Tag Archives: Dance festival in Jakarta

(a)part penutup 7 tarian kontemporer Helatari 2019

Helatari Salihara 2019 adalah agenda tari Komunitas Salihara yang diselenggarakan rutin di Teater Salihara, Jakarta. think archipelago adalah mitra media di pagelaran bergengsi ini yang berlangsung mulai dari 15 Juni hingga 6 Juli. Untuk informasi jadwal pertunjukan, silakan klik banner Helatari Salihara 2019 yang terdapat di website think archipelago.

Komunitas Salihara, pusat kesenian multidisiplin swasta pertama di Indonesia yang didirikan sastrawan dan mantan pemimpin redaksi Majalah Tempo Goenawan Mohamad, untuk ketiga kalinya sejak 2015 menghelat Helatari Salihara untuk pecinta tarian kontemporer tanah air dan internasional.

Rangkaian 7 tarian unik dalam program rutin Komunitas Salihara kali ini menyajikan wacana segar kepada publik untuk memaknai substansi teater yang dipentaskan melalui estetika gerakan para penari maupun suguhan tata panggung yang bernuansa kehidupan sehari-hari.

Dengan mematok harga tiket masuk Rp 65.000 untuk umum dan Rp 35.000 untuk pelajar, para penikmat tari gaya baru akan terpuaskan dengan pilihan pertunjukan berbobot yang telah dikurasi secara seksama.

(a)part

Keunikan tarian penutup Helateater Salihara 2019 ini terdapat pada upayanya menceritakan kehidupan masyarakat urban yang tinggal di apartemen dan rumah susun. Karya ini melibatkan delapan penari dan menggabungkan bentuk tari dan teater tubuh.

(a)part juga dipadukan dengan seni instalasi abstrak yang terbuat dari pipa PVC yang dibagi menjadi sembilan bagian, sebagai metafora kamar-kamar yang ada di dalam gedung apartemen dan rumah susun. Karya ini dikemas dengan pemetaan multimedia, efek lampu ultraviolet dan cat fosfor untuk lukisan badan (body painting).

Pementasan (a)part di Helatari Salihara 2019: Panggung Tari Baru. Photo by Witjak Widhi Cahya, courtesy of Komunitas Salihara.

The Seen and Unseen

Tarian ini terinspirasi dari film karya Kamila Andini berjudul sama menyabet predikat film terbaik pada Berlin Film Festival (Berlinale) 2018.

Pertunjukan ini menggabungkan seni tari, musik langsung, skor elektronik dan menciptakan perpaduan gerakan tari tradisional Bali dengan pendekatan kontemporer ke arah teater.

The Seen and Unseen berangkat dari filosofi masyarakat Bali “Sekala Niskala” yang berarti keseimbangan antara realita dan spiritual. Karya ini melibatkan Ida Ayu Wayan Arya Satyani sebagai koreografer dan sejumlah seniman dari Indonesia, Jepang dan Australia.

Sedangkan ada 3 tiga koreografer yang tampil pada Helatari 2019 adalah koreografer/kelompok tari terpilih undangan terbuka yang di adakan pada 2018 dengan nama diantaranya Anis Harliani Kencana Eka Putri, Ayu Permata Sari dan Eyi Lesar. Mereka inilah menciptakan tari Holy Body , X dan Ad Interim atau disebut dengan “Panggung Tari Baru”.

Holy Body

Menurut hasil dari pengamatan koreografer, ada ukuran-ukuran ideal yang harus dimiliki oleh penari perempuan untuk bisa menerima pesanan tari (komersial). Holy Body menawarkan konsep tari dokumenter yang berangkat dari riset tersebut dan mempertanyakan adakah tubuh yang ideal dalam estetika tari?

Anis Harliani adalah koreografer yang pernah berkolaborasi untuk pertunjukan Us/Not Us (2018) produksi Bandung Performing Arts Forum di Asian Dramaturg Network.  Beliau pernah mengikuti program Koreografer Muda Potensial di Indonesia Dance Festival 2018.

