Organizing Bandung Isola Performing Arts Festival (BIPAF) As a Market of Innovative Performing Arts in Indonesia

Harmonia: Journal of Arts Research and Education 20 (1) (2020), 47-57 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v20i1.24380

Organizing Bandung Isola Performing Arts Festival (BIPAF) As A Market of Innovative Performing Arts in Indonesia

Yudi Sukmayadi1, Juju Masunah2

1Department of Music Education, Universitas Pendidikan Indonesia 2Department of Dance Education, Universitas Pendidikan Indonesia

Submitted: May 8, 2020. Revised: June 9, 2020. Accepted: July 4, 2020

Abstract

The purpose of this article is to discuss a festival model which promotes innovative performing arts in Indonesia. This qualitative approach used a project-based research method. The proce- dure of this research began with diagnosing the problems, making plan to conduct the festival in Bandung, conducting the festival, and evaluation. Data were collected by participation observation, interview, study of documentation, focused group discussion, and personal reflection. The findings of this research showed that Bandung Isola Performing Arts Festival (BIPAF) is a festival model as a form of market for innovative performing arts. The activities of BIPAF began with selecting/curating the performing artworks, holding art incubation, making promotion, show casing and pitching, as well as discussion and evaluation. BIPAF organizer designed a meeting within choreographers/producers and festival directors, curators and promotors of performing arts in Villa Isola outdoor stage in Universiatas Pendididkan Indonesia. This meeting was followed up by performing some pieces from BIPAF in the stage of SIPA and IMF Surakarta, and Korean Festival in South Korea. This festival contains a strategy value to develop creative industry sub sector of performing arts in Indonesia.

Keywords: BIPAF; Creative Industry; Model Festival; Performing Arts Market; Villa Isola

How to Cite: Sukmayadi, Y. & Masunah, J. (2020). Organizing Bandung Isola Performing Arts Festival (BIPAF) As A Market of Innovative Performing Arts in Indonesia. Harmonia: Journal of Arts Research And Education, 20(1), 47-57.

INTRODUCTION ritual practices or rituals. Referring to the opinion of Murgianto (2016), he identified In every country, there are many fes- ten activities that build festivals as ritual tivals with various forms and purposes. behaviour or rites, they are rites of valo- Getz (2010) states that a festival is a cul- rization, rites of purification, rites of pas- tural event that has a function, meaning, sage, rites of reversal, rites of conspicuous and impact on society. Murgianto (2016) display, rites of conspicuous consumption, defines the festival as a celebration in cer- rituals dramas, rites of exchange, rites of tain religious or non-religious, an annual competition, rites of devalorization. This celebration to honour someone or offer it ritual behaviour is characterized by the to someone, a cultural event, a market, and characteristics of the show and its purpose. cheerfulness, joy, happiness, and excite- Indonesia has many festivals, organi- ment. This understanding is more social zed by the community of village, district, and cultural which, if repeated, can build province, and the central government.

 Corresponding author: E-mail: [email protected]

