The two spark the beginning of a cultural journey; the root of a people. From the tribal dances of the Africans to the cowbells that ring out a Junkanoo spirit, there is defiant identity of the Dis We Ting Culture Show. The evolution of Bahamian culture is evident; earthy dancing and ethnic chanting lets you know that you are witnessing the beginning of a history. Dances such as “Mother Afrika” an
d the “Apocalypse Scene” tell the story of African people and their celebrations followed by their kidnap. The deep tones of the narrator describe their punishments while the dancers rage against ropes and chains before being shipped off to sea. A ghost ship flashes on a 40ft digital projection screen. The journey continues with the freedom of the people and their liberation out of slavery and into the new world. Dancers in dazzling tribal costumes slowly move across the stage, leaving an island man to lounge by himself behind an ever-growing banana field.
“DAY-O!” He cries out, “Daylight come and me wan go home…” his strong melodic notes echo across a plantation. His singing is met with a steady drumming and singing of a live band known as ‘Trouble’ and as the group saunters on, the silhouette of a Bahamian woman grows in the background. This is when Bahamian femininity is born. “Lizzie Carry Basket on her Head” identifies a voluptuous black woman with a vibrant fruit basket on her head and a kindred spirit through her hips. The gyrating represents the bountiful measures of Bahamian moves and how it has transformed. The solo dancer sways across the stage paving the way for the new form of woman and dance: The Bahama Mama and the Limbo Dance. A rope held up by two people with the live sounds of the band in the distance is all that was needed. The Bahama Mama dancers twirl onto stage with powerful energy and glittering eyes. Their simultaneous movements pump through flashing lights as they inch closer to the rope. Then after a decent tease with its audience, the dancers make flexible arches under a low twined rope. It is only after the Limbo dance when the show enters a more spiritual realm. Gospel music slips through the darkness and around the lights. A singer bellows out a soulful song and introduces the audience to the different branches of Bahamian religion. With imagery of churches yielding in the background the spirited dancers are rejoicing on stage. Their colorful dresses and flapping church fans dance with feet-stomping revivals bringing about a new fiery tale of Pentecostalism. It is only until the room turns into a flaming red that the rejoicing stops. The church women scatter away and smoke seeps from below. Thunder and lightning ignites the scene. The narrator’s voice takes a more mysterious turn. Everything is eerie now. And just as the steading wailing of a drum booms in the distance,
The Obeah Man gallops onto a crimson stage. His wild hair and painted face is vivid through the lights. The Obeah man leaps off the stage and dances out a voodoo ritual as Trouble whips out a tune. His chanting is hypnotic as he evokes fire. “The Fire Scene” comes after The Obeah Man’s voracious dancing is complete. He leaves the stage in a film of smoke; the same way he came. His fire is replaced by a woman bearing an alluring smile and snaking hips. The fire dancer amazes the crowd with her abilities to swallow tongues of fire. The woman sifts through the audience downing fiery wands, captivating the heart of the people. Her mesmerizing moves dabble on the mind until the scene is once again transformed into a joyful melody. A jubilant male singer gracefully whips across stage, bellowing out Bahamian music. His dancing is met with the ‘Dis We Ting’ Dancers. Their finale dance is a happy and delightful one. The hands swing around in joy; eyes twinkle through the twirling light. It is only then that the feeling of pure bliss is felt; the climatic end to a cultural journey. But just when the feeling is realized, a drum bangs out from an unfamiliar corner. This time it is not from the stage but rather the back of the room. The crowd’s attention in turned to the corner of the room where the drum wails out a steady beat. The beat elevates itself with other instruments: cowbells, horns, whistles! The room is taken aback when a full-fledged Junkanoo group pumps through the sandy floor. Their rhythmic beat pumps and pounds through the room, lifting the crowd to its feet. The Rushout is a brilliant one; their hues flash through the colorful darkness, music ripping through the building. The acoustics is irresistible. The Junkanooers call out to the crowd and they answer. The cultural show is lighted up in dance; a celebration of music, culture and the vibrancy of life. The Junkanoo is the final touch to the journey of Bahamian history. The feeling is beyond satisfactory as a swelter of pride and glory has just been attained. This is the genius of the ‘Dis We Ting’ Culture show. The ultimate evolution from mama Africa to the now native waters of The Bahamas, is expressed through glorious singing, dancing and storytelling in a way that was never done before. The innovative imagery and live melodies push the envelope even further. This is why the show is not only successful, but an educational one. The heritage shown is priceless; invaluable to Bahamians and foreigners alike. For the creators and producers, Vanje McBride-Outten and Henry Outten; ‘Dis We Ting’ has moved beyond expectations. After three years in the making, the circle is complete. Their vision and desire to celebrate culture is magnified to greater lengths, only opening the door for more creation.
“Many of us don’t know why we are the way we are. This is a way to give both tourist and Bahamians the utmost cultural experience about us as a people,” said Mrs. McBride Outten, “This is for us.”
Jullion Collie, Director of Choreography, agrees that the show is a gift to Grand Bahama, “It took a lot of hard work to map out the choreography with the students,” he said, “But the outcome is a fascinating one. All of the work has resulted in an exciting show for The Bahamas and Grand Bahama in particular.”
From an earthy tribal beginning to a vibrant Junkanoo ending, The ‘Dis We Ting’ Cultural Show has mounted on the visionary journey of our culture, tapping through every artistic branch that exists. It’s wonderful scenes and glorious dancing and singing, makes it the ultimate cultural experience!
