A sense of
powerful serenity underpinned the choreography of JAMUAN Bisu...PARAdis_e...?,
a collaboration between Dutch-Indonesian Gerard Mosterd, and Sumatran
Boi Sakti. The various components of form and content played together
throughout the piece in an uneasy relationship - this discord
may have resulted from a jarring of "who did what" in the
creative process.
The form of the dance was exquisite. Sakti continues to dig deep into
the traditions of West Sumatran dance and the rich generational heritage
that he inherited from his famous choreographer mother Suid Gumarang.
In contrast to this complexity of movement, the insubstantial plot made
it difficult for the audience to follow the narrative and the mix of
stage and projected images.
Drawing on the ethos of the matriarchal Minangkabau community of West
Sumatra, the theme of a utopian world ruled by women was explored in
a series of episodes that each made a point about the quiet, non-aggressive
power of women. Women played the stronger sex in dance movements, physically
and emotionally supporting the men.
They took on various roles as mothers, wives, lovers and workers; in
all these instances, they were seen to be in control of the action and
maintained their position with quiet dignity. Part of the title of the
dance, jamuan bisu means "silent devotion" and the piece
certainly referred to this attribute.
Projected onto the vast screen at the back of the stage were, among
other things, images of street scenes in Indonesia - these projections
wavered between too-obvious symbolism and very obscure references to
contemporary struggles and concerns. The new-age-style music also became
confusing and monotonous with an overload of phrases that were remixed
and repeated many times.
A lasting image that worked well because of its simplicity was a circle
of sand mapped out on the stage, which was also reflected in a projected
image of the world. As the dancers gestured around the edge of the circle,
denoting a global world, serenity prevailed and the relationship between
the dancers and the projection was harmonious.
One could also see rare instances of new movement vocabulary. By combining
a deep bending of the knees with light, intricate arm gestures and impossibly
flexible hip rotations, the dancers metaphorically created a harmony
between the Earth and sky, dreams and realities, power and spirituality.
It was hard-edged movement that reflected the precision of traditional
dance and the power of the martial art pencak silat. The production
brought together two different styles, Sakti showing clear influences
from traditional dance and martial arts, Mosterd contributing a European
contemporary-dance aesthetic with flowing sequences of movement.
The episodes that unfolded throughout the dance were incoherent and
did not connect or hang together. Yet, despite these shortcomings, it
was still a joy to watch how the supple and light dancers created a
meditative atmosphere with their movement. |
"It was a joy to watch how the supple and light dancers created
a meditative atmosphere with their movement"
Credits
Concept and choreography: Gerard Mosterd and Boi Sakti
Video/set/costume design: Wilhelmusvlug
Composer: Leon DeLorenzo, Doni Irawan and Paul Goodman
Dancers: Davit, Mislam, Verawaty, Eka Octaviana, Masako
Ono, Amaranta Velarde Gonzalez snd Leonor Carneiro
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