ONE HUNDRED years ago, the unitary Republic of Indonesia has not yet formed. That there are ethnic groups, such as Javanese, Balinese, Minang, and the Malays who lived separately under Dutch colonial rule. Before the colonial present, native rulers-kings, especially Java and Bali-legitimize its power and influence with the patronage and with organizing the show as part of a state ceremony, religious or recreational activities and entertainment only.
Through such a spectacular ceremony Garebeg, sekaten, eka dasa Rudra, and Galungan the king showed his greatness. Through discourse the concept of god-kings, queens gung binathara, title greatness Sayidin panata gamma kalifatullah Java land, the people are convinced of the power and greatness of a ruler. Javanese society past the priyagung divided into two groups and ordinary citizens (subjects alit). Disadvantageous position in the tradition of this small people have dutifully accepted without question.
The inclusion of the Dutch colonizers of life worsened. The kings, local rulers who deified the people, no longer in power management but must be subject to and serve the interests of the Dutch colonizers. Initially, the native rulers sporadically against the Dutch. They struggle with their own economic power, military, technology, and strategies are inadequate, so many are run over.
Three hundred years of struggle without success, the kings of Java and Bali and many are resigned and focused on the activities of the gamelan, dance and puppets, or mystical. Cultural discourse at the moment is survival. Greatness of Javanese kings actually lived a name, because politically and economically they are very dependent upon the Government of the Netherlands East Indies. There are times when the king actually helps the Dutch colonizers to exploit his subjects.
Patronage dance performances, puppet and gamelan remain, although reduced in number. Big ceremonies held the king changed the function of a ritual that contains the dignity of the entertainment or klangenan the form of more importance than the essence Gebyar content. Garebeg for example, no longer held solely for the safety and prosperity of the King of Java and its people, but also (and especially) to Queen Wilhelmina.
Entering the 20th century, in line with national movements, democratization and commercialization occurs. Performing arts as an expression of their culture initially internalized slowly turned into a product or commodity. Spectacle of the palace which was originally an aristocracy klangenan, produced popular for ordinary people. In Surakarta, Sunan Paku Buwono X opened Amusement Parks puppet show performed by Sri Wedari people who play every night. Surakarta and surrounding communities (which is still strongly oriented to the culture palace), welcomed with joy. Through a puppet show people they can identify themselves with the aristocracy and can admire the grandeur of the past. The king and the people have the same feelings in the face of Dutch colonizers.
In Yogyakarta, with the blessing of the Sultan, dance clubs Krida Beksa Wirama founded in 1918 and since then the palace dances may be taught to the masses. Efforts to establish the legitimacy of the king is still being done with the patronage of gamelan performances, dance, and puppets. During the reign (1921-39), VIII lane staged 11 plays puppet people. A few of them supported by the 300-400 artists and take time 3-4 days, from 06:00 hours until 23:00.
In Bali, the presence of Dutch dance and gamelan encourage artists to create works of secular all the time can be played for the entertainment of tourists. Gamelan Kebyar spectacular and brilliant emerged in the early 20th century and quickly spread from Bali Bali North to the entire region. Responding to the middle Kebyar popular gamelan, dance artists village of Tabanan, I Mario, create works of excellence that is now known as the dance Kebyar Tarung Terompong and Jago. Balinese dance artists while interacting with German painter Walter Spier, led secular Kecak dance which was then known as the Monkey Dance.
The presence of the Dutch government on the one hand the people, on the other hand, allows artists to introduce art of Java and Bali to other nations. Arts troupe (gamelan), Java's first overseas deployment in 1893, when the Dutch East Indies government promotes plantation products (tea and coffee) to the Expo colonial Java in Chicago, United States. No wonder, if until now the United States and the European community called Coffee with the term "Java".
From Bali, the group abroad Exposisi historic sent to Paris in 1926, including display-Rangda Barong dance which was witnessed by prominent reformer of the famous French theater Antonin Artaud. Fascinated watching the fight Barong-Rangda, Artaud wrote his impressions and his vision of a new theater in the book Theatre and Its Double widely influential in the development of world theater.
Orieantalisme
Meeting with the first modern dance groups from the United States occurred in 1925 when the troupe Ruth St Denis (with Martha Graham as one of the dancers) performing in Jakarta. Understandable if at the first meeting of this interaction occurs biased, our tradition of artists more supplies. While Ruth St. Denis's inspiration to create several works of Orientalists like Batik Vendors, sienk Dancer, and Balinese Dancer.
