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TRANSFORMINGTRADITION
GROUPS AND CHOREOGRAPHERSFROM AUSTRALIA, CAMBODIA,
GERMANY, INDONESIA, MALAYSIA,NEW ZEALAND, PHILIPPINES,
SINGAPORE, THAILAND, VIETNAM
REGIONAL DANCE SUMMIT
5 - 8 August 2009
TRANSFORMINGTRADITION
REGIONAL DANCE SUMMIT
5 - 8 August 2009
WelcomeDear participants in and visitors to our regional dance summit “Transforming Tradition”, I warmly welcome you to an extraordinary event taking place in Jakarta from 5th until 8th August 2009. Around 40 distin-guished guests from ten countries are gathering for the next four days: choreographers, dancers, cultural journalists, direc-tors and advisors of dance institutions, staff of the Goethe-In-stitut from Southeast Asia, Australia and New Zealand as well as experts from Germany. You will find a complete list of all participants including their contact details in this brochure. We hope thereby to give you a future reference for a lasting professional relationship started here in Jakarta. The objective of our meeting is to create a professional dance network under the umbrella of our international internet based dance platform TANZCONNEXIONS (www.goethe.de/tanzconnexions), to gain new insights in the dance scenes of neighbouring countries, to receive an update on dance in Europe, in particular in Germany and to broaden the knowl-edge of traditions and current developments in contemporary dance. The countries combined through our network offer a wide range of quite different historic experiences and cultural traditions. The transformation process of tradition becoming current art with hints of the future is a special focus of this get-together. We have organized an excitingly varied program of lectures, workshops, discussions, public performances and audience talks, framed by an exhibition of the Indonesian Photog-rapher Blontank Poer about “Dirada Meta/The Furious Elephant”, an old Kraton style dance performance from Solo. The table of content on the next pages will guide you through the upcoming events. We very much hope to offer you an enjoyable, inspiring and unforgettable stay in Indonesia.
Truly yours,
Frank WernerHead of Programme DepartmentGoethe-Institut Jakarta
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Content
Welcome Programme Overview
AustraliaChoreographer: Gideon Obarzanek Video Presentation: GLOW
CambodiaChoreographer: Sophiline Cheam SaphiroLive Performance: Neang Neak &Shir Ha-Shirim
IndonesiaChoreographer: Jecko SiompoPREMIERE: From BETAMAX to DVDChoreographer: Fitri SetyaningsihPREMIERE: Colours From the Inner Earth
Malaysia3 Choreographers of ASWARALive Performance: Tapak 4, Varsha, Line
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New ZealandChoreographer: Neil Ieremia Video Presentation: Gathering Clouds
PhilippinesChoreographer: Donna Miranda Live Performance
Singapore / GermanyChoreographer: Joavien Ng Bong Na Video Presentation: Body Swap ThailandChoreographer: Pichet Klunchun Live Performance: About Khon VietnamChoreographer: Tran Ly Ly Video Presentation: One Day Supporting Event: Photo Exhibition Goenawan MohamadSardono W. KusumoImprint
Programme OverviewWednesday5 August 2009
18.00 - 18.30
18.30 - 19.00
20.00 - 21.00
21.00 - 21.30
Thursday6 August 2009
12.00 - 12.50
15.30 - 16.40
17.30 - 18.30
19.30 - 20.30
OPENING
Video presentation: GATHERING CLOUDS / Black Grace Dance Company, New Zealand
Video presentation: GLOW / Chunky Move, Australia
Video presentation: BODY SWAP / Joavien Ng Bong Na Singapore/Germany
Audience talk with the choreographers
SECOND DAY
Live performance: BENEATH POLKA-DOTTED SKIES / Donna Miranda, Philippines, and audience talks with the choreographer.
Live performance: ABOUT KHON / Pichet Klunchun, Thailand, and audience talk with the choreographer.
PREMIERE: FROM BETAMAX TO DVD / Jecko Siompo, Indonesia, and audience talk with the choreographer.
PREMIERE: COLORS FROM THE INNER EARTH /Fitri Setyaningsih, Indonesia, and audience talk with the choreographer.
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Friday7 August 2009
12.00 - 13.00
15.00 - 16.00
16.30 - 18.00
Saturday8 August 2009
17.00 - 19.00
THIRD DAY
Live performance: NEANG NEAK & SHIR HA-SHIRIM / Khmer Arts Ensemble, Cambodia, and audience talk with the choreographer.
Video presentation of “ONE DAY” from Tran Ly Ly, Vietnam,and audience talk with the choreographer.
Live performance: TAPAK 4, VARSHA & LINE / ASWARA, Malaysia and audience talk with the choreographer.