X

Karya ini adalah pengembangan motif “samber melayang”, salah satu motif dalam tari Sigeh Penguten (Siger Penguntin), sebuah tarian kreasi dari Lampung. Tarian ini mulanya adalah tari persembahan atau penyambutan untuk orang-orang terhormat, tetapi kali ini akan dilakukan tanpa musik, menggunakan kostum keseharian yang sederhana.

Ayu Permata Sari pernah berkolaborasi dengan koreografer luar negeri seperti Eisa Jocson (Filipina), Bethani (Amerika Serikat), Edgar Freire (Ekuador) dan Anne Maria (Jerman). Ia memperoleh penghargaan penghargaan “Jasa Bakti” di Festival Teknologi dan Seni ASIA di Johor Malaysia 2018.

Ad Interim

Ad Interim mengangkat tema perbedaan dan sifat bertolak belakang di masyarakat yang seharusnya dapat menjalin harmoni dan keseimbangan hidup. Seorang penari tunggal akan berkolaborasi dengan musisi yang menggunakan teknologi sensor gerak.

Ekspresi yang dihasilkan merupakan perpaduan antara gerak, musik dan tata cahaya. Eyi Lesar pernah beroleh Hibah Seni Inovatif dari Yayasan Kelola untuk karya Who Are You di tahun 2018. Ia pernah mengikuti showcase tari di SIPFest 2018.

Three Airs & The Two Doors

Pementasan Three Airs karya Park Na Hoon. Photo courtesy of think archipelago.

Park Na Hoon akan membawakan dua karya pentingnya. Three Airs membangun cerita tentang kehidupan manusia melalui tiga orang penari yang berlaku sebagai “organisme” udara. The Two Doors mengungkapkan makna dan rahasia penari melalui pernyataan-pernyataan saling bertentangan yang dilontarkan si penari.

Na Hoon Park adalah koreografer yang pernah terpilih sebagai seniman baru berbakat dari Dewan Kesenian Korea Selatan pada 2003. Karya Three Airs memperoleh penghargaan dalam 3rd Performing Arts Market (PAMS) di Seoul, Korea Selatan.

Ia telah tampil di sejumlah negara, mengikuti program kerja sama budaya serta pernah menjadi seniman mukiman antara lain di Jerman, Italia, dan Amerika Serikat.

Program seniman mukiman

Komunitas Salihara menyelenggarakan program seniman mukiman (artist-in-residence) untuk seniman dalam maupun luar negeri secara berkala. Kali ini bekerja sama dengan STRUT Dance Australia, Komunitas Salihara menerima Natalie Allen dan Samuel Harnett-Welk, dua koreografer dari Australia selama Helatari Salihara 2019.

Karya yang mereka bawakan dalam showcase Helatari Salihara 2019 adalah karya hasil selama menjalani program seniman mukiman.

Park Na Hoon staged award-winning Three Airs at Helatari Salihara 2019

Helatari Salihara 2019 is Komunitas Salihara’s regular dance event held in Teater Salihara, Jakarta. think archipelago is a proud media partner of the event which runs from 15 June until 6 July. To see more of their schedule, please click the Helatari Salihara 2019 banner found in think archipelago website.

4 years after he was titled the 2003 best newcomer artist by Arts Council Korea (ARCO), Park Na Hoon won the 3rd Performing Arts Market (PAMS) in Seoul with choreography work Three Airs.

It had been staged in 2015 San Fransisco International Art Festival and 2017 EiMa Festival, Spain.

His latest tour to Indonesia as an artistic director cum choreographer is to stage Three Airs and the Two Doors with fellow dancers Park Sang Jun, Moon Hyung Soo, and Kim Kyu Won in Helatari Salihara 2019.

The Two Doors had been staged in Acker Stadt Palast, Berlin, 2015, and Projekktheater, Dresden, 2016.

Park took part in a number of artist-in-residence program, such as the Korean-Finnish cultural exchange program in Helsinki, 2012, and the similar program in Denmark, German, Italy, and the United States.