Orientalism (Edward Said, 1989) is a concept developed by educated European-American community as a tool to interpret the region and non-Western cultures (Oriental) such as Egypt, the Middle East, South Asia / India, China, Japan, Korea, Southeast Asia , including Indonesia. In the concept of Orientalism, the Eastern societies and cultures are considered incapable of representing her own voice. Language culture, customs, and history is considered mysterious and disorganized, and therefore it is up to the West to complete in order to interpret and mengkodifikasikannya context. During the hundred years of colonialism, hermeneutics, the way people perceive and judge the wrong and Eastern cultures are applied.
Yet from the first quarter of the 20th century, worthy of note the name of a Java-Yogyakarta artists who later settled in Holland, RM Jodjana, who created the works of modern dance is quite commendable in the world forum. "(Jodjana) can make a face like a mask, implying tranquility that shows his ability to control all forms of emotion" (The Saturday Review). From the comments above, looks very quality of movement and expression is still strong Javanese dance performances RM Jodjana coloring.
In Java and Bali dance performance is closely associated with the gamelan and wayang. Four years before Indonesia gained its independence in 1941, the new dance is born of Yogyakarta Palace, which marionette Beksan Menak which according to tradition was created by Sri Sultan Hamengkubuwono IX, more precisely, perhaps, by the Yogya Kraton artists under the direction and patronage of the Sultan. It appears that the orientation of the traditional Javanese society's values to the group's very strong. This orientation demands obedience and respect to the older and powerful. In the creation of art, the orientation of the collective-region techniques and demands perfection-more prominent than on creativity. What also must be remembered that the creation of a new genre in the context of tradition, is often done by using elements of the existing performing arts, as seen in the marvelous works of puppet Sultan HB IX, which is based on the puppet (marionette Menak), gamelan, and dance classics Yogyakarta, Java style.
Towards independence, during the New Poet force, intellectuals and artists of Indonesia faced a dilemma, whether to develop a culture of Indonesia following the Western model that emphasizes the importance of individualism and creativity, or the Eastern model to focus the discourse of group consciousness and engineering perfection. In contrast to the modernization of literary arts, music and visual art that refers to the Western model, the modernization of dance performed starting from local traditions. Ballet, for example, in Indonesia has never accepted as a basis for the development of a national dance.
After the Indonesian Independence
Cultural discourse at the beginning of the independence of Indonesia is mobilizing national unity. National identity becomes an important issue to unite the people of Indonesia that different cultural background. Culture and art conservation remains an important national cultural heritage and identity of regions is also necessary. This dilemma is always with the development of Indonesian dance.
Five years after the proclamation of Independence (1950), the government founded the Conservatory Karawitan (which later became SMKI Kokar) the first in Surakarta, Central Java. Secondary schools following a similar art founded in Denpasar, Bandung, Padangpanjang, Makassar, and Surabaya. These schools teach the art forms of dance, music, puppetry, and theater district of the territory in which these schools were established. From the chosen name, "conservatory", showing that the government's attention focused on the conservation of traditional arts.
In 1955, a modern dance troupe from the United States (Martha Graham) entered the show in Jakarta. Two years after Martha Graham's visit, three young Indonesian dance artist-Bagong Kussudiardja, Wisnu Wardhana, and Setiarti Kailola-off to U.S. to attend a summer dance festival at Connecticut College and studied modern dance of Martha Graham in New York. Setiarti from Jakarta, ballet background, but Bagong and Vishnu, both classical dancer reliable Java-Yogyakarta. Of the three who survived and continue to work is the Bagong Kussudiardja. One reason, Bagong expertly combine traditional materials of the Javanese, Sundanese, Balinese, three of the many peaks of local arts. Epic works of Bagong (Diponegoro, White Rose, Gadjah Mada), which fuse elements of regional cultures and vibrant cultural nationalist discourse in harmony with the government who are looking for a national art that can be accepted by society at large. Bagong works of the wider community known today as Indonesian dance "new creation".
In 1961, the Department of Land Transportation, Posts, Telecommunications, and Tourism (PDPTP) took the initiative of performing colossal Prambanan Ramayana Ballet (SRP). Interestingly, Bagong had studied with Martha Graham and also a modern painter, it works more Bagong individual orientation and creativity. While RT Kusumokesowo, the former palace of Surakarta court employees and teachers of classical Javanese dance at Kokar Surakarta, in emphasizing the orientation of the group's work and more demanding technical perfection according to the rules of tradition.
