Phrases / Jovita Tedja
Pictures / Head within the Clouds LA
Whereas 88rising isn’t any stranger to championing Indonesian expertise, from longtime label mainstays Wealthy Brian and NIKI to rising artist Warren Hue and singer-songwriter Stephanie Poetri, no na represents a brand new chapter for the label as its first woman group venture. Made up of Christy, Esther, Baila, and Shaz, the all-Indonesian quartet formally debuted in Could 2025 with “shoot,” instantly establishing an identification rooted of their Indonesian origins. Its music video strikes by means of lush Indonesian landscapes, whereas conventional textiles are reimagined all through the group’s styling. Reasonably than treating their heritage as a backdrop, no na locations it on the heart of their visible and musical world, bringing a distinctly Indonesian perspective to an more and more international pop panorama.
That cultural specificity is paired with the polish of a gaggle whose members have been performers lengthy earlier than no na got here collectively. With honeyed vocals, sharp synchronization, and an easy chemistry onstage, the group attracts from distinct inventive backgrounds. Esther and Baila each appeared on Indonesian Idol, whereas Christy made a reputation for herself as a aggressive dancer inside Indonesia’s dance scene. Shaz, in the meantime, spent a part of her school years in Sydney, Australia, showing in neighborhood Okay-pop dance cowl movies. Collectively, these particular person paths converge in no na, the place vocal efficiency and choreography are as central to the group’s identification because the Indonesian influences woven all through their work.
Earlier this yr, no na discovered their breakthrough with “work,” a observe that drew widespread consideration for its commanding choreography, notably Christy’s acrobatic opening, which instantly turned one of many efficiency’s defining moments. The group shortly adopted with “rollerblade,” additional constructing their momentum and establishing no na’s distinctive inventive identification. Beneath the smooth manufacturing and up to date pop choreography, each tracks stay unmistakably linked to Indonesia. “work” incorporates the metallic percussion of the Balinese cengceng, whereas “rollerblade” attracts from the sounds of gamelan, permitting conventional Indonesian devices to coexist naturally with the group’s energetic pop sound.
When LADYGUNN sat down with no na at Head within the Clouds Los Angeles on August 8, the group was on the verge of an excellent greater introduction. Recent off the discharge of their newest single, “honk!,” Christy, Esther, Baila, and Shaz are actually making ready for the arrival of their debut album, island woman, subsequent month.
If their previous releases launched the world to Indonesia, their subsequent chapter makes an excellent bolder proposition: that Indonesian tradition doesn’t must be translated, diluted, or stripped all the way down to belong on the worldwide pop stage.
Esther: “honk!” is our introduction of extra native Indonesian issues to the world, and angkot, which is, you already know, within the hook, “Get on the angkot,” is sort of a shared taxi that now we have in Indonesia, the place you may simply get on the angkot and it will possibly take you locations. It’s principally like a minivan or a minibus, and native Indonesians take it day by day.
Baila: Additionally, the honk within the intro is sort of a very iconic bus sound from Indonesia that we’re bringing again, the “Om Telolet Om.”
The angkot, as Esther explains, is an Indonesian minivan and one of many nation’s most inexpensive types of transportation. In a rustic the place government-backed public transit is concentrated in main metropolitan areas like Jakarta, the angkot has lengthy stuffed the gaps. Largely privately owned and independently operated, these autos operate as an off-the-cuff paratransit community, offering an important mobility lifeline for lower-income communities, for whom personal autos or ride-hailing companies could also be much less accessible. By centering the angkot in “honk!,” no na elevates a picture of Indonesia hardly ever exported by means of the polished lens of worldwide pop: not the posh resorts or tropical escapism usually related to the nation, however the infrastructure of peculiar Indonesian life.
In the meantime, “Om Telolet Om,” sung within the observe by means of a shock look from Wealthy Brian, traces its roots to a distinctly grassroots phenomenon. Translating roughly to “Uncle, honk, uncle,” the phrase turned a viral sensation in 2016, when movies circulated of kids gathering alongside Indonesian roadsides and calling out to passing intercity bus drivers to sound their horns. Particular person buses turned recognizable for his or her distinctive, usually melodic klaxons, or the telolet. What started as a easy and accessible type of leisure amongst Indonesian youth quickly traveled far past the nation, turning into a global web sensation. Its inclusion in “honk!” subsequently reaches past mere nostalgia: no na takes a cultural touchstone born from on a regular basis Indonesian life and provides it new life throughout the language and spectacle of worldwide pop.
picture by HITC LA/Sarah Midkiff
no na’s upcoming album island woman spans 15 tracks, with the members naming “seafood food plan,” “social gathering within the +62,” “clean,” and “nick of time” amongst their private favorites. As no na’s first full-length album, island woman holds explicit significance for the members, who poured themselves into bringing the venture to life. The discharge additionally guarantees to disclose a extra versatile facet of no na, showcasing a broader vary of their artistry.