CLOSING DAY
“RETHINKING TRADITION”, Discussion with Goenawan Mohamad and Sardono W. Kusumo
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AUSTRALIA
Gideon ObarzanekAUSTRALIA CHOREOGRAPHER
Gideon became interested in dance towards the end of high school and after graduating deferred science at university to study at the Australian Ballet School. He later danced with the Queensland Ballet and the Sydney Dance Company before working as an independent performer and choreographer with various dance companies and independent projects within Australia and abroad.
Gideon founded Chunky Move in 1995 and has been its Artistic Director to date. While the company mostly features his work, it also commissions various other Australian cho-reographers and invites international choreographers to give workshops in its home city of Melbourne, Australia.
Obarzanek’s works for Chunky Move have been diverse in form and content including stage productions, installations, site-specific works and film. His works have been performed in many festivals and theatres around the world in the U.K, Europe, Asia and the Americas.
Most recently, Gideon’s film, Dance Like Your Old Man, co-directed with Edwina Throsby won Best Short Documen-tary at the 2007 Melbourne International Film Festival, 2008 Flickerfest International Film Festival and the 2008 Cinedans Film Festival in Amsterstam. In collaboration with Lucy Guerin and Michael Kantor, Gideon has also received a New York Bessie award for Outstanding Choreography and Creation for Chunky Move’s production of Tense Dave. In 2008 he received two Australian Helpmann Awards for Glow and Mortal Engine.
CHUNKY MOVE111 Sturt Street, Southbank VIC 3006Phone: +61 396455188Fax: +61 [email protected]
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“GLOW” Chunky Move
AUSTRALIA VIDEO PRESENTATION
ConceptGlow is an illuminating choreographic essay by Artistic Direc-tor Gideon Obarzanek and interactive software creator Frieder Weiss.
Beneath the glow of a sophisticated video tracking system, a lone organic being mutates in and out of human form into unfamiliar, sensual and grotesque creature states.Utilising the latest in interactive video technologies a digital landscape is generated in real time in response to the dancer’s movement. The body’s gestures are extended by and in turn manipulate the video world that surrounds it, rendering no two performances exactly the same
Credits:Concept and Choreography: Gideon ObarzanekConcept and Interactive System Design: Frieder WeissMusic and Sound Design: Luke Smiles (motion laboratories)Additional Music: Ben FrostCostume Design: Paula LevisMultimedia Engineer: Nick Roux
Performers:Kristy AyreSara BlackAmber HainesBonnie PaskasHarriet Ritchie
WARNING: Not suitable for children under 6 years old
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CAMBODIA
Khmer ArtsPO Box 2553 Phnom Penh 12000Cambodia(855) [email protected]
Born in Phnom Penh, Sophiline Cheam Shapiro is a choreog-rapher, dancer, vocalist and educator whose work has infused the venerable Cambodian classical form with new ideas and energy.
Sophiline Shapiro’s work has toured to three continents, hosted by New York’s Joyce Theater, Cal Performances, Walt Disney Concert Hall, the Venice Biennale, Hong Kong Arts Festival, and Amsterdam’s Het Muziektheater. Works include Samritechak (2000), The Glass Box (2002), Seasons of Migra-tion (2005) and Pamina Devi: A Cambodian Magic Flute (2006). Spiral XII, a collaboration with composer Chinary Ung commissioned by the Los Angeles Master Chorale, and Shir-Ha-Shirim, commissioned by NYC’s Guggenheim Mu-seum’s Works & Process series to a score by John Zorn both premiered in November 2008. Cheam Shapiro’s lifetime achievement awards include the National Heritage Fellowship (USA) and the Nikkei Asia Prize for Culture (Japan).
Sophiline Shapiro was a member of the first generation to graduate from the Royal University of Fine Arts after the fall of Pol Pot’s Khmer Rouge regime and was a member of the dance faculty there from 1988 to 1991. She studied all three major roles for women (neang, nearong and yeak), which is rare. She immigrated to Southern California in 1991, where she studied dance ethnology at UCLA on undergraduate and graduate levels. She is co-founder and Artistic Director of Khmer Arts, based in Long Beach, USA and Takhmao, Cambo-dia. She lectures and teaches at conferences and universities around the world.
Sophiline Cheam SaphiroCAMBODIA CHOREOGRAPHER
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“Shir Ha-Shirim”Khmer Arts Ensemble
CAMBODIA LIVE PERFORMANCE
Concept of Shir Ha-ShirimCommissioned by the Guggenheim Museum’s Works & Pro-cess series, this romantic and lyrical quartet evokes feelings of love, eroticism, and spirituality, while its choreography is suf-fused with an intimate contemporary invocation of Cambodi-an classicism. It is performed to a score for five female voices and two narrators reciting composer John Zorn’s lush and sensitive musical setting of the Song of Solomon – perhaps the world’s first erotic verse.