47 48 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 47-57

Major festivals in Indonesia include the PAF refers to the concept of the creative Indonesian Art Summit (ASI), Indonesian economy because the performing arts pre- Dance Festival (IDF), Solo International sented are not only seen as cultural activi- Performing Arts (SIPA), Indonesia Mask ties but also have economic goals. Festival (IMF), Jogja International Perfor- The city of Bandung has many fes- ming Arts (JIPA), Salihara Festival, Indo- tivals and creators of performing arts but nesia Performing Arts Market (IPAM), and does not yet have a festival model that al- others. The festival repeats itself as an an- lows artists or producers to promote their nual, biennial, and even triennial festival work to prospective buyers. Performing aimed at international appreciation and art creators from Bandung have not been collaboration. able to play a role in the performance of Based on the analysis of researchers, the performing arts market in Indonesia IPAM is a festival that has a direct rela- or abroad (Masunah & Milyartini, 2016). tionship with the context of the creative Therefore, researchers conducted project- economy (Masunah, 2017). In this creative based research in the form of festivals that economy era, Mari Elka Pangestu (2015) aim to realize rites of exchange or the art expects creative actors [including perfor- market that promotes innovative works of ming arts] to gain added value socially, performing arts artists of Bandung, West culturally, and economically. The direc- Java, Indonesia. This research is important tion of IPAM activity is the promotion of to be done to strengthen the performing the work and its creators so that it can be arts as one of the creative industry sub- appreciated by the wider community, in- sector in Indonesia. cluding foreign people. IPAM was held The purpose of this article is to dis- by the central government, the location cuss the organization of BIPAF as a model of the event was in Solo, Bali, and in 2013 festival in Bandung that acts as an innova- in Jakarta. At present, IPAM is no longer tive performing arts market in Indonesia. implemented, even though such a festival BIPAF has been held since 2016, but in model is very important for the develop- this article, the study is more focused on ment of the creative industries in the per- organizing BIPAF 2017 to 2019, because in forming arts sub-sector in Indonesia. that year BIPAF was held internationally In contrast to South Korea, which by three parties namely: UPI lecturer team; held the Performing Arts Market in Seoul Centre for Research and Development of (PAMS) since 2005 and consistently held the Creative Economy, Entrepreneurship, every year until now. The form of festival and Tourism Industry (EKKIP Centre) at the PAMS event was followed by many Centre for Research and Community Ser- countries. Researchers analyzed the tar- vice (LPPM) UPI, and BIPAF Community. get of IPAM 2013 and PAMS 2015, it turns Hopefully this study will be useful for per- out that both of them have the same target forming arts artists who will present their activity namely the festival in the country work in the upcoming BIPAF, for stake- and overseas tours (Masunah, 2017). If re- holders who will select innovative perfor- ferring to the categorization proposed by ming arts from Indonesia, and for BIPAF Murgianto above, the IPAM and PAMS organizers. are classified as a rite of exchange because the festival has the aim of “selling” crea- METHOD tive works of performing arts to prospective buyers, namely festival directors and This research was conducted in the presenter venues, curators, and promoters city of Bandung. The location of the re- from various countries. This concept was search setting as well as the stage for the adopted by the organizers of the Bandung show is Villa Isola Parrk, Universitas Pen- Isola Performing Arts Festival (BIPAF) didikan Indonesia on Setiabudi street 229 at Universitas Pendidikan Indonesia. BI- Bandung, West Java. Yudi Sukmayadi, Juju Masunah, Organizing Bandung Isola Performing Arts Festival (BI- 49

