Tag Archives: Komunitas Salihara

(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.

 

Dancing the sound of laborious work in Helatari Salihara 2017

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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.

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.

Last no least in Jazz Buzz Salihara

web-banner-jan-2017-think-archipelago-jazz-buzz-2017-revJazz Buzz Salihara 2017 is the sixth jazz festival held by Komunitas Salihara in Teater Salihara, Jakarta. think archipelago is a proud media partner of the music festival which runs from 11 February until 26 February 2017. To see more of their schedule, please click the Jazz Buzz Salihara 2017 banner found in think archipelago website.


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Imanissimo ended jazz event with noise in the final show 15 in Teater Salihara.

Imanissimo made a closing show of Jazz Buzz Salihara on 26 February, the same day they announced the launch of their latest album Enigma. Citing the term chaotic jazz, after a brief theatrical overture, the progressive rock band introduced one of the songs from Enigma with high pitches and deafening noise, of which they were relieved to see that right after kicking it off nobody left Teater Salihara.

But the following song Kampretos was similarly thrown to the audience with impunity, making them nervously expect the smallest hints of jazz presence in this final show.

Staying true to musical identity is important. But one wonders would it hurt to rearrange pieces to the audience who had expected improvisation and surprises more than the use of flute, kendang, or angklung just to be considered jazz enough?

Fifteen years of experience in the niche market contributed to the generally positive reception of the show. The nearly two-hour raucous concert extended with an extra song at audience wish.

There, the sound of jazz

Trace of jazz was clearer as the concert went further in Tembang Ambarawa, one of their latest songs. There was traditional vocal and composition, and lead guitarist Jordan exhibits his ability to play flute.

Later he would play saxophone to prove he has a knack for wind instruments. This is one of the things that convinced him to introduce jazz element besides the typical metal nature of the 15 year old band.It was a night of collaboration, as promised by Jordan that the progressive path of Imanissimo offers a variety of elements to make the best album ever. For instance, Indonesian senior soprano Siti Chairani Proehoeman offered vocal in Death of Love.

The contemplative song Echo in the Distances had two vocalists sang in two different languages simultaneously. It was as if the bilingual vocals translated one another. There were saxophone and kendang to provide light rhythm instead of drum, making us contemplate on the current national situation of deception and pretense. They could elaborate more with the use gamelan as is what originally present in the recorded version. Perhaps technical difficulty in the venue was unresolved.

Bassist Iman took the turn as the vocalist in another new song Impromptu Visit, talking about a traveler who is eager to get to know people of all social class.

Simponi Indonesia

The last two songs of the same title Simponi Indonesia has rock, jazz, and a feel of orchestra. It described classic feud between Indonesian and neighboring country Malaysia in claims of cultural identity. Agung said that the song aims at raising awareness of the things the Indonesians take for granted. It was a magnanimous musical approach of introspection. One wonders if this had suggested organizer’s particular agenda.

Imanissimo now comprise keyboardist Raden Agung, guitarist Johanes Jordan, drummer Marcellus Putra and the indispensable figure Iman Ismar. It is the same formation since 2013, the year that marked the end of long hiatus.

Xylophonist takes center stage in Salihara jazz event

web-banner-jan-2017-think-archipelago-jazz-buzz-2017-revJazz Buzz Salihara 2017 is the sixth jazz festival held by Komunitas Salihara in Teater Salihara, Jakarta. think archipelago is a proud media partner of the music festival which runs from 11 February until 26 February 2017. To see more of their schedule, please click the Jazz Buzz Salihara 2017 banner found in think archipelago website.


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Arief Winanda (left) and members of Pamuncak Mudo perform at Jazz Buzz Salihara 2017, Jakarta

Arief Winanda, who is currently preoccupied with the development of urban art discipline in Institut Kesenian Jakarta (IKJ), has wit and, at times, cracking humor, in his show on Saturday night as part of Jazz Buzz Salihara 2017, an annual two-week event aiming at promoting alternative forms contrary of mainstream music.

The percussionist and xylophonist not only perform for his self-satisfaction, he diligently shared the work and knowledge of each piece to the attentive audience who otherwise would not have known the history of boogey, a popular genre in the 1940s marking the wake of American depression era, or another piece that was inspired by the dynamics found in the sound of wind.

It is also interesting to know that Marimba, originating from Central America, and now is the national instrument of Guatemala, initially applied only in light dance background diatonic music. But now original pieces came out of it, and frequently played at the center stage with more chromatic alternatives.

