Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Friday, July 8, 2011

Indonesia to Set New Record for World's Largest Angklung Ensemble

Jakarta Globe, Lauren Zumbach, July 08, 2011

WashingtonDC. Internationally-acclaimed maestro Daeng Udjo will lead thousands ofIndonesians and Indonesia enthusiasts in an attempt to set a new record for theworld's largest angklung ensemble at Saturday's Indonesia Festival 2011.



(Antara Photo/Rosa Panggabean)
The firstattempt at the record outside Indonesia will be hosted by the Embassy ofIndonesia at the Washington Monument, highlighting a day of festivities meantto introduce Americans to Indonesia’s diverse culture. 


As many inthe ensemble will be first-time angklung players, the Embassy commissioned5,000 angklungs from West Java for the event. After receiving their angklungand Balinese bandana or batik scarf, Daeng will give the crowd a crash coursein the art of the angklung, teaching them the song that they will play duringthe record attempt.

A GuinessWorld Records judge will oversee the event and if the ensemble succeeds, eachparticipant will receive a certificate acknowledging their role in thenewly-minted record. 1,600 participants have already registered.

"Itmay surprise our guests to learn that Indonesia is actually the world's fourthlargest country because only 3,000 Indonesians reside in the D.C. Metroarea," said Ambassador Dino Djalal. 

"IndonesiaFestival 2011 is a perfect opportunity to celebrate multiculturalism and sharewith Washington the food, dance and music of our nation's more than 230 millioncitizens."

The all-dayfestival was organized by the Indonesian Embassy and the Indonesian communityin Washington, DC to celebrate Indonesia’s diverse cultural traditions.

In theafternoon, guests will get to taste Indonesian cuisine, try traditional craftsat an arts workshop, and take in a variety of dance, music, and martial artsperformances from across Indonesia.

Indonesianartists Malik D'essentials, Sherina, Balawan and Elfa's singers will befeatured alongside a lineup of performers from Brazil and the US, includingGrammy-nominated singer Raheem DeVaughn and 80's favorite Air Supply.

Friday, April 15, 2011

Music Friday: Brighten Your Weekend

Here are some videos of the latest songs running through my head. I hope they brighten your weekend and keep you moving through your rockin' Friday!

Lenka - Heart Skips a Beat

Adele - Rumor Has It

Have a bright weekend!

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)

Related Articles

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

Wednesday, April 6, 2011

'Dancing Cop' Asked to Entertain His Colleagues

Jakarta Globe, April 06, 2011


First Brig. Norman Kamaru, the Gorontalo Mobile Brigade (Brimob) officer
who gained online fame after the video of him lip-synching and dancing
to a Bollywood song went viral on the Internet, at the taping of 'Bukan
Empat Mata' at the Trans7 studio in Jakarta on Thursday. The episode
is expected to air at 9:45 p.m. on Friday.
(JG Photo/Afriadi Hikmal)

Related articles

Indonesia’s National Police chief says he can see the funny side to a wildly popular YouTube video featuring a uniformed officer dancing to a Hindi song but insists disciplinary action was still necessary.

Gen. Timur Pradopo, speaking at the Presidential Palace on Tuesday, conceded that First Brig. Norman Kamaru had “good creativity” but said “the sanctions would serve as guidance for him.”

The video featuring Norman, a member of the Gorontalo Mobile Brigade (Brimob), lip syncing and dancing to Hindi song Chaiyya-Chaiyya” has already attracted more than 500,000 views.

Timur, who laughed as he was questioned by journalists, said he would let Gorontalo Police determine the punishment.

“It is funny,” he said. “If the public consider it as good, it means he’s creative. But he was on duty, so we will let the police chief guide him, meaning to direct him to express his creativity while he is not on duty.”

Norman, meanwhile, told Metro TV that he had accepted his reprimand and vowed not to repeat his actions.

He admitted that he took the video himself but said he did not upload it to the video-sharing Web site.

Gorontalo Police, however, do not seem to concerned about the controversy.

Norman said one of his superiors had asked him to perform the song in front of his colleagues.

One of Norman’s fellow officers said Norman had a love for Bollywood music and film.

“He sings and dances to entertain us, he makes us laugh. He’s a star,” the officer said.

Experts said police had other, more important things to concentrate on.