Recently he was involved in Ari Project: Performing Arts Korean Contemporary Dance Performance, and the ever expanding Asian performance tours.

In Komunitas Salihara, Jakarta, Park Na Hoon showcased two of his important works. Three Airs is a narrative surrounding the lives of three people who represent organism in the air, whereas the Two Doors tells about how the choreographer discloses his secrets by repeatedly making contradictory self-inquiries.

According to the choreographer, the unrealistic movements of the organism feels more tangible. He perceives eccentric, foolish, and fictitious things that may seem unreal, yet heart-moving.

Moreover, the yes-no questions that remained unanswered were ultimately shared to the audience for the sake of sharing the particular frustration of oneself. Park views answers to these questions could might have revealed the conflicting truth about human existentialism against the world.

 

Nouveau center stage at Helatari 2019

Helatari Salihara 2019 is Komunitas Salihara’s regular dance event held in Teater Salihara, Jakarta. think archipelago is a proud media partner of the event which runs from 15 June until 6 July. To see more of their schedule, please click the Helatari Salihara 2019 banner found in think archipelago website.

Helatari Salihara had presented well-known choreographers and dance groups of local and international twice in 2015 and 2017. This year Helatari takes a different view on their curation by inviting public participation.

The program which began last year came to fruition as three aspiring entities were selected to showcase their latest works. They are Anis Harliani (Bandung) with her concept of documentary dance of Holy Body, Ayu Permata Dance Company (Yogyakarta) which synthesizes a traditional dance of her hometown, Lampung , and Eyi Lesar (Jakarta), laden with light show in Ad Interim.

Holy Body comes to be following the choregrapher’s observation of the accepted physical shapes of commercial dancers in her hometown, Bandung, West Java. It is a documentary work based on Harliani’s experience, and also dancers who come under the pressure of the esthetical view of dance.

X by Lampung dancer Ayu Permata Sari recreates Samber Melayang pattern typicaly found in Sigeh Penguten dance of nobility. It allows close distance between dancers and audience under minimum light and without music.

After performing in Salihara International Performing Arts Festival (SIPFest) 2018, Eyi Lesar showcases Ad Interim which highlight social conflicts and diversity that can lead to balance and harmony.

Ida Ayu Wayan Arya Satyani performs a work by script writer and movie director Kamila Andini in the Seen and Unseen which took inspiration from the award-winning movie of the same name for Kplus International Jury category of Berlin Film Festival (Berlinale) 2018.

The contemporary dance incorporates cross-cultural collaboration from Japan (composer Yasuhiro Morigana), Australia (designer Eugyeene Teh, lighting designer Jenny Hector, Adena Jacobs), and Indonesia (dancers of Komunitas Bumi Bajra, and the Balinese choreographer), demonstrating the spirituality of Balinese Sekala Niskala, of equally valuing the abstract and concrete elements of this world.

There are also Korean choreographers Park Na Hoon performing Three Airs & the Two Doors, and the young choreographer Maharani Pane from Tangerang.

To close the Helatari 2019, Komunitas Salihara will present Strut Dance Australia by Natalie Allen and Samuel Harnett-Welk as part of the artist-in-residence program with the National Choreographic Centre of Western Australia, showcasing works during their stay in Indonesia.

Kamila Andini dan Ida Ayu Wayan Arya Satyani: 
Sabtu, 15 Juni 2019, 20:00 WIB
Minggu, 16 Juni 2019, 15:00 WIB

Anis Harliani, Ayu Permata Dance Company, Eyi Lesar: 
Sabtu, 22 Juni 2019, 20:00 WIB
Minggu, 23 Juni 2019, 16:00 WIB

Diskusi Tubuh dan Permainan: 
Sabtu 22 Juni 2019, 16:00 WIB

Park Na Hoon:
Sabtu, 29 Juni 2019, 20:00 WIB

Showcase Natalie Allen & Samuel Harnett-Welk:
Sabtu, 06 Juli 2019, 16:00 WIB

Maharani Pane:
Sabtu, 06 Juli 2019, 20:00 WIB

Dancing the sound of laborious work in Helatari Salihara 2017

webbanner-2017-mei-helatari-think archipelago

Helatari Salihara 2017 is Komunitas Salihara’s regular dance event held in Teater Salihara. think archipelago is a pround media partner of the event which runs from 8 untuk 18 June 2017. To see more of their schedule, please click the Helatari Salihara 2019 banner found in think archipelago website.

