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