Kompas | 17 October 2002
A performance from the Netherlands, Tuesday night (15/10), was not only give a bright atmosphere, but also a tutorial for this theater performing arts in East Java. Most of the audience mesmerized watching the theatre dance performance, Luminescent Twilight by Gerard Mosterd, male Dutch-Indonesian hybrid, which was presented by a handsome male dancer and a beautiful female dancer.
Heri “Lentho” Prasetyo, Surabaya dance artist; said, Mosterd’s theater dance performance showed the totality of an artwork performance because there was a neat harmony between the choreographer, the light designer and the music composer.
“As a choreographer, I often caught in the body movements and ignore the artistic lighting system or the music composition myself,” said Heri. Dance performance at least become a mirror that performance art if it is being done with totality, will result a fantastic work.
The interesting lesson was also to pay attention and maintain the atmosphere so it is not interrupted by other voices. Through the festival organizers, the theater warned each audience not turn on a cell phone during the performance.
“For those who bring mobile phones, please switch it off,” said an official committee who was guarding at the entrance to the theater again and again to the audience.
They did not only just import all the raw materials, but also took a accompaniment sound which is very familiar in the ears of Javanese. The lover of art performance that night were not only get a fantastic body movements fantasy, but also being stomped by keroncong moritsco which was play to accompany the dancers.
Up till now it is rare for Indonesian choreographers to use keroncong music as dance accompaniment. According to Mosterd, music keroncong was used because he wanted to create a romantic nuance. Although he was born and grew up in the windmill land, Indonesian blood (the mother) has inspired him to work on the creation which implies the struggle of East and West cultures.
“To be honest, although I have the Netherlands figure, but in my soul there is oriental character,” he said.
When the hour hands moved and pointed to 20:05, came the strains of gamelan played by Niels Walen and once in a while there was a rebab tune that inspired feelings. Then the gamelan rhythm once in a while combined with Paul Goodman’s music until they gave an impression of the meeting between the two poles of cultures, West and East.
The impact of these different cultural poles were not just mixed into the music composition as dance theater accompaniment, but also neatly interwoven and measured together with the rhythm of the contemporary dance movements which was perform by the good-looking Teck Voon Ng from Vietnam, and Esther Natzijl, a beautiful woman from the Netherlands.
Teck Voon which was bare-chested began his appearance on the stage with the lighting of three parallel lights until it made him as if he was out of the darkness, then reached the light. As he bent half body, Teck Voon moved his hands full of tenderness. Dancer’s hand movements reached the point of achievement when it touched his ear, then his palm wiped his face until it was look up to bright light.
Coincided with the accompaniment of gamelan music, Voon’s dance was beautiful when he was moving from the cracks of lighting, from the dark, then light, dark and light and then disappeared from the stage.
Then Esther Natzijl appeared from the darkness. The dancer’s body movements is almost perfect when she was moving from one side to the other side of the stage. Creep movements varied with the game of funny faces.
Both dancers were then united in a dish which was very interesting when they played gentle movements from behind the scenes. The shadows of male-female dancers’ graceful body movements were make an impression of a measured artistic achievement between gestures, lighting, and accompaniment music illustrations. (TIF)