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REVALUING JAVANESE COURT DANCES ( AND ) WITHIN THE CURRENT SOCIAL AND CULTURAL CONTEXT

Michi Tomioka

Introduction (ASKI, the Indonesian Academy of Arts) . Combined, these two organizations are often called Srimpi1 (see Photo 1) and Bedhaya2 (see Photo 2), PKJT-ASKI. ASKI Surakarta was later upgraded as the ritual dances of the Karaton Surakarta Hadiningrat (the Sekolah Tinggi Seni (STSI, the Indonesian Surakarta Court), were first permitted to be performed College of Arts) Surakarta in 1988 and then the Institut for the public as part of a national project called Pusat Seni Indonesia (ISI Surakarta, the Indonesian Institute Kesenian Jawa Tengah (PKJT, Art Center of Central of Arts) in 2006.5 ) in the 1970s. Both of these court dances have experienced many changes or innovations since then.3 Surakarta Court dance was in decline due to a lack of dancers when the PKJT project began (Pamardi 2002). Although the court dances were still regarded as the source of Javanese traditional dance, Humardani did not preserve them as they had been. Instead, he thought it more important to innovate with the former arts in accordance with the changing times and encouraged participants to produce pemadatan (contracted) versions of court dances after reviving them (Tomioka 2005a).

He did not merely shorten the duration of the performances but also transformed many other elements of the dance and the music, applying the concept of performing arts from the modernized West to Javanese Photo 1: Srimpi (cf. Appendix) court dances (Tomioka 2005a). He included only pemadatan versions in the ASKI curriculum, so that the full versions of revived dance compositions were not taught in the course of study.

Vital changes established in the PKJT project are: (1) pemadatan (contraction of time), shortening the duration of the performance to one fourth of the original length (fifteen minutes); (2) faster tempo and more dynamic changes to the tempo than was traditionally the custom; and (3) synchronized movement as in corps de ballet6 (group dancing in ballet).

According to interviews with many dancers of PKJT/ ASKI from those days, these contractions and Photo 2: Bedhaya (cf. Appendix) transformations were successful in attracting public The project was started in 1970 under the first five- notice in the 1970s in , and they were very year plan of the new president, Suharto, in order to proud of that fact (Tomioka 2005b, 39). However, Sal revive traditional arts and culture, and lasted for three Murgiyanto criticized the PKJT performance in Jakarta periods (1970-1983). There were many activities in the in 1979, saying that the ten-minute srimpi pemadatan PKJT project, not only for the court arts, but also for was terlampau tergesa (too rushed), and that they folklore arts and contemporary arts. The project was needed a good chief who could deal with traditional led by Gendhon Humardani (1923-1983),4 who was materials (Murgiyanto 1993). The transformations of also the head of the Akademi Seni Karawitan Indonesia the traditional customs made by the PKJT project were