Trying to integrate the dance style of Surakarta, Yogyakarta, and other areas of dance, working format is more widely Kusumokesowo RT. But the way creative work in the Ramayana, Prambanan is closer to the workings of the palace tradition. As a stylist dance, RT Kusumokesowo assisted by KRT Wasitodipuro (from Paku Alaman) and RL Martopangrawit of Surakarta in the field of musicians. To deal with drama or pengadeganan accompanied by Bambang Soemodarmoko RM Ng. It should be noted, was the initiator of Prambanan Ramayana Ballet who is also Minister Lt. Gen. Djatikusumo PDPTP and one son of Sunan PB X. Dancers, gamelan players, choir singers are students Kokar (Solo), KONRI (Yogya), as well as private students of the masters of it. Mass of dancers trained from young children around Prambanan. Performed routinely every full moon night for five months a year and six times per play of each month, SRP become an attractive place of learning for young dancers who later became prominent figures of dancers, stylists dance, Indonesian dance and thinkers such as Sardono W. Kusumo, Retno Maruti, Sal Murgiyanto, and Sulistyo S Tirtokusumo.
New genre of "dance" well accepted by society and became a popular tourist art offerings. Within close ballet spread to East Java (Wilwatikta Pandaan) and Denpasar, Bali. Bagong Kussudiardja also worked on several of his works in the form of ballet or dramatari without dialogue. The orientation of the story is still very strong, I think because of the influence of people and wayang kulit puppets. Similarly, in Bali, adding ballet repertory genre dramatari existing areas. As in Java, Bali's ballet was created jointly by a team consisting of teachers, assistants, and students under the direction of Kokar Balinese artist I Wayan Beratha. Choreography patterns similar to the SRP. Unless the story of wayang Ramayana is very popular as a tourist dish is shown also the story of the history and folklore. Balinese dance and Balinese gamelan accompaniment gending, with movement, makeup, and costumes that are developed from the existing repertory tradition. Form of ballet so popular that it became the main event in Bali Arts Week which takes place every year. Its creation is handled exclusively by the combined artistic team from Kokar (SMKI) and ASTI (STSI) in Bali. The results performed on the stage Werdhi Culture, Taman Budaya, Denpasar, Bali.
In 1963, the government opened the college's first dance of Indonesian Dance Academy (ASTI) in Yogyakarta, which was followed with similar high school in Denpasar, Bandung, Surakarta, Padangpanjang, and Surabaya. At the same time several teachers from high schools were sent to learn (and teach) to the largely foreign to the United States to broaden insight and education. As a result, except to preserve the various forms of traditional performing arts, college art of writing, research, and also spurred the creation of new works. Traditional art materials that have creatively reinterpreted.
Revitalization dance
In Surakarta in the second half of the 1960s the New Order government established the Central Java Arts Center (PKJT) in charge of digging and revitalize the traditional art forms: classical dance repertoire, gending-gending Ageng, play scripts, knowledge and practice of puppetry, etc. . For quite a long period (1968-1983), STSI and led by Drs PKJT Sedyono (Gendon) Humardhani, who has experience and extensive knowledge of art. So what happened then was not only the excavation and preservation of various art forms of the old show, but also the revitalization of traditional arts and the creation of new works with traditional materials but oriented to the present. But the work of new graduates STSI looked at least 10 years later.
After Bagong, two dancing figures that appear at the beginning of the New Order government was Sardono W. Kusumo and Retno Maruti, both students and dancers RT Kusumokesowo Prambanan Ramayana. Bagong Together, both elected in 1964 as a dancer in the art of government mission to New York World Fair. While in New York, Sardono had studied with Jean Erdmand dance stylist. Back from New York a year later, Sardono and Maruti settled in Jakarta and active work in Jakarta Arts Center "Taman Ismail Marzuki" (TIM), which opened Jakarta Governor Ali Sadikin in 1968. An important milestone for the development of dance, puppets, and gamelan occurred in Jakarta.