The participants of this research are RESULTS AND DISCUSSION creative performers in BIPAF, performing arts stakeholders/buyers, namely festival BIPAF as a Performing Arts Market directors and festival curators who are BIPAF uses two place names, i.e. invited by the BIPAF committee, BIPAF Bandung and Isola, while the festival con- Community, and the researchers themsel- tent is performing arts. So, this festival is ves. Creative actors are choreographers or called Bandung Isola Performing Arts Fes- performers of performance art performed tival (BIPAF). On the other hand, through at BIPAF, especially from 2017 to 2019. two place names, BIPAF organizers want Performing arts observers or buyers in- to build an image of the city and at the clude the Director of the Solo International same time the location of the campus whe- Performing Arts (SIPA) and the Director of re the performance is held as an identity. the Indonesia International Mask Festival BIPAF organizing group called BI- (IIMF), one of the directors of the Indone- PAF Community. However, BIPAF Com- sia Dance Festival (IDF), the Director of munity also involves presenters and obser- “Seni Sini Sana”, and the Director of the vers of the work at the festival. This is in International Jogja Performing Arts (JIPA). line with the thinking of Levi (2003). Levi This study uses a qualitative para- (2003) suggests a festival model whose ide- digm, with the project-based research met- as are related to celebration, identity, com- hod (Stoecker, 2005). The main characteris- munity. At the festival, there is celebration, tic of this research is applied research. The but it contains efforts to build community researchers apply the concepts and ideas and networking, interact with one anot- of the festival as a performing arts market her, exchange experiences, and learn from in the city of Bandung. The researchers be- one another. In the Levi concept, identity gan the activity by diagnosing the potential as the individual identity of the artist who and problems of promoting performing also offers his work, and networking. Levi arts for artists in the city of Bandung, in exemplified several festivals in Los Ange- particular. Then the researchers designed les, the United States that have social and a festival model that used the Villa Isola cultural functions. Getz (2010) categorizes site specific stage as the stage background, festivals into three points of discussion, then the researchers organized the festival, namely festivals that have a function, mea- and finally conducted an evaluation. ning, and impact socially and culturally Data collection techniques are car- tourist festivals and management festi- ried out through literature study, partici- vals. Tourist festivals and management patory observation, interviews, documen- festivals are new discussions compared tation study, and reflections. A literature to festival studies that have a function, study was conducted to obtain a frame- meaning, and impact on society. Further- work for thinking about the festival model. more, Getz (2010) examines the festival The results of previous research done were based on the themes, experiences, and used as a reference in building a frame- meanings that appear in the festival. One work for thinking about the festival mo- of the themes that are closely related to del. Observations were made at the time BIPAF is community, culture, place iden- of the show and the experience of resear- tity, and attachment. In this category, Getz chers as organizers, conducting studies of (2010) says that festivals are related to cul- video and photo documentation. Various ture and place, giving each other’s identi- meetings were held in preparation for hol- ty, and helping to cement people in their ding BIPAF together with the committee community. The concept of Levi (2003) and organizer. Data analysis is carried out is in line with Getz’s (2010) views on the inductively, which is to build patterns, ca- categories of community, culture, place tegories, and themes based on the data and identity, and attachment festival themes. facts found; then do the interpretation. To build a performing arts community in 50 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 47-57 addition to presenting works, places, there the UK. The show was held in several ve- are also “art participants” (Ardipal, 2015). nues and paid (tickets) for a full month in In the context of BIPAF, the art community August. The festival here has an economic is built by all art participants who are in- impact on artists and society, and the go- volved while supporting BIPAF, including vernment. Another festival that is no less creators, performers, committees, creative great is the Adelaide Fringe Festival. Caust workers, spectators, and observers or bu- and Glow (2011) argue that the Adelaide yers. annual festival has a more cultural functi- If associated with tourist festivals, on, although, in the context of the creative cultural venues and events are tools to industry, an entrepreneurial spirit is deve- attract people to visit. This is in line with loped that leads to the economy. BIPAF’s Avraham (2014) view of “hosting events as long-term goal as a cultural activity or a tool for restoring destination image”. Av- cultural event can build a new image of a raham (2014) argues that one of the strate- tourist destination in Bandung. gies to build an image of a tourist destina- If BIPAF still adheres to the concept tion or the marketing of tourist attractions of the creative economy, then this festival is to create an event. Seven events are ana- is part of a flow forum for the creation of lyzed that can be a place promotion tool, artworks to be distributed and received namely “(1) mega sports events; (2) sports appreciation from the wider community. events; (3) cultural events; (4) events that BIPAF can also be seen as part of a per- the brand contradicts to the stereotype; (5) forming arts ecosystem (Masunah, 2019). events with opinion leaders and celebrities; For example, a creation that is produced (6) conferences and conventions; (7) events cannot develop and continue without that convert negative characteristics into distribution to performances that are ap- positive ”. These activities are quite suc- preciated by the community. Therefore, cessfully used to build the image of a place BIPAF aims to facilitate the performing from negative to a positive image. Also, arts artists, creators, art presenters, and Davis (2016) says that the environment creative work teams to present their work, can be an incentive to create festivals and so that collaboration and connections or make the identity of a place. When refer- networks with their stakeholders occur, ring to the view of Avraham (2014) about both at national and international levels. organizing events, cultural events such as BIPAF as an innovative performing this festival are instruments for building arts market has three parties which are destination images. a unity or community, namely the festi- Examples of the most successful fes- val organizer, artists, and their works, as tivals in building image venues, building well as stakeholders/buyers. Performing a performing arts community, and other artworks are creating products that have performing arts and cultural events are the novelty or innovation and are characteris- Edinburgh Fringe Festival, UK. The loca- tic of the area where the work was made tion of Edinburgh is the Old City with its by the artist. The organizer of the festival magnificent heritage. The festival is visited is an agent whose role is to promote and by more than 500,000 people a month. The distribute works of art (also called supp- performance art that was staged at the fes- liers) in the showcase and pitching events tival was the most curated performance art and discussions in the country. Stakehol- from around the world. Most of the specta- ders/buyers are people who have a stage/ tors who attended were festival organizers performing arts festival that has an interest and presenter venues who would buy the in selecting works according to the stage performing arts. Performing arts perfor- they have, both at home and abroad. These ming at the festival can increase the pur- three parties are depicted in the form of a chase of performance art, and the city is a chart like the Figure 1. tourist destination for performing arts in Yudi Sukmayadi, Juju Masunah, Organizing Bandung Isola Performing Arts Festival (BI- 51