CreditsChoreographer: Sophiline Cheam SaphiroPerformers: CHAO Socheata, KEO Kuntearom, MOT Pharan, SAO Somaly
& “Neang Neak”
Concept of Neang NeakA solo from Seasons of Migration, which is based on the four stages of culture shock first described by anthropolo-gist Kalvero Oberg and depicts the transformation of identity among divinities who come to live on earth among humans, Neang Neak portrays a mythological serpent as she becomes uncomfortably aware of her tail, which follows her wherever she goes and makes her different from everyone in the human world. Out of frustration, she tries to tear it off. But finally she realizes that it is part of her and that there’s nothing she can do about it.
CreditsChoreographer: Sophiline Cheam SaphiroPerformer: NOUN Kaza
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INDONESIA
Jecko SiompoINDONESIA CHOREOGRAPHER
Jecko’s DanceJl. Kalipasir Pengarengan 150, RT.08/01Kel. Cikini - Menteng, Jakarta PusatIndonesiaC/P: Julia +6281410166240, [email protected] www.jeckosdance.com
Approaching choreography to real human life is the artistic phi-losophy of Jeck Kurniawan Siompo Pui, familiarly called Jecko Siompo. “Choreography is a picture made by men, put into another form and space, a stage, for example,” he says.
Jecko was born in Jayapura on 4th April 1975. He uniquely combines traditional Papuan movements with modern dance. As a child, Jecko danced in a dance studio in Papua and entered Arts Institute Jakarta (IKJ) in 1994. Due to his traditional style, he participated in the Showcase Indonesia Dance Festival.
During his time at IKJ, Jecko created a lot of works like Goda, Ini Budi, Irian Zoom In, Asmat Dani, Obahorok, Buto Huruf, Unanuk, Tikus-Tikus, Di Kamar Kost, In Front of Papua and Terima Kost. He deepened Hip Hop in the USA and studied at Tanz Studio, Germany.
His particular character makes his creations different. Jecko parodies trivial social incidents that describe the soul of the people for the audience to agree without feeling patronized.He believes that choreography combines the modern and the traditional. “I am inspired by tradition, but the process has to be modern. I take Papuan philosophy, because I love my traditional roots,” he says.
In 1997, Jecko won the Choreography Contest of Gedung Kese-nian Jakarta and in 2000 the Dance Stage of the Jakarta Culture Department. He was member of the jury in a TV street dance contest and was involved in the choreography of the films Opera Jawa (2006), Laskar Pelangi (2008) and Generasi Biru (2009).Commercial success did not erase Jecko’s ‘idealism’, though. Development is a key to his creations. “I emphasize two aspects, history, what has been created, and secondly, I develop new works by referring to this past,” he says.
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“From BETAMAX to DVD”Jecko’s Dance Company
INDONESIA LIVE PERFORMANCE
ConceptJayapura, a city on the most-eastern Indonesian island, inspired this creation. The influence of traditional life there strengthens the constant creation of contemporary works in urban society. The movements created start from the behaviour of animals in beautiful nature, simple people, who are not free from abstract traditions, a city between mountains and the sea, where people spend their time every day with fishing and playing soccer. Movements of animals, hunting and patterns to survive from hill to hill are used to design movements, so that choreography becomes more composed. Bird voices, the sound of waves, silence in the evening accompany every step of the dancers on stage, pictured in a bridge, supported by lighting to accommo-date imagination, when people play, fish and jest. Apart from the behaviour of animals, the movements created in Jecko’s works are also based on people’s habits. They live next to and help each other. This is symbolized by statues that charismati-cally offer to explore body movements to become a symbol for unity in society.
CreditsTitle: From BETAMAX to DVDDuration: 20 minutesSynopsis: “Something very modern technology is a message from traditional” Choreographer: Jecko SiompoDancers: Ajeng Soelaeman, Gita, Gege Diaz, Pian Magic, Jecko SiompoMusic editor: Jecko Siompo
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INDONESIA
Fitri SetyaningsihINDONESIA CHOREOGRAPHER
Fitri SetyaningsihJl. Nitiprayan No. 46 BNgestiharjo, Kasihan, Bantul, [email protected]: + 62 - 8122637546
Experimental, natural, collaborative: these are Fitri Setyaning-sih’s works. Fitri indeed refreshed contemporary Indonesian dance. Her works challenge social norms.
Born on 26th of August 1978, Fitri began to learn traditional Javanese dance at the age of 6, but intensified dance at the Indo-nesian Gamelan High School and the Indonesian Arts Academy in Surakarta. She majored in dancing and graduated in 2003. Her traditional background did not influence her choreography. It was even tradition that she challenged first, e.g. in Bedoyo Silikon, a performance referring to the sourcebook for Javanese shadow plays. Fitri wanted to show the alienation of modern people.