Photograph by Witjak Widhi Cahya, courtesy of Komunitas Salihara

The sounds 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, From 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 solo dancer.

Ari Ersandi’s exploration and his response to the role character of a mask artisan was one of the most breathtaking performances at the Helatari Salihara 2017.

It began with a recorded voice by the seasoned mask artisan, “When I make a mask, first I choose the wood, second I cut the wood and thrid I choose what character I want to make.”

Another line from the same voice slipped into the middle, “When I paint I make two layers. I usually use red, blue, yellow and white and add for decoration an little bit of gold.”

Photograph by Witjak Widhi Cahya, courtesy of Komunitas Salihara

At the closing scene, the real mask artisan behind the voice showed up and continued his work in front of the audience. A life time dedication to a work of precision as represented in this case by the artist not only resulted in high craftmanship, but also made the work itself a spiritual journey.

From Starting to Cut the Wood is a dance based focusing on auditory sense created by wood mask carving, accompanied by the spoken words, and apparently with an influence of the choreographer, the frequent use of projected quotes by names such as:

‘Work is the fundamental condition of human life, and this to such an extent that in a certain way we have to say: it has created human mankind.’ – Friedrich Engels.

‘What is ahead of us, is the perspective of a working society, which is out of work-the only activity which it is still capable of. What could be more disastrous?’ – Hannah Arendt.

‘A mask is not what it represents, but what it transforms, and what it chooses not to represent.’ – Claude-Levi Strauss.

Katia Engel’s works

The sounds blend with the carver’s spoken words. Katia Engel creates performance works, installations, videos, photographs, and documentary films. She studied dance at Dance Institute Bremen and Laban-Bartenieff Institute of Movement Studies New York.

Her works have been presented at many events, such as International Film Festival (Singapore), International Dance Festival Tokyo/Yokohama (Japan) and at Akademie der Künste (Berlin).

In 2012 Katia started producing dance work in Indonesia. As a choreographer and artistic director, she collaborated with former members of Gumarang Sakti Dance Company in the works of Tanah Air (2012) and In Between (2014), featured at the Indonesian Dance Festival Jakarta in 2012 and 2014, respectively.

An addition to her latest production in Indonesia is the documentary movie Barabah about the Indonesian choreographer Hoerijah Adam, screened at the Indonesian Dance Festival 2016.

Dance film performance in the streets of south Jakarta

webbanner-2017-mei-helatari-think archipelagoHelatari Salihara 2017 is Komunitas Salihara’s regular dance event held in Teater Salihara, Jakarta. think archipelago is a proud media partner of the event which runs from 8 until 18 June 2017. To see more of their schedule, please click the Jazz Buzz Salihara 2017 banner found in think archipelago website.


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The interaction between dancers, people on the streets, cinematographer, and a technology-savvy all in real time 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.

Angkot is the Melting Pot uses live streaming to highlight the city transportation in Jakarta. For Yola, the Jakarta’s ubiquitous public minivan (angkot) suggests the physical closeness of the passengers crammed inside, but in the awkwardness of a heterogeneous society.

She also tempted to raise the impact of app-based transportation to the drivers that eats up a huge share of customers this traditional public transportation is so dependent on.

The two dancers in a public minivan started performing all the way from Pasar Minggu to Galeri Salihara, where it hosted the Helatari Salihara 2017. While several times being dangerous to perform in the boisterous afternoon streets, they intuitively responded to the circumstances, the angkot, the shops, the intersection, the city itself.