Related Articles:

Sunday, March 13, 2011

Wayang with a Touch of Dutch

Indah Setiawati, The Jakarta Post, Jakarta | Sun, 03/13/2011

There was no Arjuna in sight. The puppet characters appeared in classic European clothing from the 16th century. And the shadow puppet story was not based on the classic epic Mahabharata or Ramayana — but rather the heroic epic of Prince William of Orange.

That particular evening, the audience was given a rare treat — a wayang shadow puppet show with a fresh, contemporary twist.

Painted in classic European clothing from the 16th century, the puppet characters became alive as young puppet master Ananto Wicaksono told the heroic epic story of Prince William of Orange to a packed hall at the Erasmus Huis in South Jakarta.

Closing scene showcases the puppet characters of Prince
 William van Orange (left), his wife Louise de Coligny (right)
 and the Nieuwe Kerk (New Church) in Delft. JP/ Wendra
Ajistyatama
The Nusantara Museum in Holland had ordered the puppet of William of Orange — or Willem Van Oranje in Dutch — from Javanese puppet maker Ledjar Subroto, Ananto’s grandfather.

The puppet show was performed in Jakarta and Yogyakarta before being launched in the Nusantara Museum over the weekend.

The story revolves around the battles of Prince William, the proponent of freedom of religion against the Spanish army. The Spanish King, Philip II, declared William an outlaw and promised a reward for his assassination.

The show’s last scene depicted the assassination of the Dutch hero. Balthasar Gerard, a supporter of Phillip II, shot William to death at the prince’s home in Delft.

The contemporary shadow puppet show did not only present a series of serious political banters and war scenes, but also entertained and humored with creative and amusing scenes.

The hundreds of audience members burst into laughter when an old puppet character Jan Klaasen appeared on stage as an intermezzo in the middle of a war.

Jan Klaasen’s funny voice, humorous chat and silly movements became an instant ice-breaker. A Spaniard soldier tried to attack his head to no avail because it was so flexible — it could rotate, turning forward and even backward.

Ledjar said Jan Klaasen was an additional character that was comparable to Punokawan — four royal jokers in the regular puppet shows.

“I inserted the Jan Klaasen character so the audience did not only have to stick to the story, but be entertained by the humor as well,” he said.

Known as the innovator of wayang kancil — leather puppets in animal forms, the 73-year-old Ledjar was internationally known for his novel pieces of the wayang art.

His creations include Wayang Sultan Agung in 1987, a puppet made to depict the struggle of Sultan Agung against the Dutch troops under Jan Pieter Zoon Coen. The puppet was collected by the Westfreis Museum.

Later, he made Wayang Revolusi for the Bronbeek Museum in Arnhem, representing the Indonesian revolutionary figures of 1945. He also created a wayang cartoon based on the Japanese Samurai X comic for the performance of Japanese puppeteer Ryoh Matsumoto in 2002.

Ananto, a student of the Indonesian Institute of Arts in Yogyakarta, said the Nusantara Museum planned to introduce Dutch history to school children through Wayang William.

“The problem [faced by Indonesia and the Netherlands] is the same. Children are reluctant to study history,” he said, adding that wayang was chosen because both countries shared a strong cultural relationship.

The idea to wrap the Dutch history in a wayang story came after officials from the Nusantara Museum watched Ledjar’s Sultan Agung puppet show performance at the Pasar Tong Tong fair back in 2008.

The officials, who saw a Jan Pieter Zoon Coen puppet, were inspired to order the puppet character of William. They were happy to see Ledjar’s creation of the William puppet a year later, saying that the puppet’s image matched the prince’s portraits. Ananto said he researched on the Internet to study the history of William of Orange and watched an original classic movie about him.

“At first, I was thinking of full gamelan for the music, but then I changed my mind because this was a European puppet show. I don’t want to make it an ordinary wayang purwa [traditional puppetry],” he said.

His effort paid off. The Willem puppet show performed in the Erasmus Huis was far from boring.

The music was a collaboration between pop orchestra and traditional gamelan. Some of the conversations in the show, which included an English translation, were even set to opera-esque music, such as during a romantic chat between William and his fourth wife Louise de Coligny.

Ananto, who has been a wayang puppeter since he was four years old, said the Nusantara Museum’s visitors could also watch his 15-minute animated film of the William puppet show in addition to enjoying the real puppet performance.

The museum also plans to tour the puppet show around several cities. Ledjar said the marriage of modern and traditional genres could attract young people.

