The recorded sounds of cut wood by axe, saw, knife, sandpaper and brush to make a traditional wood mask set the atmosphere for the choreographer Katia Engel’s latest work in Indonesia, For Starting to Cut the Wood. It conveys the process of the mask making process and its relation to the materials and work tools, which was interpreted by a dancer.
The interaction between dancers, people on the streets, cinematographer, and a technology-savvy all in real time basis event presents an art-technology work of the choreographer Yola Yulfianti in a dance film performance, a bold idea that poses challenges in not only the unfamiliarity of the new medium, but also in the country’s current mobile data infrastructure.
This year’s Helatari showcases the development of dance in Indonesia departing from the influence of modern western dance, hip-hop, street dance or “free choreography”.
Jazz Sans Frontieres kembali menjadi tema festival musik jazz mini Jazz Buzz Salihara 2017. Di pagelaran keenam ini, Komunitas Salihara konsisten memamerkan keunikan konsep jazz tanpa batas. Komunitas Salihara tetap mempertahankan semangat menjadikan acara ini ajang bagi musisi jazz kontemporer untuk bereksplorasi, dan untuk pasar pendengar musik tanah air di luar konvensi umum jazz Indonesia.
In a similar fashion as when photography was acknowledged for the first time as a medium worthy of an art-status exhibition in Museum of Modern Art (MoMA), New York, in 1967 featuring the work of Lee Friedlander, Diane Arbus, and Garry Winogrand, graffiti in Indonesia jubilantly marked its own recognition with a joint exhibition Off the Wall by a dozen graffiti artists in Museum Nasional, November 2016.
Better to let go of the excessive reminiscence of his touring with a famous American pop star , or, more prominently, a stint at a production of Disney’s musical that involved names such as Elton John, Hans Zimmer, and Tim Rice, all happened over 15 years ago, Eko Supriyanto is at the top list of homegrown contemporary dance choreographers. So much he loves the diversity of tradition that make up what is now Indonesia that he draws the inspiration from ethnic groups traditional value and social setting, then reconceptualizes them in his work, such as clearly demonstrated in the Balabala.
Judul tinjauan seni yang klise, namun rangkaian pertunjukan seni di SIPFest 2016 mengundang pertanyaan dan pernyataan yang sama menyangkut komentar khalayak tentang perkembangan seni tari yang dikurasi oleh Komunitas Salihara tersebut. Menarik untuk disimak kembali anggapan bahwa seni kontemporer, khususnya tari, tidak pernah beranjak dari unsur tradisional.
In one of the most intense art performance in SIPFest 2016, the ARICA Theater Company draws an inspiration from a mundane cycle of life which conveys a universal message about a vivid impression of everyone’s life that often failed to be notice.
Komunitas Salihara’s traditional bienalle festival, held consecutively ever since its opening in 2008, then called Festival Salihara, begins in October with a more significant merit to be an internationally recognized art stage showcasing its well curated exhibitions so far under the new name SIPFest 2016, said the Program Director Nirwan Dewanto.
Just as the recent criticism on Indonesia’s fine art by some high profiles inside the art council itself underscores the lack of relevant social criticism, the more localised contemporary art bienalle in Bandung this year presents a more savvy view which involves a socio-cultural approach, a tendency to revisit interweaving human history with its conspicious butterfly effect we have seen today.