In TEAM Sardono held a workshop attended by skilled dancers from various regions who lived in Jakarta: Retno Maruti, S. Kardjono, Sentot Sudiharto (Java), I Wayan Diya (Bali), Huriah Adam (Minangkabau), Yulianti Parani, and Farida Oetoyo (ballet). In this workshop, Sardono motion does not teach technique but rather to let each dancer wearing dance movement techniques are mastered. Sardono sensitivity training and to explore creative movement through improvisation. Sardono want to revolutionize the dance tradition by re-interpreting them creatively. Creative method is then followed Sardono in the process of creation with Javanese dancers who produce Samgita I-XII, and then held in Bali (Cak Rina and Tale of Dirah), and the interior of East Kalimantan (Plastic Forest, Forest groan) and the paper Other contemporary works.
Except that, on the initiative of chairman DKJ, D Djajakusuma, members of the Panca Murti puppets (Jakarta), which disbanded, housed in the TIM in the Jaya puppet-driven culture, among others, by Sardono W. Kusumo, S Kardjono, and Retno Maruti. And when the players join the dancers Panca Murti WO Bharata, Retno Maruti establish Padneswara tarinya group. While Maruti loyal to the shape and aesthetic traditions of Java, Sardono explore various cultures and recreate the area with a personal interpretation. Completed following the workshop, participants returned to his workshop and revitalize their own tradition, but with a new attitude and spirit.
Year 1978-87 Arts Council held a Youth Dance Festival Playground who not only followed the styling of the Javanese dance (Ben Suharto) and Bali (I Wayan dibia) but also from Sumatra, Sulawesi and other regions such as Gusmiati Suid, Tom IBN, Deddy Luthan, Wiwiek Sipala, Nurdin David, and Marzuki Hasan. An important milestone in the other.
Two important dance forum in the last decade of the 20th century were Indonesian Dance Festival (IDF), held jointly by the Jakarta Arts Institute, Jakarta Arts Foundation and Arts Council, the IDF has created a young stylist, stylist dance like Boi G. Sakti, Sukarji Sriman, Mugiyono, Ketut Rina, M Miroto, and Eko Supriyanto. Second, the forum Art Summit Indonesia (1995 and 1998) which not only displays the works of Indonesian contemporary dance (Sardono W. Kusumo, Gusmiati Suid, Bagong Kussudiardja) but also works that contrast the latest music from the gamelan (R Supanggah, Suka Hardjana) held by the Ministry of Education and Culture.
Mobil Keluarga Ideal Terbaik Indonesia
Through such a spectacular ceremony Garebeg, sekaten, eka dasa Rudra, and Galungan the king showed his greatness. Through discourse the concept of god-kings, queens gung binathara, title greatness Sayidin panata gamma kalifatullah Java land, the people are convinced of the power and greatness of a ruler. Javanese society past the priyagung divided into two groups and ordinary citizens (subjects alit). Disadvantageous position in the tradition of this small people have dutifully accepted without question.
The inclusion of the Dutch colonizers of life worsened. The kings, local rulers who deified the people, no longer in power management but must be subject to and serve the interests of the Dutch colonizers. Initially, the native rulers sporadically against the Dutch. They struggle with their own economic power, military, technology, and strategies are inadequate, so many are run over.
Three hundred years of struggle without success, the kings of Java and Bali and many are resigned and focused on the activities of the gamelan, dance and puppets, or mystical. Cultural discourse at the moment is survival. Greatness of Javanese kings actually lived a name, because politically and economically they are very dependent upon the Government of the Netherlands East Indies. There are times when the king actually helps the Dutch colonizers to exploit his subjects.
Patronage dance performances, puppet and gamelan remain, although reduced in number. Big ceremonies held the king changed the function of a ritual that contains the dignity of the entertainment or klangenan the form of more importance than the essence Gebyar content. Garebeg for example, no longer held solely for the safety and prosperity of the King of Java and its people, but also (and especially) to Queen Wilhelmina.
Entering the 20th century, in line with national movements, democratization and commercialization occurs. Performing arts as an expression of their culture initially internalized slowly turned into a product or commodity. Spectacle of the palace which was originally an aristocracy klangenan, produced popular for ordinary people. In Surakarta, Sunan Paku Buwono X opened Amusement Parks puppet show performed by Sri Wedari people who play every night. Surakarta and surrounding communities (which is still strongly oriented to the culture palace), welcomed with joy. Through a puppet show people they can identify themselves with the aristocracy and can admire the grandeur of the past. The king and the people have the same feelings in the face of Dutch colonizers.
