Showing posts with label Dance. Show all posts
Showing posts with label Dance. Show all posts

Sunday, September 18, 2011

Two titles for Indonesia in folkdance festival in Turkey


The JakartaPost, Jakarta | Sun, 09/18/2011

LabschoolKebayoran junior high school students who represented Indonesia in theinternational art and culture folkdance festival held in Bodrum, Turkey,brought home “best performance” and “best participant” titles.

The titleswere received by the Indonesian contingent in the closing ceremony on Saturdayevening local time, early Sunday morning Jakarta time.

“TheIndonesian contingent received awards in two categories, ‘best performance’ and‘best participant’ said parent Afrizal Akmal, as quoted by Antara news wire.

Afrizalsaid that the Indonesian team of 22 students performed several Indonesiantraditional dances, including Lenggang Nyai, Giring-Giring, Saman and Piringdances, to impress the audience during the week-long festival.

“All dancesturned the heads of the audience, especially energetic Saman dance, whichreceived great applause," he said.

Sunday, July 3, 2011

‘Paradise’ Found in Wilds of Papua

Jakarta Globe, Jerome Rivet, July 03, 2011


Papuan tribesmen perform with traditional drums known as ‘tibas’ during the
Lake Sentani festival in Indonesia’s eastern Papua province.
AFP Photo/Romeo Gacad

For decades, the only foreign visitors to venture into Papua were gold-diggers, anthropologists, missionaries and soldiers fighting imperial wars.

But the vast, western half of New Guinea island is slowly opening its doors to tourists as a “hidden paradise,” a land of ancient tribal cultures, glittering reefs, soaring glaciers and teeming wildlife.

Recreational travelers number a few thousand a year at most: people like Sarah Gabel, a 29-year-old American who says she is “captivated by people who live in harmony with nature.”

That’s what she found in the Baliem Valley, the long-isolated home of the Dani tribe high in the Papuan central highlands, outside the town of Wamena.

“I made a one-week trek. I crossed rivers in the wild, slept in huts and met semi-naked men hunting wild boars with arrows,” she said.

This kind of “ethnic tourism” is growing in New Guinea, the largest island in Asia, where a thousand indigenous tribes are divided between the independent state of Papua New Guinea to the east and the Indonesian-controlled provinces of Papua and West Papua to the west.

“The clients come mostly from Europe and the US. They don’t look for five-star hotels but want to discover unknown territories and authenticity,” explained Iwanta Perangin-Angin, whose agency, Papua Adventure, offers stays in Baliem.

Packed with exotic wildlife, Papua also attracts nature buffs and ornithologists in search of birds of paradise and cockatoos. Environment group WWF last week announced the discovery of more than 1,000 new species on New Guinea, including a frog with fangs and a round-headed dolphin.

The Raja Ampat marine park has also earned a reputation as a diving mecca, with more and more live-aboard boats offering extended voyages around the area’s dozens of pristine reefs. “Papua is a hidden paradise. It’s a unique destination with a lot to offer, from wild beaches to high mountains and deep jungle, with a strong culture and beautiful art,” said Azril Azahari, a professor at Trisakti University Institute of Tourism,

“It’s a niche market because it’s very expensive and visitors need to be in good shape to support the climate, the hilly landscape and the very basic transport.”

And then there’s the political situation. Indonesian troops are accused of widespread human rights abuses against indigenous tribes which have been waging a low-level separatist war since the 1960s, often armed with little more than slings and arrows.

Foreign journalists and aid workers are barred from visiting the resource-rich provinces of Papua to report on the rebellion.

“The political situation has been quiet for some time but Papua is still seen abroad as an unsafe destination. The government has to do something to change this reputation,” Azahari said.

“It is essential to develop grassroots, community-based tourism which benefits local people and increases their incomes. The future doesn’t lie with luxury resorts.”

Others warn against the worst outcomes of “ethnic tourism,” such as promoting tribal people as “primitive” when they are not. This is already happening in the form of reconstructions of tribal wars. When tourists arrive, the Dani men take off their shorts and T-shirts, paint their bodies and attach traditional penis gourds known as “kotekas.”

“Papuans are very proud of their traditions but they are weakened by the modern world,” said Yotam Yorgen Fonataba, organizer of an annual cultural festival at Sentani Lake, near the Papuan provincial capital of Jayapura.

