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ARTISTIC DIRECTOR - TERRY SPRINGER
Archive of Works Performed by the Company We are attempting to build our archives as accurately as possible. If anyone can help us to correct or update information below, we would greatly appreciate it. Simply contact us. VICTIM (1972) A widowed mother finds herself victim to her own selfishness, when she tries with fierce dominance to inhibit her only son. Choreography: Astor Johnson CHORREO (1972) Trio of Spanish traditional dances. Choreography: HOUSE OF THE LORD (1972) Suite of religious dances. • Entrance • Prayer for Peace: (Is like we don’t dig up in no special religion, but we still believe) • Moaning: (And behold his eyes shall see what hitherto he could not) • Soldiers: (We are soldiers in God’s Army) • The Lord’s Prayer: (We praise him and glorify him) You and I are all children of one faith, for the diverse paths of religion are fingers of the loving hand extended to all offering completeness of spirit to all, eager to receive. Choreography: Astor Johnson FUSION (1972) A mixture of jazz styles and traditional African-Caribbean movements. Fusion is the company's signature piece. Choreography: Astor Johnson Music: Live, traditional African-Caribbean percussion, originally arranged by André Tanker. FOR BETTER OR FOR WORSE (Nov. 1972) A humorous dance mime satirizing an old-time country wedding. Choreography: Astor Johnson Music: Traditional African-Caribbean percussion DEFIANT ERA (Nov. 1972) (Inspired by the book The Black Jacobins by C.L.R. James) Against the background of the Haitian Revolution, the work is made up of sketches of the era when Toussaint L’Ouverture came into power. 1. Premonitions: Toussaint has visions of forthcoming bloodshed, suffering and conflict in the country. At the time of the great slave revolt, he decides that a leader is needed and such is his calling 2. Conflict: after years of bloody fighting among local, French and Spanish fractions, Toussaint L’ Ouverture seizes military control and is made Commander-in-Chief by the French Government. 3. Deception and Arrest: Under the pretext of signing a “treaty” of disbarment, Toussaint is deceived by French treachery, arrested and taken prisoner to France. 4. The Yellow Fever: At this time on the island, Lady Pauline, sister of Napoleon, has already arrived with dreams of establishing a “French Court”. She envisages ladies in waiting, court dancers, etc. The Yellow Fever rages and decimates the dancers daily. 5. Death in the Dungeon: Toussaint is plagued by loneliness, concern for his family and memories of past greatness in the cold confines of a dungeon in the Jura Mountains. 6. Epitaph: Words of tribute; a renewal of hope. Choreography: Astor Johnson WARM UP: (1972) Depicts dancers at work in a studio. Choreography: Astor Johnson TRIO: (Nov. 1972) Three Spanish influenced dances based on traditional rhythms and songs that are still with us today: 1. Waltz Castillian 2. Aguinaldo 3. Joropo Choreography: Astor Johnson SHE (1972) A trilogy on the black woman. Literally, a comment on her womanhood; historically, an overall tracing of her race from the beginning of time until now; morally, a lesson in courage. She is Africa…out of her womb shall come the warriors She is Rhythm…and cannot be resisted She is Black…She, she alone Choreography: Astor Johnson Music: Traditional African-Caribbean percussion/André Tanker Poem: Lasana Kwesi CONTRASTS: (1972) These themes are different but the soloists make interesting contrasts in their style, points of view and their attack of each piece. Choreography: Deborah Paray, Frank Ashley, Noble Douglas. OPUS: (1974) Rhythms, patterns shapes and moods are all thrown in, strictly for fun of moving; climaxing in a rousing celebration of life. Choreography: Astor Johnson ETUDE: (1974) Moving in a semi-classical vein the piece studies the varying dimensions of a single phrase. Choreography: GRAVEYARD FOR THE LIVING: (pre-1974) An essay on human isolation, set in a jail. 1. The Initiation 2. Dream 3. Flight/Escape 4. Web 5. Madness and Escape/ Another Escape Choreography: Astor Johnson Music: Traditional THE DANSE NEGRE (c. 1972) A medley of African-rooted folk dances 4. Manding - festive piece from the Mandingos/Ibo - brought to the West by the Ibos: the dancers simulate the movement of birds in flight, conflict and harmony; 5. Ewe-O - based more on Traditional African-Caribbean percussion neighbours consoling a bereaved woman/Broom Dance - a Traditional African-Caribbean percussion ritual is celebrated; 6. Ganga - the dancers celebrate Ogun, one of the highest "Saints" in the Yoruba hierarchy in a pre-ceremonial dance. Choreography: Astor Johnson Music: Traditional African-Caribbean percussion SCHOOL DAYS (1974) A take-off on a theme of a calypso by the Mighty Sparrow. Choreography: Astor Johnson PAS DE DEUX (pre-1974) (From “Love Songs”) The thrill of a first affair. Choreography: Astor Johnson VA-KA-KO (Dec. 1974) A woman and her past…searching…celebrating…brooding. Choreography: Astor Johnson Music: Herbie Hancock THE TRIBAL CITY (1974) A dream about returning to the homeland. Choreography: Astor Johnson Music: Andre Tanker A SONG FOR YEMANJA (Dec. 1974) Based on the mythological religious pantheon of the Gods of the Yoruba Orisa, the work celebrates “Yemanja”, goddess of the seas and waters. It is the feast of “Yemanja”, patron saint of the temple which she guards. 1. The worshippers enter and dance in the ritual of celebration. 2. The main celebrant is mystically transported by Yemanja’s horses to another realm and now she becomes Yemanja. 3. The spirit leaves and the worshippers depart. Choreography: Astor Johnson Music: Traditional African-Caribbean percussion SILHOUETTE: (pre-July/Aug. 1974) Choreography: Austin Forsyth TANGO: (July/Aug. 1974) Choreography: Michael Steel CARIBE: (July/Aug. 1975) Choreography: Frank Ashley BLACK FLOWER (July/Aug. 1975) A throwback on the final stage of a reactionary. Choreography: Astor Johnson GOIN’ HOME (1975) Choreography: Astor Johnson AFRICA, AFRICA (pre-July/Aug. 1975) An impressionistic piece which pays tribute to "Mother Africa" 4. Sowing the Seed - The women clean and bless the land sowing their seeds 5. The Warriors blossom - The "seeds" blossom into strong trees 6. Celebration Harvest - There is joy at harvest time. Choreography: Astor Johnson Music: Traditional African-Caribbean percussion BLOOD WEDDING (early 1980s?) Based on the play by Frederico Lorca. The piece is not a literal translation of Lorca’s tragic work, but seeks to capture the essence and its implications through the four main characters against a background of Spanish colonial Trinidad. 1. The Prologue - Death is standing over the dead bodies of the bride, the bridegroom and Leonardo, an ex-lover of the bride. 2. The Return - The bride retires and later sees the reflection in her mirror of Leonardo, an ex-lover of hers who was hiding in her chamber. He seduces her and carries her off into the night. 3. In the Forest - The mother of the groom, transformed into a figure of death, seeks to avenge the shame of her son and to punish the bride for her sin. She leads her son to the lovers in the forest. 4. Epilogue - The rivals turn upon each other but both the groom and Leonardo are killed in the fray. Consequently the mother forces the bride to take her own life in a final act of vengeance. Choreography: Astor Johnson COME YE DISCONSOLATE (NOV. /DEC. 1976) At the party: 1. Rent-a-Tile 2. Disco Beat 3. Tripping 4. It’s getting late. Choreography: Astor Johnson DAMBALA (JUNE 1977) A dance based on Haitian ritual in tribute to Dambala to the Snake God. Choreography: Astor Johnson SONGS OF FAITH AND FREEDOM (JUNE 1977) The feelings of hope, pathos and longing are recaptured in these melodies that are now universal in their theme and imagery. (Interpretation of a suite of well-known black spirituals.) Choreography: Anthony Payne (Barbados) COLOR HIM ANDRE (JULY 1977) A journey into the personality of the Trinidadian musician/composer André Tanker via the variations of his own composition. 1. Lyrical Andre 2. On the quiet side 3. Mystically reflective 4. Silent Power 5. Ever so joyful Choreography: Astor Johnson, Kathak movements by Sat Balkaransingh. PLAY MAS: (JULY 1977) Living portraits of the Trinidad Carnival. Choreography: Astor Johnson CHILD OF THE EARTH: (July 1977) The moving story of a couple in flight from the terrors of their fatherland. Fleeing, they seek a better place in which to live free from scorn. Choreography: Kevin Rotardier MOODS: (July 1977) A touch of the temporary: 1. Nocturne: Choreography: Jackie Celestine 2. Good morning Heartache: Choreography: Astor Johnson 3. Walk on Water: Choreography: Margaret Taylor 4. Disco Connection: Choreography: David Byer CYCLE: (June/July 1978) Choreography: Jackie Celestine NITE LADY: (June/July 1978) Choreography: Austin Forsythe LA DIABLESSE (June/July 1978) Choreography: Henry Daniel SUN PEOPLE: (June/July 1978) Choreography: Astor Johnson EL REY: (June/July 1978) Choreography: Astor Johnson MIX, SWIZZLE N’ SERVE: (June/July 1978) Choreography: Astor Johnson STAY UP ZIMBABWE: (July 1979) The works reflects upon Brother Valentino’s battle-hymn of the same name. 1. The Invocation 2. Images Choreography: Astor Johnson FRIEND IN JESUS: (July 1979) Choreography: Aretha Franklin Music: Frank Ashley TAMBOURINAGE MYSTIQUE: (July 1979) Scene 1: The occasion is a big drum dance to celebrate a successful; crop. Leading drummer and dancer, Sugar is there to lead the celebrations with his wife. His rival, second drummer, executes his own plan. Scene 2: The rival has a disturbing night spell filled with hallucinations and a heated war with his conscience. The night of the forty days vigil begins. The wife is encouraged to dance “pour moi”. The rival has another idea. Sugar mysteriously intervenes and reveals the truth to his beloved. Choreography: Astor Johnson Music: Traditional TRIBUTE TO A KING (1981) An essay on the ideas of the late Bob Marley, who died in 1981. 