Asian Transformations in Action The Work of the 2006/2007 API Fellows 54 INTERMINGLING OF CONTINUITY AND DISCONTINUITY less appreciated in the metropolitan context, where appreciated. According to Bambang Busur, the phrase many different cultural identities coexist. kembang tiba (flowers falling down to the earth) refers to the movements in . The term means About 40 years have passed since the beginning of dancers have their own timing of movement like the the PKJT, and about 25 years since the death of flowers of a tree that fall down to the earth oneby Humardani, but it seems that no remarkable changes one, whereas the synchronized movements of dancers or innovations have occurred in Surakarta regarding are compared to the flowers falling down all at once Javanese traditional dance.7 This is, in my opinion, (Tomioka 2005a). In this way, Javanese court dance has mostly because practitioners have missed the starting a circle of time in which the changes progress gradually point/origin of Javanese traditional dance, which would for a certain length of time until the dance returns to confirm their cultural identity in this modern era of the beginning. globalization. My guess is also supported by the fact that Sardono W. Kusumo and Sal Murgiyanto have To contract the full version into one fourth or one half advocated seeking their own “cultural roots” as the is, in other words, to reduce the number of repetitions guiding principle of the Graduate School of the STSI or circles, and economizes on the amount of time Surakarta (Tomioka 2005b) that was established in traditionally used. Humardani also transformed the 2000. quality of time. Dance criticism by Humardani on ballet (Humardani 1961) shows how he was moved Many elements transformed by the PKJT project that by the Western performing arts, in which time flows are essential to Javanese court dance have the potential straight to the climax. A linear flow of time is generated to acquire new meaning in contemporary social and by fast and dynamic changes of tempo, synchronized cultural contexts. movements of corp de ballet and formations appropriated for proscenium theaters (Tomioka 2005a). All these Circle of time and contraction of time elements make visible changes. If movements are synchronized among the dancers, changing from Here I have to add an explanation on the traditional one movement to another is more visible than the customs of the court dances before the 1970s. In their movements of kembang tiba. If the formations are always full versions, srimpi and bedhaya performances last from symmetrical and balanced among all the dancers, there forty to sixty minutes for the dance proper, with five seem to be no visible changes at a glance. to seven minutes for each entrance and exit. About an hour-long performance of a certain dance or musical Humardani introduced the concept of a linear flow of composition was quite normal in the former days; time to Javanese court dance. All things considered, he for example, Sardono W. Kusumo performed a fifty- intended to make Javanese court dance fully attractive five minute court dance in the 1950s (Kusumo 2002, to an audience that liked the stage or show performances 103). of Western countries (Tomioka 2005b), and that contraction of time was the doorway to realizing this Javanese traditional dance has a circular structure, and intention. the dance is launched and ended by a mangenjali (prayer with palms joined together) movement with the dancers Here in my project, I wanted to revalue the essential sitting on the floor. Dance movements, formations elements of Javanese court dance by representing court and music structures are related to one another. One dance performances in their full version, from which musical structure is repeated a certain number of times Indonesian artists will be able to revive their historical and then followed by another musical structure. As memory, restore the wholeness of their experience, and the music goes on, various kinds of movements are revalue their own cultural identity. repeated and developed in symmetrical formations, through which harmony or balance and a meditative Methodology atmosphere are gradually generated. The dance makes time feel luxurious as performers as well as members of In this project, I made a music recording (CD) and a the audience become enraptured by it. documentary video (VCD/DVD) of live performances of “Srimpi Gondokusumo” and “Bedhaya Pangkur” with Moreover, in Javanese courts where alus (elegant) the performances having the following elements: (1) behavior is highly appreciated, fast tempos and dynamic they show the full version of the dances; (2) they are or drastic changes in the tempo are regarded as kasar performed in the classical tempo; and (3) they maintain (rough), and an artificial/unnatural movement is not each dancer’s wiletan (individual style). These media

