The team at Ballet Creole have forged a new language in the dance world; presenting “Handel Messiah: A Soulful Celebration”

BY SIMONE J. SMITH

When I arrived at Sandra Faire and Ivan Fecan Theatre at York University, I was unsure of what to expect. I am almost embarrassed to say that it was my first time attending a ballet performance and as it turns out, the world of dance is not all that different from the literature world.

Ballet focuses on the beauty of form, and the striking, visual impact of an entirely in-sync corps (aka the chorus) of dancers. No, it doesn’t have a plot, like you would find in a movie or a good book, but it moves through a range of shorter, self-contained pieces, that has variation for the easily distracted.

It was dark, but the first dancer I saw was David Cox.

Brush, flap, shuffle, and ball change…

What captivated me instantly was his ability to produce clean tap sounds with each step. Unlike most dances that are set to music, David was creating sounds with his dancing, and he was damn good at it.

I could only take short glances, because it was dark, and I didn’t want to trip and bust my face, but when I finally found my seat, I was able to take in the glory that was “Handel Messiah: A Soulful Celebration.”

In 1990, Patrick Parson conceived the idea of a professional dance company, which would present contemporary dance rooted in the rich Creole movement traditions of his native country, Trinidad & Tobago. At that time, cultural dance forms in Canada were confined to community settings, and the success of Ballet Creole led the way for many other diverse dance companies, which followed.

One of Canada’s first Black dance companies, Ballet Creole is a charitable organization representing the best of traditional and contemporary dance rooted in African and Caribbean forms. From performance to professional training to Summer camps, one can immerse themselves in “creolization” – celebrating the rich heritage of African and Caribbean cultures as they interface with European traditions. Ballet Creole represents Diversity in Harmony both on stage and in the community.

What I learned as I watched the incredible talent on the stage is that dance is not just a physical phenomenon, it’s a social, cultural, and historical product. The dancers created a kaleidoscopic whirl of movement, counterbalancing and cantilevering each other. It was breathtakingly beautiful and reckless at the same time.

The company of dancers that creatively captivated their audiences were: Yuhala Muy Garcia, Alistair Graphine, Shavaun Brown, Kirk Easy, Chelicia Creary, Taelor Coleman, Sonya Singh, Martina Levi, and guest tap dancer David Cox.

The show was dynamic while simultaneously subtle, and focused on conveying feelings and emotions through movement. The result was a sensory feast of sights and sounds that offered an undeniably thrilling experience.

Graceful, mesmerizing, synchronized, expressive, heart-touching, creative, exemplary, beautiful, alluring and flawless. The team at Ballet Creole have forged a new language in the dance world, a blend of the old and new world, and a “creolization” or melding of diverse dance and music traditions; never static, always evolving and forever inspiring audiences.

Artistic Director Patrick Parson shared his thoughts about the past 20 years of “Soulful Messiah,”

“I feel proud of what Ballet Creole has accomplished. One of my greatest achievements is the creation, growth, and continuance of this annual holiday tradition.”

It was one of Patrick’s colleagues who introduced him to Handel’s Messiah arranged by Quincy Jones entitled, “Handel Messiah: A Soulful Celebration.” From this compilation, he was inspired to create a holiday celebration for all people, from all backgrounds to rejoice in spiritual revelations and explore the power of human emotions that unify us all.

“I started this ballet with only four songs,” Patrick shares. “It was but a segment in Ballet Creole’s Winter Dance production. Now, 20 years later, the ballet has grown to a full-length production with almost an entire soundtrack.”

The arts are an underrepresented and underfunded area and many aspiring students and organizations rely on grants to keep pursuing their dream.

“Handel Messiah: A Soulful Celebration.” is just a steppingstone into how widely accepted and successful the arts can be in Toronto, Ontario. Whatever the future brings, the Ballet Creole community has the ability to show just how far inclusivity, innovation, and perseverance can take them.