Bandung Isola Performing Arts’ Festival artistically, especially to adjust to the BI- (BIPAF) PAF stage at Taman Villa Isola UPI, the duration of the work is between 10 - 20 mi- nutes, and a limited number of artists. The work that has entered the incubation process has become an innovative performing arts product that is ready to be promoted by the organizer of BIPAF through posters and social media electro- nically. Then the organizer of BIPAF distri- butes this innovative product through a showcase or pitching. Figure 1. Festival Model as a Performing Arts Showcase and pitching are forms of Market (Masunah, 2019) marketing innovative performance art because in this activity, the organizer of BI- The Model Festival chart above il- PAF presents stakeholders/buyers, name- lustrates a series of BIPAF activity proces- ly the Festival Director, Venue Presenters, ses involving BIPAF organizers, perfor- Curators, and Performance Promoters. In ming arts artists, and stakeholders/buyers this activity, the producer/choreographer or buyers. The BIPAF organizer as a faci- communicates with stakeholders, which is litator resides in all boxes and circles and expected to occur transactions for staging the direction of the arrow, from the three- on their stage. circle container (creation/production, In this BIPAF, performance artists or selection/curation, incubation/creative choreographers present their work, both product) that shows BIPAF preparation, in the showcase and pitching, and actively then short arrows pointing towards pro- communicate directly with their stakehol- motional activities and distribution (supp- ders in discussions facilitated by BIPAF or- ly), then the green elliptical arrow which ganizers or based on their agreement. Sta- means proceed to a large circle called the keholders or buyers are involved in BIPAF market. Within this market circle, BIPAF to observe and evaluate the work perfor- organizers present the work of artists in med in the showcase or pitching, then dis- showcase and pitching that present obser- cuss it with the presenters or performing vers/stakeholders including the Director artists. It is hoped that among them there of SIPA/IMF, IDF curators, JIPA curators, will be a follow-up discussion and com- presenter/cultural park venues, perfor- munication to stage on broader stages. mance art promoters, and other stakehol- In particular, the general audience ders. The steps can be explained as follows. was invited through promotion on Garu- Collecting performing arts as a result da Television & 0Cannel, the web Rimma. of the creation and production of perfor- co, fpsd.upi.edu, and social media, as well mance artists from communities, groups, as special invitations in the form of letters. and universities in Indonesia and abroad. BIPAF observers specifically invited in- Selecting and curating performance cluded: Director of the Indonesia Dance artworks by referring to the criteria, name- Festival (IDF), from Jakarta; Indonesian ly having the novelty and characteristics of Performing Arts Promoters, from Jakarta, the region/country where the work origi- Director of Solo International Performing nated. Arts (SIPA) who is also the Director of Selected works from the results of the International Mask Festival (IMF). We curation are included in the incubation also invited representatives of government process. In this process, the producer/ agencies such as the City of Bandung, choreographer will receive guidance from West Java, and others, as well as the gene- a mentor or expert, both aesthetically and ral audience and students. The general tar- 52 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 47-57 get audience of 500 people. However, the Indonesian traditional dance-based number of BIPAF viewers reached around works at BIPAF 2017 and 2018 feature 8 1,000 people, exceeding the target set. The works, namely 6 works by West Java ar- presence of observers is very important tists and 2 by artists outside West Java. In in BIPAF because they are expected to 2017, the work performed was “Cepot Ha- respond by performing artists to develop mot Hamong Hamemangkat” abbreviated their artistic quality and market networks. CH3 by Citra Nurateni from Bandung, Observers were presented at the show- “Nyai Wiranggana” by Asep Kusma- casing and pitching event and continued na from Lika 04 Community, Subang. with the discussion. In the discussion pro- The 2018 BIPAF was “Gunem Wadasan gram, there was interaction and dialogue Nopeng” by Yoyoh Siti Mariah and Juju between the organizers and observers, as Masunah from Bandung, “Lara” by Nur- well as evaluating the work and organiza- fitri Yani Padjriah (aka Pier) from ISBI Ban- tion of BIPAF. dung. BIPAF 2019 featured “Sanghyang Awi” by Ayo Sunaryo and “Agrapana Ing Characteristics of Performing Arts in BI- Kujang” by Dhendi Firmansyah from Ban- PAF dung, “Inyiak Balang” by Saian Badarud- In BIPAF 2017 to 2019, the venue will din (2019) from The 21 Production Studio be held in a special site (site-specific) at the Padang, and “Room Rock” by Nanda Cha- rear of Villa Isola Park where the Villa Iso- hya from Surabaya. la heritage building will be the setting. Per- The collaborative dance work bet- forming arts also focus on dance or dance ween South Korean artists, Park