Then one dancer embraces the other. Suddenly there seems to be a moment of oneness, but the dancer who is held droops – disappointed, shocked? – off, while the other, alone, continues the embrace. Does he symbolize Jazz and the man who has sat down Gamelan, is the question I ask myself. And the female dancer, is she then life, movement, expression? This is how I decide to view the rest of the performance.
The visuals disappear, Jazz is furious because of the rejection. Then he undergoes a transformation. Oneness is not a question of holding and control, but of symbiosis. Gamelan and Life join him. What follows is chaos. On the screen can be seen how Life makes numerous facial expressions, the singer utters eery high sounds, Jazz and Gamelan try to go with each other.
Then I hear really good drum and bass and feel how Jazz, Gamelan and Life have found a new symbiosis. I feel moved by the uninhibitedness of the three dancers, who in almost acrobatic movements feel how they strengthen each other. With this new freedom the try-out ends and the performers bask in enthusiastic applause.
Finally free, is the feeling with which I leave the theatre. While, still somewhat moved, I walk through the Grand Pasar to the exit, I realize what a person of two cultures experiences in order to reach this state. And how marvelously Gerard Mosterd has translated into movement, music and isuals this inner transformation, the equally valued oneness of East and West.
The Indian performance choreographer Gerard Mosterd is known for his conceptual work, wherein the mixing of Western and Eastern worlds stands central. Previously he created a furore with Ketuk Tilu and Unfolding . In the meantime he is developing with the music group Boi Akih a production wherein Gamelan and Jazz meet each other. At the 52nd TTF they will present a test version.
SOURCE: Indisch 3.0 uitgesproken