Asian Transformations in Action The Work of the 2006/2007 API Fellows INTERMINGLING OF CONTINUITY AND DISCONTINUITY 55 will be of practical use not only for dancers to learn the Art Center of the province of Central Java) (see and analyze choreographies but also for researchers Appendix). This time, we produced an independent of related areas of study to know what Javanese court dance event with stage directions. It is usually difficult dances are really like. to attract ordinary people to the TBJT,9 but we met the press and tried to appeal to the larger public in I chose “Srimpi Gondokusumo” and “Bedhaya Pangkur” Surakarta and its outskirts. out of ten Srimpi and two Bedhaya8 because I found that both have experienced more drastic changes than the As for the “Srimpi Gondokusumo” performance in other pieces in the PKJT project and, in addition, we Jakarta (see Appendix), we held a discussion between were unable to find any other source on these materials the dancers and the audience just after the dance except Mrs. Sri Sutjiati Djoko Soehardjo. performance. We gave out information about the event mainly to university students who majored in The late Mrs. Sri Sutjiati Djoko Soehardjo (1933- performing arts at IKJ, Universitas Negeri Jakarta (UNJ, 2006), who was an instructor at the Sekolah Menengah a teachers’ college), as well as members of Javanese Karawitan Indonesia (SMKI, the Indonesian High dance groups in Jakarta. School of Arts) Surakarta from 1956 until her retirement in 1994, was our primary source for this project. She Performance outside the court participated in reviving the Srimpi and Bedhaya dances in the PKJT project. It is to be deeply regretted that she As I mentioned above, I did not involve court performers passed away on 8 November 2006, a few weeks before nor did I perform the project at the court. This is because the first performance of this project. Srimpi and Bedhaya dances10 have already become part of Indonesia’s social heritage since they were opened to Participants the public in the national project. The Surakarta Court has also inherited Srimpi and Bedhaya under the court For dances, I selected those who had participated in system, which really owed much to the PKJT project. the PKJT project in the 1970s and the early 1980s I followed the advice of ISI Surakarta and asked for (and therefore were the transition generation), had permission for the performances, although some said learned under the primary source, were still active as there was no need to do this because the court dances professionals and had differing careers or backgrounds. have been formally opened to the public. This is very true, but I did it to show our respect for the court, and Different from the case of dancers, I appointedgamelan asked the court to make offerings11 and prayers before groups in which professionals, senior amateurs or semi- each performance. amateurs and young musicians aiming to be professionals were mixed together. I preferred to give opportunities Findings to those who had never experienced Srimpi and Bedhaya dances for as much as an hour in their full version. Their Responses to my initiative varied from one group to musical performance was accordingly not as complete as the other. It reflects the changing and diversification of that of a professional group, but good enough to express cultural contexts since the PKJT era. the rasa (feeling, sense) of court dances. Response from dancers and musicians Occasions Dancers and musicians had concerns about coming I performed Srimpi Gondokusumo at the pendopo up with a full version of the dances. However, some (traditional hall for Javanese ceremonies and dances) dancers felt a little uncomfortable at the same time of the Sekolah Menengah Kejuruan Indoensia (SMKN8 because I asked them not to follow the PKJT customs. or SMKI) Surakarta in November 2006 (see Appendix) I understood that this was certainly difficult for those as part of a regular event called “Pentas Nemlikuran,” who had experienced the strict training of the PKJT which has been held there on every 26th night since project regarding details. March 2003. This event was already famous among fans of Javanese traditional dance, so that we expected a In contrast, music instructors were more cooperative large audience without any publicity effort. and involved students from an educational point of view. I was very pleased to hear from Suraji, the music The “Bedhaya Pangkur” was performed at the arena director of the Srimpi Gondokusumo performance, that theater of the Taman Budaya Jawa Tengah (TBJT, they would like to inspect the results of past researches

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(e.g., Martopangrawit’s 1976 work). They reconsidered Most of the ISI Surakarta instructors who had participated their habit of playing since the PKJT period and in the PKJT project still believe that performing Srimpi this project showed another approach to court dances and Bedhaya dances in their full version are too long, and another way to socialize art activities, according boring and monotonous for audiences. However, to Danis Sugiyanto, the music director of the Bedhaya even those who had no preliminary knowledge about Pangkur performance. Javanese dance could appreciate the performances, as the following comments show. Production members from the performance venues in Surakarta and Jakarta actively supported my An acupuncturist who watched Srimpi Gondokusumo project. There was, however, a member of the Pentas“ in Surakarta (see Appendix) said, “I could enjoy the Nemlikuran” committee who did not agree with my dance by rocking myself to the music and movements proposal, saying that an hour performance was too long of dancers. I did not feel bored at all for an hour. From and that there was no need for my performance because my point of view as an acupuncturist, the movements they had shown the Srimpi Gondokusumo in pemadatan in the Javanese court dance make the audience as well as version before. This reflects the common PKJT point of the dancers relaxed and meditative, and are, thus, good view and they were challenged by my idea. for health.”