“Since I was a child until entering STSI, I had been very familiar with a dancer’s body. What made me worry: (…) dancers may become very narcissistic,” she says. Fitri rather plays with structure. “I also emphasize the presence of things. The objects are paralleled to the dancer. I try to annul the body for aesthet-ics not being limited to the dancer.” Thus, light on stage, daily objects like a plastic bag or bedcover are at the centre of per-formances like Aku Hampir Plastik (2006) and Sabana Grande (2008).
Fitri often attends workshops abroad and collaborates with foreign artists. She participated in the workshop of two reputed Buttoh artists, Yukio Waguri and Tony Yap, who try to get back to daily movements, a tendency Fitri also shows in her latest works.
Apart from grappling with the world of dance, Fitri has also tried visual arts. In 2008, she exhibited an installation of perfor-mance, photography and video called di-Plas-tik, at Rumah Seni Cemeti Yogyakarta.
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“Colors from the Inner Earth”Fitri Setyaningsih
INDONESIA LIVE PERFORMANCE
ConceptEvery time the sun rises, life changes from night to day. Every time the sun sets, life changes from day to night again. There is morning and dawn. Yesterday, today and tomorrow are separated. Life seems to be simple, if time changes only revolve around day and night, yesterday, today and tomorrow. There is neither past nor future. Everything is emptied and concentrated by this simple change.
And only the rays of the sun steer this change. Colours appear from beneath the earth, when the sun rises and night becomes day. Colours also appear from beneath the earth at dawn, when day becomes night. These colours are the same every day, but are never the same in the morning and at dawn.
Space itself dances in the changes morning and dawn bring about. Change is a dance. Dance is colours that emerge from beneath the earth. These colours are morning and dawn repre-senting our body that always tries to refer to time and move-ment. If one of them is missing, there are no colours anymore that emerge from beneath the earth or from our bodies.
CreditsDancers: Yoyok Jewe, Fitri SetyaningsihChoreographer: Fitri SetyaningsihCostumes: Fitri SetyaningsihLighting: Azis DyingComposer/Musicians: Bagus Triwahyu UtomoNadias RushendroArtistic director: Afrizal Malna
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MALAYSIA
Shafirul Azmi Suhaimi
Umesh Shetty
Mohd Naim Syahrazad Bin Mohd Zin
MALAYSIA CHOREOGRAPHERS
Extremely active in Malaysia’s arts industry particularly through contemporary and traditional dance. He was a choreographer in the Kedah State Cultural Organization and Ampang Jaya Munici-pal Council. Some of his notable works include ‘Hari Hari’, ‘IBN’, ‘PIPIT’, and ‘Chicken Fest 2005’, ‘TRANSPORTER’,’Lets Swim’, ‘Test Tube’, ‘NIAKI’, ‘SHAKTI’ and others more. He has worked with Joseph Gonzales, Suhaimi Magi, Judimar Hernandez, Aida Redza, Arifwaran and others. He is Anugerah Seni Negara’s recipi-ent 2006 (Choreography Category). Now continuing his studies at Bachelors of Dance at ASWARA.
Began formal Indian classical dance training at six years old un-der his father, the late Master Gopal Shetty in Bharata Natyam, Odissi and various folk styles of India. In 1997, he graduated from the Edith Cowan University with a BA in Performing Arts (Dance) dancing with leading choreographers. At the Temple of Fine Arts, Umesh has choreographed and performed for all the institution’s major dance productions. In 2002, he was awarded Best Solo Dancer the Cameronian Awards while his choreogra-phy Tandava I and II won numerous awards in 2004. He is the winner of Best Choreographer 2008.
One of the most talented graduates of the Diploma Program of ASWARA, Naim was serious about theatre before venturing into dance. Since enrolling in dance, he has performed in most major dance productions Tapestry, Jamu, Asyik and PeTA. He performed in musicals Kesuma the Musical ‘Air Mata di Kuala Lumpur’, ‘Randai Kasih Menanti’, ‘Tun Razak’ and ‘Ibu Zain’. He loves choreography and ‘Line’ is his second work. His earlier work ‘Triangle’ has been performed at KLPAC and at the World-crossover Festival in Yogyakarta. Just completed the ‘Short and Sweet’ dance festival at KLPAC.
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From bottom left, clockwise: “Line”, “Varsha”, “Tapak 4”
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ASWARA
Concept of VarshaIn the crash of thunder and the torrent of rain, can we poetry in chaos and music turmoil? In the roar of the wind, can we hear the chant of Gods? And in the fall of the earth-enriching rain, do we hear the song of heaven? Will you stay indoors or go out with arms open into the rain?
Concept of LineOur life is full of ‘lines and borders and barriers’....can we remove them? What happens when we remove the lines?
