Fashion choreographer Panca a one man show<\/p>\n
Muara Bagdja, Contributor, Jakarta<\/p>\n
Glamorous garb and a bevy of supermodels are no absolute
\nguarantee of successful fashion shows. The power behind the
\ncatwalk is the choreographer, who can make the difference between
\na pretty show which leaves no lasting impression and a standout
\none with abiding soul.<\/p>\n
\"A choreographer determines the shape of the entire show. He
\nor she directs the show,\" Panca Makmun said of his profession of
\nthe past 10 years.<\/p>\n
The 35 year old is considered the country's leading fashion
\nshow choreographer, and has presented collections for big-name
\ndesigners, ranging from \"king of style\" Sebastian Gunawan, Didi
\nBudiardjo, Biyan to the up-and-coming trendy duo of Urban Crew.<\/p>\n
He was recently honored with the \"a+ Lucky Strike Award 2003\"
\nfor high achievement in his field.<\/p>\n
Fashion choreographers arrange such aspects as the models'
\nentrance and exit, their walking styles (serious or playful, for
\ninstance), musical score, stage setting, lighting -- and shape
\nthe overall atmosphere of the show.<\/p>\n
\"Some fashion designers even leave the job of choosing the
\nproper clothing and matching them with the models to the
\nchoreographers,\" said Panca.<\/p>\n
But he noted that there remained a handful of professional
\nfashion choreographers in the country. Young people interested in
\nthe fashion business prefer the higher profile of becoming
\ncouturiers, or working as fashion writers or editors in the
\ngrowing market of women's magazines.<\/p>\n
For Panca, the lack of competition has been a boon, allowing
\nhis career to flourish and taking him to diverse places at home
\nand abroad.<\/p>\n
It all started in 1984 when he was invited to join the dance
\ntroupe of Swara Mahardhika led by Guruh Soekarnoputra, the
\nmultitalented son of Indonesia's first president. The group was
\nfamous for its successful blend of contemporary and traditional
\ndances.<\/p>\n
He was also a model for teen magazines like Gadis and Mode, as
\nwell as on the catwalk.<\/p>\n
\"As a lean young man, I was more frequently asked to model
\nteenage clothes,\" he recalled.<\/p>\n
Guruh and choreographer Denny Malik then offered Panca the
\nchance to design dance steps and movements, and some of his works
\nwere used in several fashion shows in the 1980s.<\/p>\n
Finally, hairstylist Hanky Tandayu suggested that Panca
\nconsider becoming a fashion show choreographer. Fashion insiders
\npronounced his first effort to be fairly good, which boosted his
\nconfidence and led to him devoting himself full-time to the
\nprofession in the early 1990s.<\/p>\n
He found he enjoyed being a fashion show director more than a
\ndance choreographer.<\/p>\n
\"Fashion is more global, covering a wider scope. And I'm more
\nspiritually inclined toward fashion as I like couture designs and
\nused to be a model myself,\" he said.<\/p>\n
Panca's success is not only about being the big fish in a very
\nsmall pond, because he emerged at the right time in presenting
\nsomething different. Until the mid-1990s, fashion events were
\narranged like extended dance or variety shows, and the real
\nselling point and art of the designs were lost.<\/p>\n
Panca introduced a choreographic style emphasizing simplicity,
\nin line with the increasing number of fashion designers
\npreferring more individual and modest displays. In keeping with
\nincreasingly fast-paced lifestyles, fashion shows also needed to
\nbe made concise and not longer than 45 minutes.<\/p>\n
\"I make simple choreographic compositions to give prominence
\nto the designs being displayed, with emphasis on individual
\nclothes. People come to watch and find out novel products. They
\nare real shows,\" he said.<\/p>\n
There are still problems in putting together a show. It's
\noften difficult to round up about 30 professional models for a
\nmajor show, and there are also technical constraints, he added.<\/p>\n
\"For instance, where can we obtain a giant screen as the stage
\nbackground to match the format of Giorgio Armani?\"<\/p>\n
He cites two standout moments in his career. In a show
\npresenting famous batik and textile designer Obin's collection in
\n1996, he had models come down the catwalk dancing to dangdut (the
\nmusical hybrid of Arab, Indian and Malay tunes) in keeping with
\nthe ethnic theme.<\/p>\n
In the show named Opulence for Sebastian Gunawan in 2001, he
\ndesigned a gorgeous acrylic stage -- the first of its kind from
\nthe material in the country -- with suitably stunning crystal
\nlamps providing a star-studded sky as background.<\/p>\n
\"It's the only really glamorous show here that combined the
\ntheme, luxurious dress, the stage and music into one concept,\" he
\nsaid.<\/p>\n
While it's great to be in demand as a one man show, the lack
\nof fashion choreographers also saddens Panca.<\/p>\n
But the potential is there.<\/p>\n
\"So far it has been a self-taught profession, but one should
\nfirst learn the basics of dancing to be familiar with some
\nmovements before being engaged in choreography,\" he said.<\/p>\n
In addition, a good knowledge of fashion and connection to
\nfashion circles, such as serving as an assistant, is important to
\ngain enough experience until the show offers start coming in.<\/p>",
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