Technology makes possible

The 30 minutes street dance performance was captured by the camera phone, transmitted to the gallery and projected live at Galeri Salihara.

Despite lagging due to low quality mobile data connection, the audio visual artist Patrick Hartono said it was expected that he was half satisfied with the first trial at D-1.

DSC_7519
Choreographer Yola Yulfianti and Cinematographer Purbo Wahyono talks to the press during rehearsal at Galeri Salihara, 17 June 2017

He admitted that the case would have been different in a more developed parts of the world, but he clinged to another view that art should not be affected by the perfect result, but more importantly, the clear evidence of the process.

Yola said that she had encountered the streets of Jakarta such as Kampung Melayu or Kwitang ever since 2009, and collected the observations in numerous places for the future basis of her subsequent works.

She added that the medium to implement her idea depends much on the technological possibility. Harnessing it would bring her works to the scope of audience an ordinary show cannot possibly reach, that is the people on the streets where the dance takes place, the audience sitting in the art venue, and the internet users stumbling across video sites such as youtube while browsing.

The purpose of this work is to explore the complexity of the city, about how to read the city and then write the city into a work and bring humanitarian interaction. The process of artistic research does not focus on mainstream art products and terminology.

Dance in social environment

Not a product of a work of dance or a film product but about experience in the realities of urban life. The ability of the body as a medium of expression relates to other mediums, producing work that grows organically born just as the process of extracting ideas.

As for the expression it becomes a total expression, the sensitivity of being a dancer through the digging of the media of digital technology revealing the symptoms of the city’s social environment.

Angkot is the Melting Pot is inspired by daily experiences when riding on Jakarta’s urban public transport, or angkot. Inside the public minivan, the distance between bodies seems negligible and yet so foreign.

About Yuli Yulfianti

Yola Yulfianti is a dancer and choreographer who graduated from Jakarta Institute of Arts. She received the Pearl Award at Dance Film International in Berlin in 2009. She also received Hibah Cipta Perempuan from Yayasan Kelola in 2014. Previous creations include Salma: A Little Escape (2013), Update Status (2013) dan I Think. . .Tonk (2014).

Helatari Salihara 2017

webbanner-2017-mei-helatari-think archipelagoHelatari Salihara 2017 is Komunitas Salihara’s regular dance event held in Teater Salihara, Jakarta. think archipelago is a proud media partner of the event which runs from 8 until 18 June 2017. To see more of their schedule, please click the Jazz Buzz Salihara 2017 banner found in think archipelago website.


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”.

Lately, there are some choreographers who have developed a form of dance-theater in Europe. It also has departed from tanztheater or dance-theater during 1920s in Germany, of which the “theatrical” element began to play an important basis for choreography.

The choreographers have begun working on the idea of the banality of daily life, and the conflict it brought upon, by incorporating motion styles that the common dance fell short of noticing.

Helatari Salihara 2017 feature five choreographers with various concepts deriving from this banality.

The five choreographers

Helatari Salihara 2017 was opened by Emanuelle Vo-Dinh (France) with Sprint, supported by Institut Francais Indonesia. In Sprint, running is not just a symbol of displacement, nor a refuge, but an enlightenment, that is running because of something lurking and caused exhaustion. To run until exhausted, then comes natural rebirth.

Emmanuelle Vo-Dinh is Artistic Director of Le Phare, Center Chorégraphique National du Havre Haute-Normandie, France. He studied dance at Merce Cunningham School, New York.

In 1997 he founded the Sui Generis Company, as a place to create his distinctive choreographic style. He was awarded Prix d’Auteur Rencontres choregraphiques internationales de Bagnolet in 2000. With the concept of a single dancer, Sprint was created as a body enlightenment.

Melati Suryodarmo (Surakarta) will bring a Vertical Recall inspired by Samuel Beckett’s Waiting for Godot theater script.

Melati stresses out that Vertical Recall is a philosophy interpreted into behavioral study of the Beckett’s script. It shows the human behavior that tends to surrender to difficult circumstances.