Nahoon, theater. Unlike BIPAF 2016, which uses and UPI Dance Education students and lec- Villa Isola’s specific site by exploring the turers, in BIPAF 2017 is “Touching Unkno- pool and front page of Villa Isola, the outer wn People”. In 2018, “Touching Unknown and inner courtyard of the Amphitheater, People” was re-worked by Ayo Sunaryo and the ISBI Bandung Auditorium, so that and produced the work “New Touching the types of works vary, namely music, Unknown People”, and a new work on dance, and theater. In this paper, I will fo- “Contemporary Korean Mask” by Son Yea cus on BIPAF 2017 to 2019, because BIPAF Ran, South Korea, with five dancers from in recent years has found a form of presen- UPI Dance Education Department stu- tation that is showcase and pitching, with dents. To work on this collaborative work dance works and/or dance theater. begins with a workshop of 30 students on choreography techniques to prepare the Showcase in BIPAF 2017 to 2019 work “Touching Unknown People”, then The characteristics of performing selected 10 dancers namely 9 men and one arts that are staged in BIPAF 2017 to 2019 woman for this collaborative work and through the showcase can be grouped into worked using the Hammock tool as a dan- three types of works namely creations ce property. Preparing the “Contemporary based on traditional Indonesian traditions, Korean Mask” begins with the training of a collaborative dance between Indonesia the basics of South Korean traditional dan- and abroad (South Korea), and dance and ce in extra-curricular activities at the UPI theater dances of foreign artists (Korea Dance Education Department, then five South) based on the country’s traditions. dancers are chosen. In 2019, BIPAF perfor- What is meant by Indonesian tradition is med the “Scissor Tail Sergeant” by Nahoon limited by regional characteristics where Park with a dancer from a Dance Depart- the artist originated, while collaborative ment student, Ismail Muladi. In preparing dance works are dance works produced this work, Nahoon Park discussed the idea by one or two overseas choreographers or of works and dance techniques with dan- more by choreographers and/or dancers/ cers, then it was these dancers who inter- performers from Indonesia. preted the ideas in the form of solo dances Yudi Sukmayadi, Juju Masunah, Organizing Bandung Isola Performing Arts Festival (BI- 53 and performed at BIPAF 2019. Irwan Fitriayan from Bina Tari Anak (Bita- Dance works from abroad, especial- ria) Art Show & Education, West Bandung; ly South Korea in 2017, are Park Nahoon’s “Sinom” by Wildan Kurnia from Shocking Three Airs and in BIPAF 2019 featuring Rajah Performing Arts, West Bandung; the work “Storm”. Three Airs describes “Kidung Perkasa” by Devi Supriatna from three strange living creatures filled with ISBI Bandung. These three works have air. Which sometimes shows eccentric, been staged in BIPAF 2016. In terms of stupid, and strange. This work was perfor- work, these three works are highly adapted med by three dancers namely Park Sang to the site-specific stage. “Belekok Suit” Joon, Moon Hyung Su, and Kim Sang Gak was displayed in the pool in front of Villa and supported by music operator, Ji Hoon Isola, while “Sinom” was displayed in the Yum; Lighting designers are An Yun Mi; front yard of Villa Isola next to the pool. and Stage Assistant, An Young-Mi. This “Song of Mightiness” was displayed outsi- work was once staged at Solo Internatio- de the parking area of the UPI Amphithea- nal Performing Arts (SIPA) 2016. Irawa- ter building. Besides, “Hanoman Duta” by ti commented on the work of Three Airs Tatang Taryana and Iwan Gunawan from at BIPAF 2017 with the stage whose icon UPI Bandung using Villa Isola Park with is Vila Isola, “That’s amazing,” he said. quite several dancers and musicians were This is different from the SIPA 2016 stage staged at the 63rd Anniversary. BIPAF with the background setting of Fort Vans- 2018 presented works that were still in the terburg, Solo. However, Rama Thaharani process of “Ronggeng Pakidulan” by Arbi said, “The Three Airs dancers looked ex- Nuralamsyah, and “Lalayang Salaka Do- hausted from mastering the stage, it would mas” by Dody Kholid and Asep Supriatna, be better if it was shown in the studio.” while intact works were displayed “Srim- The next overseas work at BIPAF 2019 is pi Menak Lare” by Sri Rochana Widiastu- “The Slaughter” by Heiner Mueller, a Ger- tieningrum from Surakarta, and “Pandji man playwright, which was worked on in Caroeban” by Raka Renaldy. In 2019, the the form of performance art by Kiryong curators chose three works to be presented Son and Storm group. Storm is a South in pitching but was present and presented Korean performing arts group and Young- only one of his works namely Rd. Siti Ratu san University, specializing in overseas Dinda from Bandung titled “Supata”, whi- performances by experimenting with glo- le others showed her unpreparedness. cal (global-local) work, global themes but The works presented in this pitching local content in South Korea. This work is are expected to receive input and evalu- divided into three parts, namely, the first ation, both aesthetically and artistically. part is presented in the form of drama de- However, the presenter/choreographer is picting humanity’s loss of humanity caus- not