Mother and son join forces in dance project<\/p>\n
JAKARTA (JP): There is no denying that mother and son Gusmiati
\nSuid and Boi G. Sakti have established their own unique foothold
\nin Indonesian dance.<\/p>\n
Taking the traditional martial art of pencak silat and the
\ndance forms of their Minangkabau culture of West Sumatra, the
\npair has created dynamic choreography with their own distinctive
\ntwist.<\/p>\n
These founders of the Gumarang Sakti troupe, supported by 11
\ndancers and six musicians, will perform at Gedung Kesenian
\nJakarta on June 1 and June 2. This is in preparation for their
\nperformance at the opening of the Singapore Festival of Asian
\nPerforming Arts on June 6 and June 7.<\/p>\n
Gusmiati and Boi will present a number of their old
\ncompositions, including Seruan, Warih, biYai
\nand Salawat, in the shows.<\/p>\n
Seruan (Cry), choreographed by Gusmiati, is a medium to
\nexpress social concern through a modern, western style. The dance
\nhas been performed on several occasions, including the second
\nSchouwburg Festival at Gedung Kesenian Jakarta last September.<\/p>\n
Like most of her creations, Seruan is a blend of pencak silat
\nand western dance movements.<\/p>\n
The 55-year-old uses the traditional dances of her Minangkabau
\nbackground as the starting point for her dances. Minang
\nmovements are marked by distinctive movements and the Islamic
\nnuances contained in its cultural expression.<\/p>\n
In Seruan, she voices concern over the selfishness and
\ngreediness of modern people. She urges the avaricious to turn
\nback to the path of God through this vibrant and affecting dance.<\/p>\n
Boi will present biYai and Salawat.<\/p>\n
In the Minang language, biYai means an old woman and the dance
\ndepicts the daily activities of an old woman. The composition
\nwill be presented by dancers Esrahmi, Ivonne G., Devi Susmita,
\nDevi Anggraini, Yessi Apriati, Davit and Bastian. The music is
\ncomposed by Piter S., Musliwardinal and Epi M.<\/p>\n
In Salawat, Boi praises Prophet Muhammad. Like his mother, he
\nalso draws on traditional Minang dances. While his mother's
\nstrength lies in her ability to transform a concept into a work
\nof art, Boi focuses more strongly on composition.<\/p>\n
Gusmiati started her choreographic career 30 years ago, but
\nshe had already danced since l955. She gained recognition in l977
\nwhen her composition Rantak won the highest award at the National
\nFolk Dance Festival.<\/p>\n
Criticism<\/p>\n
Gusmiati has endured criticism from fellow Minangkabau dancers
\nand choreographers for taking a too modern, almost rebellious
\nturn on the traditional dances<\/p>\n
The typical elegant dances and lavish costumes of Tari Piring
\n(the plate dance) or Tari Payung (umbrella dance) are absent from
\nGusmiati's works. Instead, she creates strong, even aggressive
\ngestures in most of her dance creations.<\/p>\n
Gusmiati, a mother of three adult children, is consistent in
\ndeveloping modern Minangkabau dances. In l982, she established
\nthe Gumarang Sakti dance group to producing progress and
\ninnovative works.<\/p>\n
In l987, she gave up her job as a lecturer at the Indonesian
\nArts and Music Institute (ASKI) in Padang, West Sumatra, to move
\nto Jakarta.<\/p>\n
Boi, 31, followed in his mother's step as one of the country's
\ntop dance choreographers. After graduating from the Jakarta Arts
\nInstitute, Boi began choreographing dance pieces in l986.<\/p>\n
Among his works are Abad Adab Nan Sakti, (l987), Pitaruah
\n(Legacy), Kiblat, (Direction to Kaba in Mecca), Baitullah (House
\nof God) and Dongeng Yang Berlari, (the Running Tale).<\/p>\n
Both mother and son have gained international recognition.
\nIn l991, Gumarang Sakti won the prestigious Bessies Award from
\nthe New York Dance and Performance. As individuals or a group,
\ntheir international dance performances and workshops have brought
\nIndonesian works to the world dance map. (raw)<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/mother-and-son-join-forces-in-dance-project-1447893297",
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