“I’m still optimistic our culture is strong and we want to protect it. For this, we need to show the world our creativity.”

Launched four years ago, the festival brings together thousands of people from 24 communities scattered around the huge lake. To the rhythm of traditional drums known as “tibas,” warriors sing haunting tribal songs while dancers, clad in richly colored costumes, sway on boats that glide across the still lake.

A student choir sings a song which goes: “I am Papuan, I have dark skin, I have curly hair. Papua, a piece of heaven fallen on the Earth.”

Agence France-Presse

Tuesday, June 21, 2011

Festival exposes Papuan tourism charms

Nethy Dharma Somba, The Jakarta Post, Jayapura | Tue, 06/21/2011

The fourth Sentani Lake Festival, which commenced in Jayapura, Papua, on Monday, is expected to encourage the participation of local people and more foreign tourists.

“The festival aims to preserve cultural value, as well as promote wonderful Indonesia,” said Cultural and Tourism Ministry official M. Faried.

The festival will be highlighted with a performance of 1,040 daro dancers from 26 ethnic villages around Sentani Lake. Traditional boats, called Iso solo will be prepared as the performance stage.

A troop of 600 dancers will also present warring dances on the boats.

The opening ceremony on Monday drew up the curtain for 1,000 people who beat tifas, (traditional drums) from East Indonesia. The performance carried the message of the festival, which is themed “Sound of Tifa, Sound of Life.”

First held in 2008, the festival is reported to have been able to increase the number of visitors from home and abroad to experience the tourism appeal around Sentani.

“In 2008, foreign tourists accounted for only 85 people. It became 94 in 2009 and 104 in 2010. We are expecting more visitors this year,” Jayapura Regent Habel Melkias Suwae said.

Tourism observer Azril Azhari from Trisakti University Jakarta said Sentani had good prospects to be developed further into an interesting tourism site. The accessible transportation and hotels should be able to support the enrichment of Sentani’s tourism promotion and cultural attractions, he said.

Head of the organizing committee Ana Saway expected an increase in transaction value from the festival, which will run until Thursday.

“In 2010, the five-day festival could reach transactions worth Rp 6 billion [US$700,000]. Hopefully, that will increase this year,” he said.

Friday, June 3, 2011

Denpasar gearing up for Bali Art Festival

The Jakarta Post, Jakarta | Fri, 06/03/2011

More than 15,000 artists from 334 groups are expected to join the 33rd Bali Art Festival on June 10 at the Bali Cultural Park in Denpasar, Bali.

“President Susilo Bambang Yudhoyono is scheduled to officiate,” Bali Cultural Agency head Ketut Suastika said on Friday as quoted by tempointeraktif.com.

A Bhisma Dewabharata traditional dance performance has been scheduled to open the event, which has a budget of more than Rp 4 billion (US$ 468,000).

Organizers have promised to keep most of Denpasar’s streets car-free during the event, Ketut said.

Parking would be available near Ngurah Rai sport center and the east square of the Renon Museum, he said.

“There will be shuttle buses carrying visitors from the parking lots to the venue every 15 minutes,” he said.

Monday, April 18, 2011

UNESCO to name Saman Dance world cultural heritage

The Jakarta Post, Jakarta | Mon, 04/18/2011

UNESCO is set to officially list the Saman Dance from Aceh as Intangible Cultural Heritage of Humanity in November.

“The Saman Dance will be announced as intangible world cultural heritage by UNESCO on November 19, 2011,” I Gde Pitana, Indonesian Culture and Tourism Ministry cultural and tourism resources agency head, said Monday in Jakarta.

He said UNESCO's recognition of Saman added to numerous Indonesian cultural products already recognized by UNESCO as among world cultural heritage such as wayang (shadow puppets), keris (traditional dagger), batik textiles and angklung (a set of Sundanese musical instruments).

Pitana said the announcement would be made at a ceremony in Bali, Antara reported.


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Sunday, April 10, 2011

Is Hip-Hop the Rhythm of Papua?

