Throughout its 54 years of existence, one of National Dance Theatre Company of Jamaica’s (NDTC) constants has been its focus on projecting a specifically Caribbean dance idiom.

The company’s founding fathers, the late Eddy Thomas and late Professor Rex Nettleford, had the foresight to develop a company aimed at presenting on stage a representation of the art and beauty which lies at the heart of the Caribbean experience.

In its 54th anniversary season of dance, which closes at the Little Theatre in St Andrew this weekend, the company has maintained this strong central focus while showcasing talent which sustains its mantra of ‘Renewal and Continuity’.

A highlight of this year’s repertoire is Kevin Moore’s new work Hommage a’ dambala. With Yanvalou — that undulating, rippling, snake-like movement of the body which has its root in Haitian culture — Moore takes his audience on a journey into the often misunderstood culture of this Caribbean territory. The religious and deep Afri-centred nature of this piece also highlighted the similarities which exist throughout the region.

Hommage a’ dambala brilliantly sets up Folk Tales, which is choreographed by Alvin Ailey alum Clive Thompson. It has to be noted that the two opening movements of this dance work are a slow boil. But by the third movement, Rachel Walter’s solo, the piece starts to simmer. Walter’s training in classical ballet serves her well in this piece on mimicry. The intensity heightens by the fourth movement. Paulette Bellamy’s arrangement ups the ante on the folk song River Bank Coverley, and adds a modern, dancehall twist. This lends itself to an exciting denouement.

The night’s performance climaxes with Nettleford’s 1983 work Gerrehbenta, which takes its name from two traditional rites — gerreh from Hanover and dinkimini from St Mary, which uses an instrument called a benta. This perennial favourite, set to catchy tunes, captures the dance vocabulary at the heart of the NDTC. Renewal and Continuity is also reflected in the live tracks for this piece. Over the years, NDTC singer Carl Bliss was renowned for leading the charge in providing vocals for Gerrehbenta. With Bliss’ departure, Leighton Jones who has stepped into these big shoes and accredits himself very well.

Although these works showcase a strong Caribbean identity, the NDTC also prides itself on fusing influences from other cultures, in a way, that makes them distinctly ours.

Labess by David Brown is a great piece in this company’s repertoire. Its syncopated sequences are a visual treat. It forces the dancers to ‘go hard’ which in turn translates to a good watch. The dramatic entries and exits offer great layering and diversity.

Young choreographer Renee McDonald has shown growth and development with her work Into the Blue

. With its intricacy and physicality, she challenges her dancers with great results. Young dancer Kristina Graham, who joined the company at age 15, a few years ago, is at her best in this piece.

One of the solos this year is Moods, choreographed by Bert Rose. First staged 40 years ago, the original dancer Sandra Phillips was brought in to coach dancer Marissa Benain with this remount. One is immediately reminded of Benain’s solo, A New Dawn, from last year’s season, as she is strong and emotive in this work.

The NDTC continues to make its mark on the local dance scene and the 2016 season is worth the watch.