Response from the mass media Many audience members reported that they did not mind that the dancers of the Bedhaya Pangkur were In order to publicize the Bedhaya Pangkur performance, already stout and middle-aged, once they started I met the press with the help of MATaYA arts and dancing. heritage (an organization that promotes social activities of the arts), so that it was reported in many newspapers The Bedhaya performance was attended by as many (see Appendix 3). The MATaYA staff and journalists as 300 people to full capacity, in spite of heavy rain. highly appreciated that we intended to produce the According to an article appearing in the Suara Merdeka court dance performance for the public outside the on 30 June 2007 (see Appendix), some attendees could court. not enter the theater so they watched the performance on monitors outside. I was surprised to find that many In August 2007, I appeared on “Kick Andy,” a Metro in the audience were not acquainted with me, the other TV show on a nationwide network (see Appendix 3) participants or MATaYA staff. They seemed to have and talked about my project to revive court dances. gotten news of the performance through newspapers, I emphasized the necessity to pay more attention to mailing lists or by word of mouth. Javanese court dances in their full version as part of the Indonesian heritage because these choreographies were A Japanese attendee who watched the Srimpi no less excellent than other dances in the world. Gondokusumo in Jakarta (see Appendix) said, “I did not feel bored at all. I felt as if I had been transported to the The episode was titled Kami“ Juga Cinta Indonesia” (We colonial age and had met court dancers at that time.” Also Love Indonesia) under the theme of nationalism in Indonesia.12 Andy (the host of the talk show) said the A person who watched another Surakarta dance episode provoked a remarkable response from viewers performance that lasted forty minutes in Jakarta a few via telephone or e-mail and the audience rating was days before our Srimpi performance said, “When I saw high. One of the directors of the Ministry of Culture the former, I felt forty minutes was too long and got very and Tourism sent a cell phone text message to me tired, even though the dancers were young and beautiful. regarding the show that said, “Mempunyai dampak It was because they lacked rehearsals and concentration. positif terhadap peningkatan apresiasi penonton terhadap But this time, I felt an hour passed by very quickly and tarian kuno yg jarang dipentaskan di masyarakat” (It had was enchanted by the elegant movements.” a positive impact in raising appreciation for old dances that are seldom performed for the public.) I received Discussion many other responses along the theme that Indonesians were ashamed of not knowing much about their own Many people took an interest in my concept of history or culture. performing the court dances “outside” the court. My approach to the court dances was different from that Response from audiences of performances of the PKJT project; I focused people’s eyes on the full versions of the court dances. Ordinary people could

Asian Transformations in Action The Work of the 2006/2007 API Fellows INTERMINGLING OF CONTINUITY AND DISCONTINUITY 57 be enchanted by these full versions if performers were from foreign countries and so on. It would be effective skilled and well rehearsed, and the performance was for cultural communities to revalue and spontaneously presented in full seriousness. The audience did not only reconsider the results of former art projects in search see the physical, superficial beauty of the dancers but of their own roots, historical memory and cultural perceived their inner beauty, elegant movements and identity. meditative atmosphere, which moreover called and history to mind throughout the whole expression. NOTES