6. Prelude 7. Redemption Song 8. Sorrows 9. Get up, Stand up 10. In celebration Choreography: Astor Johnson Music. Bob Marley RITE OF PASSAGE A mating fantasy drawing freely from the snake-like movements of the Yanvolou. Choreography: Astor Johnson Music: Traditional ROCK STEADY Choreography: Frank Ashley CARNIVAL BLACK WOMAN FLIGHT ZION IN THE BEGINNING CELEBRATION SPIRITUAL MELODY TOUCH AND GO HEEL AND TOE NAROMIWA (1983) Choreography: Loris Beckles CEREMONY OF THE DRUM (early 1980s) Based loosely on the celebration of the “Assotor” drum of Haiti, keeper of all the secrets of the ancestors. Choreography: Astor Johnson Music: Traditional African-Caribbean percussion WONDERMENT (1983) An exploration moods using the songs of Stevie Wonder Choreography: Astor Johnson Music: Stevie Wonder MANTIS (1983) The mating ritual of the praying mantis. In order to procreate, the female must kill the male after fertilization. Choreography: Astor Johnson Music: Henry Cowen; Traditional African-Caribbean percussion Design: Astor Johnson KYO (1985) Based on the Buddhist chant Nam Myoho Renge Kyo, the dance explores the universe through the elements of Earth, Wind, Water and Fire. This was the last full dance that Astor Johnson choreographed before his death in 1985. It also reflected his religion, since he had become a Buddhist in the latter part of his life. Movements • Earth • Wind • Water • Fire Choreography: Astor Johnson Music: Traditional African-Caribbean and African-Brazilian percussion. CHILD OF THE EARTH Choreography: Frank Ashley (?) TRISTESSE (early 1980s) Choreography: Natalie Rogers DANCE ROYAL A QUESTION OF POWER (1987) Choreography: Felix Harrington TIEF FROM TIEF (1987) Choreography: Sonja Dumas FOR ASTOR (1987) A solo to the poem of the same name by Eintou Springer Choreography: Patricia Roe WOMAN JOURNEY (1988) A comment on women under Apartheid using sign language. Choreography: Sonja Dumas SARACA (LATE 1980S) Choreography: Peter London PIQUE (late 1980s) Choreography: Peter London CANTOBELLO DAYDREAM (1985) Choreography: Loris Beckles AN OFFERING (1993) An offering of dance to the company by the choreographer. Choreography: Loris Beckles TIME OUT (1995?) Choreography: Claudia Applewhaite GRANDFATHER’S PRAYER SPACED (1988??) Choreography: Patricia Roe DAME LORRAINE (1991) Choreography: Sonja Dumas NO ESCAPE (1991) Choreography: Allan Balfour SKETCHING I (1991) Choreography: Ronald Taylor BELE (1993) Choreography: Raymond Ross PROMISE (1993) Choreography: Gary De Matas Music: Michael Jackson THE SEA IS HISTORY (1993) An interpretation of Caribbean history and nationhood through the poem, The Sea is History, by Derek Walcott. Choreography: Sonja Dumas THE CHOSEN EVERY WOMAN (1995) Choreography: Gary De Matas GIRL (1995) A coming of age between mother and daughter, set to the poem of the same name by Jamaica Kincaid Choreography: Sonja Dumas SR 70 II (2006) For André and André (A. George and A. Tanker) Choreography: Loris Beckles Music: Steve Reich [Sextet, 5th movement] (in the year of his 70th birthday) SUITE BEAUTY, part II (2001) Choreography: Loris Beckles Music: Ryuichi Sakamoto [Futique] THE “M” WORD (2005) Choreography: Sonja Dumas Music: Johann Sebastian Bach [Concerto for Harpsichord in F Minor, Movements 2 and 3] ‘R ADAR BACH (2005) Solo to Welsh period music and poetry interpreted by Mary-Ann Roberts (voice) and Robert Evans (crwth and lyre) Choreography: Claudia Applewhaite POMMERAC (2005) An interpretation of the rapso Pommerac by Mzee and Ayow – red and purple body, cotton flesh and all. Choreography: Sonja Dumas TRANSCENDENCE (2005) Music: Traditional African-Caribbean percussion, Eyuphuro, Giampiero Ponte (guest performed by the Metamorphosis Dance Company) Choreography: Gary De Matas PASSIONTIDE (2005) Yea though I walk…. A couple, in Limbo, searches for redemption Choreography: Gregor Breedy Music: John DebneFUSIONA mixture of jazz styles and traditional African-Caribbean movements. Fusion is the company's signature piece.
