“Three Boyz, Three Countries, One Dream
King Ah De Dancehall”
It is an ambitious organization that attempts to produce a new genre of art as it emerges from the cocoon of creative consciousness. With Vivine Scarlett as Program Director, “dance Immersion” does just that in its 2011 annual showcase. Scripted by Joseph Jomo Pierre, “Three Boyz, Three Countries, One Dream (a.k.a. King Ah De Dancehall)” shares a message of hope and determination, delivered through spoken-word and dance, under the direction of Dian Marie Bridge. This intricate tale of a single, shared dream travelling through history to its inevitable birth on the stage is brought to life by the choreography of Trevor Brown, Kevin A. Ormsby, Kay-Ann Ward and the Baby Boyz Dance Group.
Told in two acts, the story begins appropriately in Western Africa with Dr. Afua Cooper as the griot (a role continued throughout the play) where she introduces us to the genesis of the dancehall. Deep in the forest of Ghana, a hunter learns a ritual dance, realizes his purpose and teaches this dance to the young people in an attempt to preserve tradition so that the spirit of the dance will never die.
The streets of Jamaica then appear on stage, complete with huge speakers for the street dance. There is an accurate portrayal of violent political rivalry between the country’s two leading parties (Peoples National Party and Jamaica Labour Party) showing “PNP” and “JLP” emblazoned across makeshift banners of red and green. Warring factions dressed in party colours (red for PNP, green for JLP) create the backdrop for new birth, as a woman (Ms. Brown) delivers a child with her back against speakers and dancehall music blaring around her. The father of that child is named Secret Weapon. His name is perhaps an allegory for the potential of dance, an individual, a nation and a people.
Dancehall king Secret Weapon’s son, Stripes, grows up in the dancehall alongside his parents, only to see his father gunned down in front of him. It is with crystal clarity, that this scene first shows the fierce often volatile side of the dancehall. As he matures, Stripes is fuelled by the memory of his father and the call of the dancehall. He uses dance as a quest for his own identity, and he finds it. Quickly becoming the new “King Ah De Dancehall”, Stripe travels across Jamaica with the DJ Fatta and his sound system “Kirkland Sound” while struggling with the everyday nuisance of putting food on his family’s table. An attempted continuation of the cycle of violence is thwarted by Fatta, when Stripe is briefly targeted by a local Don to whom he owes money. As Stripe gains popularity in his own country and across the world through dancehall videos, he realizes that he might have the opportunity to use dance and the dancehall as a vehicle to extricate his family from poverty.
Learning of the possibility of travelling to Japan, Stripe rushes home to share the news with his mother. Their elation is cut short by the sound of gunshots. She is dead. Tradition revisits the stage with a Jamaican “Nine-Night”, complete with Kumina dance by white robed and African fabric clad dancers. In this ceremony for the dead, there is a marriage of cultures, a weaving of the dance and the creation of a lifestyle. Here we see that Kumina is indeed the mother of dancehall.
Having witnessed both parents murdered, an orphaned Stripes is dejected. He turns to alcohol to soothe his pain before he is visited and encouraged by Fatta. Though he feels as if there is no reason to go on, the thought of dance is still with him. “If the dance can’t make you feel good, it is the wrong dance.” Stripes remembers the words of his father, Secret Weapon, “never let the spirit of the dance die.” He triumphs over pain and his circumstances to slowly begin again to dance.
Germination of a vision is both complete and begins, as the dance travels to a cold Canada where we meet an equally depressed young Ghanaian dancer. He is encouraged by a fellow dance student, who reminds him of his dream to open a dance school in his native Ghana. The two share a video of Stripes, which serves to put the Ghanaian back on the path of dance and realizing the dream of his ancestors – Never let the spirit of the dance die. Both young men continue to strive to emulate Stripes, with the help of Tasha, herself a hopeful dancehall queen.
The competition has come – King Ah De Dancehall! Kirkland Sound and Fatta have brought Stripes to Canada where he will crown the new king. An extremely talented group of young people showcase complex dance routines as they vie for the coveted title of Dancehall King / Queen. By far the most memorable person in this scene is Tasha. She captures the raw sexual energy of the Jamaican dancehall queen. Her moves are crisp and authentic. Tasha’s man attempts to bring violence to the dancehall when she gets too close to her dance partner, but is quickly thwarted by the dance.
The coup de grâce is deftly delivered as Stripes introduces the dance group. Baby Boyz treats the audience to a precise, impeccably choreographed routine. While those who have seen this group perform have come to expect only excellence, it is always a refreshing experience to be gladly reminded of their tremendous talent. Their performance, incorporated with the gyrations of “Tasha”, elicited screams of glee from an appreciative audience.
The show ended to thunderous applause. After a moment to catch their breath, the gracious cast facilitated an open “talk back” session where we catch a glimpse into their personalities. We learn that this dance, this passion they all share, “comes from an ancient time and an ancient place.” It is seen not only as professional development, but also for personal experience. To learn the dance story, the African story. Tasha (played by Kay-Ann Ward) sums it up perfectly: “It is more than just the moves – it’s a lifestyle.”
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