able to understand how the presenta- ed by war, part II describes the message of tion and its importance to offer work to its world peace with installation art, and the stakeholders. After pitching, the discussi- third part displays percussion music with on continues between the presenter and drums that are performed while dancing the stakeholders. This is where the choreo- attractively. graphers are required to attend, both whose work is staged in the showcase session Pitching in BIPAF 2017-2019 and on the pitching. Pitching is a form of offering work to its stakeholders through exposure. The Discussion and Evaluation works presented on pitching are dance The discussion program that is held works that are ready and work that is still after pitching is a good opportunity for in process, considering the stage and the producers/choreographers to communi- number of dancers. Dance works on pit- cate with stakeholders or buyers. At this ching at BIPAF 2017 are “Belekok Su” by event, stakeholder interests will also be 54 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 47-57 known for the work presented. Discussions a competitive element, and that becomes in BIPAF 2017, Director of SIPA and IMF, stronger friendship, and can be offered to responded to the collaborative work: “It is Indonesian and foreign festivals. The the- a pleasure to collaborate, with Hammock me is good, introduction to friendship. It being known by young people. Hammock would be wonderful if there were Korean can perform at SIPA, only the proposal dancers.” Furthermore, Irawati also com- is that Bandung dancers are reduced but mented on the work of CH3, “Amazingly, Korean dancers are included, so there is a female choreographer works on a male a competitive element, and that becomes dancer, there is a funny movement but stronger friendship, and can be offered to there is a serious mission behind it. If you Indonesian and foreign festivals. The the- want to be surrounded, you have to redu- me is good, introduction to friendship. It ce the players.” CH3 portrays the figure would be wonderful if there were Korean of Cepot, one of the Panakawan figures dancers.” Furthermore, Irawati also com- in Wayang (Wayang Golek) who repre- mented on the work of CH3, “Amazingly, sents ordinary people. He has the nature a female choreographer works on a male of openness (hamot), able to filter out new dancer, there is a funny movement but elements (Hamong), and sterilize a value there is a serious mission behind it. If you into a new value (hamemangkat). His role want to be surrounded, you have to redu- is as an entertainer and exciter of social ce the players.” CH3 portrays the figure criticism. This work is the result of art cre- of Cepot, one of the Panakawan figures ation master examination at the Indonesi- in Wayang (Wayang Golek) who repre- an Cultural Arts Institute (ISBI) Bandung. sents ordinary people. He has the nature This work is supported by 24 dancers and of openness (hamot), able to filter out new music players. Therefore, Irawati also as- elements (Hamong), and sterilize a value ked the presenter to reduce the number of into a new value (hamemangkat). His role artists, and he also suggested that the dan- is as an entertainer and exciter of social cers wear masks. The comments by CH3 criticism. This work is the result of art cre- were made by the Director of Seni Sini ation master examination at the Indonesi- Sana, Rama Thaharani: “There are figures an Cultural Arts Institute (ISBI) Bandung. who voice the people and interesting ide- This work is supported by 24 dancers and as.” music players. Therefore, Irawati also as- The special comment from Rama was ked the presenter to reduce the number of about the trend of works that the festival artists, and he also suggested that the dan- director liked was international collabora- cers wear masks. The comments by CH3 tion. International collaboration is an acti- were made by the Director of Seni Sini vity of trying to cross each other’s cultural Sana, Rama Thaharani: “There are figures boundaries, preservation of culture tends who voice the people and interesting ide- to defend our ideas. The big note about asThe discussion program that is held af- collaboration is about equality. Rama also ter pitching is a good opportunity for pro- said that “International collaboration, one ducers/choreographers to communicate of the most effective marketing, also al- with stakeholders or buyers. At this event, lows for festival interest because it repre- stakeholder interests will also be known sents two countries.” Touching Unknown for the work presented. Discussions in BI- People’s work contains several ideas, but PAF 2017, Director of SIPA and IMF, res- there is a good movement that is the po- ponded to the collaborative work: “It is a wer of the push-up movement is very in- pleasure to collaborate, with Hammock teresting. Like Kusumastuti’s comment, being known by young people. Hammock according to Rama, the problem of each can perform at SIPA, only the proposal Touching Unknown People dancer is the is that Bandung dancers are reduced but body. Rama said that “dancers are still not Korean dancers are included, so there is of one vision.” Yudi Sukmayadi, Juju Masunah, Organizing Bandung Isola Performing Arts Festival (BI- 55