Credits:Choreogapher: Shafirul Azmi Suhaimi (Tapak 4)Umesh Shetty (Varsha)Mohd Naim Syahrazad Bin Mohd Zin (Line)Dancers:Shaikh Hasrul Hafiz Bin Shaikh AnuarMohd Naim Syahrazad Bin Mohd ZinMohd Hanafi Bin RosdiMuhammad Fairul Azreen Bin Mohd Zahid Mohd. Hazri Hazmi
“Tapak 4” , “Varsha” & “Line”LIVE PERFORMANCEMALAYSIA
Concept of Tapak 4This is a work that explores the movement vocabulary of ‘Silat’ which is a martial art form practiced widely in Malaysia and South East Asia. The contemporary dance draws from the philosophy of the martial arts such as ‘surprise’ or ‘attack and defend’.
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NEW ZEALAND
Neil IeremiaNEW ZEALAND CHOREOGRAPHER
Neil Ieremia is the founder and Artistic Director of the New Zealand Dance Company Black Grace. Through his choreogra-phy Neil Ieremia has created a unique style of contemporary dance, which embraces his Samoan origins and celebrates the vigorous physicality and rhythmical diversity of Polynesian dance. He has also choreographed work for the Royal New Zealand Ballet, the New Zealand Symphony Orchestra and Opera New Zealand. In 2005 he was made a Arts Foundation of New Zealand Laureate.
Black Grace
PO Box 106756 Auck-
land 1143 New Zealand
studio: Level 3 | 10
Customs Street East
Barrington Building,
Auckland City,
New Zealand
+ 64 9 358 0552
fax: + 64 9 358 0553
www.blackgrace.co.nz
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ConceptBeautiful in its fury, Gathering Clouds responds to contro-versial claims made by economist Greg Clydesdale in which he warns that Polynesians display “significant and enduring under-achievement” – a problem he believes immigration is making worse.
“I have always believed in the spirit of the Long White Cloud that embraces everyone equally. But after reading these claims and reviewing passages of my personal journey, I realise the Long White Cloud has become dark in places and it feels like a storm is brewing.” - Neil Ieremia
CreditsChoreographer:Neil Ieremia
NEW ZEALAND VIDEO PRESENTATION
“Gathering Clouds”Black Grace Dance Company
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PHILIPPINES
Donna MirandaBorn 29 September 1979, Manila, Philippines,Donna Miranda is a dance artist living in the Philippines. She studied dance at the Philippine High School for the Arts, pursuing professional practice with Ballet Philippines and Myra Beltran’s Dance Forum and specialized training in con-temporary dance in DanceWEB Europe Scholarship Program in Vienna, Austria. In 2007, her solo Beneath Polo-dotted Skies received the Jury Prize Award at the Yokohama Dance Collection-R Solo X Duo Competition. Now working extensive-ly in the Southeast Asia, she seeks to initiate creative frame-works for cross-disciplinary actions among a free association of artists and provocateurs working in contemporary dance, performance, experimental sound, video and civil society via process-based collaborative art conspiracies through Love Gangsters.
Donna Miranda80 Scout Lozano, Brgy Laging Handa, Quezon City 1103 PHILIPPINES+63926 6635606 [email protected]://thelovegang-sters.blogspot.com
PHILIPPINES CHOREOGRAPHER
“Beneath Polka-Dotted Skies”Donna Miranda
PHILIPPINES LIVE PERFORMANCE
ConceptUnderneath one big sky are different small pockets of skies, var-ied realities that bear fruit our distinct struggles to make sense of pain, fear, anxiety and willingness to survive. Around each of our own isolations, we build walls, both visible and invisible at the same time. We attempt to break this border and collide with other bodies outside this confinement but sometimes end up colliding as bubbles of lights¬¬–dots, thousands of dots float-ing in one big vast space of light. What does it take to overcome this unknown or almost too familiar border that separates us from each one?
Beneath Polka-dotted Skies is a solo piece on isolation and its paradoxical imagination as present and absent walls. It describes the fear, anxiety, frustration and strange sense of abandon we experience if only to make sense of both the an-ticipation and sometimes painful ‘journeying.’ Around each of our own isolations, we attempt to break out only to end up in the monotonous zone of anxiety. Meanwhile, a woman packs her suitcase to that generic place of distant land only to find herself back in comfort of her own baggage, perhaps with some sense of precarious peace.
