Asia Dance Channel

Indonesia disposes of a wide variety of traditional arts. Quoting Umar Kayam, a society expresses itself through traditional arts. This expression is closely connected to surrounding factors like power, belief, rituals and everything concerning human beings and their interactions.

Renewal called Contemporary Choreography

Some tradition survives the centuries while others become extinct; until two artists from Yogyakarta went to the United States from 1954 until 1959. They were Bagong Kusudiarjo and Wisnuwardhana. For years, they learnt ballet and modern dance in different dance companies. When they returned to Indonesia, they brought a new science with them, moving techniques and choreography. Starting from this point, a new form or arts developed in Indonesian dance, that is, individual expression.

In 1968, the Jakarta Arts Centre Taman Ismail Marzuki (PKJ TIM) was initiated by Ali Sadikin, a governor who understood artist's needs well at the time. Ali Sadikin wanted to create a space for arts for new creations to emerge through the process of exploration. This dream was realized, when some talented artists from all over Indonesia frequented the PKJ TIM. They were the first to occupy this space. As for dance, the firsts were Sardono W. Kusumo, Hoerijah Adam, Farida Oetojo, Retno Maruti, I Wayan Diya, Gusmiati Suid, and so forth.

Except for Farida Oetojo, they were all full-fledged traditional dancers. They learned traditional dance directly from well-known masters. Farida Oetojo's background, on the contrary, was ballet (Russian school). Their presence at PJK TIM continued the process of individual search, interestingly by being in contact with other artists of different cultural and artistic background. This process led to "something new" in Indonesian dance, that is, contemporary dance/choreography.

It was obvious that interactions, exploration and this search helped the artists find their own character in choreography. They were the founders of the contemporary Indonesian dance generation that began to open up space for interpretation and different views.

Conducive climate

The repressive new order (1966-1998) even provided a conducive climate for Indonesian dance. Eight arts academies were founded during this time. Performances were never cancelled or prohibited, as happened with theatre, literature and film. In 1992, the international dance festival named Indonesian Dance Festival (IDF) took place for the first time. Since then, other national and international dance festivals have emerged.

Arts academies seem to be a source for producing the majority of contemporary choreographers. At the academies, they study moving techniques (traditional, modern dance, ballet, etc.) and choreography. Some of these graduates include Boi G. Sakti, Hartati, Eko Supriyanto, Mugiyono Kasido, Jecko Siompo, Maria Bernadeth A, Hanny Herlina, Bobby Ari, Retno Sulistyorini (Enno), Ni Kadek Yulia, Danang Pamungkas, Fitri Setyaningsih, and so on.

Especially in the past 15 years, there have been a lot of contemporary choreographers. Generally, they are more capable of processing material rather than issues. As for choreography, they usually cannot fulfil one requirement yet: to make dance a means for visual communication.

Traditional society today

Up till now, contemporary choreography in Indonesia has been heavily influenced by traditional elements. The variety of traditions is a stimulating source to be explored.

But we have to be aware that traditional society faces new challenges. They feel the impact of the global economic crisis; they are part of a people in transition towards democracy; they are surrounded by information and communication technologies; they are affected by environmental changes including natural disasters, new viruses, the emergence of a generation with certain syndromes and spectrums; they are confronted with issues of terrorism, horizontal conflicts and separatism.

If choreographers still choose traditional arts as a source for their concepts, they have to understand and be sensitive with the challenges and problems faced by traditional society today. Sensitivity and understanding will complete their "bibliography" on traditional society. It would be appropriate to have a description of the real circumstances that people actually live in.

Traditional society should be placed in current dimensions and be discussed in current and future terms. They are partners, not objects.

Different conditions of traditional society offer different issues. This is a challenge for choreographers to sharpen their abilities to process those issues accurately in their works.

Tradition in Indonesian Contemporary Choreography

There are many preferences when it comes to tradition’s influence on Indonesian contemporary choreography. The first is choreography, which explores traditional “movement materials” widely. These works can carry themes that are completely free from tradition’s context. The choreographers who favour this approach are Hanny Herlina, Jecko Siompo, Maria Bernadeth (Etty), Hartati, Eko Supriyanto, Ery Mefri, Mugiyono Kasido, and Miroto.

The second is works with very tight use the tradition's “movements”. There are experimental but the main exploration is in the choreography. The theme is also close to tradition's context. The storyline is usually taken from puppet stories (Mahabharata or Ramayana), and local myths or legends. The choreographers who produce such works are Retno Maruti, Elly Lutan, Rury Nostalgia, and Retno Sulistyorini (Enno).

The third is works with strong emphasis on traditional society issues (problem, conflict). Sardono W. Kusumo and Dedy Lutan are choreographers who had created works that addresses the impact of nature’s change for traditional people (Dayak, Papua, Bali). Meanwhile, Gusmiati Suid and Boi G. Sakti focus on women from the Minangkabau tradition. Gusmiati talks about human problems in relation to nature and God but still within the Minangkabau context. Maris Bernadeth produced some works in which the idea is based on old, traditional ceremonies of the Flores people.

All these works have very strong character.

Today we are still waiting for more works, especially those that will bring traditional people's issues and new characterizations into contemporary artistic work.