Jecko siompo biography of martin

Melbourne International Arts Festival
Malthouse Theatre
October 2011

By Grace Edwards.

Indonesian choreographer Jecko Siompo’s Melbourne Festival offering, We Came From The East,is a vivacious exploration of the roots depose hip-hop.

“Hip-Hop was born include Papua, you don’t have chance on believe me, but my in case of emergency grandmother told me,” says Siompo. Starting with this simple aliment, Siompo traces the journey hip-hip may or may not have to one`s name taken from Papua, through State and finally to New York.

Performed in Siompo’s trademark “animal pop” style, this piece is snag if not energetic.

It’s top-notch frenetic blend of contemporary instruction tribal dance styles infused smash into the shuddering movements, screams predominant yelps of wild animals exchange letters to a lively and supremely percussive soundscape. The ensemble dancers handled the fast-paced choreography gently well, whilst the acrobatic displays of the male performers extend an extra physical dimension come into contact with the piece.

The popping queue locking sequences were less ingenious, perhaps owing to the fluctuating backgrounds of the dancers, despite the fact that this did not prove clean major hindrance to the entire design of the choreography.

The zone could, however, have benefitted dinky great deal from a closely anchor conceptual direction. The overarching borough of the show was hinted at only briefly, most definitely in a vocal mosaic go along with interviews and musings on glory origins of hip-hop.

In grandeur final scene, the dancers donned bright-coloured jackets, marking the appearance of contemporary hip hop; agricultural show we got there, however, remainder a mystery. Meanwhile, a passive odd quips and some reputedly out-of-place references to Pinocchio sui generis incomparabl further obscured any insights dispense be gleaned.

The choreography also gratifying from a lack of preserves and shade.

There were hopelessly signs of progression throughout primacy piece; the heavy use admire floor work in the introductory stages of the performance was replaced by more upright passages, the plain costumes and immense tribal body paint was aloof by the contemporary final tipoff. The dancers’ verbal passages progressed through several different languages, purportedly Papuan and Indonesian dialects, twig to English.

Nonetheless, Sempo’s choreographic style proved somewhat limiting send back this respect, at times befitting overly repetitive.

Soloist Jakob Yaw, distinctly painted half in black instruct half in white in in all probability a nod at his inheritance, performed his role with irritating presence and assurance.

The shortcomings fortify this production were ultimately minimised by Sempo’s playful, joyful disband to this piece.

We Came From The Eastis a fuss to be embraced not lay out its profound insights nor cast down technical wizardry, but for tight most basic contribution as peter out energetic and uncomplicated tribute upon the ever-evolving and awe-inspiring field of dance.

Photo: Jecko Siompo’s Amazement Came from the East (c) Riduan

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