CreditsChoreographer and dancer: Donna Miranda
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SINGAPORE/GERMANY
Joavien Ng Bong NaSINGAPORE/GERMANY CHOREOGRAPHER
Joavien Ng began her choreographing career in 1997, after graduating from La Salle School of Performing Arts in Sin-gapore. This year, her new work ‘Body Swap’, premiered in Kampnagel (Hamburg) and was performed at the Singapore Arts Festival 2009. In June, Joavien participated in ‘Pointe to Point’, an European and Asian Artist Exchange Project, organised by Asia-Europe Foundation (ASEF) and hosted by Alkantara, Lisbon. In 2008, two of her recent works, ‘LAB’ and ‘Body Inquire’, were commissioned by Esplanade - theatre on the Bay and the Singapore Arts Festival 2008 respectively. In 2005, Joavien participated in Little Asia Dance Exchange Network and performed her solo work ‘Victoria’ in 5 Asian cities.
Born in 1973, Singaporean choreographer, Joavien Ng has worked as an independent artist since 1997. Her works have been presented by various Singapore and international arts organisations - Esplanade Theatre (Singapore), Goethe-Institut (Singapore), Kampnagel (Hamburg), Contemporary Dance of Fort Worth (USA), Little Asia Dance Exchange Network (Asia), Singapore National Arts Council, Singapore Art Museum. In 2003, Joavien founded Crow Jane, a platform for collaborative and experimental projects with artists from different disciplines.
Joavien Ng Bong Naemail: [email protected] number: +65 9673 0966
“Body Swap”Joavien Ng Bong Na
SINGAPORE/GERMANY VIDEO PRESENTATION
ConceptTwo dance-makers and perfect strangers, Joavien Ng and Dani Brown, travel together to Abu Dhabi, a city located geographi-cally mid-point between Hamburg and Singapore. Each draws a portrait of the other through choreographic movement in this travel and encounter, using their own projection, perception and pre-conception. By engaging in a process of role-reversal, Body Swap challenges stereotyping and the signs of identity construction. (Body Swap premiered on 20th May 2009 at Live Art Festival, Kampnagel. It is co-commissioned and co-produced by the Singapore Arts Festival, Goethe-Institut Singapore and Kampnagel, Hamburg).CreditsChoreographer / Performer:Joavien Ng (Singapore) & Dani Brown (Germany)Dramaturg: Jochen Roller (Germany)Production & Stage Manager : Joanna Goh (Singapore)Videographer and Editor: Daniel Schmidt (Germany)Videographer: Darren Tan (Singapore)Lighting Designer: Henning Eggers (Germany) & Yo Shao Ann (Singapore)Sound Designer & Engineer: Alessio Castellacci (Germany)Assistant Stage Manager & Sound operator: Caleb Lee (Singapore)Photo Credit: CATCH (Kimberly Tok)
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THAILAND
Pichet KlunchunTHAILAND CHOREOGRAPHER
Pichet Klunchun bridges traditional Thai Classical Dance lan-guage with contemporary sensibility, while keeping the heart and wisdom of the convention. He trained in Thai Classical Mask Dance, Khon, from age 16 with Chaiyot Khummanee, one of the best Khon masters in Thailand.
After receiving his degree in Thai Classical Dance at Chula-longkorn University in Bangkok, he pursued theatre both as dancer and choreographer at high-profile occasions, such as the opening and closing ceremonies of Asian Games in Bangkok in 1998. Subsequently, he also worked with contemporary dance.
He is the only artist in his class to continue dance as a career today, and has earned domestic notoriety for his efforts in con-temporising khon. He has participated lately in several intercul-tural performing arts programs as a Thai representative and as an international dancer-choreographer in Asia and Europe.
Recently, he received ‘Routes’ ECF Princess Margriet Award for Cultural Diversity from European Cultural Foundation on December 9, 2008. The purpose of the award is to honor artists and thinkers in the field of cultural diversity for helping to combat fear and disrespect of ‘the other’. The Award is an initiative of the ECF in cooperation with the Dutch Ministry of Education, Culture and Science, and the Dutch Ministry of For-eign Affairs, generously supported by the Association of Charity Lotteries in the European Union (ACLEU) and the Rabobank.
Pichet Klunchun700 Prachauthit 61, Thungkru, Ratbura, Bangkok 10140, ThailandMobile: +66 [email protected]
“About Khon” Pichet Klunchun
THAILAND LIVE PERFORMANCE
ConceptAbout Khon is a work that seeks out its true essence and meaning of Khon performance. Created by one of Asia’s esteemed dancemakers, Pichet Klunchun, About Khon arises from a simple question: how to restore the place of pride of traditional art in contemporary society. Audiences will learn about: theatrical and choreographic tradi-tions, the barriers of communication plus the wisdom behind the structure and movement of Khon performance.