The most important thing, he added, was to preserve the traditional nuance.

However, nowadays the majority of appreciation for wayang comes from foreign countries like the Netherlands, and little attention is paid to the art form in Indonesia.

Ledjar said no order to make a wayang show about Indonesia’s modern history had come from his his own country.

“You know, there is no interest here in Indonesia. I am concerned about how to encourage our children and young generation to love wayang.”

Puppet master Ananto performs a battle scene during the shadow puppet show at Erasmus Huis in South Jakarta.

Wednesday, February 2, 2011

Pourquoi Pas?

Why not learn to play the accordian my dears? When did you hear it was Grandpa's? The last I heard it was tres chic! After the all the French caught on to that long ago...

{merci weheartit}

Monday, January 31, 2011

Broken Roads & Hope

I was listening to a certain Rascal Flatts song this past week. Its a song I've heard so much that I tune it out automatically, but for some reason a phrase caught my attention and got me thinking...this song really does speak volumes to the truth.
Others who broke my heart, they were like Northern Stars, leading me on my way into your loving arms. God blessed the broken road, that led me straight to you.
Each time we fall, we get back up, we keep hoping. Why is that? Are we all just habitual masochists? Maybe. Or maybe we know its worth the journey. With every heartbreak we are one heartbreak closer to being done. With every guy who doesn't call, we need'nt worry, we've just narrowed it down one more. Stood up, overlooked, moved on...out, out, out. 

{merci weheartit}

Although it may hurt (and you should never deny that), we heal ourselves, brush ourselves off and keep on swimming. Because we have to, because that one fish is out there, swimming in circles, just as lost as we are.

Here's to broken roads...cheers.

Wednesday, January 19, 2011

Pourquoi Pas? & Giveaway Winner

Why not brighten someone's day today mes cheries? Yesterday my day was brightened and I hoped to motivate you to do the same. After a long day at work I was surprised by a special package in my mailbox from a contest I had won on Twitter by Hana Pestle. This talented chica is definitely worthy of your ears my darlings, just take a listen to her moving rendition of Hallelujah here!



So to pass on the smiles... it's time to announce the first winner of 2011 for The Embellished Life!


And the KT Collection Ring is going to...


True Random Number Generator  12Powered by RANDOM.ORG


Pin at Sensorimotor!! Congratulations!

Be sure to check out the KT Collection for amazing jewelry to complete your wardrobe and follow them on Twitter!

Unesco recognizes ‘angklung’ as intangible cultural heritage

The Jakarta Post, Wed, 01/19/2011

A traditional bamboo music instrument from West Java, the angklung, has received official recognition from Unesco as an intangible cultural heritage piece.

Indonesia should preserve the angklung, said the Indonesian Ambassador for Unesco, Tresna Dermawan Kunaefi, after presenting the recognition certificate to National Education Minister Mohammad Nuh, kompas.com reported.

“The main issue here is that the angklung has many values for character building. Cooperation is needed in playing the angklung, producing beautiful harmony,” he said.

Unesco has also recognized several other items from Indonesia – the technique of making Batik fabric, the keris (a ceremonial dagger) and wayang (Javanese traditional puppets) – as having World Heritage Status.

Wednesday, January 5, 2011

Pourquoi Pas?

Why not smile today darlings?


This toe tapping song by Newton Faulkner did the same for me!

Sunday, December 12, 2010

The Sounds of Bali Find an Audience in the United States

Jakarta Globe, Lara Pellegrinelli | December 12, 2010

The floors of New York City’s music halls attain various states of cleanliness. Few ensembles are in a better position to observe them up close than the Balinese ensemble Gamelan Dharma Swara.

Gamelan Dharma Swara, an ensemble based out of the
Indonesian Consulate in New York City, just released
it first album, a two-disc set. (Photo courtesy
of www.dharmaswara.org)
In an October performance at a West Village club, its musicians sat cross-legged behind an array of glittering bronze percussion instruments on the black basement floor, a linoleum surface one suspects began as some other color.

Pool-playing patrons sat next to more sober listeners on beer-stained sofas.

It might seem far from Bali in spirit, but the music’s spectacular brightness attracted a rogue dog, something you might encounter in any temple courtyard.

Home for Dharma Swara is not Indonesia itself, but rather its consulate in New York.

That converted town house has a basketball court’s worth of hardwood on which to rehearse. Membership in the group is open to anyone.