There were also a number of effects on the performers: 1 A kind of Javanese court dance performed by four females. (1) the dancers and musicians became more absorbed in their performance of the full version as time went 2 A kind of Javanese court dance performed by nine females. by, which created a meditative atmosphere; (2) the classical tempo of the music was comfortable for the 3 See Rustopo 1990, Chapter IV, on the PKJT- ASKI and performers (as well as the audience) because it was a the role of Gendhon Humardani. natural tempo for breathing; (3) each mature dancer was free to express her own wiletan, unlike in the PKJT 4 He was a younger brother of Sudjono Humardani, a private style, which strictly demanded that dancers move in a assistant to President Suharto. synchronized way. Through this freedom of expression, the performers could feel satisfaction in completing an 5 See http://www.isi-ska.ac.id/sejarah/sejarah.htm. hour-long performance as if it were a ritual ceremony. 6 Humardani himself used the term corps de ballet to mean In this way, both the performers and the audience group dancing in Javanese dance (Humardani 1970). experienced another dimension of time and space and derived a kind of satisfaction that could not be attained 7 R. Supanggah, the head of the Graduate School of the through performing or watching performances of the ISI Surakarta, criticized Humardani’s pupils on their contracted as well as the transformed versions of court passiveness and lack of initiative (Supanggah 2003). dances. 8 Martopangrawit could gather ten Srimpi and ten Bedhaya Court dances in their full versions, therefore, still music compositions (Martopangrawit 1976), but most of contain much potential under current circumstances. the Bedhaya choreographies were out of use at that time, Nevertheless, there are few dancers or organizations according to Sri Sutjiati Djoko Soehardjo. that are aware of them in Surakarta. Some dancers feel it is difficult to leave behind the customs that were 9 The PKJT project was ended with the foundation of the implanted during the PKJT era. TBJT in 1983. The TBJT supports arts innovation and creation so that it is sometimes regarded as standing apart Generally speaking, the performing arts in Indonesia from ordinary people. have developed under the art policies of the government 10 in relation to tourism or to the creation of a national Here we do not take the Bedhaya Ketawang into culture. They have, therefore, been developed for urgent, consideration, which is still the monopoly of the Surakarta practical use. PKJT was also started under the art policy Court for its coronation anniversary. Martopangrawit of the government in the 1970s, and Humardani’s (1976) does not include this in his publications. innovations were suitable under that policy. It is true that the pemadatan of the Srimpi or Bedhaya dances 11 Ketan Biru and Nasi Uduk. expanded the range of traditional dances. However, it is also true that the idea, fixed since the PKJT period, 12 The Republic of Indonesia commemorates its independence that the Srimpi or Bedhaya dances in their full versions day every 17th of August. are too long and boring has prevented the public from appreciating higher arts or admiring their own culture REFERENCES and history. Humardani, Gendhon. “Menonton Ballet di Covent Garden Artistic values can be limited or changed according 1961 kesan-kesan.” 1961. Gendhon Humardani Pemikiran & to social and cultural contexts, such as customs, Kritiknya. Surakarta: STSI Press Surakarta, 1991: 80-86. preconceptions, government art policies or influences

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Humardani, Gendhon. “Sendratari Instructors: Suraji, Sukamso, Hadi Boediono, Supardi, Gaya Lama—Keberadaannya dalam Perkembangan Tari Rusdiyantoro (ISI Surakarta) Kita.” 1970. Gendhon Humardani Pemikiran & Kritiknya. Musicians (Instrument: Name): Surakarta: STSI Press Surakarta, 1991: 98-118. “Maju Mawas” and “Mijil Laras” groups from “Garasi Seni Benowo”, Benowo Rebab: Suraji*/ Kendhang: Kusumo, Sardono W. “Hanuman, Tarzan, dan Hadi Boediono*/ Gender Barung: Sukamso*/ Pithecanthropus Erectus.” Jurnal Seni pertunjukan Indonesia Gender Panerus: Rudi Triyatmaka / Bonang Barung: XI (2001/2002): 97-114. Singgih Sri Cundhananik / Bonang Penerus: Suradi / Slenthem: Haryono FN / Demung: Nurochman, Paidi Martopangrawit. Data-Data Sindenan Bedaya Dan Srimpi / Saron Barung: Parjan, Tutiyarso, Bejo Hermanto, Surakarta. Proyek Akademi Kesenian Jawa Tengah di Sandi / Saron Penerus: Rossidiq Wahid H / Kethuk, Surakarta. Jakarta: Departmen Pendidikan Dan Kebudayaan Kempyang,: Sugimin*/ Gong: Kuat*/ : (Kode Program No.09502.3604.2305.03), 1976. Sulardi / Siter, keplok alok: Sriyanto / Suling, keplok alok: Supardi*/ Swarawati: Pujiyani, Dewi Widayati, Murgiyanto, Sal. “Gondokusumo, Bedaya La-La dan lain- Imra’atul / Wiraswara: Rusdiyantoro*, Samin, Sarmadi, lain.” 1979. Ketika Cahaya Merah Memudar—Sebuah Kritik Sart Tari. Jakarta: CV Deviri Ganan, 1993:76-78. Keprak Player: S.Pamardi (ISI Surakarta) Engineer: Iwan Onone (Studio 19, ISI Surakarta) Pamardi, Silvester. “Surakarta Style Dance: From Palace Description: Twenty-six musicians consisting of seven ISI towards Outside Wall.” Trans. Tomioka, Michi and Sumio Surakarta instructors (names highlighted with an asterisk on Fukami. Intercultural Studies 26 (2002):101-121. the list above), nine elder amateurs / semi-amateurs and ten ISI Surakarta students or alumni/alumnae were involved in Rustopo. Gendhon Humardani (1923-1983): Arsitek dan the project. All the instructors and senior members reside Pelaksana Pembangunan Kehidupan Seni Tradisi Jawa yang around Benowo. Garasi Seni Benowo, located in the house Modern Mengindonesia Suatu Biofrafi. Master’s thesis. Gajah of R. Supanggah, the head of the Graduate School of ISI Mada University, 1990. Surakarta in Benowo, has become a center of gamelan activities in Surakarta. These two groups hold regular rehearsals twice Sedyawati, Edi. Ed. “Performing Arts.” Indonesian Heritage. a week which are often attended by students for advanced Vol.8. Singapore: Archipelago Press, 1999. studies.

