An evening spent with three prominent choreographers

An evening spent with three prominent choreographers

By Franki Raden

JAKARTA (JP): Farida Oetoyo, Gusmiati Suid and Boi Sakti,
three choreographers representing three different generations,
have each made an important contribution to the world of
contemporary dance in Indonesia.

Staging their works in one evening was, therefore, an
interesting and attractive thought. Their performance at the
Schouwburg Festival on Sept.7. was just one of many events at the
week-long event at the Gedung Kesenian Jakarta.

The evening started with a Farida Oetoyo dance called Topeng
(Mask). The spotlight moved slowly back to the center of the
stage where three dancers posed in masks. Their slow,
simultaneous movements formed a block movement, revealing an
alluring and mysterious composition. While the costumes and music
enhanced the performance, the composition came across more as a
sketch than a complete work because of its brief duration.

The second work, by Gusmiati Suid, was called Seruan (Cry). In
the catalog's foreword, Gusmiati wrote: "When a man can no longer
communicate with his inner self and when all has become
permissible for the sake of material gain and power, the best
remedy is to ask him to recall the holy name of God."

Gusmiati's work is a medium to express social concern, which
she communicates and composes in a modern, western style.
However, Gusmiati starts from the traditional dance of the
Minangkabau, an ethnic group in West Sumatra, where she was born.
Dance from this region in Sumatra emphasizes movement as much as
singing. Religion, particularly Islam, is also an important
element.

Her voice of concern was heard in Seruan but probably
understood by few since the lyrics were in a provincial dialect.
Also, it is a pity that the ritual Minangkabau music called
tabuik was only used at the end of the dance.

Regardless, Gusmiati's blend of beauty, music, costume,
lighting and movement made for quite an achievement. Dynamic
percussion enlivened the dance movements, building up to a
dramatic climax.

Farida Oetoyo followed Seruan with another piece called
Areinam. The work revealed her fascination with traditional
Indonesian dance as well as her ability to communicate a certain
aesthetic through movement and music.

Unlike her first piece of the evening, Areinam explored
Balinese dance and classical ballet. Comical and sensual
qualities were revealed with facial expressions and movements
typical of male dancers, though the cast was primarily female.
The music was composed by her son, Wong Akhsan; together they are
a strong force in the local art world.

Salawat, the last dance performed, was choreographed by
Gusmiati's son, Boi Sakti. Like his mother's composition, Salawat
was rooted in Minangkabau dance and rich in religious overtones
in its praise of the Prophet Muhammad. While the mother's
strength lies in her ability to transform a concept into a work
of art, Boy Sakti focused more strongly on composition.

The music of Peter Slayan created a dynamic atmosphere and
lent structure to the overall framework of the dance. The piece,
I think, would have been more attractive without the social
themes, as choreography, movement and imagination are his
strengths. But, in all its simplicity, Salawat was one of Boi's
best works and I hope to see more of the same.