The set of instruments — gongs, xylophones, drums and flutes — accommodates about 20 players.

Some are Balinese, but most are not.

The ensemble serves both to promote Balinese music and dance and, in a practical sense, to support diplomatic events.

The performers are roving diplomats themselves.

In addition to sundry clubs and concert halls, they have performed on the carpets of the United Nations, in the lobbies of museums, at college auditoriums and in the gardens of private patrons.

A flurry of dates last year helped raise money for a summer tour of Bali.

Last Sunday the group celebrated the release of its first album, a double CD set titled “Gamelan Dharma Swara,” with a concert in Greenwich Village.

An offering dance, a traditional form of temple worship performed with a nimble trio of women, honored the audience in a shower of flower petals.

The program also featured Pan Wandres’s Kebyar Legong (1914), a 30-minute tour de force with such explosive shifts of mood and tempo that few groups try to perform it — even in Bali.

The sound of gamelan ensembles, which have distinct Javanese and Balinese forms, became known to Western classical music connoisseurs through Debussy, Ravel and other composers who found its tonalities novel and inspiring.

In the 1930s, a young Canadian named Colin McPhee (1900-64) began drawing on gamelan’s interlocking melodic patterns in his own music, and his works and a later book of research became reference points for Balinese music in the West.

“In some ways Colin McPhee had the wrong impression of Balinese music,” said Pak I Nyoman Saptanyana, Dharma Swara’s artistic director since 2001.

“He preserved the older forms at the expense of all the new 20th-century styles. He didn’t see this as a living tradition that should continue to evolve.”

As in McPhee’s time, Balinese music continues to be swept up in romantic fantasies of the primitive and exotic, which Westerners frequently confuse with authenticity.

“Bali still serves as an icon of the mysterious premodern East,” said Andrew McGraw, the executive director of Dharma Swara.

“It satisfies a neo-liberal nostalgia for community and spirituality.

“Gamelan in the US is as much, if not more, a story about us than an accurate representation of Indonesian culture.”

It’s a story told by scores of gamelan ensembles across North America, many of which trace their roots to Mantle Hood, a pioneering ethnomusicologist who believed that scholars should learn to perform the traditions that they study.

In 1958 he started the first US-based gamelan at the University of California, Los Angeles, and trained the leaders of a hundred more.

At least that many ensembles exist today, on college campuses and as community groups like Dharma Swara.

Although the roster changes from year to year, Dharma Swara tends to include both emerging and established talents on the new music scene.

Recent members include the bagpiper Matt Welch (Blarvuster), the trombonist and instrument builder Richard Marriott (Club Foot Orchestra) and the percussionist Michael Lipsey (Talujon), who starts his own gamelan ensemble at Queens College in January.

“The learning process makes you use your brain in a completely different way,” said flutist Jessica Schmitz, co-director of the Asphalt Orchestra.

New pieces are taught by rote without notation, which requires deep understanding of musical structure as well as attention to detail. Because multiple parts combine to create a single melody, players depend on one another to rehearse as well as perform.

Saptanyana also notes that half the members are composers, some of whom have contributed to Dharma Swara’s repertory.

During Dharma Swara’s Balinese tour, audiences applauded wildly for an original work by McGraw, “Sikut Sanga,” which appropriates swaths of melody from “New York, New York” and “A Night in Tunisia.”

Next week one work will be a world premiere, by Saptanyana’s 18-year-old son, Putu, who performs on multiple instruments.

“I brainstormed using all the music I’ve ever heard and picked some ideas that I liked,” said Putu Saptanyana, who has spent as much time around New York City as in his Balinese village, Ubud.

As the audience ponders its intricately layered pulse and shimmer, few would suspect that the young composer does his most intensive listening to gamelan while he plays his Xbox 360.

The New York Times

Related Article:

Wednesday, December 8, 2010

Youths voice pessimism over govt anticorruption effort

The Jakarta Post, Jakarta | Thu, 12/09/2010

Amid rampant corruption in Indonesia, young people expressed their disappointment and pessimism over the government’s effort to eradicate corruption.

