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)