The Straits Times Monday, October 26 2009

Void – JENDELA PERADABAN (WINDOW OF CIVILISATION)

Boi Sakti and T.H.E Dance Company

Theatre Studio, Saturday

Stephanie Burridge

Like as social-realist visual artist, Indonesian choreographer Boi Sakti painted a bleak, pessimistic picture of globalization.

In an unapologetic treatise on a world that has descended in a state of moral decay, materialism, loss of culture and spirituality, his stark dehumanizing images served to a warn the audience of the consequences of this emptiness. A thumping soundtrack interspersed with recorded sounds, for example from the Mass Rapid Transit, added to the pace and pressure.

There was no subtly in the work, which premiered at the Esplanade’s da:ns festival.

The onslaught of violent and violating images was stacked together with no respite for any of the protagonists or the audience. The dancers  were caged, trapped, chained, provoked and humiliated through a number of devices – the most disturbing being a museum exhibition- like glass case that was eventually inhabited by seven dancers.

This was scary and confronting image for the audience who became genuinely concerned for the dancers safety as the glass steamed up. Other disquieting moments saw a dancer wielding a sharp knife that she used to slash a melon and dancer Zhuo Zihao was suspended upside down in a harness for a length of time.

At one point the dancers entered wearing a token piece of traditional dance costumes from Java – a gold headdress, wrist cuffs, a necklace and a dance collar.

These references to the passing world where humanity is anchored by responsibility, ritual and belief were immediately crushed as they proceeded to place surgical masks over their mouths in reference to the current H1N1 flu pandemic.

The blackness was lifted slightly in some comic moments such as when the dancers raced around like dogs with megaphones tied to their backs. The owners barked orders through these but eventually the roles reversed. The dancers donning colourful wigs and dancing freely was another lighter scene.

Singapore’s T.H.E Company was superb in holding its focus and intensity in the dark, alienating work. The dancers brought their youthful energy and strong technique to the dance floor but really had to dig deep emotionally to deal with many scenes.

It was a piece for dancers of Generation Y and possibly their audiences. The maelstrom of images took the audiences into a void with dynamic centrifugal force that did not open a window for escape.

A strong piece for the da:ns festival and an important development for this dynamic local company.