In Yogyakarta, with the blessing of the Sultan, dance clubs Krida Beksa Wirama founded in 1918 and since then the palace dances may be taught to the masses. Efforts to establish the legitimacy of the king is still being done with the patronage of gamelan performances, dance, and puppets. During the reign (1921-39), VIII lane staged 11 plays puppet people. A few of them supported by the 300-400 artists and take time 3-4 days, from 06:00 hours until 23:00.
In Bali, the presence of Dutch dance and gamelan encourage artists to create works of secular all the time can be played for the entertainment of tourists. Gamelan Kebyar spectacular and brilliant emerged in the early 20th century and quickly spread from Bali Bali North to the entire region. Responding to the middle Kebyar popular gamelan, dance artists village of Tabanan, I Mario, create works of excellence that is now known as the dance Kebyar Tarung Terompong and Jago. Balinese dance artists while interacting with German painter Walter Spier, led secular Kecak dance which was then known as the Monkey Dance.
The presence of the Dutch government on the one hand the people, on the other hand, allows artists to introduce art of Java and Bali to other nations. Arts troupe (gamelan), Java's first overseas deployment in 1893, when the Dutch East Indies government promotes plantation products (tea and coffee) to the Expo colonial Java in Chicago, United States. No wonder, if until now the United States and the European community called Coffee with the term "Java".
From Bali, the group abroad Exposisi historic sent to Paris in 1926, including display-Rangda Barong dance which was witnessed by prominent reformer of the famous French theater Antonin Artaud. Fascinated watching the fight Barong-Rangda, Artaud wrote his impressions and his vision of a new theater in the book Theatre and Its Double widely influential in the development of world theater.
Orieantalisme
Meeting with the first modern dance groups from the United States occurred in 1925 when the troupe Ruth St Denis (with Martha Graham as one of the dancers) performing in Jakarta. Understandable if at the first meeting of this interaction occurs biased, our tradition of artists more supplies. While Ruth St. Denis's inspiration to create several works of Orientalists like Batik Vendors, sienk Dancer, and Balinese Dancer.
Orientalism (Edward Said, 1989) is a concept developed by educated European-American community as a tool to interpret the region and non-Western cultures (Oriental) such as Egypt, the Middle East, South Asia / India, China, Japan, Korea, Southeast Asia , including Indonesia. In the concept of Orientalism, the Eastern societies and cultures are considered incapable of representing her own voice. Language culture, customs, and history is considered mysterious and disorganized, and therefore it is up to the West to complete in order to interpret and mengkodifikasikannya context. During the hundred years of colonialism, hermeneutics, the way people perceive and judge the wrong and Eastern cultures are applied.
Yet from the first quarter of the 20th century, worthy of note the name of a Java-Yogyakarta artists who later settled in Holland, RM Jodjana, who created the works of modern dance is quite commendable in the world forum. "(Jodjana) can make a face like a mask, implying tranquility that shows his ability to control all forms of emotion" (The Saturday Review). From the comments above, looks very quality of movement and expression is still strong Javanese dance performances RM Jodjana coloring.
In Java and Bali dance performance is closely associated with the gamelan and wayang. Four years before Indonesia gained its independence in 1941, the new dance is born of Yogyakarta Palace, which marionette Beksan Menak which according to tradition was created by Sri Sultan Hamengkubuwono IX, more precisely, perhaps, by the Yogya Kraton artists under the direction and patronage of the Sultan. It appears that the orientation of the traditional Javanese society's values to the group's very strong. This orientation demands obedience and respect to the older and powerful. In the creation of art, the orientation of the collective-region techniques and demands perfection-more prominent than on creativity. What also must be remembered that the creation of a new genre in the context of tradition, is often done by using elements of the existing performing arts, as seen in the marvelous works of puppet Sultan HB IX, which is based on the puppet (marionette Menak), gamelan, and dance classics Yogyakarta, Java style.
Towards independence, during the New Poet force, intellectuals and artists of Indonesia faced a dilemma, whether to develop a culture of Indonesia following the Western model that emphasizes the importance of individualism and creativity, or the Eastern model to focus the discourse of group consciousness and engineering perfection. In contrast to the modernization of literary arts, music and visual art that refers to the Western model, the modernization of dance performed starting from local traditions. Ballet, for example, in Indonesia has never accepted as a basis for the development of a national dance.
