Laksmi's latest repertoire a crusade against alienation<\/p>\n
JAKARTA (JP): It is, at first, only routine, but when routine
\ncontinuously imprisons someone, alienation happens. As a
\nchoreographer, that is what Laksmi Simanjuntak is trying to
\nexpress in the repertoire inspired by the German art director
\nXavier Kroetz's Request Konzert.<\/p>\n
Laksmi Simanjuntak has choreographed an interpretation of
\nKroetz's creation. The result is a blending together of theater
\nand dance movements titled One Night in a Craftman's Life. This
\nrepertoire is playing regularly every Friday and Saturday evening
\nat Studio Oncor, from Jan. 29 until Feb. 25.<\/p>\n
A stage performance is the essence of the life of many people.
\nIn this dance Laksmi takes the life of a mask craftsman as an
\nexample, Gallis AS. The daily activities of a mask craftsman are
\nnot much different from most other people entangled by daily
\nroutines. Once in a while there is a restlessness, but apparently
\nnot enough to know the mystery of alienation.<\/p>\n
This performance is arranged in such a way that we have
\nflashbacks to our own lives. The stage setting shows the figure
\nof a mask craftsman. In the setting a TV is on, the craftsman is
\nwatching it. Basic activities like eating and going to the toilet
\nare shown as well as the masks made by the man.<\/p>\n
And what is his wife doing? This woman is living between two
\nworlds. On one side she is full of modern attributes but on the
\nother her leg is chained by traditional roots. It is interesting
\nto see, if we are observant, that the choreographer uses a lot of
\nsymbols referring to the craftman's wife.<\/p>\n
Pipien Putri (acting as the wife) is represented as a
\nmoderately modern woman. But still she must wear a piece of cloth
\nwrapped around her body, coming into the room carrying her shoes.
\nShe pleats her batik while singing a traditional, Javanese song.
\nIt seems the wife is also having her own mad alienation.<\/p>\n
The symbols given to the two dancers by Laksmi have special
\nmeanings. The violet color of the woman's sampur (dancer's long
\nscarf) is the identity of feminism, which she wants to express.
\nThis is also the case when the woman throws salt rocks to
\nsymbolize the burden of life. The ending of the show is quite
\nthought provoking. It seems to be requesting the audience to go
\nback to the reality of their lives.<\/p>\n
Movements<\/p>\n
Right from the start Laksmi asks her audience to give more
\nself interpretation on all the movements of the two players, in
\nthe context formed from a daily life of a craftsman. The stage is
\npurposely arranged like a house, complete with TV, dining table
\nand bathroom.<\/p>\n
There are no verbal expression by the players. Only occasional
\nsighs and whispers are heard. The only sounds heard are drips of
\nwater.<\/p>\n
The silence of the performers does not make them boring
\nbecause many interpretations are offered to the audience through
\ntheir movements and the masks.<\/p>\n
Dance<\/p>\n
Laksmi Simanjuntak is one of the few Indonesian choreographers
\nwho has brought innovative ideas into the field of dance.<\/p>\n
In the early stage of Laksmi's dance career she concentrated
\non Javanese traditional dances, such as Serimpi and Bedoyo, two
\ndances traditionally performed only in the Keraton.<\/p>\n
But times change and culture is never static.<\/p>\n
For Laksmi, Bedoyo, as a sacred dance, should adapt to the
\nchanging situation. For this reason her performance is still
\nbased on the movements of the Bedoyo dance.<\/p>\n
Laksmi's opinion is that we should actively pursue new values.
\nShe cites the late Martha Graham as an example, a famous American
\nchoreographer.<\/p>\n
Laksmi not only interprets Bedoyo but also Kroetz. In Kroetz's
\nwork the alienation causes a man's suicide. When there is routine
\nbeyond a man's power and man does not fight back, he is already
\ndead (powerless). That is the way Laksmi presents her alienation.<\/p>",
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