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S
EAMLESSLY
SHIFTING from
delivering show-
stopping performances
on stage to building the
blueprint behind the
scenes is a journey
worth sharing.
The story of young choreographer,
dancer and photographer Renee McDon-
ald hit high gear at age seven, when she
began her dance training with the Tony
Wilson School of Modern Dance in
Kingston. She would go on to perform
with The Company Dance Theatre for 12
years, progressing to rehearsal mistress for
five of those years.
She captured hearts with captivating,
thought-provoking and deeply moving
narrative. While her fan base grew in
number, she wasn’t so sure of the direc-
tion. “The truth is, I struggled with an
inferiority complex for years when it came
to performing. I felt inadequate because I
did not look like other dancers and I was
not as flexible. I eventually realised that
my negative thoughts and insecurity were
taking a real toll on my mental health.
Nothing compares to the feeling of being
on stage, but the truth is, it just stopped
being worth it,” she confessed.
So, in 2016, McDonald traded in centre
stage for choreographic storytelling, creat-
ing masterpieces for companies locally,
regionally and internationally. Her biggest
influence: artistic director and choreogra-
pher of The Company Dance Theatre,
Tony Wilson. “Mr Wilson is, hands down,
my biggest choreographic influence and
inspiration. My style is a direct result of
training with him and performing his style
of choreography. He has also encouraged
me since I started choreography, and as I
grow, he continues to support me every
step of the way. I am a resident choreogra-
pher of The Company Dance Theatre now
and many of my opportunities arose from
CDT performances. I will always be grate-
ful to him for giving me the chance to
create over and over again.”
She has choreographed for The National
Dance Theatre Company, CDT, L’Acadco,
a United Caribbean
Dance Force, Dance
Theatre Xaymaca, the
University Dance Society,
Ailey II and The Emma
Willard School in New
York, along with the Bar-
bados Dance Project. “I
think Breaking Point on Ailey II is my best
work.”
OUTREACH INITIATIVES
She has even engaged in outreach ini-
tiatives in the Rose Town community and
various churches and children’s homes. “I
like to use three Ds to describe my style –
dynamic, dramatic and deep. I am very
serious about musicality, shapes, patterns
and levels. I use canons (domino effect) in
most of my work and my pieces, even the
seemingly abstract ones always have a
deeper meaning.”
With her main focus right now being
successfully completing
Norman Manley Law
School, McDonald
advises others to pur-
sue multiple passions.
“It is OK to have
dreams – plural. Tack-
le your short-term
goals before your
permanent mis-
sions and do not
live your life
based on the
expectations of
others. Do
everything you
possibly can in
one lifetime.”
As for returning
to the stage, she
says, “Never say
‘Never’.”
THE GLEANER’S FLAIR MAGAZINE • MONDAY, MARCH 5, 2018
23
D
istinguished
THE
The Arts
Artistry in Motion
Renee McDonald
“The truth is, I struggled with an inferi-
ority complex for years when it came to
performing. I felt inadequate because
I did not look like other dancers and
I was not as flexible.”