The concert began with the minimalist, rigid 4/4 Rhtyhm Song, a classic repertoire of 1984 by composer Paul Smedback, who took his postgraduate music degree Itacha College master’s degree in music, specializing in Marimba.

The following repertoire has more freedom in the rhythm. Upon brief introduction that sound are everywhere, and even in silence comes an inspiration to create a xylophone melody, Arief played Wind Sketch, by Japanese composer Keiko Abe. She is an important figure behind the early development of Yamaha Marimba product design in 1963.

Arief also presented Gitano by the Mexican immigrant Alice Gomez, an intense piece of work that describes the gypsies and the hostility against them in the US.

And then came the moment where Arief started to introduce pianist Angelica Liviana and other fellow musicians in Pamuncak Mudo in the last three dance-inspired pieces: Scottish composer Richard Michael’s Boogey, the dance composition in Spyrogyra’s Morning Dance and the eerily uplifting Dancing Tears by Dewa Budjana. This partly explains why the one hour concert was titled welt tanzen or the world of dance.

Bebas bereksplorasi lagi di Jazz Buzz Salihara 2017

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Jazz Buzz Salihara 2017 is the sixth jazz festival held by Komunitas Salihara in Teater Salihara, Jakarta. think archipelago is a proud media partner of the music festival which runs from 11 February until 26 February 2017. To see more of their schedule, please click the Jazz Buzz Salihara 2017 banner found in think archipelago website.


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.

Jazz Buzz Salihara 2017 akan dibuka pada hari Sabtu, 11 Februari, oleh salah satu anggota Six Strings, gitaris Andre Dinuth, yang akan menyertakan bandnya the Andre Dinuth Group.

Narasumber dari pihak penyelenggara mengatakan, Andre dan kelompoknya akan menghadirkan jazz bernuansa rock-progresif, dan memberikan sentuhan tradisional seperti penggunaan alat musik Papua tifa, seperti halnya saat mereka tampil di Java Jazz 2015.

Keesokan harinya giliran Indra Perkasa & Gadgadsvra Ensemble tampil dengan daya tarik seni visual. Penata musik film Tabula Rasa di tahun 2014 ini sebelumnya menimba ilmu di Institut Musik Daya Indonesia dan kemudian di Universitas California, Los Angeles, di bidang film scoring.

Eksplorasi hingga inovasi bermusik yang berlangsung selama 2 pekan di Teater Salihara, Pasar Minggu, menempatkan rangkaian konser jazz ini sebagai sebuah festival.

Menurut penyelenggara, ada prioritas bagi para penampil muda dengan gaya yang lebih beragam dan unsur baru melalui teknik-teknik canggih, juga bagi para grup yang mencoba keluar dari batasan-batasan jazz umum untuk mencari sesuatu yang lain dengan bentuk-bentuk yang baru dan bebas.

Jadwal pertunjukan Jazz Buzz Salihara 2017 adalah sebagai berikut:

  1. Andre Dinuth, Sabtu, 11 Februari 2017, 20:00 WIB
  2. Indra Perkasa & Gadgadsvara Ensemble, Minggu, 12 Februari 2017, 20:00 WIB
  3. Attilion, Sabtu, 18 Februari 2017, 20:00 WIB
  4. Cinconotas, Minggu 19 Februari 2017, 20:00 WIB
  5. Arief Winanda & Pamuncak Mudo, Sabtu, 25 Februari 2017, 20:00 WIB
  6. Imanissimo, Minggu, 26 Februari 2017, 20:00 WIB
HTM:
  • Rp75.000 (Umum)
  • Rp50.000 (Pelajar/Mahasiswa)

Jailolo in Eko’s bold conception

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.


Eko Supriyanto
Indonesia’s top choreographer Eko Supriyanto showcases his latest work Balabala, the second part of his Jailolo trilogy in SIPFest 2016, Jakarta. He considers local tradition as relevant and priceless in his contemporary dance.

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.

The sequel of the so-called Jailolo trilogy is a testament to an extensive work of a former dancer who studied in ISI Surakarta in 1990, beginning with Cry Jailolo in 2014.

Eko continues to involve indigenous teenagers of Jailolo, North Maluku, whom he picked based on instincts, and later trained to perform a modern reinterpretation of local ritual, or, by today’s common definition, dance.

But the all-female dancers distinguishes Balabala from its prequel, where the local young boys took the spotlight, and enjoyed their fame in the world tour, a case that seemed to inspire their female peers to take part in this project.