Esther: I feel simply naming our album island woman is already us attempting to push forth the Indonesian-ness of no na. And I feel quite than it being us cosplaying what an Indonesian girl ought to seem like, it comes organically for us as a result of all of us grew up on this nation. We’ve grown up with the tradition, we’ve grown up with the meals, the music, and the entire tradition that now we have in Indonesia. All the pieces simply appears so seamless and so clean to implement all of that into no matter that we do.
Esther: It’s similar to nature for us at this level. And we’re going to proceed to do this as a result of one, it’s part of who we’re, and two, it’s introducing the tradition to the world an increasing number of, and that has all the time been our aim from the start.
This intuition extends past the cultural references embedded in no na’s music. Additionally it is mirrored within the form of Indonesian femininity the group embodies: playful, expressive, and unmistakably centil.
In Indonesia, a brand new era of feminine musicians have helped usher in a resurgence of centil. Whereas the phrase may be actually translated as “flirty,” its cultural which means extends far past flirtation: centil embodies a playful but confident femininity, with the arrogance to be expressive, cheeky, and unapologetically seen. The sensibility has deep roots in Indonesian common tradition, notably amongst feminine pop and dangdut stars of the Nineteen Nineties and 2000s, earlier than discovering new expression by means of the nation’s woman bands within the 2010s.
That embrace of centil carries explicit weight inside Indonesia, the place extra conservative social expectations round femininity can nonetheless form how girls are anticipated to decorate, behave, and current themselves in public. Girls perceived as too flirtatious, outspoken, or sensual can face heightened scrutiny, making centil a typically provocative label quite than an uncomplicated celebration. Reclaiming it, then, turns into its personal delicate type of defiance. As an alternative of shrinking themselves to suit expectations of respectable femininity, these artists embrace being conspicuous and confidently female on their very own phrases.
As we speak, centil is as soon as once more being reinterpreted by a distinctly Gen Z era of Indonesian girls. Alongside singer-songwriter Naykilla, who has helped popularize hipdut, a up to date fusion of hip-hop and the Indonesian dangdut style, no na has emerged as one of the seen faces of this revival. When requested to outline precisely what centil means, the members provide maybe essentially the most becoming rationalization doable: “Take a look at us.”
Baila: no na. Centil equals no na. Easy, easy.
Esther: Singkat, padat, jelas!
Christy: If you wish to know what’s centil, simply have a look at us, no na.
For all the arrogance and centil power no na brings to the stage, their island woman magnificence routine is surprisingly easy. Between continually touring from Jakarta to Los Angeles, Esther swears by sleep, whereas Baila provides tanning to the equation and Shaz’s secret is loads of coconut water. However the group collectively agrees that sunshine is crucial. Christy finally distills the no na magnificence philosophy into one idyllic picture.
Christy: Sleeping on the seaside with coconut water.
However take the island ladies away from their island for too lengthy, and there may be one factor no quantity of California sunshine or coconut water can change: Indonesian meals. Requested what they crave most whereas abroad, the solutions start pouring out virtually instantly. Esther has spent days occupied with tempe orek, whereas Baila and Esther lament the issue of discovering a martabak in Los Angeles that tastes fairly like those again residence. Once they study that one store ships martabak nationwide, ordering only one is outwardly out of the query.
Baila: “One? 4!”
Inside moments, cakalang, gultik, and lidah sapi have all entered the dialog, till Esther lastly cuts the group off.
Esther: Udah yuk, I feel we’re simply gonna hold going.
Maybe that’s the most becoming solution to perceive no na’s relationship with Indonesia. All through our dialog, the group speaks about bringing their tradition to the world by means of music, choreography, language, trend, and all of the distinctly native references embedded all through island woman. However their Indonesian-ness is simply as obvious within the moments when they don’t seem to be attempting to make an announcement in any respect: lacking cabe rawit, debating the place to search out correct martabak, or getting just a little too excited speaking about gultik. For no na, Indonesia is much less an aesthetic to invoke than merely the world they know. And for Christy, the mission is even easier.
Christy: Indonesia to the world.
And if no na will get their method, the world would possibly quickly be coming to them, too. With island woman on the horizon, the group already has their sights set on touring, echoing the lyrics in “honk!” that charts a journey from Indonesia to the world: “Sabang sampai Merauke, New York, Tokyo to LA.”
Wherever no na goes subsequent, one factor appears sure: they’re bringing Indonesia with them.