Jakarta Globe, Katrin Figge | April 10, 2011


Dancers from ‘We Are From the East,’ choreographer Jecko Siompo’s
exploration of the connection between hip-hop and Papuan traditional dance.
(Photo courtesy of Goethe-Institut)

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A group of 10 dancers kneel on the floor. The upper bodies of the male dancers are painted in black and white while their female counterparts wear short brown dresses. They slowly raise their bodies to the rhythm of drums amplified over loudspeakers to a heart-stilling thunder. As they rise, they move in unison with the music and, as the beat gets faster, so do their movements. Eventually the stage becomes a whirling blur of movement, limbs twisting and bodies twirling with speed and grace.

This is a scene from “We Came From the East,” a new dance production by Indonesian choreographer Jecko Siompo.

“Hip-hop was born in Papua. You don’t have to believe me. But my great-grandmother told me,” Jecko boldly declared during a press conference at the Goethe-Institut in Jakarta on Thursday.

Jecko was referring chiefly to dance moves from Papua, which he claims form the foundation of the hip-hop and modern street dancing movements, rather than hip-hop music.

This theory underpins “We Came From the East.” One of Jecko’s main goals for the performance is to show, through his choreography, how ancient, traditional dances from his native Papua became the basis of modern hip-hop and breakdancing.

During the hour-long show, his troupe of dancers — eight from Indonesia and two from Germany — use dynamic performances to illustrate the connection between traditional and modern styles, bringing together folklore and pop culture. The production also features Jecko’s signature choreography style, which he calls “animal pop” because it is based on the movements of wild creatures.

“We Came From the East” will be performed at the Goethe-Institut on Tuesday night before the troupe travels to Hamburg, Germany, for the show’s official world premier a week later. It will have a run in Berlin in August before traveling to Singapore and Melbourne in October.

“We hope that we can convince Jecko to perform ‘We Came From the East’ again next year,” said Frank Werner, the head of cultural programs at the Goethe-Institut.

“That’s because there is one thing that is quite typical of Jecko’s pieces — they change, they grow and they get better over time.”

“They’re like a good bottle of red wine,” he added with a laugh. “They mature.”

In fact, Jecko and Goethe-Institut share quite a long history.

“Our collaboration with Jecko is almost a decade old,” Werner said. “It all started in 2002, when Jecko staged a premiere here.”

That same year, Jecko received a scholarship from the German Cultural Institute to study at the renowned Folkwang Dance Studio in Essen, Germany. A graduate of the Jakarta Arts Institute, he has been a guest at international dance festivals and meetings around the world, both as a dancer and a choreographer, ever since.

Werner said that the show’s international tour proved that Jecko has, in addition to becoming a renowned choreographer in Indonesia, managed to make his mark outside of his home country.

“Of course, we feel very privileged and proud that Jecko always chooses the Goethe-Institut as the first stage to present his pieces, which makes us part of his international success,” Werner said. “But actually, it is more than just a collaboration — it has to be seen within the larger framework of ‘Tanzconnexions.’ ”

Tanzconnexions (Dance Connections) is a five-year project put on by the Goethe-Institut that aims to foster artistic exchanges in the fields of dance and choreography between Asia and Europe through workshops and co-productions.

In fact, “We Came From the East” can be considered a co-production between Jecko, the Goethe-Institut Indonesia, Kampnagel Hamburg, Hebbel-am-Ufer Berlin (both theaters in Germany), and the Esplanade-Theaters on the Bay in Singapore.

In early 2010, Jecko was invited by Kampnagel Hamburg to present his piece, “Room Exit,” which helped him gain renown at an international level.

Werner said, “‘Tanzconnexions’ contributed a lot to making Jecko’s latest production happen, but, in the end, it is his artistic skill, experience and genius that makes it a wonderful piece.”
‘We Came From The East’

Tuesday, April 12, 8 p.m.
Goethe-Institut
Jl. Sam Ratulangi No. 9-15, Menteng, Central Jakarta
Tel: 021 2355 0208
www.goethe.de/tanzconnexions

Saturday, April 9, 2011

Feast for the eyes

The Jakarta Post, Antara, Pariaman, West Sumatra | Sat, 04/09/2011


Feast for the eyes: A welcome dance is performed at the the launch of
Rumah Taubik (Tabuik House) in Pariaman, West Sumatra, on Saturday.