Voices against corruption: The Last Child performs in front of
hundreds of youth at an event organized by Indonesia Corruption
Watch to commemorate International Anti-Corruption Day and
raise awareness among young people. Courtesy of ICW
A University of Indonesia student majoring in state administration, Agnes Setyowati, 21, does not believe the government can tackle corruption. “I doubt it,” she told The Jakarta Post at a recent concert organized by the Indonesia Corruption Watch (ICW) in Depok. “The government itself is way too corrupt and its efforts in eradicating corruption show no progress.”

She added, however, that it was important for the public to stay optimistic. “How can we solve the problem if everyone believes the country has no hope?” quipped Agnes, who instead puts her faith in the Corruption Eradication Commission (KPK) to handle corruption cases.

The concert, which presented Efek Rumah Kaca, Melanie Subono and Last Child, among others, was named the GIPSI (Anticorruption Generation) concert. It aimed at gaining young people’s support and participation in preventing corruption, as well as to commemorate International Anti-Corruption Day on Dec. 9.

“I think such an event is a good tool to raise people’s awareness of corruption. It also makes such a serious theme of corruption lighter and easier for the public,” Agnes went on.

A political sciences fresh graduate from the National University, Riski Adam, 23, who went to the event to see Last Child perform, said corruption was so rampant in the country that it happened within government offices. “I therefore doubt the government can eradicate corruption as long as the handling of cases is entrusted to it,” he said.

Riski added that corruption had become the norm in the bureaucracy, starting from the smallest unit. He said, for example, that the officials at the community unit in his neighborhood still collected illegal fees to process people’s ID cards.

“They make us pay around Rp 20,000 [US$2.20] for an ID card,” he said.

Unlike Riski and Agnes, younger students were unfamiliar with the anticorruption campaign and said they just learned about it at the concert.

A high school student, Reggy Giffari, 17, said he did not have any opinion about the anticorruption effort.

“All I know is the government is very corrupt and KPK is the good guy,” Reggy told the Post.

“But I know embezzling money, including that from our parents, is wrong.”

“We want to remind youngsters and youths to participate in preventing and also eradicating corruption.

Don’t let corruption affect the young generation,” ICW’s campaign coordinator Illian Deta Arta Sari said at the concert.

She added that it was urgent to have youth participate in the action against corruption. “Because at some point, many of them will enter the bureaucratic system or at least interact with bureaucrats. As we know, the system is prone to corruption,” she said.

Cholil, vocalist and lead guitarist of the Efek Rumah Kaca, said backstage that it was important to raise public awareness of corruption through a casual event like the concert.

His band performed a song called Mosi Tidak Percaya (Motion of Distrust), which is about people’s distrust of the powers that be in this country. (ipa)


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, September 26, 2010

Jakarta to host int`l arts festival

Antara News, Sunday, September 26, 2010 19:13 WIB

Jakarta (ANTARA News) - Jakarta is to host the Arts Summit International festival next October 4-24, Minister of Culture and Tourism Affairs Jero Wacik said here on Sunday.

The festival which was held once every three years would present several world`s art products coming from the combination of arts, science and technology.

The arts festival would present dance performance from Hyun Ok Park (South Korea), theater show by Milan Sladek (Germany), dance performance by Leina Roebana (Holland), music performance by Tale Ensemble (the United States) and Pierrot Lunaire (Austria).

Indonesia as a host would present Suket Puppet show by Slamet Gundono, theater performance by Satu Lampung, Gamelan Pendro and Cundami from Bali, music performance by Blacius Subono and dance performance by Nan Jombang Dance Company and Sekar Kliwon Nanu Munajar.

This year`s festival would also have an international seminar discussing a recent research titled "Contemporary Arts and the Demand of Cultural Industries".

Thursday, September 23, 2010

Rap Ambassadors Spread Word in Indonesia

Jakarta Globe, Lisa Siregar | September 23, 2010

The Remarkable Current crew with Indonesian guitarist Wawan, left, and bassist Bato, right. The group invites local musicians to join them on tour wherever they tour. (JG Photo/Jessica Harkins)  
  
Students at the Islamic Uhamka University in South Jakarta got a jolt of pure energy on Wednesday when the hip-hop collective Remarkable Current popped in for a performance. The audience was a bit shy at first, unsure what to make of the spectacle.

But by the time the group was halfway through its set, hesitation had turned to excitement, with the students up on their feet, dancing and cheering in response to the crew’s “Ho-o” call-and-response.

There were even a brave few who —in between fits of nervous giggling — asked the performers where they were from, and what did they think of Indonesia?

