Mother and son join forces in dance project
Mother and son join forces in dance project
JAKARTA (JP): There is no denying that mother and son Gusmiati
Suid and Boi G. Sakti have established their own unique foothold
in Indonesian dance.
Taking the traditional martial art of pencak silat and the
dance forms of their Minangkabau culture of West Sumatra, the
pair has created dynamic choreography with their own distinctive
twist.
These founders of the Gumarang Sakti troupe, supported by 11
dancers and six musicians, will perform at Gedung Kesenian
Jakarta on June 1 and June 2. This is in preparation for their
performance at the opening of the Singapore Festival of Asian
Performing Arts on June 6 and June 7.
Gusmiati and Boi will present a number of their old
compositions, including Seruan, Warih, biYai
and Salawat, in the shows.
Seruan (Cry), choreographed by Gusmiati, is a medium to
express social concern through a modern, western style. The dance
has been performed on several occasions, including the second
Schouwburg Festival at Gedung Kesenian Jakarta last September.
Like most of her creations, Seruan is a blend of pencak silat
and western dance movements.
The 55-year-old uses the traditional dances of her Minangkabau
background as the starting point for her dances. Minang
movements are marked by distinctive movements and the Islamic
nuances contained in its cultural expression.
In Seruan, she voices concern over the selfishness and
greediness of modern people. She urges the avaricious to turn
back to the path of God through this vibrant and affecting dance.
Boi will present biYai and Salawat.
In the Minang language, biYai means an old woman and the dance
depicts the daily activities of an old woman. The composition
will be presented by dancers Esrahmi, Ivonne G., Devi Susmita,
Devi Anggraini, Yessi Apriati, Davit and Bastian. The music is
composed by Piter S., Musliwardinal and Epi M.
In Salawat, Boi praises Prophet Muhammad. Like his mother, he
also draws on traditional Minang dances. While his mother's
strength lies in her ability to transform a concept into a work
of art, Boi focuses more strongly on composition.
Gusmiati started her choreographic career 30 years ago, but
she had already danced since l955. She gained recognition in l977
when her composition Rantak won the highest award at the National
Folk Dance Festival.
Criticism
Gusmiati has endured criticism from fellow Minangkabau dancers
and choreographers for taking a too modern, almost rebellious
turn on the traditional dances
The typical elegant dances and lavish costumes of Tari Piring
(the plate dance) or Tari Payung (umbrella dance) are absent from
Gusmiati's works. Instead, she creates strong, even aggressive
gestures in most of her dance creations.
Gusmiati, a mother of three adult children, is consistent in
developing modern Minangkabau dances. In l982, she established
the Gumarang Sakti dance group to producing progress and
innovative works.
In l987, she gave up her job as a lecturer at the Indonesian
Arts and Music Institute (ASKI) in Padang, West Sumatra, to move
to Jakarta.
Boi, 31, followed in his mother's step as one of the country's
top dance choreographers. After graduating from the Jakarta Arts
Institute, Boi began choreographing dance pieces in l986.
Among his works are Abad Adab Nan Sakti, (l987), Pitaruah
(Legacy), Kiblat, (Direction to Kaba in Mecca), Baitullah (House
of God) and Dongeng Yang Berlari, (the Running Tale).
Both mother and son have gained international recognition.
In l991, Gumarang Sakti won the prestigious Bessies Award from
the New York Dance and Performance. As individuals or a group,
their international dance performances and workshops have brought
Indonesian works to the world dance map. (raw)