Monday, December 27, 2010

Indonesia to submit three cultural assets to UNESCO

Antara News, Monday, December 27, 2010

Denpasar, Bali (ANTARA News) - Indonesia will submit three of its national cultural assets to UNESCO in 2011 to be appraised for inclusion in its list of World Cultural Heritages, a culture ministry official said.

"The three cultural assets to be submitted to UNESCO are a number of Balinese dances, the indigenous Papua household article called Noken, and the Beautiful Indonesia in Miniature Park (TMII)," said Harry Waluyo, director of the Cultural and Tourism Resources Agency (BSDKP) at the Culture and Tourism Ministry said here on Monday.

Waluyo said the three cultural assets will be submitted to UNESCO because they represent geographical parts of Indonesia outside Java. So far, the cultural assets for which Indonesia had proposed recognition as World Heritages by UNESCO were those of Java such as the Angklung (bamboo musical instrument) from West Java, batik cloth, wayang puppets from Central Java.

After the selection of cultural assets from Java, our next choice of Indonesian cultural assets to be submitted to UNESCO are articles or things from Bali and Papua," Waluyo said.

He said nine kinds of Balinese dances each representing a particular region in Bali would be proposed to UNESCO.

From Papua, the cultural asset to be nominated is the Noken, a Papuan people`s icon. The Noken, or Agiya, is a multi-purpose household device made of strong forest fibres in which Papuan women put their babies to lull them to sleep, or hogs, food items or clothes.

Nowadays, the Noken is decorated with certain colorful ornaments to make it look mroe attractive. A Noken can be bought at traditional markets in Papua for Rp 15,000- Rp100,000.

The TMII in East Jakarta, constructed in 1971, is a park reflecting the cultural richness of each Indonesian province, It was selected for submission to UNESCO on the consideration that the concept could serve as a model of non-material cultural management to other countries.

The process for the submission of the three cultural assets to UNESCO had already started and would end on March 31, 2011.

Apart from the three cultural assets, UNESCO in 2011 would announce the unique Saman dancing from Aceh province as a World Cultural Heritage.


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Wednesday, December 22, 2010

Military Officers in Aceh Break Record for Massive Traditional Dance

Jakarta Globe, Nurdin Hasan | December 22, 2010

Military officers from Aceh's Military Regional Command and their wives performing
the traditional Saman dance at Blang Padang field in Banda Aceh on Wednesday.
(JG Photo/Nurdin Hasan)

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Banda Aceh. More than 2,500 Indonesian military officers from Aceh's Military Regional Command, or Kodam Iskandar Muda, broke the record for massive Saman dancing, according to the Indonesian Museum of Records (MURI).

The record-breaking attempt was conducted at Blang Padang field in Banda Aceh on Wednesday.

Saman is a traditional dance from Aceh's Gayo Lues district to celebrate cultural ceremonies. The dance was created by a prominent Islamic scholar in Gayo named Syekh Saman.

Related Article:

Monday, December 13, 2010

Australia sponsors workshop for Indonesian actors

Antara News, Monday, December 13, 2010

Jakarta (ANTARA News) - Australia has sponsored a one-week "Mind, Body and Soul Acting" workshop at Teater Popular in Jakarta for emerging Indonesian actors.

The Australian Embassy in a media release in its official website on Monday said the workshop was provided for the actors to explore creative exchange of cultural, traditional and contemporary practices between Indonesia and Australia.

The workshop was conducted from December 6 to 12, 2010 by Indonesia`s leading stage and film director Slamet Rahardjo Djarot (Teater Popular Jakarta) and Australian theater director and trainer Robert Draffin (Liminal Theatre), who has particular expertise in the Asian region.

The workshop is part of a larger production by Teater Populer Jakarta and Melbourne`s Liminal Theatre to create a new piece of theatre drawing on cultural and universal perspectives of the story of Oedipus entitled The Ghost of Oedipus: Universal Eye of the Future.

"This theatre performance will draw on contemporary practices of multi-media theatre and performance, interwoven with traditional Indonesian practices of song, dance and shadow puppetry producing a unique Indonesian and Australian collaboration. We are delighted this workshop will develop further the cultural exchange between artists from both countries," said Australian Ambassador to Indonesia, Greg Moriarty.

The project, which is sponsored by the Australian Government through the Australia- Indonesia Institute, will build on strong people-to-people relationships between Indonesian and Australian theatre specialists and artists.