Supanggah, Rahayu. “Sasanamulya: Janin Jamak yang 1-2 “Srimpi Gondokusumo” / video CD Tunggal.” Seni Dalam Berbagai Wacana Mengenang—20 Date: 26 November 2006 tahun kepergian Gendhon Humardani. Surakarta: Program Place: Thependopo SMKN8/SMKI Surakarta, Surakarta Pendidikan Pascasarjana STSI Surakarta, 2003:383-403. Document Type: Live performance Rehearsal Period: 28 August - 25 November 2006 Tomioka, Michi-a. “Influence of Western Dance on Javanese Producer, Artistic Director, Dance Director: Traditional Dance: On the case of PKJT Project in Surakarta Michi Tomioka in the 1970s.” Japanese Journal for Comparative Studies of Dancers (Position: Name): Dance 11.1(2005): 46-58. batak: Michi Tomioka / gulu: Sri Setyoasih, dada: Saryuni Padminingsih, buncit: Hadawiyah Endah Tomioka Michi-b. Who Promoted the Creativity of Arts? The Utami (ISI Surakarta) Case of Javanese Dance of Surakarta Style. Master’s thesis. Costume Director: Hartoyo (ISI Surakarta and the Surakarta Osaka City University, 2005 Court) Costume: Dodot Alit APPENDIX: Products and outputs of this project Hair Style: Bangun Tulak Music Director: Suraji (ISI Surakarta) 1 Srimpi performances Musicians: “Maju Mawas” and “Mijil Laras” from the Garasi Seni Benowo, Benowo 1-1 “Srimpi Gondokusumo” / music CD Lighting/Sound: The production team of “Pentas Date: 20 November 2006 Nemlikuran” Place: The pendopo (Javanese traditional hall) of “Garasi Seni Video Works: Esha, Chris (Studio 19, ISI Surakarta) Benowo”, Benowo Photographer: Heru Santoso (Studio 19, ISI Surakarta) Producer: Michi Tomioka Offerings: 26 November 2006 Ketan Biru and Nasi Uduk Music Director: Suraji (ISI Surakarta) from the Surakarta Court