After the Indonesian Independence
Cultural discourse at the beginning of the independence of Indonesia is mobilizing national unity. National identity becomes an important issue to unite the people of Indonesia that different cultural background. Culture and art conservation remains an important national cultural heritage and identity of regions is also necessary. This dilemma is always with the development of Indonesian dance.
Five years after the proclamation of Independence (1950), the government founded the Conservatory Karawitan (which later became SMKI Kokar) the first in Surakarta, Central Java. Secondary schools following a similar art founded in Denpasar, Bandung, Padangpanjang, Makassar, and Surabaya. These schools teach the art forms of dance, music, puppetry, and theater district of the territory in which these schools were established. From the chosen name, "conservatory", showing that the government's attention focused on the conservation of traditional arts.
In 1955, a modern dance troupe from the United States (Martha Graham) entered the show in Jakarta. Two years after Martha Graham's visit, three young Indonesian dance artist-Bagong Kussudiardja, Wisnu Wardhana, and Setiarti Kailola-off to U.S. to attend a summer dance festival at Connecticut College and studied modern dance of Martha Graham in New York. Setiarti from Jakarta, ballet background, but Bagong and Vishnu, both classical dancer reliable Java-Yogyakarta. Of the three who survived and continue to work is the Bagong Kussudiardja. One reason, Bagong expertly combine traditional materials of the Javanese, Sundanese, Balinese, three of the many peaks of local arts. Epic works of Bagong (Diponegoro, White Rose, Gadjah Mada), which fuse elements of regional cultures and vibrant cultural nationalist discourse in harmony with the government who are looking for a national art that can be accepted by society at large. Bagong works of the wider community known today as Indonesian dance "new creation".
In 1961, the Department of Land Transportation, Posts, Telecommunications, and Tourism (PDPTP) took the initiative of performing colossal Prambanan Ramayana Ballet (SRP). Interestingly, Bagong had studied with Martha Graham and also a modern painter, it works more Bagong individual orientation and creativity. While RT Kusumokesowo, the former palace of Surakarta court employees and teachers of classical Javanese dance at Kokar Surakarta, in emphasizing the orientation of the group's work and more demanding technical perfection according to the rules of tradition.
Trying to integrate the dance style of Surakarta, Yogyakarta, and other areas of dance, working format is more widely Kusumokesowo RT. But the way creative work in the Ramayana, Prambanan is closer to the workings of the palace tradition. As a stylist dance, RT Kusumokesowo assisted by KRT Wasitodipuro (from Paku Alaman) and RL Martopangrawit of Surakarta in the field of musicians. To deal with drama or pengadeganan accompanied by Bambang Soemodarmoko RM Ng. It should be noted, was the initiator of Prambanan Ramayana Ballet who is also Minister Lt. Gen. Djatikusumo PDPTP and one son of Sunan PB X. Dancers, gamelan players, choir singers are students Kokar (Solo), KONRI (Yogya), as well as private students of the masters of it. Mass of dancers trained from young children around Prambanan. Performed routinely every full moon night for five months a year and six times per play of each month, SRP become an attractive place of learning for young dancers who later became prominent figures of dancers, stylists dance, Indonesian dance and thinkers such as Sardono W. Kusumo, Retno Maruti, Sal Murgiyanto, and Sulistyo S Tirtokusumo.
New genre of "dance" well accepted by society and became a popular tourist art offerings. Within close ballet spread to East Java (Wilwatikta Pandaan) and Denpasar, Bali. Bagong Kussudiardja also worked on several of his works in the form of ballet or dramatari without dialogue. The orientation of the story is still very strong, I think because of the influence of people and wayang kulit puppets. Similarly, in Bali, adding ballet repertory genre dramatari existing areas. As in Java, Bali's ballet was created jointly by a team consisting of teachers, assistants, and students under the direction of Kokar Balinese artist I Wayan Beratha. Choreography patterns similar to the SRP. Unless the story of wayang Ramayana is very popular as a tourist dish is shown also the story of the history and folklore. Balinese dance and Balinese gamelan accompaniment gending, with movement, makeup, and costumes that are developed from the existing repertory tradition. Form of ballet so popular that it became the main event in Bali Arts Week which takes place every year. Its creation is handled exclusively by the combined artistic team from Kokar (SMKI) and ASTI (STSI) in Bali. The results performed on the stage Werdhi Culture, Taman Budaya, Denpasar, Bali.