"This close cooperation at a cultural level is just one of the practical ways in which Australia and Indonesia are working together as close neighbors," Moriarty said.

Saturday, October 23, 2010

China sends prominent performers to Indonesia

English.news.cn   2010-10-24

JAKARTA, Oct. 24 (Xinhua) -- A Chinese ensemble group from People's Liberation Army (PLA) began cruise show on Saturday in the Indonesia capital of Jakarta.

The performance joined by award-winning artists is part of jubilation to commemorate 60 years of China-Indonesia diplomatic relations and "The year of Friendship" between the two countries.

Besides Jakarta, the ensemble group of more than 60 song and dance performers is scheduled to hold concert in South Sumatra's capital city of Palembang on Oct. 25 and in East Java's capital city of Surabaya on Oct. 27.

During their initial show, three singers sang Indonesian song, which were loudly applauded by viewers.

Editor: Zhang Xiang

Wednesday, October 20, 2010

Atilah Soeryadjaja: Celebrating Javanese female warriors

Prodita Sabarini, The Jakarta Post, Jakarta | Wed, 10/20/2010 10:51 AM

When Javanese royal Bandoro Raden Ayu Atilah Soeryadjaja read a headline on a Singaporean newspaper stating that her hometown, Surakarta, was haven for terrorists, she was furious.

JP/Prodita Sabarini
Central Java city, also known as Solo (Surakarta), had been used as a hiding place for terrorist leader Noordin M. Top before he was killed last year in a siege on the city’s outskirts.

The headline sent shivers down 49-year-old Atilah’s spine. As the granddaughter of the Javanese king Mangkunegara VII — born and raised in the court of Mangkunegaran — she felt inspired to restore Surakarta’s image as one of the country’s centers of Javanese culture in the way she knows best.

One of the founders of the Mitra Wayang Orang Indonesia, a group of Javanese opera lovers consisting of socialites who train and perform Javanese plays, Atilah decided to produce an epic Javanese play based on the life story of her ancestor, Raden Ayu Matah Ati, the wife of the first Mangkunegaran King Raden Mas Said.

With a team of 95 dancers and musicians, Atilah will present the play Matah Ati on Oct. 22 and 23 at Singapore’s prominent art center Esplanade.

At her house in Imam Bonjol, Central Jakarta, Atilah said she had set her eye on Esplanade for her play since she had conceived the idea — one of the reasons being the art center is located in Singapore, where the newspaper with the disturbing headline is based.

Esplanade’s prominence in presenting high quality performing art attracting thousands of tourists from all over the world was another reason.

“We can’t counter [the headline] with anything. But with our best work, we can show them. I didn’t tell anyone. For two years I developed the play, and rehearsed. This is for our culture and to return Solo’s image [as a center of Javanese culture],” she said.

The play is presented in the spirit of langendriyan, which Atilah explained as Javanese opera consisting of dance and singing. Atilah wrote and directed the play after carrying out extensive research on her ancestor. She was also hands-on with the actors’ costumes.

Atilah said the story highlights the life of Rubiah, who became Raden Ayu Kusuma Matah Ati after tying the knot with Raden Mas Said, and portrays her as a strong Javanese female. Rubiah was the leader of a 40-strong group of Javanese female warriors.

“I wanted to share that during that time, in the 18th century and even before, Indonesia already had a tradition of female warriors, consisting of farmers and housewives. They joined the fight.”

Rubiah, Atilah said, was a simple village girl from the village of Matah who was a gifted dancer. “She is actually the descendant of Sultan Agung, from the fourth of fifth line. Her father hid in Matah when there was conflict in Mataram,” she said, referring to the 17th century king of Mataram kingdom.

There are two versions of Rubiah’s name after she married Mas Said: Raden Ayu Kusuma Matah Ati and Raden Ayu Kusuma Patah Ati. Both “Matah” and “Patah” mean “to serve” in Javanese.

Atilah chose to use Matah Ati for her play as Patah Ati might be interpreted as broken heart, while the real meaning of her name was to serve the heart of the prince.

Atilah said she supported gender equality between men and women. However, she emphasized that as a wife, a woman’s role was to take care of the children and serve her husband. “In essence, men are above us. We should not forget our values — our eastern tradition,” she said.