Gender equality

Cry Jailolo and Balabala delved into social and environmental issues in the dancers native place. But as the former rises environmental concerns, the latter sheds light on gender equality.

And breaking the then impermeable norm was not without rejection. Eko admitted to take a careful approach for he did not want to be seen as a typically “Javanese invader” to the local community, for he aimed to deconstruct several dances into a brand new fusion entity.

He succeeded in bringing seasoned instructors of Cakalele, a native war dance that Balabala draws an inspiration from, and of which involves male only, to prepare the five girls undertaking the unprecedented challenge.

As if they were on the defensive by wielding shield in the face of their opponents, they exuded man-like vigor, the eyes of agression and caution at the same time, that fearless charm.

The world’s premiere, which served also as the summit program in SIPFest 2016, was just the beginning of the world tour spanning across countries in Asia, Australia, and Europe.

Maluku all-female dancers perform in Balabala by Eko Supriyanto at SIPFest 2016, Jakarta
All-female dancers from Jailolo, Maluku, perform in Balabala by Eko Supriyanto at SIPFest 2016, Jakarta. Molding these dancers-by-coincidence was more about soco-cultural approach and less about technical challenges, said Eko.

Cultural diversity

Talking about Indonesian contemporary dance in comparison with other countries, Eko proudly said that it mainly differs in the wealth of material derived from his home country’s diverse culture.

Such a conviction that makes him aware that tradition is not obsolete. On the contrary, “There is no gap between modern and traditional dance,” he said, confident in his way of working on new things with much likely a lot of reference to deep-rooted cultural values.

According to him, old tradition is very relevant in new exploration, as long as there is a willingness to make a revisit, and interpret it. “Contemporary is not a form, but a conception,” he said.

Quo vadis tari kontemporer?

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.


Ingun Bjørnsgaard Prosjekt menampilkan Praeambulum di SIPFest 2016, Komunitas Salihara
Ingun Bjørnsgaard Prosjekt menampilkan Praeambulum di Salihara International Performing Arts Festival 2016, Komunitas Salihara, Jakarta.

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.

Meski perkembangan tari makin beragam dengan isi konten sosial dan politik melalui rekaan eksploitasi tubuh yang lebih demokratis, ditandai oleh munculnya banyak kelompok baru, namun dinamikanya, ditelaah dari aspek sejarah, misalnya, tidak berasal dari pertentangan dengan tesis pendahulunya.

Dinamika sosial dan politik

Setidaknya sulit ditemukan sebuah antitesis dari inisiatif pemberontakan seorang artis, kecuali dalam kasus Konstruktivisme yang mempengaruhi seni pertunjukan di era transisi Soviet Rusia, itu pun ditunggangi kepentingan politis.

Memang ada pemberontakan kolektif terhadap balet di awal abad ke 20 di Amerika Serikat oleh kelas menengah. Namun itu juga karena aspek sosio-ekonomi, bukan kesadaran individual untuk melawan budayanya sendiri (counter-culture).

Kelas menengah sedang bangkit pada saat itu ditilik dari sudut pendapatan, dan juga peningkatan pengeluaran. Dari perbaikan ekonomi timbul kebebasan menentukan selera baru, apa pun itu asal bukan perwakilan dari dominasi usang yang membatasi gerak seperi halnya balet klasik.

Mungkin ini data empiris terakhir terkait dinamika tari dalam sejarah modern. Terdapat kompromi identitas budaya hanya agar sebuah pertunjukan dapat diterima kelompok tertentu, dengan dalih penciptaan sintesis dari unsur tradisi lama dan embrio kreativitas baru.

Kompromi yang dijalankan demi mengukuhkan ikatan dengan penonton dalam sebuah pertunjukan langsung diakui oleh Ingun Bjørnsgaard saat ditanya tentang penggunaan karya klasik Johann Sebastian Bach dalam Praeambulum yang ia pentaskan bersama Ingun Bjørnsgaard Prosjekt.

Diakuinya bahwa musik klasik sudah dikenal penonton di Indonesia. Ini adalah generalisasi pascakolonial yang tidak bisa disalahkan. Namun ia menampik komentar bahwa karyanya merupakan bagian dari neoclassicism yang sedang populer di tanah asalnya beberapa tahun belakangan.

Motif-motif neoklasik telah memberikan wajah-wajah familiar dengan konteks baru. Patung-patung Yunani yang mendapat semprotan grafiti, modifikasi model melalui perangkat lunak, atau bahkan sekadar sentuhan collage, tren ini melanda pameran patung hingga, katakanlah, sampul CD grup musik elektronik Whomadewho dari Denmark. Tidak ada yang benar-benar baru saat ini.