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VIETNAM
Tran Ly [email protected]+84 912250500
Tran Ly LyVIETNAM CHOREOGRAPHER
Tran Ly Ly is Vietnam’s most active choreographer for new, modern dance. She graduated from professional perform-ing arts and ballet at Vietnam Institute of Dance in Hanoi with distinction in 1996. Two years later, she was accepted for Dance Teaching and Management at Box Hill Institute of Technology in Melbourne, Australia. She gained further experience at Ballet Atlantique/ La Rochelle with choreo-grapher Régine Chopinot, who significantly influenced con-temporary French dance. In 2003, Tran Ly Ly graduated from Queensland University of Technology in Brisbane, Australia, with a Bachelor of Professional Performing Arts. She has been teaching at Vietnam National Institute of Dance since. Aside of various smaller choreographies, she successfully performed her work Mot Ngay – One Day at the State Opera of Hanoi in 2007 and her production Cuoc song trong chiec hop – Living in a Box the year after. She won the Young Talent Award by the Vietnamese government several times and received the Laurel Martyl Award for Prospective Choreographers of Box Hill Institute of Technology in Melbourne.
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“One Day” Tran Ly Ly
VIETNAM VIDEO PRESENTATION
ConceptDays are different just like the men who live them. What is difficult for someone seems to be easy for another, what is bright for someone, seems to be dark for another. The CA-LEIDOSCOPE that fractures this variety serves as a choreo-graphic pattern. It concentrates the sensations of one day and combines dance, light and sound, silence and motion pictures, mannequins and dancers, who interact with one another in moments of magic brightness. What Tran Ly Ly and the young Vietnamese dancers bring on stage is refreshingly easy-going and vital, full of irony, at the heart of the experience of people living in Vietnam’s busy capital.“One Day” is Tran Ly Ly’s first big independent choreography. Goethe-Institut supported her first feature-length production with dancers of the theatre for ballet and opera and thus con-tinued this line of international cooperation in contemporary dance in Vietnam.
The work had its premiere in April 2006 and was performed again at the European Cultural Weeks in May 2007, after hav-ing been revised by the choreographer. Light designer Herbert Cybulska from Berlin significantly enriched the production by his lighting.
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“Dirada Meta” & “Opera Diponegoro”
SUPPORTING EVENT PHOTO EXHIBITION BY BLONTANK POER
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“Dirada Meta” & “Opera Diponegoro”
SUPPORTING EVENT PHOTO EXHIBITION BY BLONTANK POER
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Left: “Dirada Meta”
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“Opera Diponegoro”
SUPPORTING EVENT PHOTO EXHIBITION BY BLONTANK POER
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“Opera Diponegoro”
SUPPORTING EVENT PHOTO EXHIBITION BY BLONTANK POER
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Biography of Blontank Poer
Klaten, 22nd October 1968Blontak Poer, whose actual name is Purwaka, was born and raised in Klaten. He got to know photogra-phy while studying at Sebelas Maret University Surakarta and while work-ing as a reporter for the daily Suara Begawan. He learnt it auto didactically and more and more intensively, when he came in touch with artists at Taman Budaya Surakarta. Since 1993, he has been making photo documentaries on performing arts of domestic and foreign artists.From 2003 to 2005, Blontank Poer was coordinator of the Secretariat of the People’s Coalition for Water Rights (Sekretariat Koalisi Rakyat untuk Hak Atas Air), but kept living in Solo. He has also been a contributor and correspon-dent for The Jakarta Post since 2001. Blontank Poer is active in the Blogger Community he founded in Solo.
Contact:Jl. Ir Sutami 16Solo 57126Indonesiablontank2000@yahoo.comwww.blontankpoer.blogsome.comwww.blontankpoer.com
Top: “Opera Diponegoro”
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Goenawan MohamadGUEST SPEAKER
(Batang, Central Java, 29th July 1941)In 1971, together with some colleagues, Goenawan Mo-hamad founded the weekly magazine Tempo. After having been its chief editor for almost 30 years, Goenawan stopped being a journalist, but still contributes to the magazine with his column Side Notes (Catatan Pinggir). Some of his works have been published, among others the poetry collection Parikesit (1969) and Interlude (1971), which has been translated into Dutch, English, Japanese and French. Part of his essays appeared in the collections Portrait of a Young Poet as the Famous Master (Potret Seorang Penyair Muda Sebagai Si Malin Kundang) (1972) and Sex, Literature and Us (Seks, Sastra, dan Kita) (1980). Together with the musicians Tony Prabowo and Jarrad Powel, he made a libretto for Opera Kali (started in 1996, but reviewed until 2003). They last performed in Komunitas Salihara (which he founded in 2008) in 2008. Also with Tony Prabowo, they staged The King’s Witch (1997-2000). The col-laboration of Goenawan (poet) and Tony (music) continued with Pastoral (2006).Goenawan furthermore writes texts for shadow plays in Indo-nesian and Javanese language, e.g. Wisanggeni (1995) played by Dalang (shadow play master) Sudjiwo Tedjo, and Alap-alapan Surtikanti (2002) played by Dalang Slamet Gundono, and also creates Panji Sepuh dance dramas choreographed by Sulistio Tirtosudarmo. Arts directing: Goenawan Mohamad, together with artists of the Mangkunegaran palace, was involved in the renewal of a historic dance: Dirada Meta. This more than 100 years old dance, which is recorded in script, is based on a dramatic story in the history of Surakarta: the battle in Rembang, Central North Java in 1756.