Atilah learned Javanese dancing when she was little. She lived in the Mangkunegaran palace until she moved to Jakarta to attend junior high school. She felt repressed at the court when she was growing up, as she was not allowed to go out.

She was forced to fast on Mondays and Thursdays, and would have to wait until her elders had finished their meals before she could eat.

“However, I realize this training was beneficial for me as a woman,” she said.

Atilah likened herself to a lost monkey when she moved to Jakarta. The sight of tall buildings and cars overwhelmed her. In Surakarta, she used to climb trees in the palace’s court to catch a glimpse of the city.

She remembers riding a double-decked bus with her school friends without getting permission from people from home, and getting lost. “There were afternoon discos at Hotel Indonesia at that time, and I went with my friends. I was so shocked by the loud music. All this time I had only listened to Javanese gamelan,” she said.

Atilah said she had always been in love with Javanese plays, but she only put her writing and directing skills to work recently.

Married to businessman Edward Soeryadjaja, Atilah used to spend most of her spare time supporting her husband’s business. But when her children returned from studying overseas, she was able to shift her priorities. “Before, I had to help out with my husband’s business. But now, since my children have returned and taken over, I have more time,” she said.

Atilah is already currently writing her second play.

After Singapore, Matah Ati will travel to Kuala Lumpur, Jakarta, Beijing, Hong Kong and Tokyo.

‘Matah Ati’
Oct. 22 and 23
Esplanade Theater
Singapore
8 p.m.

Tuesday, October 19, 2010

Aceh’s Saman Dance to Join Batik as Part Of World’s Intangible Heritage: Official

Jakarta Globe, October 20, 2010

Banda Aceh. The traditional Acehnese Saman dance is set for recognition as intangible cultural heritage by Unesco, an Indonesian Culture and Tourism Ministry official said on Tuesday.

Tjetjep Suparman, the ministry’s director general of art and film culture, said the dance was currently in the process of being certified by Unesco.

“The government has consistently lobbied Unesco to officially recognize the Saman dance as an Indonesian contribution to the world’s intangible cultural heritage,” he said.

Tjetjep was speaking during an event in Banda Aceh to inaugurate a new office building for the city’s Historical and Traditional Preservation Society.

He added the government was also trying to get angklung, the bamboo musical instrument from West Java, onto the list.

Already on the list are wayang, batik and the keris, the traditional Javanese ceremonial dagger.

Tjetjep said he hoped that once Saman was recognized by Unesco, it would continue to be cherished by all Acehnese.

Muhammad Nazar, the Aceh deputy governor, previously said his administration had tried for the past two years to get Unesco recognition for the dance.

Speaking at Tuesday’s event, Nazar said the Aceh administration appreciated the central government’s seriousness in lobbying the UN body to get the dance included on the heritage list.

The Saman dance comes from the Gayo highlands of central Aceh, and is popularly known as “the dance of a thousand hands” because of the rapid and dizzying hand movements involved.

It is performed by several dancers (always an even number) kneeling in a row and carrying out in near-perfect time an elaborate series of hand movements and shoulder- and chest-slapping.

The pace starts out slow, then picks up as the performance proceeds, and ends in a rapid staccato of synchronized movement.

Other traditional dances unique to Aceh are the Seudati and Rapa’i Geleng, which, unlike the Saman, have an Islamic rather than cultural origin.

Also unlike the Saman, the other two are religious dances, while the Saman is a celebratory one. The Seudati is often performed as a war dance.

Antara

Abdul Azis Hasan is helping to keep Indonesian culture alive with his traditional dance classes. (Photo courtesy of Abdul Azis Hasan)


Related Article:

Wednesday, October 6, 2010

Maluku artist team undeterred by canceled President`s Holland trip

Antara News, Wednesday, October 6, 2010 17:45 WIB

Ambon, Maluku (ANTARA News) - The cancelation of President Susilo Bambang Yudhoyono`s trip to the Netherlands does not deter a Maluku artist team from going to the country.

Pasar Malam Indonesia 2010, The Hague - April 2010
Spokesperson of culture and art affairs at Maluku Culture and Tourism Office Ms An Likko said here on Wednesday that the art team from the province would perform at Indonesian Culture Performance in the Netherlands on October 7, 2010.

