Bagong's feelings exposed in 'Guruh Gemuruh'

Tarko Sudiarno, Contributor, Yogyakarta

For noted contemporary choreographer Bagong Kussudiardja, a birthday means a new artistic creation.

To celebrate his 73rd birthday, Bagong presented his latest creation, entitled Guruh Gemuruh (Thundering Thunder) at his residence in Taman Tirto village in Bantul last Saturday, four days after his birthday on Oct. 9.

The dance depicted the choreographer's anxiety as he listens to the thundering sound of either the gamelan, thunder in the sky, or a crowd of people.

Five male dancers and eight female ones -- all pupils of Padepokan Seni Bagong Kussudiardja dance studio -- moved dynamically and rhythmically to the music. This time, Bagong did not use the gamelan to accompany the dance, but selected Wolfgang Amadeus Mozart's classical music compositions instead.

Bagong, who is known for his habit of breaking tradition, again showed his ability to blend two traditions, modern and traditional.

At times, the dance showed a touch of modern ballet, while at other times, it showed movements taken from traditional dances of Bali, Java, Kalimantan and Sumatra.

The 45-minute dance was divided into four episodes, namely tortured, passionate, anxious and daydreaming. Bagong allows his viewers freedom to interpret his work.

"It's hard for me to say what Guruh Gemuruh wants to express. In fact, I don't want to make a statement through the dance. Or, perhaps I don't know what to say. Just like thunder in the sky, we can only hear it but are unable to see what it really looks like," Bagong said.

"But frankly, I just speak from the heart. It doesn't have a particular meaning, much less a political one. The audience has the right to gasp its own meaning. I myself don't look for one. Guruh Gemuruh is just the sound of my heart, it's what I feel."

Inspiration for the choreography came to Bagong while he was looking for an idea to create a dance piece adapted from the Serat Dewa Ruci, an episode in a shadow puppet show. The episode tells about the search for the water of life, the water of happiness, and the water of comfort.

But in the end, Bagong finished Guruh Gemuruh's choreography first instead of the Serat Dewa episode. This may be due to his concern over what is happening around him. Although the artist insisted he imbued no meaning into the dance piece, its movements indicate otherwise.

The dance's dynamic but irregular movements remind its viewers of the present chaotic situation within the community.

At times, the dancers seem powerless, showing expressions of surprise, wonder and disgust.

Cultural observer Suminto A. Sayuti, who was among the audience, said that a dance was like a text whose meaning could be interpreted from one's point of view and the approach being used.

"As a text, a dance is analyzed and perceived openly. Guruh Gemuruh, in this context, can be perceived as a screen projecting what people feel now," he said.