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Goenawan MohamadGUEST SPEAKER
(Batang, Central Java, 29th July 1941)In 1971, together with some colleagues, Goenawan Mo-hamad founded the weekly magazine Tempo. After having been its chief editor for almost 30 years, Goenawan stopped being a journalist, but still contributes to the magazine with his column Side Notes (Catatan Pinggir). Some of his works have been published, among others the poetry collection Parikesit (1969) and Interlude (1971), which has been translated into Dutch, English, Japanese and French. Part of his essays appeared in the collections Portrait of a Young Poet as the Famous Master (Potret Seorang Penyair Muda Sebagai Si Malin Kundang) (1972) and Sex, Literature and Us (Seks, Sastra, dan Kita) (1980). Together with the musicians Tony Prabowo and Jarrad Powel, he made a libretto for Opera Kali (started in 1996, but reviewed until 2003). They last performed in Komunitas Salihara (which he founded in 2008) in 2008. Also with Tony Prabowo, they staged The King’s Witch (1997-2000). The col-laboration of Goenawan (poet) and Tony (music) continued with Pastoral (2006).Goenawan furthermore writes texts for shadow plays in Indo-nesian and Javanese language, e.g. Wisanggeni (1995) played by Dalang (shadow play master) Sudjiwo Tedjo, and Alap-alapan Surtikanti (2002) played by Dalang Slamet Gundono, and also creates Panji Sepuh dance dramas choreographed by Sulistio Tirtosudarmo. Arts directing: Goenawan Mohamad, together with artists of the Mangkunegaran palace, was involved in the renewal of a historic dance: Dirada Meta. This more than 100 years old dance, which is recorded in script, is based on a dramatic story in the history of Surakarta: the battle in Rembang, Central North Java in 1756.
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Sardono W. Kusumo
GUEST SPEAKER
Surakarta, 6th March 1945 At the beginning of the 1960s, Sardono was frequently invited to perform abroad due to his excellence in classical Javanese dance. Afterwards, he travelled the world with his own works. In 1983, he performed Passage “Through the Gong” at Festival Next Wave at the Brooklyn Academy of Music, New York. His work “Soloensis” was performed in Hamburg (Germany), Seoul (South Korea) and Jakarta and toured to Rio de Janeiro (Brazil) in 1999. Other works include “Fairy Tale from Dirah” (“Dongeng Dari Dirah”) (1974), “Cak Rina`s Dance” ( “Tarian Cak Rina”) (1976), Yellow Submarine (1977), “Metaekologi” (1979), “Kiskrenda Kanda” (1982), “Plastic Forest“ (“Hutan Plastik”) (1983), “East Wind“ (“Angin Timur”) (1983), “Smoke Veil/Burnt Forest” (“Kerudung Asap/Hutan Terbakar”) (1986), “10 Minutes from Borobudur“ (“10 Menit dari Borobudur“) (1987). During the Indonesian Art Summit in 1995, Sardono showed his work “Opera Diponegoro” at Taman Ismail Marzuki, Jakarta, which was also performed at the Sultan’s palace in Yogyakarta in 2008. 200,000 people fell victim to the rebellion of Prince Diponegoro, known as the Java War that also led to the bankruptcy of VOC. The opera shows how Diponegoro was caught on the second day of the feast at the end of the Muslim fasting month and then exiled to Makassar. In 2003, Sardono received the Distinguished Artist Award from the International Society of Performing Arts. The dancer and choreographer who is a pioneer of contem-porary dance in Indonesia was member of the Jakarta Arts Council, gave lectures at IKJ and even became its rector from 2004 to 2008. Sardono now lives in Solo most of the time and prepares a film on Raden Saleh.
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Franz Xaver AugustinDirector of Goethe-Institut of South East Asia, Australia, and New Zealand
Frank WernerHead of Program Department
Susiana WiramihardjaSecretary of Director
Lanny TanulihardjaAssistant of Program Department
Dewi NoviamiAssistant of Program Department
JemiTechnical Director of Regional Dance Summit
Henri IsmailManager of GoetheHaus
Tardi, Yono, IwanTechnicians
Aryati Dewi HadinGraphic Designer
Jasmin AbschützCopywriter
Thanks to:Kelola FoundationEksotika Karmawibhangga Indonesia
Imprint
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Goethe-Institut JakartaJl. Sam Ratulangi 9-15Menteng-Jakarta PusatTel. +62-21-23550208www.goethe.de/jakarta