"After listening to President Yudhoyono`s statement on TV about the crenelation of his trip to the Netherlands, I immediately contacted the artist team coordinator Semmy Toisutta and he said the team was undeterred by the cancelation," Likko said.

She said the artist team from Maluku was scheduled to perform in the Netherlands to grace a banquet to be hosted by Queen Beatrix for President Yudhoyono.

"The Maluku artist team with the similar teams from Aceh and East Nusa Tenggara provinces had undergone special training in Jakarta since September 30, 2010 to perform in the Netherlands," Likko said.

She added that the team of six has arrived in the Netherlands to perform Lenso, Terine Mamae, and Orlapeip dances to entertain Dutch people, especially of Maluku origin in the country.

In April this year the Indonesian Embassy in the Netherlands organized an Indonesia Fair which was also graced by an artist team from Maluku.

Chief of Maluku`s Cultural Park Semmy Toisutta said the artist team at the time was made up of a Hawaiian music band and a number of traditional dancers to highlight the Indonesia Fair early April this year.

He said the artist team at the time presented Maluku songs accompanied by Hawaiian music, and Maluku traditional dances, namely Tari Lenso, Pinemou, Pataheri, Sasi Laut, Kabaressy, Mahina Arika, and two other contemporary dances produced by the Maluku Cultural Park to accompany Banda Neira and Panggayo songs.

Besides highlighting the Indonesia Fair which lasted from April 1-5, 2010, the artist team from Maluku also performed in five major cities in the Netherlands.


Related Article:

Sunday, June 20, 2010

Sentani Lake festival

The Jakarta Post, Jakarta | Sun, 06/20/2010 6:43 PM

Sentani Lake festival: Asmati performers stage a traditional dance to honor their ancestors during the Sentani Lake Festival in Kalkhote, East Sentani, Jayapura, Papua, on Sunday. The annual event features Papuan art, culture and cuisine and will run until Wednesday. Antara/Hermanus Prihatna


Wednesday, June 16, 2010

Bali seeks UNESCO recognition for dance

Desy Nurhayati, The Jakarta Post, Denpasar | Wed, 06/16/2010 10:36 AM

Bali is seeking global recognition by UNESCO for its traditional dances to be named an intangible cultural heritage.

Bali Cultural Agency head Ida Bagus Sedhawa said Monday that a team of five people from the Culture and Tourism Ministry was currently assessing several traditional dances as a preliminary step to gaining world recognition.

Governor Made Mangku Pastika recently reported his administration’s plan to President Susilo Bambang Yudhoyono during the opening ceremony of the island’s annual cultural landmark event, the Bali Art Festival.

Sedhawa said the team had been working since last week with the Indonesian Institute of Art (ISI) in Denpasar to carry out the assessment in regencies throughout the province.

“The team is evaluating three types of dance: pependet, tetopengan or topeng sidakarya, and baris tombak. They will complete the evaluation in the next few days,” he said, adding that the dances belonged to the group of wali dance, meaning they could only be performed during rituals, not on

demand.

Sedhawa added that the evaluation included collecting literature and data on the dances and tracing the history of the dances, as well as finding out how the dances were currently practiced. The team will report its findings to the President.

“Of the three groups of dance, the team will likely select only one to be proposed to UNESCO. The selected dance will be one that truly represents our culture.”

“We have had kris, batik and wayang recognized by UNESCO as the country’s intangible cultural heritage, and now we’re seeking similar acknowledgment for Balinese dances. It would be a first

for Bali.

“Bali has been widely acknowledged for its rich culture so we are confident of gaining recognition, hopefully, this year.”

The province’s cultural agency is also preparing Taman Ayun and Jatiluwih to be acknowledged by UNESCO as cultural landscapes, as part of efforts to preserve the water catchment area amid rapid changes of land use on the island.

“The challenge facing us is to maintain the areas as historical sites and protect the ecosystem there, because we’re seeing rapid change in land use. Villas are being built everywhere,” Sedhawa said.

He added that local people would benefit from UNESCO recognition because of increased tourist numbers and more land devoted to farming.