The rappers, hailing from Los Angeles, hadn’t taken a wrong turn at Albuquerque — the school was one of the scheduled stops on a nine-day tour of Indonesia that is taking the group to Jakarta, Padang, Medan and Surabaya.

The group’s members — Tyson, Kumasi, Erik Rico and Anas Canon — are all Muslims who aim to inspire with a positive message of beauty, faith and tolerance.

Dubbing themselves “hip-hop ambassadors of the 21st century,” Remarkable Current was invited to tour the country at the behest of the US State Department as part of a performing arts initiative.

Their first show in front of an Indonesian audience was on Tuesday at the residence of US Ambassador Scot Marciel.

The group played a free show at the Hard Rock Cafe on Thursday.

According to the group’s biography, “The importance and relevance of such touring is obvious in today’s world. As the United States embarks on ‘A New Beginning’ in international relations, especially in Muslim-majority countries, having Muslim-Americans as ‘hip-hop ambassadors’ to help aid this process is invaluable; especially ones who speak the ‘language’ of youth music.”

The group’s goals, as stated on its Web site, are to transcend national and racial boundaries, help create the Muslim-American identity and, of course, entertain.

Following Wednesday’s show, the rappers reflected on their tour so far and shed some light on the reality of Islamic hip-hop.

“I practice Islam as my faith,” Tyson said.

“In the Book, Allah tells us to get to know mankind. When you do that you see people as human beings, so you get to know them on a deeper level. When it comes to art and when it comes to music, its one of the purest things that you can put in front of somebody and feel what you’re trying to say in their soul and in their heart.”

The group’s mission was to recognize the “diversity and beauty of all of us.”

The group was founded in 2001 by Canon, a producer who has worked with industry heavyweights such as Mos Def, The Black Eyed Peas and Jurassic 5.

His inspiration, he said, was battling the stereotypes and prejudice he was exposed to as a child and that still exist today.

“When I was growing up in the ’80s as an American kid, I was taught to hate Russians because there was a war going on,” Canon said.

Remarkable Current is his way to protest such attitudes, while at the same time serving as a form of expression for Muslim musicians in America.

While US rap has a reputation for glorifying violence, misogyny and greed, there are many acts that Canon says espouse a positive message.

He said that while legendary MCs such as Grandmaster Flash and KRS-One may not be openly Muslim, they still rapped about Allah and other spiritual matters.

That religious awareness was present in Remarkable Current’s material, Canon said, but it was not the whole picture.

“We don’t believe in trying to make politics in this spiritual affair — something very private, very beautiful. I’m just happy when I hear somebody making a rap song about something besides cars and money,” he said.

As African-Americans, hip-hop was the natural choice for the group to voice their opinions, Canon said, adding that the genre was a progression of black-pioneered American music such as blues and jazz.

He said the band was often questioned about balancing their musical creativity with their Muslim identity.

Some of Remarkable Current’s songs deal with such earthy subjects as intimate relationships, which many listeners may find un-Islamic.

But Canon said the group’s religious identity, intertwined in their daily lives, was reflected in their music.

“There’s no ‘what’s Islamic and what’s not.’ That’s not how we work as artists. We just express ourselves and that naturally comes out.”

They are concerned, however, with the often negative portrayal around the world of African-Americans, something they seek to counter through their music.

“Our bigger concerns are people who claim to represent black Americans, who represent African-American culture, and they use misogyny, they use criminal activity, they use foul language to do it. That’s our bigger concern because that’s universal and affects us all,” Canon said.

“As hip-hop ambassadors, it’s not just that we say these beautiful things, we are really trying to embody them in our everyday lives,” Tyson said.

The members of Remarkable Current said they were inspired by the local artists they meet in foreign countries. Canon said he liked to work with local musicians, and this tour is no different.

The group is being accompanied by Indonesian bassist Bato and guitarist Wawan.

Canon also said the group liked to mix the local vibes they came across into their music, and was excited about the prospect of visiting the three distinct cultures of Padang, Medan and Surabaya.

Remarkable Currents will likely bring home more influences than they expect. Rico said the situation felt similar to their tour of Morocco in 2005, where the group felt a “spiritual grounding” as soon as they touched down.

During their visit to Uhamka’s campus, the group was inspired by a performance by students of Aceh’s traditional saman dance.

“Trust me, you will probably hear that influence in the next couple of releases,” Rico said.

LinkWithin