 

Koreografer kelompok yang bermarkas di Oslo ini tidak serta-merta latah. “Kombinasi antara musik baroque dan musik kontemporer bukan berarti neoklasik,” katanya sambil menggeleng. Itu upaya untuk melakukan kontak dengan penonton global, tambahnya.

Pengaruh klasik dalam gerakan modern

Tampaknya produk kuno itulah yang menjadi katalis. Terlepas dari pengaruh klasik, para penari bebas berinisiatif mengendalikan tempo tanpa terlalu memperdulikan iringan musik itu sendiri. Meski masih sangat kuat akan unsur koreografi, Praeambulum yang tahun lalu ditampilkan di New York dan di awal November ini di Havana, menyuguhkan ekspektasi yang sangat bervariasi.

Meski tidak terlalu bebas, setiap penari di banyak kesempatan mampu memberikan materi untuk membangun struktur mereka masing-masing.

Berawal dari upaya kompromi inilah yang membuat unsur tradisional masih dipakai dalam seni tari saat ini. Bagaimana pun juga, ada kebebasan yang tak terdapat di seni tari, yang sebaliknya diumbar oleh seni lukis, misalnya.

Ada sebuah bentuk interaksi fisik yang perlu segera dibangun di tempat itu juga. Ada semacam tekanan rule of engagement agar penonton lebih proaktif.

Di sisi lain, peradaban yang dibangun oleh interaksi fisik lintas benua, dan dalam dua dekade terakhir secara global berubah wujud menjadi abstrak dari perangkat digital yang kemudian memunculkan konsep zero distance, telah menciptakan siklus membentuk, melebur, dan membentuk lagi. Yang direka ulang adalah gambaran-gambaran familiar dari masa lalu, yang dilebur adalah kebudayaan antarbenua, disaksikan oleh penonton di ujung lain dunia. Dari Eropa hingga Asia Tenggara, ada kesamaan.

 

Mega Mendung. Fitri Setyaningsih
Mega Mendung oleh Fitri Dance Work, SIPFest 2016, Jakarta. Photograph by Witjak Widhi Cahya, courtesy of Komunitas Salihara

Penampilan Fitri Dance Work bertajuk Mega Mendung di SIPFest 2016, contohnya, tak perlu diragukan lagi jika dilihat lagi konsistensi pemakaian pola rutinitas ke dalam gerakan artistik. Dalam karya yang akan tampil di Korea Selatan pada 2017 ini, koreografer Fitri Setyaningsih memiliki kecenderungan berkutat pada stereotip alam negaranya yang akan ia bawa ke depan penonton di ujung lain dunia.

Hamparan pasir yang beterbangan disapu kaki-kaki telanjang, dan struktur tak berdinding yang menghadirkan banyak bukaan. Nuansa pesisir hadir. Dari sana para penarinya kental membawakan pengaruh sosio-kultural.

Unsur tradisional dalam bentuk modern

Tampaknya Fitri Setyaningsih kerap mencari bentuk kontemporer yang berasal dari unsur-unsur tradisional, seperti di Mega Mendung dengan busana pedesaan yang dikenakan para penarinya, properti panggung seperti kantong isi beras yang dituang di atas tangan-tangan yang menadah, hingga sampai ke tangan para penonton yang kebagian sedikit, dan tabuhan instrumen musik tradisional.

Jika demikian, tidak salah untuk berasumsi bahwa tarian kontemporer Bu Fitri sulit terlepas dari pengaruh budaya tradisional.

Pertanyaan berikutnya yang muncul adalah seberapa relevankah unsur tradisional dalam perkembangan seni tari di Indonesia?

Apakah melulu berangkat dari, misalnya, identitas lokal si koreografernya, romantisisme akan kekayaan budayanya, atau apakah di masa depan nanti akan tiba saat di mana seni tari Indonesia akan tercerabut dari akarnya (grassroot) dan mencari bentuk kontemporer seutuhnya dan baru?

Eko Supriyanto akan menyajikan pertunjukan tari yang paling diantisipasi di SIPFest 2016, menjadi penutup dengan Balabala. Berangkat sebagai penari dan sudah berkeliling dunia membangun karir dan reputasi, kini ia memimpin Ekosdance Company menampilkan untuk pertama kalinya sebuah karya interpretasi baru dari tarian tradisional dari timur Cakalele yang rupanya dibawakan oleh para penari perempuan asal Maluku, bukan pria pada lumrahnya.

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.