Heavenly inspiration for Boi's latest piece<\/p>\n
By Primastuti Handayani<\/p>\n
JAKARTA (JP): Running out of inspiration? Just go outside and
\nlook up at the clouds. At least, that's what worked for
\nchoreographer Boi Gumarang Sakti while conceiving his group's
\nperformance for the Third Art Summit Indonesia 2001 International
\nFestival on Contemporary Performing Arts.<\/p>\n
Inspired by the clouds' slow-but-various movements in a fine
\nblue sky, Boi created Di Jalan Tua (On the Old Road), which is
\nbeing staged at the Graha Bakti Budaya, Taman Ismail Marzuki, in
\nCentral Jakarta on Friday and Saturday nights.<\/p>\n
The performance begins with six women wearing maroon halters
\nand gold-colored A-line skirts with tails, and three male dancers
\nin gold baggy pants, all lined up on the stage. Their hair is
\ncovered by veils. The stage itself has bamboo in the background
\nto the right and coarse grass on the left.<\/p>\n
Which part reflects the clouds? The dancers' movements, which
\nare precise but random, just as the clouds, exploring their
\nbodies' endurance, agility and strength.<\/p>\n
The performers are accompanied by seven musicians, dominated
\nby Javanese sitar (zither), kecapi (plucked stringed instrument),
\ngong and drums.<\/p>\n
Both the dance and the music are strongly influenced by Minang
\nchoreography and composition -- Boi's heritage.<\/p>\n
\"We didn't merely take Minang music to accompany the dance,
\nit's more subtle. We give our members freedom to express
\nthemselves before we finish the composition,\" said music director
\nPiterman.<\/p>\n
Di Jalan Tua describes a paddy field drought -- symbolized by
\nwhite sand -- in a village. The drought reflects the context of
\ncontemporary society, needing fertilization, as symbolized by
\ndancers growing yellow flowers in the sand.<\/p>\n
The 35-year-old Boi, whose real name is Yandi Yasin, said
\nafter Thursday's rehearsal that he uses the sand -- 10 cubic
\nmeters bought especially from Bangka island -- to reflect the
\ndrought, as well as to demarcate the past and the present.<\/p>\n
The flowers are symbols of love that must always be planted in
\none's lives.<\/p>\n
Boi actually changed his previous plan to perform another work
\nRitus-ritus Kesucian (Rites of Purity), which explores women's
\nrights violations, only a month prior to the arts festival.<\/p>\n
\"I didn't want to perform a work that has been presented in
\nprevious events. I admitted that I wasn't prepared and needed two
\nweeks to develop the concept,\" he said.<\/p>\n
Art Summit organizer's spokesman Yusuf Susilo Hartono said
\nthat the nine-member artistic team -- including Sardono W.
\nKusumo, Ratna Riantiarno, Rahayu Supanggah and Sal Murgiyanto --
\ndid not object to Boi's decision to change his work.<\/p>\n
\"The team considered the change a creative development.
\nBesides, Boi was not selected because of his mother's reputation,
\nbut for his excellent national and international achievements,\"
\nYusuf said, referring to Boi's well-known choreographer mother
\nGusmiati Suid, who is currently sick in hospital.<\/p>\n
Credit must be given to all dancers who demonstrate their
\nability to move quickly and fluently on the sand, while always
\nmaintaining their poise. The accomplished performances have been
\nachieved through high discipline, strong commitment and hard
\ntraining.<\/p>\n
During the opening sequences, Boi uses a sand curtain while
\nthe dancers move backward. There is also a section involving four
\nfemale dancers lying face down while sand is poured on their
\nbacks.<\/p>\n
\"That really hurts, but we try to enjoy it,\" said female lead
\ndancer Grace Suzan. \"It feels like someone is throwing stones at
\nyou.\"<\/p>\n
With only one month of rehearsals in Boi's Depok studio, this
\nperformance deserves two thumbs-up. Boi commented that the nine
\nhours of rehearsals each day helped intensify all dancers'
\ninteraction, interpretation and evaluation of the piece.<\/p>\n
Male lead dancer Benny Krisnawardi admitted that, \"I still
\nhave to focus on my balance during the performance. It's a tough
\nchallenge as the sand is very unsteady, just like dancing on
\nwater.\"<\/p>\n
\"In the first two weeks, we had to dance with glasses and
\nmasks to avoid inhaling the sand. Later on, we adapted to it and
\nbreathing techniques are definitely necessary in the show,\" Grace
\nsaid.<\/p>\n
After the rehearsal, Boi expressed some disappointment -- not
\nbecause only a small numbers of reporters and photographers
\nshowed up, as most of them had to cover violinist Vanessa Mae and
\nnoted local singer Krisdayanti shows -- but because of some
\ntechnical \"faults\" relating to the use of fire in one scene and
\nwater pouring onto a female dancer's head covered with a banana
\nleaf in another.<\/p>\n
\"The flame should have burnt the dried soil to give the effect
\nof a drought, while the water must be fall onto the dancer's head
\ndrop by drop. We'll work on it,\" he said.<\/p>\n
Boi's skyrocketing career began when he performed Pitaruh at
\nthe Indonesian Choreography Competition in 1987. Since then, his
\nwork has been performed in various countries, including India,
\nFrance, the United States, Hong Kong, Taiwan and Japan. He also
\nassisted organizers of the 1998 Asian Games with both the opening
\nand closing ceremonies.<\/p>\n
His high standard of work and high commitment to the field of
\ndance have been recognized internationally and in 1991 he was
\nawarded the Bessie Award for choreography, in New York.<\/p>",
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