nATFEST, an international contemporary dance festival organized by nATANDA Dance Theatre of Sri Lanka will be held from the 10th to the 11th of November 2018 at the British School Auditorium at 7:00 PM.
About Malay CultureFest 2018
In conjunction with the ‘Undangan ke Baitullah: Pilgrims’ Stories from the Malay World to Makkah’ special exhibition, this year’s Malay CultureFest will focus on artistic expressions of devotion and faith, found throughout the Nusantara.
With a myriad of activities including newly commissioned performances, talks and workshops, Malay CultureFest 2018 is one cultural extravaganza not to be missed!
ChangMu International Performing Arts Festival 2018 – Seoul, Korea Selatan 24 s/d 30 Agustus 2018.
Adalah drama keluarga berdasarkan seni bela diri dan tradisi rakyat, menggunakan bahasa gaya tarian modern. Dalam masyarakat Minangkabau yang unik sejak usia yang sangat muda, anak laki-laki disurh untuk merantau, untuk menjadi kaya sebelum kembali ke rumah. Industri utama perantau Minangkabau adalah makanan, dan banyak restoran-restoran tersebar di seluruh Indonesia, Malaysia dan Singapura. Beberapa orang Minagkabau telah menjadi kaya, mendirikan jaringan restoran, tetapi sebagian besar terus menjalankan restoran kecil. <Rantau Berbisik> adalah salah satu fasilitas yang kami temukan di suatu tempat di ruang perantauan. Setiap hari dari pagi hingga larut malam, kami menyiapkan makanan dan bermain musik. Menghadirkan emosi dan konflik keluarga yang terpapar dalam lingkungan yang tertekan ini.
Nan Jombang Dance Company
Didirikan pada tahun 1983 oleh Ery Mefri, Nan Jombang Dance adalah perusahaan tari kontemporer terkemuka di Indonesia, Hal ini berakar pada seni bela diri Minangkabau, tari dan tradisi perkusi di Indonesia bagian barat. Kami mencoba melestarikan tradisi lokal dengan praktik modern. Nan Jombang telah melakukan banyak pertunjukkan dan latihan, Ini adalah filosofi inti yang telah membimbing organisasi melalui berbagai pengalaman sulit, termasuk gempa Padang di Padang yang menghancurkan ruang latihan, dan bertekad untuk sabar, disiplin dan integritas yang ketat. Nan Jombang melakukan tour internasional pertamanya di tahun 2004, telah berkembang dengan mantap menjadi grup yang terkenal secara internasional. Nan Jombang adalah anggota dari International Dance Group, mentoring dan mengajar, memainkan peran penting dalam program komunitas di festival lokal dan internasional, dan menghubungkan komunitas lokal dengan seni pertunjukan kontemporer Indonesia.
Koreografer : Ery Mefri
Desain Pencahayaan : Slamet Sofyan
Penari : Angga Mefri, Rio Mefri, Intan Mefri, Ririn Mefri, Gitra Miranda
Produksi : Nan Jombang Dance Company
Tarian ini berasal dari orang Minangkabau (Minang) dan juga merupakan penduduk asli di dataran tinggi Sumatera Barat, Indonesia, umumnya dikenal sebagai orang Padang. Memilik budaya matrilineal, properti dan tanah diwariskan dari ibu ke anak, tetapi urusan agama dan politik dipegang oleh laki-laki (bahkan jika beberapa wanita juga memainkan peran penting dalam bidang ini). Orang-orang Padang terutama tersebar di Sumatera Barat, Indonesia dan Semenanjung Malaya. Terinspirasi oleh tradisi Minang yang telah lama berdiri, para pria akan melakukan perjalanan melalui berbagai kepulauan sampai mereka dapat menghasilkan uang dan menghasilkan banyak uang sebelum mereka dapat kembali ke rumah. Merantau selalu menjadi tradisi di Minang, pria muda meninggalkan keluarga dan desa mereka untuk mencari cara untuk mencari nafkah untuk diri mereka sendiri. Karya ini menggabungkan warisan materi dan spiritual dari semua orang Minang, pada saat yang sama, budaya kuno dan kontemporer digabungkan menjadi satu, dan festival tari di Eropa, Australia, Amerika Serikat, Jepang dan kota-kota lain diundang untuk berkeliling dunia. Dengan menanggung kesulitan merantau dari tanah air mereka, mereka telah tumbuh menjadi pria dewasa yang mampu menghadapi kesulitan dan masalah kehidupan masa depan. Selama periode hidup mereka, mereka juga berkontribusi pada esensi budaya penyebaran makanan dari Padang di seluruh Indonesia.
“Terlepas dari di mana Anda berada, Anda harus beradaptasi dengan diri sendiri sampai tempat baru ini menjadi rumah Anda.”
The Europalia Arts Festival began in October 2017 in Brussels and is set to run until January 2018 in several countries across Europe, presenting Indonesian arts and culture throughout the region.
