Nan Jombang

Nan Jombang Dance Company first performed outside Indonesia at Brisbane Powerhouse in 2007. Now, after performing at the Tokyo Performing Arts Market, Da:ns Festival Singapore and the Theater der Welt Festival in Essen, Germany and before embarking on a tour of the UK, Nan Jombang has returned to Australia with a new work by choreographer Ery Mefri.

Renown for their discipline, agility and physicality in dance, it is said that “Nan Jombang dancers practice the 14th century old martial arts, Silat, every day. They train until their feet bleed, developing extraordinary physical strength and control and a depth of Martial arts spiritual discipline.”

There are two acts (25mins/45mins) to DOUBLE BILL, separated by an intermission. The first is surprisingly contemporary. I do realize that Nan Jombang is about contemporary Indonesian dance, but I think I was still expecting a slightly less abstract performance. The first SangHawa (Eve) is a duo with the two senior artists of the company.

In Act 1 I read that “choreographer Ery Mefri contemplates Eve, the first woman in the story of creation shared by Islam, Christianity and Judaism. In matrilineal Minangkabau culture, property is owned by women and passed from mother to daughter. “

The duo has the feeling of a melancholy conversation between the man and woman, which ranges with intense feeling from sexual tension, pain, disappointment, disagreement and aggression to love, understanding and togetherness.

The unique use of voice and body percussion brings an original rhythmic quality to the performance which varies in pace and energy. For he most part though this dance is slow and meticulous in its deliberate and disciplined movement and feeling. The placement of each toe and strength of foot movement can be appreciated.

The second is a full company performance, Rantau Berbisik (Whisperings of Exile), which is five dancers in total, four female. A simple and effective set is used to create a far more traditional setting performance then the first (including use of plates and bowls in the unique Indonesian style of Tari Piring or Plate Dance) and weaves in further martial arts and core strength. This I far preferred. There was also a higher energy level to this dance, and innovative body and costume percussion.

I read that Act 2: Rantau Berbisik (Whisperings of Exile) “is (a) piece is inspired by the long tradition of Minang men migrating across the archipelago to make their fortune before retuning home. Here we are taken deep inside one of the thousands of Nasi Padang (Sumatran-style) restaurants spread all across the archipelago and inside the longing exiled souls of the Minang people who own them.”

In summary: spiritual, astoundingly physical, cultural, agile and beautiful. However, I’m not convinced that this performance is for everyone to enjoy equally, possibly an audience with a higher appreciation and understanding of world dance and contemporary Indonesian style would have taken more away from this show. Also the many long stretches of silence that filled the auditorium, especially in the first ACT, felt sometimes uncomfortable and restless from the audience’s side. Every cough, sniff and wriggle was deafening, and I think some of the younger members of the audience were struggling to stay with it.

Nan Jombang

SangHawa (Eve) Dancers: Angga Mefri, Rio Mefri
Rantau Berbisik (Whispering of Exile) Dancers: Angga Mefri, Rio Mefri, Gaby Mefri, Ririn Mefri, Intan Mef