PRYCE

when i dance all my fears become nothing but a mirage, new hope is reafrmed. I satisfy my body's insatiable appetite, through responding to the rhythmic echos in my bone. I WILL DANCE FOREVER. Oniel Pryce, 2003
MANAGEMENT & BOOKING CONTACT: Simone Harris, 360ARTISTS simone.harris@mac.com +1876-479-4328 BBPIN: 2A60A713

ONIEL

WHO IS ONIEL PRYCE? Oniel Pryce embodies the next genera@on of great choreographers emerging from the Caribbean. Former company member with the Na@onal Dance Theatre Company of Jamaica (NDTC) and freelance dancer with several project based companies across the UK including Movement Angol, Biggerthanme Produc@ons and State of Emergency, Oniels career both as dancer and choreographer has been one guided by self discovery and exhaus@ng possibili@es in movement.
I found early on that crea1ng was my passion as opposed to being a performer - if a work didnt engage me holis1cally I was not able to perform it to the best of my ability ... being a performer means that you are willing to engage in anything that is thrown at you. The lessons I have learnt from being a performer is now an important part of how I now see and make works

His choreographic accomplishments include crea@ng works for major arts projects and dance companies including: Propsobili*es, The Company Dance Theatre (Jamaica) Un*tled, Dance Theatre Xaymaca (Jamaica) Certain Today Unborn Tomorrows, Na*onal Dance Theatre Company of Jamaica - NDTC (Jamaica) Barre Talk, Na*onal Dance Theatre Company of Jamaica - NDTC (Jamaica) Ashe - Inner Mappings, Independent dance produc*on (Jamaica) BiIer Sweet Melodies of Glass & Sweet Scented Roses, University Dance Society (Jamaica) Traces of Home, Connec*ng Vibes - Irie Dance Theatre (UK) Of God, Dance and Religion, Trinity Laban (UK) The Body Remembers and breaks the silence, Trinity Laban (UK) Un*tled, Cornwall Youth Dance Company (UK) Speaks Like a River, ADAD (UK) Oniel holds a Diploma in Dance Educa@on from The Edna Manley College of the Visual and Performing Arts, a Bachelor of Fine Arts in Dance from the State University of New York College at Brockport, and he is one of only two Jamaicans who holds a Masters of Arts in Choreography from Trinity Laban. While living in the UK, Pryce taught dance in several primary and high schools and was faculty member at Irie Dance Theatre where he lectured in Caribbean Dance Studies and Performance. He is currently a full @me lecturer at the Edna Manley College School of Dance in Jamaica in several areas including Repertory and Performance/Design for Dance, Dance History and Modern Dance. He is Ar@s@c Director of Propel Dance Collec@ve, a newly formed graduate company of the College.
MANAGEMENT & BOOKING CONTACT: Simone Harris, 360ARTISTS simone.harris@mac.com +1876-479-4328 PIN: 2A60A713

THE PRYCE REPERTOIRE DIFFERENCE Pryce uses ABSTRACT IDEAS TO REPRESENT REAL LIFE EVENTS. In his piece, LeIer from Angola, described by arts cri@cs as an insigh\ul look into bondage he found inspira@on in an image of an Angolan woman bounded in chains to create an emo@onal and poignant piece that spoke to the Angolan reality of being the country with the highest rates of land mine injuries per capita. In Regarding the Pain of Others, which emerged out of his Danceworks, Rep and Design for Dance course at Edna Manley College he spoke to the devasta@on of the 7.0 earthquake that struck Hai@. Although not experiencing the destruc@on and emo@onal trauma personally he pulled on real life events using s@mulus ideas to push dancers to a place inside themselves where they could not only relate but create movement which superimposed deep seated emo@ons that allowed them to feel what Hai@ans were possibly feeling on that day. As a choreographer he believes in His choreographic process is not to evolve, to be created in real involved. His use of PROPS, transforming a intended for. Utopia & space. the idea of WORKING IN THE PROCESS OF THE PRESENT. preplanned so he is open to allowing the work to unfold @me, in the space, based on the energy of everyone

is also unique in the sense that he has been successful at prop into something other than what it was originally Barre Talk, for example, was born out of trying to create a experience transcending @me

You can stand on it, walk on it, use the nega@ve space within the barre

We are taught that the this tradi@onal idea and

barre is for light support he challenged explored all its possibili@es.

For Oniel, the barre became eortless with seamless Essen@ally, his use of this

a regular dance oor, on which movement could be make to seem transi@ons. propresulted in an enhancement of the dance space.

MANAGEMENT & BOOKING CONTACT: Simone Harris, 360ARTISTS simone.harris@mac.com +1876-479-4328 PIN: 2A60A713