Sunday, May 23, 2010

One Woman’s Mission to Save Traditional Indonesian Dance

Jakarta Globe, Tasa Nugraza Barley, May 23, 2010

Iin Respatini Kusumastuti, shown wearing Javanese dress, can perform a range of traditional Indonesian dances. She is now passing on that knowledge to younger Indonesians. (Photo courtesy of Iin Respatini Kusumastuti)

In today’s fast-paced, modern society, it is easy to assume that young people don’t really care about culture and tradition. One person, however, thinks that this is not necessarily the case.

“Our young people have actually started to appreciate their cultural heritage, especially traditional dances,” 57-year-old Iin Respatini Kusumastuti said. “As we get smarter, we realize the importance of preserving our own culture. Smart people won’t just adapt other people’s culture to keep up with the trends.”

This master of traditional dance has made it her mission to help preserve the country’s cultural heritage.

“Our traditional dances are so beautiful, why would we learn dances from other countries?” Iin said. “It is so easy to find beautiful dances right her in our own country, from Aceh to Papua.”

Growing up in Surabaya, Iin loved to dance ever since she could remember. With the encouragement of her mother, she started dancing when she was only 4 years old. Balinese dance and ballet were among the first forms she learned.

Over the years, Iin mastered traditional dance. While she specializes in Javanese dance, she is able to perform almost every traditional Indonesian dance.

“My mother always wanted me to be able to do traditional dances, especially the Javanese dances,” Iin said.

Iin grew up in Yogyakarta. As a student, she was actively involved in local dance clubs and won many competitions. “I always loved to perform on stage because I could wear makeup and people applauded [the performance],” she said.

In 1989, Iin took her love for dance a step further by establishing the dance workshop Kasitha Smarandhana — which means “a love song from a princess” in Javanese — with colleagues. She said that her main goal was to train future dancers. “My friends and I are getting old. We need the young to replace us,” she said.

Iin acknowledged that while today’s lifestyle is heavily influenced by modern culture, she said the younger generation has much to learn from traditional dance.

“By respecting their culture, young people can be motivated to contribute more to the country,” she said.

It wasn’t always easy for Iin to pursue her love for dance. Her father, a doctor, wanted her to pursue a medical career. “My father always wanted me to do well in school,” she said.

Because she spent so much time dancing, her father threatened to put a stop to it if she failed to keep her grades up

“I had to learn to keep my dancing under wraps so that my father wouldn’t find out,” she said.

To please her father, Iin in 1972 decided to study politics at the University of Indonesia. But she never lost her passion for dance. While at university, she also studied dance at the Art Institute of Jakarta.

Her dedication to her craft paid off when she became part of the Penari Istana (Palace Dancers) at the Presidential Palace, a role she had from 1972 to 1984. The dancers were considered cultural ambassadors and traveled around the world to perform. “It was a very happy stage of my life,” she said. “I could visit so many countries by dancing.”

To prove to her father that she could pursue dance and higher education at the same time, Iin studied for a master’s degree in business administration from the University of Indonesia, graduating in 1994. She earned a PhD in marketing from Melbourne University in 1999.

These days, when not busy dancing, Iin runs a catering and interior design business.

Iin’s Kasitha Smarandhana dance workshop now has about 50 students, mostly women between 14 and 30 years of age, who attend class on a weekly basis.

Deka Dwinanda, a 23-year-old postgraduate psychology student, has been attending the workshop and studying Javanese dance for three weeks. Deka said that she has had an interest in dance for a while now and feels an obligation to help preserve traditional dance. “Our culture is very rich, and traditional dances are part of it,” she said.

Deka added that traditional dances were special because they represented real women. “Traditional Indonesian dances reflect beauty, patience and sexiness,” she said.

Alphadian Parahita Winarno, 27, also enrolled in the workshop, sees Iin as someone who is very dedicated to traditional dance.

“She’s a very professional dancer,” Alphadian said, adding that what makes Iin special is that she always treats her students like her own children.

“That’s why it’s so comfortable to learn dances here,” Alphadian said.

Iin said that unlike modern dance, mastering traditional dance is more difficult. “It takes a lot of patience and is a long process,” she said.

According to Iin, there are eight things that a beginner should pay attention to when it comes to learning traditional dances, especially those from Java: stance, attitude, flexibility, uniqueness, expression, harmony (between movement and music), rhythm and music.

“It’s true that traditional dances are not easy to practice and master,” she said. “But once you get to know the beauty of our traditional dances, you will be addicted.”

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