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Culture Stage

Dancehall moves

THREE BOYZ, THREE COUNTRIES & ONE DREAM by Joseph Jomo Pierre, choreographed by Kevin A. Ormsby and Trevor Brown, directed by Dian Marie Bridge (dance Immersion/Baby Boyz Dance Group/NextSteps). At Enwave Theatre (231 Queens Quay West). Thursday-Saturday (March 24-26) 8 pm. $27-$32, stu/srs $22-$27. 416-973-4000. See listing.


Dancehall culture lets everyone groove with the moves. But in dance Immersion’s annual showcase, Three Boyz, Three Countries & One Dream, viewers can also get hip with the words.

In Baby Boyz Dance Group’s Three Boyz, a trio of young men – from Africa, Jamaica and Canada – define themselves through dance steps and aim for international dancehall fame.

“Baby Boyz has a reputation as urban dancers, but this production really stretches them by having them work with a script by Joseph Jomo Pierre (Born Ready, Pusha-Man),” says theatre director Dian Marie Bridge.

The text blends with the choreography of Trevor Brown (Baby Boyz founder and artistic director) and Kevin A. Ormsby to tell a story of competition and identity that uses both African and contemporary dance steps.

Bridge, who’s worked with budding artists in the Paprika Festival, b current and the AMY Project, knows how to nurture young people.

“In this case, I’m helping the dancers shape their characters and use their bodies and voices in different ways. They’re good at learning dance steps quickly, but it’s challenging for them to become characters onstage. No wonder at first they felt a lot more vulnerable than they usually do.”

Bridge, who’s assistant-directed at Stratford and on ‘Da Kink In My Hair, points out that the Boyz are used to performing as a group rather than as individuals.

“The idea of creating a separate character is a new concept for them,” she says. “They’re used to doing the same movement or at least a fluid movement that connects to what others are doing. Now they have to do that and also move the story forward.

“I’m finding the best technique is to maintain the kinetic flow all the time. Dance is about energy, and what they’re learning is to keep that energy up during the spoken sections of the show.”

The dancehall moves, though, still power the production. Bridge traces the culture’s music from African and European folk music mix through reggae and dub.

“By the 80s, the influences started to include elements of North American as well as European culture. DVDs and tapes allowed island, hip-hop and even ballet moves into what was becoming international choreography.

“I remember when I was in high school in the 90s, people were doing moves I hadn’t been seen before, like the Bogle, the Pepper Seed and the Butterfly the sources increased with more access to the internet and YouTube.

“Pretty much anything can become a dance move it’s up to the dancer’s imagination.”

Acting as the show’s narrator is the Griot (poet Afua Cooper), whom Bridge describes as “the archivist of the community, a story-holder who passes on tradition.

“That figure lets the audience know that the characters and dancehall culture both emerge from a long tradition.

“We sing and dance as one, the Griot says, echoing the motto on the Jamaican coat of arms, ‘Out of many, one people.’ When you connect with a community, regardless of where you come from, and when you have a commonality like dance, you are a unified force.”3

jonkap@nowtoronto.com

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