In 1963, the government opened the college's first dance of Indonesian Dance Academy (ASTI) in Yogyakarta, which was followed with similar high school in Denpasar, Bandung, Surakarta, Padangpanjang, and Surabaya. At the same time several teachers from high schools were sent to learn (and teach) to the largely foreign to the United States to broaden insight and education. As a result, except to preserve the various forms of traditional performing arts, college art of writing, research, and also spurred the creation of new works. Traditional art materials that have creatively reinterpreted.
Revitalization dance
In Surakarta in the second half of the 1960s the New Order government established the Central Java Arts Center (PKJT) in charge of digging and revitalize the traditional art forms: classical dance repertoire, gending-gending Ageng, play scripts, knowledge and practice of puppetry, etc. . For quite a long period (1968-1983), STSI and led by Drs PKJT Sedyono (Gendon) Humardhani, who has experience and extensive knowledge of art. So what happened then was not only the excavation and preservation of various art forms of the old show, but also the revitalization of traditional arts and the creation of new works with traditional materials but oriented to the present. But the work of new graduates STSI looked at least 10 years later.
After Bagong, two dancing figures that appear at the beginning of the New Order government was Sardono W. Kusumo and Retno Maruti, both students and dancers RT Kusumokesowo Prambanan Ramayana. Bagong Together, both elected in 1964 as a dancer in the art of government mission to New York World Fair. While in New York, Sardono had studied with Jean Erdmand dance stylist. Back from New York a year later, Sardono and Maruti settled in Jakarta and active work in Jakarta Arts Center "Taman Ismail Marzuki" (TIM), which opened Jakarta Governor Ali Sadikin in 1968. An important milestone for the development of dance, puppets, and gamelan occurred in Jakarta.
In TEAM Sardono held a workshop attended by skilled dancers from various regions who lived in Jakarta: Retno Maruti, S. Kardjono, Sentot Sudiharto (Java), I Wayan Diya (Bali), Huriah Adam (Minangkabau), Yulianti Parani, and Farida Oetoyo (ballet). In this workshop, Sardono motion does not teach technique but rather to let each dancer wearing dance movement techniques are mastered. Sardono sensitivity training and to explore creative movement through improvisation. Sardono want to revolutionize the dance tradition by re-interpreting them creatively. Creative method is then followed Sardono in the process of creation with Javanese dancers who produce Samgita I-XII, and then held in Bali (Cak Rina and Tale of Dirah), and the interior of East Kalimantan (Plastic Forest, Forest groan) and the paper Other contemporary works.
Except that, on the initiative of chairman DKJ, D Djajakusuma, members of the Panca Murti puppets (Jakarta), which disbanded, housed in the TIM in the Jaya puppet-driven culture, among others, by Sardono W. Kusumo, S Kardjono, and Retno Maruti. And when the players join the dancers Panca Murti WO Bharata, Retno Maruti establish Padneswara tarinya group. While Maruti loyal to the shape and aesthetic traditions of Java, Sardono explore various cultures and recreate the area with a personal interpretation. Completed following the workshop, participants returned to his workshop and revitalize their own tradition, but with a new attitude and spirit.
Year 1978-87 Arts Council held a Youth Dance Festival Playground who not only followed the styling of the Javanese dance (Ben Suharto) and Bali (I Wayan dibia) but also from Sumatra, Sulawesi and other regions such as Gusmiati Suid, Tom IBN, Deddy Luthan, Wiwiek Sipala, Nurdin David, and Marzuki Hasan. An important milestone in the other.
Two important dance forum in the last decade of the 20th century were Indonesian Dance Festival (IDF), held jointly by the Jakarta Arts Institute, Jakarta Arts Foundation and Arts Council, the IDF has created a young stylist, stylist dance like Boi G. Sakti, Sukarji Sriman, Mugiyono, Ketut Rina, M Miroto, and Eko Supriyanto. Second, the forum Art Summit Indonesia (1995 and 1998) which not only displays the works of Indonesian contemporary dance (Sardono W. Kusumo, Gusmiati Suid, Bagong Kussudiardja) but also works that contrast the latest music from the gamelan (R Supanggah, Suka Hardjana) held by the Ministry of Education and Culture.
Mobil Keluarga Ideal Terbaik Indonesia
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