As reported by tempo.co, Rantau Berbisik was performed on Monday by six dancers from Padang group Nan Jombang, which is led by Ery Mefri. The performance took place at the Weltmuseum in Vienna.
Built in 1876, the Austrian museum has for the past several years worked together with the Indonesian Embassy in Vienna to host performances and book launches on the history and culture of Indonesia.
The Rantau Berbisik dance incorporates silat (martial arts) movements and is accompanied by signature music, as the dancers hit makeshift instruments, such as plates and glasses.
The performance was attended by Viennese residents, fans of Indonesian culture and arts, as well as invited guests, including academics from Vienna University of Technology (TUW) and University of Music and Performing Arts Vienna. The crowd enthusiastically applauded the performance.
Stephan Taibl, Pencak Silat Association head in Austria, watched the performance with his family and praised the dancers.
“I really understand the movements in the dance as the majority are silat techniques and not easy to do. Their breathing technique is amazing,” Stephan said.
A Min Tjoa, Indonesia-Austria Relations Institute head, also echoed this sentiment.
“I’m sure this kind of contemporary dance performance would be enjoyed by the wider public in Austria. They can certainly perform at larger events in Austria such as the international contemporary dance festival Impulstanz,” Tjoa said.
Indonesian Ambassador to Vienna Darmasjah Djumala explained in his opening remarks at the event that merantau was a well-known Minangkabau tradition. Their motivation is not only economically driven, but also aims to prepare young Minangkabau men to be strong and rich in life experiences.
Each family in Minang prepares their sons to travel by providing them with, among other things, a basic religious foundation, education, and martial arts skills. (liz/kes)
Media Source : http://www.thejakartapost.com/life/2017/12/14/contemporary-minang-dance-praised-in-vienna.html
A high-pitched wail marks the beginning of “Rantau Berbisik,” translated as “Whisperings of Exile.” It’s the sound of pain, but it’s also a clear, ringing one-note aria. This was pain through a filter of restraint and acceptance.
So it goes in this piece by Nan Jombang, an extraordinary dance group based in Padang, Indonesia, on the western coast of Sumatra. The company made its U.S. debut last weekend at Dance Place, the first stop on a national tour as part of a new State Department initiative called Center Stage, which will also bring groups from Haiti and Pakistan to these shores.
Ery Mefri established Nan Jombang in 1983 as an expression of the indigenous Minangkabau culture to which he belongs. Martial arts, body drumming and chanting are age-old traditions there; using simple means and an eye for sharp visual impact, Mefri has woven them into fascinating theater.
“Rantau Berbisik” draws on the melancholy notes of the Minangkabau’s matrilineal tradition. With property transferring to the women, the men must leave home and strike out on their own; many do not return. We see the physical longing and anguish of this in one man’s solo display on a small wooden table. Slowly, as if moving through honey, he unfolded and upended his body in a feat of acrobatics that was never showy, but rather conveyed a heavy heart and pent-up feeling.
This 55-minute long work shifted from passages of engrossing physicality to group percussive performances, with the dancers beating on the table, on ceramic bowls, on the billowy fabric of their trousers stretched taut between their legs. Often, the vigorous footwork, scooping arms and low, crouching stance suggested West African dance.
This work requires patience to watch, and many moments felt slow to the extreme. Despite the beautiful red costumes and intriguing, unfamiliar musical rhythms, the gloom never lifted. Still, there is much to appreciate here, primarily the smooth, liquid quality of movement, the immense upper-body strength that never became a show unto itself, and the five performers’ ability to sustain a mood.
Media Source : https://www.washingtonpost.com/lifestyle/style/nan-jombang-brings-indonesian-dance-to-us/2012/09/23/4597e3ca-05a4-11e2-a10c-fa5a255a9258_story.html?utm_term=.44b2fdcd70d6
Music is my first love, so it shouldn’t be surprising that dance is a close second. Naturally when offered tickets to Fall for Dance, an autumn show nine years running featuring, among others, the work of Sumatran dance company Nan Jombang, the decision wasn’t difficult.
Hailing from Indonesia with a strong, cross-cultural message, Nan Jombang shared the stage with a variety of talented, entertaining dance groups, beginning first with classical ballet. Performed by the American dance company, Ballet West, the opening act of Fall for Dance embodied every little girl’s dream of what a ballerina should be. Accompanied by a bevy of beautiful, delicate yet strong women clad in elegant tutus sharing the same characteristics, the central dancer and her male counterpart wove a classic love story that served as a perfect introduction to Fall for Dance’s multi-cultural evening.
For me, the second performance of the night rivaled the third in terms of quality. Performed by dancers from the Tu Dance company, the second set centered around a woman and her lust for a certain pair of shoes. Choreographed entirely to an a cappella accompaniment, the dancers glided effortlessly across the stage and back to depict the journey of the female dancer and her partner, who played the symbolic part of the salesman. Many audience members will remember this performance for its identifiable theme and comedic undertones, and though these characteristics were both present, it is worth noting that the dancers’ skill, passion and compatibility together did more to enhance the performance than any planned aspect. With a style that is clearly descendent of Alvin Ailey’s school of dance, these two captured the audience for their entire set.