Choreography: Astor JohnsonMusic: Live, traditional African-Caribbean percussion, originally arranged by André Tanker.
FOR BETTER OR WORSEA humorous dance mime satirizing an old-time country wedding.
Choreography: Astor JohnsonMusic: Traditional African-Caribbean percussion
SHEA trilogy on the black woman. Literally, a comment on her womanhood; historically, an overall tracing of her race from the beginning of time until now; morally, a lesson in courage.
She is Africa…out of her womb shall come the warriorsShe is Rhythm…and cannot be resistedShe is Black…She, she alone
Choreography: Astor JohnsonMusic: Traditional African-Caribbean percussion/André TankerPoem: Lasana Kwesi
GRAVEYARD FOR THE LIVINGAn essay on human isolation, set in a jail.1. The Initiation2. Dream3. Flight/Escape4. Web5. Madness and Escape/ Another Escape
Choreography: Astor Johnson
Music: Traditional
THE DANSE NEGREA medley of African-rooted folk dances
1. Manding - festive piece from the Mandingos/Ibo - brought to the West by the Ibos: the dancers simulate the movement of birds in flight, conflict and harmony;
2. Ewe-O - based more on Traditional African-Caribbean percussion neighbours consoling a bereaved woman/Broom Dance - a Traditional African-Caribbean percussion ritual is celebrated;
3. Ganga - the dancers celebrate Ogun, one of the highest "Saints" in the Yoruba hierarchy in a pre-ceremonial dance.
Choreography: Astor JohnsonMusic: Traditional African-Caribbean percussion
TRIBUTE TO A KINGAn essay on the ideas of the late Bob Marley, who died in 1981.1. Prelude2. Redemption Song3. Sorrows4. Get up, Stand up5. In celebration
Choreography: Astor JohnsonMusic. Bob Marley
AFRICA, AFRICAAn impressionistic piece which pays tribute to "Mother Africa"1. Sowing the Seed - The women clean and bless the land sowing their seeds2. The Warriors blossom - The "seeds" blossom into strong trees3. Celebration Harvest - There is joy at harvest time.
Choreography: Astor JohnsonMusic: Traditional African-Caribbean percussion
KYOBased on the Buddhist chant Nam Myoho Renge Kyo, the dance explores the universe through the elements of Earth, Wind, Water and Fire. This was the last full dance that Astor Johnson choreographed before his death in 1985. It also reflected his religion, since he had become a Buddhist in the latter part of his life.
Movements• Earth• Wind• Water• Fire
Choreography: Astor JohnsonMusic: Traditional African-Caribbean and African-Brazilian percussion.
CEREMONY OF THE DRUMBased loosely on the celebration of the “Assotor” drum of Haiti, keeper of all the secrets of the ancestors.
Choreography: Astor Johnson
Music: Traditional African-Caribbean percussion
WONDERMENTAn exploration moods using the songs of Stevie Wonder
Choreography: Astor JohnsonMusic: Stevie Wonder
MANTISThe mating ritual of the praying mantis. In order to procreate, the female must kill the male after fertilization.
Choreography: Astor JohnsonMusic: Henry Cowen; Traditional African-Caribbean percussionDesign: Astor Johnson
A SONG FOR YEMANJA (Dec. 1974)
Based on the mythological religious pantheon of the Gods of the Yoruba Orisa, the work celebrates “Yemanja”, goddess of the seas and waters. It is the feast of “Yemanja”, patron saint of the temple which she guards.1. The worshippers enter and dance in the ritual of celebration.2. The main celebrant is mystically transported by Yemanja’s horses to another realm and now she becomes Yemanja.3. The spirit leaves and the worshippers depart.
Choreography: Astor JohnsonMusic: Traditional African-Caribbean percussion