” to make the change.
In her inimitable style, comedian Jennifer Walker did Tribute to the Bag, infusing humour into the celebration of the excellence of Barbadian Ambassador Dr The Most Honourable Stedson Red Plastic Bag Wiltshire. Opening with the importance of bags, she switched to discussing the humble beginnings of the cultural icon and his rise to attaining his doctorate, emphasising that goals have no limits.
Perennial dance finalists Pinelands Creative Workshop were among the featured performers, delivering an ode to the Barbados Landship with their gold medal award-winning piece Afro Ship. Their blend of artistry and cultural homage showcased the rich traditions of the Barbadian Landship. S. Neverson Dance Company also presented their gold award-winning piece And So We Danse. Dancin’ Africa performed a futuristic Man Overboard while Kemal Marshall performed the Gene Carson choreographed Metamorphosis.
Abuse was a prevailing topic. Cherie Jones left patrons at the edge of their seats with How the One-Armed Sister Sweeps. Building an air of anticipation, she ended on a cliffhanger, leaving attendees curious to know what happened next. Akeem Chandler-Prescod’s Suicide Bomber and Yolanda Capendeguy with Guard Ya Virginity had a similar undertone in their pieces.
Contributing to the evening’s cultural richness was Cultural Ambassador Dr The Most Honourable Anthony Gabby Carter who, with guitar in hand, delivered the classic Emmerton. He dedicated the performance to the late godfather of Barbadian entertainment Richard Stoute, who died the night before.
During the night, violinist Dwain Gill performed Rupee’s patriotic I Am a Bajan.
The exuberance of the multiple award-winning Christ Church Foundation Steel Orchestra was contagious as they captured the dynamism of a panyard for their soca medley to close the first half.
The second segment of the event delved into the life of the late literary luminary Kamau Brathwaite. Directed by Cicely Spencer-Cross, the mixed media piece titled Barabajan chronologically portrayed the prolific writer’s journey. The protagonist was played by Neil Waithe and the narrative spanned from his childhood exploits to his formative years at Harrison College, addressing the sense of detachment he experienced in Cambridge, London. There was a focus on his spiritual reawakening during his decade residing in Ghana, a period that gave birth to his new name.
To bring this rich narrative to life, multiple dance troupes contributed to the performance, including the Barbados Dance Theatre, Dancin’ Africa, Pinelands Creative Workshop, Louise Woodvine Dance Academy, OAN Dance Academy, and the Multifarious Dance Crew. Their collective efforts added a vibrant and dynamic dimension to the storytelling, bringing Brathwaite’s life and legacy alive on stage.
(STT)