As an absolutely perfect follow-up to Tu Dance’s High Heel Blues, the Nan Jombang troupe did nothing less than mesmerize the entire audience with their unique, powerful and captivating performance of Tarian Malam. Commanding the stage with utter silence followed by intense, breathtaking and rhythmic drumming, the members of Nan Jombang showed talent not only in movement but in vocal expression as well. During the performance, audience members were taken on a roller coasters of sound and movement, following the show from slow, heavy movements of two intimate dancers to the synchronized, chaotic expression of multiple company members. Composed of several style components, Nan Jombang’s interpretive dance showcased each dancer’s strength, skill, dedication and versatility while simultaneously bringing an emotional account of the nation’s history to life.
Rounding out the show in the last act, Russian dancers from Moiseyev’s Dance Company brought audiences back to life with colorful clothing and rambunctious choreography executed perfectly by a collection of over 30 dancers on stage simultaneously. Comparable to a live human, highly talented version of Disneyland’s Epcott Center, Moiseyev’s secured the foundation of the show in multi-cultural expression through movement. In addition to creating a fun, high-energy atmosphere, Moiseyev’s dancers exhibited a finely-polished, well-synced performance , alluding to the classical ballet roots of the company.
While it may not be the ever-popular The Nutcracker, Fall for Dance is certainly making a name for itself over the past decade on the New York City dance scene. At $15 a ticket, it is also one of the most affordable dance performances in the city, and with shows like this, this experience is worth bringing lunch a few days a week.
Media Source : https://newyorksocialstatus.com/2012/10/12/welcome-autumn-and-fall-for-dance/
The East side is a little bit like another world – at 7:45 p.m. at 70th and Park Ave on a Saturday, it was silent but for little puffs of breath from the occasional hand-holding couple. The austerity of the evening seemed appropriate as I approached Asia Society, an elegant, gray building with ornate window exhibits and a warm, yellow glow beckoning from within.
Photo courtesy of Kenji Takigami/Asia Society
The show opened by illuminating the only male actor as he demonstrated the struggles of marantau through dance. Kenji Takigami/Asia Society
I was there to see Nan Jombang–a dance company hailing from Padang, Indonesia—in a performance of “Rantau Berbisik,” or, translated from Indonesian, “Whisperings of exile.” A lone table squatted on one side of the stage, generating waves of tension as the crowd buzzed in the tall, narrow theater, waiting to see how the performers might make use of this single prop.
Quite abruptly, the lights lowered and the stage grew black. A long pause preceded the appearance of a prick of light, which was carried by a female performer to illuminate a man seated on the table. The woman emitted a plaintive cry as the stage lights flickered back into being. The voice continued, rising into an ethereal wail as the man at the table began to contort his body in shapes at one moment balletic, at the next, violent.
Each of the performers (one man and four women) had nearly identical costumes, characterized by vibrant red pants, called Galembong. The Galembong are associated with the Minang culture, an Indonesian ethnic group from which the show drew its inspiration. The man did not sing, while the women’s voices blended into an accusation, as though the man had perpetrated a crime against them. Indeed, the most violent scene in the performance occurred between the man and one of the women as they sparred over the surface of the table – never quite touching, but enhancing the intention and forcefulness of their blows simply through this lack of actual impact.
Unlike any musical theater I have seen before, the performance was accompanied by the voices of the performers, the percussion created by slapping their pants (which are designed for this percussive purpose), the noise of plates clinking together, and various forms of drumming on the table, but no other instruments.
After the show was over, the director of the show, Ery Mefri, came out for a discussion with the audience. He explained that the show is the story of a man on marantau, a ritual of the Minang people, in which young men (and, today, some women) depart from their villages for larger cities to gain an economic foothold and self-knowledge before returning to marry. Marantau is a fraught tradition; while it is meant to include a plan for return to the homeland, approximately 80% of those who leave never return to their villages. Not only does this create a sense of disappointment and bitterness in those who are left behind, it engenders economic and social instability that continues to affect the Minang people in profound ways.
Mefri, who grew up with Minang culture in West Sumatra, sought to recreate the sensations of this tradition in Rantau Berbisik. The dark intonations of the women reflect their sorrow at the man’s departure. The lack of traditional musical accompaniment – one of the most exotic aspects of the piece as a whole – stems from the piece’s faithfulness to the popular theater form known as randai, in which musical instruments are typically foregone in favor of voice and the percussion created by the wide Minang pants.
The intimacy of the performance was a welcome surprise, as I know virtually nothing about Asia as a whole, let alone the intricacies of Indonesia and its cultures. On the whole, having the historical context of the event made it especially enriching, and perfect for any student looking to explore two foreign worlds – the East side and the continent of Asia – in a single evening out.
–Laura Booth, CC ’15
Media Source : https://cuarts.wordpress.com/2012/10/11/let-nan-jombang-and-asia-society-whisk-you-away/