Local and int'l dance events bring new life to performing arts

Local and int'l dance events bring new life to performing arts

Text by Rita A. Widiadana, photos by Mulkan Salmona

JAKARTA (JP): Remarkable dance performances dominated the year l996 in the performing arts.

After depressing performances over the last few years the local dance world is now heading toward an era of regeneration.

Many young and promising dancers and choreographers are ready to establish themselves in the local dance scene and replace their seniors. It is encouraging to look back at the years dance performances.

There were also several joint efforts between the arts community, the government, and the private sector to develop local dancers. Equally important was the opportunity for the audience to watch and learn from quality dance compositions.

International festivals, seminars and workshops on dance development will certainly have a positive impact on the local dance scene.

One important event was the biannual Indonesian Dance Festival (IDF) in July. The festival involved more than 300 dancers, dance critics and scholars from 16 countries.

The event, held at Gedung Kesenian Jakarta and Taman Ismail Marzuki Arts Center, included dance performances, workshops and seminars on modern dance development. Famous dancers like Canada's Maxine Hepnner, France's Jackie Taffanel and Asian- American choreographers like Yin Mei, Yukie Shiroma, Marie Cheng and Marcia Wong, Venezuela's Leyson Ponce, South Korea's Kim Mae- Ja, Japan's Kota Yamazaki and the Philippines Edmund Gaerlan participated.

Several young Indonesian artists used the forum as a showcase for their dancing skills. Dancer-choreographer Linda Hoemar and Bekti Lesmini (Jakarta), Miroto (Yogyakarta), Nanu Munajar (Bandung), Syaiful Erman (West Sumatra) were among the local dance scene's rising stars.

During the festival, the 29-year-old Hoemar, who is joining the New York-based Elisa Monte Dance Theater, presented her own choreography,Lalu.

Accompanied by Tony Prabowo's music composition, Hoemar demonstrated her dancing skills in a 20-minute solo dance.

Veterans like Farida Oetoyo who presented Putih-Putih (Whiteness) and Bagong Kusudiardjo with Semar remained shining. They seemed to show their predecessors the road to success was not easy.

The Indonesian Dance Festival is expected to become a forum for local and international dancers to share their ideas and expertise. It should become the place where the regeneration process takes off.

Progress

Dance critic Sal Murgiyanto said Indonesia could use the festival to learn the international dance world's progress and map local dance development.

Other important dance performances were held at the Schouwburg Festival in September. The festival celebrated Gedung Kesenian's anniversary.

Dubbed mother-and-son performances, Farida Oetoyo, Gusmiati Suid and Boi Sakti, presented their best compositions.

These three choreographers represented three generations, each making an important contribution to contemporary dance in Indonesia.

Farida Oetoyo staged Topeng (Mask). While costumes and music enhanced the performance, the composition was more a sketch than a complete work.

She staged another piece, Areinam, which revealed her fascination with traditional dance. 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 mostly female. The music was composed by her son, Wong Akhsan, and together they are a strong force in the local art scene.

Gusmiati Suid presented Seruan (Cry). 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, a West Sumatra ethnic group where she comes from. Dance from this region of Sumatra emphasizes movement as much as singing. Religion, particularly Islam, is an important element.

Young choreographer Boi Sakti, Gusmiati's son, presented Salawat. Like his mother's composition, Salawat was rooted in Minangkabau dance and rich with 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, Boi Sakti focused more strongly on composition.

Traditional dance also came into the spotlight. Ramayana Ballet, was reproduced and restaged at Prambanan Temple's open stage last September.

The ballet has helped preserve many forms of classical Javanese dance such as the sacred Bedoyo, Srimpi, Wireng as well as traditional Javanese music through the performance of gending gede tengahan, gending pakurmatan, gending dolanan ...

Dancers Sardono W. Kusumo, Retno Maruti and Sulistyo Tirtokusumo revived the Ramayana Ballet under the auspices of the Ministry of Tourism, Post and Telecommunications.

In addition to local dance performances, foreign artists' performers including Australia's Aboriginal dance troupe, the Bangarra Dance Theatre, gave different nuances to local dances.

Performed at Taman Ismail Marzuki last October, the Sydney- based Banggara Dance Theater, offered plays which were rich in Aboriginal symbolism referring to the colors of the land. To Aboriginal people, colors symbolize different aspects of human existence on earth.

The Boston Ballet's performances and Britain's The Kosh were also highlights.

A collaboration between Indonesia and Korea in Gora-Goda was a milestone in dance cooperation between Asian countries.

Produced by Adilla Suwarno, Gora-Goda included many players who had been involved in Indonesian and overseas performances. These included Restu Imansari, as assistant choreographer and performer, Tony Prabowo as music director, Margesti as a performer, and vocalist Nyak Ina Raseuki.

This mixture of dance and drama choreographed by Korean Kang Man-hong, spoke through ritual movements without a word being spoken, Gora-Goda was staged in Korea and New York City. In Jakarta it was performed on Dec. 23 and Dec. 24 at Gedung Graha Bakti, Taman Ismail Marzuki.

Problems

A basic problem emerged from the local dance world: there are too few dance critics in Indonesia who can narrow the gap between the choreographers and their audience.

Murgiyanto said many choreographers failed to communicate their ideas to the audience. "We need more dance critics who are able to translate the meaning and the philosophy behind each choreographed work."

Franki Raden, a performing arts observer, said looking at all dance performances throughout the year, it seemed the Indonesian dance community was still working hard to create a new tradition in the contemporary dance world.

He said the staging of international events was urgently needed to evaluate the potency of Indonesian choreographers and dance development in Indonesia and overseas. These events give a valuable chance to critics and audiences to learn the most recent developments in dance choreography.

He said the fourth Indonesian Dance Festival was a sign of growing seriousness and enthusiasm in the Indonesian dance community.

It was clear from various dance festivals the development and regeneration of local dance was slow compared to countries like Japan and South Korea. Indonesian modern dance is still in its infancy, searching for a new kind of dance language and expression.

Franki said this was because pioneer Indonesian modern dance pioneers like the late Huriah Adam, Yulianti Parani, Farida Oetoyo and Sardono W. Kusumo failed to pass on their knowledge and skills to the next younger generation.