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Description: This performance was held as partPentas of“ Barung: Agus Raharjo* / Bonang Penerus: Sylvie Nemlikuran.” We performed first, while the second Chantriaux / Slenthem: Krishono / Demung: Joko performance was a “Bedhaya Babar Layar”, a Bedhaya dance Daryanto / Saron Barung: Sudarto, Iskandar, Tugimin of the Court which was revived by ISI Yogyakarta / Saron Penerus: Suyoto / Kethuk, Kempyan: Ardi / under the supervision of Prof. Dr. Hermien. Kenong: Suparto / Gong: Suradi / Gambang: Sigit Hermono* / Swarawati: Mulyati, Nanik DH, Eka, 1-3 “Srimpi Gondokusumo” / video DVD Wida / Wiraswara: Darsono*,Wahyono, Sapto, Agus Date: 26 August 2007 Prasetyo, Dwi Handaka Place: The Teater Luwes,Institut Kesenian Jakarta (IKJ) Keprak Player: Bambang Tri Atmadja (ISI Yogyakarta) Document Type: Live Performance and discussion Engineer: Iwan Onone (Studio 19, ISI Surakarta) Rehearsal Period: t8- 21 August 2007 Description: Twenty-six musicians consisting of seven ISI Producer, Artistic Director, Dance Director: Surakarta instructors/musical staff (names highlighted with Michi Tomioka an asterisk on the list above), 11 amateurs/semi-amateurs Dancers: and eight ISI Surakarta students or alumni/alumnae who batak: Michi Tomioka / gulu: Sri Setyoasih, dada: reside around the area were involved in the project. This Saryuni Padminingsih, buncit: Hadawiyah Endah group was founded in 1938 in Kemlayan where many court Utami (ISI Surakarta) musicians lived, and has come into action again since 2000 Costume Director: Hartoyo (ISI Surakarta & the Surakarta under Danis Sugiyanto at the studio of Sardono W Kusumo. Court) Now this group holds regular rehearsals twice a week at Cakra Costume Assistant: Budiarti (ISI Surakarta) Homestay, Kemlayan which are often attended by students, Costume: Dodot Kerembrehan including foreigners. Hair Style: Bangun Tulak Music: 1-1 “Srimpi Gondokusumo” / music CD (78 2-2 Bedhaya Pangkur / video DVD minutes) Date: 28 June 2007, 19:30 door open, 20:00 start Lighting/Sound: Production team of the Teater Luwes Place: The Teater Arena, Taman Budaya Jawa Tengah (Representative: Trisapto, Fakultas Seni Pertunjukan, Faculty (TBJT), Surakarta of Performing Arts, IKJ) Document Type: Live performance Video Works: Hari Sinthu (Fakultas Film dan Televisi, IKJ) Rehearsal Period: 13 April - 25 June 2007 Photographer: Priadi Soefjanto Fakultas( Film dan Televisi, Producer, Artistic Director, Dance Director: IKJ) Michi Tomioka Cosponsor: Fakultas Seni Pertunjukan, IKJ Dancers (Position: Name) Donors: Mrs. Pia Alisjahbana, Mr.Bondan Winarno batak: Michi Tomioka / gulu: Rusini, dada: Sri Special Thanks: Setyoasih, buncit: Hadawiyah Endah Utami, endel Nungki Kusumastuti (Fakultas Seni Pertunjukan, IKJ) weton: Tantin Sri Marwanti, endel ajek: Ninik Muryani MATaYA arts & heritage Sutrangi, apit ngarep: Saryuni Padminingsih (ISI Performance date: 21 August 2007 Ketan Biru and Nasi Surakarta) / apit beri: Priyati Umiyatun (SMKN8 Uduk from the Surakarta Court Surakarta) / apit menang: Indah Nuraini (ISI Description: This was an independent performance which was Yogyakarta) followed by a discussion between the dancers and audience Costume Director: Hartoyo (ISI Surakarta and the Surakarta with Nungki Kusumastuti as moderator. Court) Costume Assistant: Dwi Maryani, Dewi Kristiyanti (ISI 2 Bedhaya performances Surakarta) 2-1 Bedhaya Pangkur / music CD (1:05:58) Costume: Dodot Agung Recording: 25 June 2007 Hair Style: Bangun Tulak At Studio 19, ISI Surakarta Music Director: Danis Sugiyanto (ISI Surakarta) Producer: Michi Tomioka Musicians: “Marsudi Renaning Manah”, Kemlayan, Music Director: Danis Sugiyanto (ISI Surakarta) Surakarta Instructors: Danis Sugiyanto, Supardi, Darsono (ISI Lighting / Sound: Hengki, S, Rivai (TBJT) Surakarta) Coordinator: Jatmiko (TBJT) Musicians: Video Works: Esha, Chris (Studio 19, ISI Surakarta) “Marsudi Renaning Manah”, Kemlayan, Surakarta Photographer: Heru Santoso (Studio 19, ISI Surakarta) Rebab: Danis Sugiyanto*/ Kendhang: Hadi Boediono*/ Cosponsor: TBJT Penuntung, Suling: Supardi*/ Gender Barung: Bambang Performance dates: 11 May 2007 Ketan Biru from the Sasadara / Gender Panerus: Prasadiyanto */ Bonang Surakarta Court / for the opening of rehearsals

