The Department of Creative and Festival Arts (DCFA) Dance Unit at UWI St Augustine hosted a Secondary School Dance Workshop in late March and early April. The workshop was a transformative, 10-day event created to celebrate and preserve traditional Caribbean, African, and Indian dance forms.
Led by Ms Deboleena Paul, coordinator and lecturer of the Dance Unit, the workshop was not only a platform for professional and dancers to develop their skills, but also a space for cultural exploration.
Dances such as bélé, bhangra, bongo, ghoomar, kolattam, limbo, nation dance, orisha, and quadrille were taught. The workshop boasted the involvement of Bélé Queen and President of the National Dance Association of Trinidad and Tobago Mrs Emelda Lynch-Griffith, master performer Terry David of the Terry David Performing Theater, renowned limbo artist Cory Herbert, and multiple award-winning dancer and cultural ambassador Adam Pascall, among its instructors.
Ms Paul said the workshop's mission was to reconnect people with their local and diasporic cultures through dance, countering trends dominated by foreign styles. The esteemed instructors provided comprehensive training, encompassing theoretical understanding, practical skills, and performance techniques to uphold authenticity.
Ms Paul expressed disappointment at the low participation rate among teachers, highlighting the importance of continuous education and mentorship in fostering a thriving dance culture.
"Often I see when dancers get their degree and certification, they are no longer interested in furthering their dance studies and craft at a formal level," she said. "Education is ongoing and should be continued as we progress in age."
She also said students should be more discerning about the qualifications of their dance teachers and ensure that their instructors have not only learned from accredited institutions, but also have proper training in the theoretical and academic aspects of dance.
Ms Lynch-Griffith spoke on the importance of preserving traditional folk dance forms in a landscape dominated by contemporary influences. She lamented the lack of formal education opportunities in folk dance and the risk of cultural dilution over generations.
"There is a lack of avenues for education in folk dance as there is little to no documentation of the pioneers of our folk dances," she remarked.
Ms Paul also addressed internal struggles faced by some participants concerning body image issues. "I see many of the girls in this group being focused on their body image," she explained. "For my sessions, I have them face the back of the room so they aren't distracted by their reflections in the mirrors."
The workshop, she said, was also a good starting point to pursuing dance in higher education:
"The DCFA offers a Dance and Education Certificate programme for students fresh out of secondary school, available upon the completion of the CSEC examinations. This workshop can be considered as a precursor to the certificate programme."