Over the past 13 years Melati’s works have been featured in numerous international festivals. Since 2007, together with Padepokan Lemah Putih, she organized Undisclosed Territory, a performance art program participated by Indonesian and international artists.

As for Mohammad Hariyanto (Surabaya), Ghulur Dance is inspired by Topeng Ghulur art in Barangan Village, Sumenep, Madura.

Katia Engel (Germany / Indonesia) presents From Starting to Cut the Wood, backed by the sounds of mask carvers while working.

Helatari will be closed by Angkot is the Melting Pot by Yola Yulfianti (Jakarta), which departs from reality in the city transportation (angkot) in Jakarta.

This event makes it obvious that dance inspiration in Jakarta has started to shift to the everyday life.

20 years of kubikukuri

web-banner-sipfest-on-think-archipelagoSIPFest 2016 is the fifth performing arts bienalle held by Komunitas Salihara in Kompleks Komunitas Salihara, Jakarta. think archipelago is a proud media partner of the event which runs from 1 October 2016 onwards until early November. To see more of their programs, please click all the SIPFest 2016 banner found in think archipelago website.


Takuzo Kubikukuri in Butterfly Dream
Takuzo Kubikukuri dances with his neck hanging to a rope in Butterfly Dream.

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.

The way both performers deliver it was about the collaboration of two very distinctive styles and background. Tomoko Ando studied acting and built her career in theater.

In contrast, the male performer Takuzo Kubikukuri is reluctant to call himself and actor. Instead he is an actionist, a definition of his own preference.

Butterfly Dream, a theater from Japan by Arica Theater Company, performing in SIPFest, 15-16 October, Jakarta.
Butterfly Dream, a theater from Japan by ARICA Theater Company, performing in SIPFest, 15-16 October, Jakarta.

The main set, tools and choreography seems to exhibit a clear gesture of hanging an exasperated soul to death.

When asked whether the performance reflect a certain issue in the country of origin, director Yasuki Fujita, who is also the founder of the new group formed in 2001, made it clear that there is no intention to contemplate suicide, but on the contrary, his work displays a stronger sense for life, saying, “It is more lively, especially when you see someone dances like a butterfly.”

And that is exactly when the dance intensifies as Takuzo, in his disturbingly peaceful smile, had his body swayed with a neck hung to a rope, which was tied to a mechanical device with a pivot controlled at the other end by Tomoko.

Through a suspended moment, Takuzo showed his dance to the world, right before the dumbfounded audience, as their eyes were set to the swinging thin and old body, joyful as it seemed.

In this perplexed final part of the dance, his chin sat comfortably on a strap attached to a hanging rope while Nat King Cole’s Smile accompanied him to the end.

All it takes to be happy

When smile is used to hide an ache, as the song suggests, and one must keep trying to smile because that is what matters instead of crying, the audience gets to feel Takuzo’s smile at the face of pain.

And all the burden at the other end of the rope will get by, as Tomoko could not catch her breath, and then she stumbled over her own work of mechanism made to be inflict pain upon him.

Tomoko Ando and Takuzo Kubukukuri
Tokyo-based  Tomoko Ando (left) and Takuzo Kubikukuri (right) during an interview in SIPFest 2016. Despite stark differences in background, both intends to show interaction between humans.

Japan is among the countries with the highest suicide rate, the third below South Korea and Hungary.

It has on average 19.4 number of suicides per 100,000 people. 25,000 suicides were reported in Japan in 2014. That was roughly 70 per day. The vast majority were male.

Financial pressure among old citizens are often cited as the reason to opt for ending life. The inability to funnel frustrations or anger under the rule-oriented society is suspected by many as the particular reason for suicide among young population.

Tomoko Ando told that it crossed her mind that they might have reconstructed suicide gesture in their performance, intendedly or not, while Takuzo, when asked is there a reason why we should be happy in this life, said that he feels something nostaligic about happiness and sadness.

He has been dangerously practicing hanging himself for almost 20 years, starting in 1997 in his garden under the tree. His surname means hanging oneself.

He lives alone.