Asian Transformations in Action The Work of the 2006/2007 API Fellows 60 INTERMINGLING OF CONTINUITY AND DISCONTINUITY

28 June 2007 Ketan Biru and Nasi Uduk from the Surakarta August 2007 Court - Reader’s Digest Indonesia (a monthly magazine) “Klik! Description: This performance was held as an independent Sembilan Wanita…” production. After the doors opened, we offered a gendhing bonang (instrumental music) performance, “Babar Layar,” for 16 August 2007 15-20 minutes, while waiting for attendants. - Metro TV, “Kick Andy” (talk show, nationwide network) Episode: “Kami Juga Cinta Indonesia” (We Also Love 3 Publicity in the mass media Indonesia) Broadcast: Thursday, 16 August 2007, 22:05-23:05 26 June 2007 Re broadcast: Sunday, 19 August 2007, 15:05-16:05 - KOMPAS Cyber Media “Negeriku—Mahasiswi Jepang Gelar Tari Bedhaya Pangkur”, http:// www.kompascommunity.com/ 24 August 2007 index.php?fuseaction=home.detail&id=34221§ion=119 The Daily Jakarta Shimbun (Japanese), “Srimpi Performance - KOMPAS “Pergelaran Tari Bedhaya Pangkur” of the Surakarta Court Style” - SOLOPOS “Tari Bedhaya Pangkur akan disuguhkan dengan kosep asli” 29 August 2007 - The Daily Jakarta Shimbun (Japanese) “penari asal dari Suara Pembaruan, “Pentas Tari Srimpi Gondokusumo Dari Solo Jepang Michi Tomioka mengali tari Keraton klasik, pentas ke Jakarta oleh Michi Tomioka,” http://www.suarapembaruan. di Solo tgl.28” com/News/2007/08/27/index.html - Ria FM (radio) “Selamat Pagi Surakarta” 07:00-07:10 31 August 2007 27 June 2007 The Daily Jakarta Shimbun (Japanese), “The first performance - SUARA MERDEKA “Bahasa Kagok Penari Jawa Itu” at IKJ of the reconstruction of traditional dance by a Javanese - Jawa Pos Radar Solo “Michi Tomioka, Tertantang Padukan dancer, Michi Tomioka” Tari Jepang-Indonesia” http://www.jawapos.com/index.php?act=detail_ 4 Publications radar&id=165442&c=108” Tomioka Michi. “Ringkasan Sejarah Tari Srimpi dan Bedhaya 28 June 2007 di Luar Tembok Keraton.” (Outline of the history of Srimpi - KOMPAS “—Kesenian—Ketika Penari Asal Jepang Berlatih and Bedhaya dances from the court toward outside wall). Menari...” Brochure of the performance titled “Retrospeksi IWAN http://www.kompas.com/kompas-cetak/0706/28/ TIRTA, Tanding Gendhing (A Battle of Wits).” Jakarta: PT jateng/55492.htm” Gelar Nusantara, 2007. - KORAN TEMPO “Tari Keraton Solo Dikonservasikan”

29 June 2007 - Wawasan “—Pertunjukan ‘tari Bedhaya Pangku’’ di TBS semalam—Merekonstruksi kembali karya PB IV dan PB VIII”

30 June 2007 - MEDIA INDONESIA “Tari ‘Bedhaya Pangkur’ ” (only photo) - KOMPAS “Tari Bedhaya Pangkur” (only photo) - SOLOPOS “Saat keaslian Bedhaya Pangkur kembali hadir” http://www.solopos.com/rubrik.php?ct=2007-07-01%20 02:00:05 - SUARA MERDEKA “Sukses, Pentas Bedhaya Pangkur”

5 July 2007 - SOLOPOS Kridha (Javanese) “Bedhaya Pangkur Kababar ing TBS”

12 July 2007 - SOLOPOS Kridha (Javanese) “Michi Tomioka asli Jepang wasis mbeksa”

Asian Transformations in Action The Work of the 2006/2007 API Fellows