The response of stakeholders, especi- stage. Stakeholders who have come to the ally the director of the festival, IDF, SIPA, BIPAF event are the Representative and and IMF said that the work performed at Curator of the Indonesian Dance Festival BIPAF could continue to another stage (IDF), SIPA and IMF Director, the Director with audiences from different contexts. The of Seni, Sini, Sana, JIPA Curator from Jog- Director of IDF who attended BIPAF 2017 jakarta, and IMACO from Andong, South was very interested in performing “Three Korea. In a discussion held by BIPAF 2017, Airs” but had to go through a curatorial Rama Thaharani said that: usually, festival process first. SIPA and IMF directors are directors look for works following their ar- interested in “Touching Unknown Peop- tistic framework and themes, the relevan- le”, “Sinom Barataning Rasa”, and “CH3”. ce of work for the festival itself, with the In 2018, JIPA’s curator was impressed with context of the audience, so it is not simp- the work of “Lara”, but the duration of the le form where the works are staged. The time was too long, and the number of mu- director of the festival will look directly at sic players was considered by JIPA. The the show, to choose the appropriate work. Director of SIPA is also interested in the So, any work has its market, however, the work of “Lara” because the dancers have festival can publish the work specifically. mature skills. For IMF, Irawati requested Usually, works that have local stories and the work “Gunem Wadasan Nopeng” to symbols are very local, rather difficult to be staged in Solo. Meanwhile, in 2019 the be taken out of the context of the area that IDF curator commented on “Scissor Tail has a story. It would be nice if the orga- Sergreant” that “the dancer’s body was nizer raised themes that were known to good, the only exploration of his work was many people such as Ramayana for the still too limited.” The SIPA and IMF direc- work of Hanoman Duta. tors were impressed with the variety of Performing artworks that were sta- works from three cities in Indonesia, and ged at BIPAF 2017 and 2018 have succeeded two foreign works. in building networks with the Directors of SIPA and IMF. Collaborative dance work BIPAF achievements as a Market of Per- by Park Nahoon (South Korea) and Ayo forming Arts Sunaryo (Indonesia) entitled “Touching BIPAF as a performing arts market Unknown People” and “CH3” tradition- has a target, namely the implementati- based creations by Citra Nurateni that on of festivals in the country and tours in were staged at BIPAF 2017 have been in- and outside the country (Masunah, 2017). vited and performed on the SIPA stage on BIPAF has been successfully held conti- 7-8 September 2018 in Surakarta. Cirebon nuously in Bandung from 2016 to 2019. The Mask-based traditional dance work entit- works are dominated by Bandung choreo- led “Gunem Wadasan Topen” by Yoyoh graphers and surrounding areas rather Siti Mariyah and Juju Masunah performed than works outside of Bandung. This is at BIPAF 2018 was invited to perform on intended to further maximize the promo- the IMF stage on 26-27 October 2018 in tion of Bandung’s choreographed works. Surakarta. The work “Lara” was staged at However, BIPAF as an international festi- BIPAF 2018 invited by the Director of SIPA val in 2019, BIPAF’s works have expanded in 2019 with all the dancers and musicians. to include works outside of Bandung and Two students from Department of Dance abroad. However, the promotion priority Education, Mario Patogian and Ismail Mu- is still in the scope of Bandung and its sur- ladi, who supported collaborative work in roundings. 2018 were asked by Nahon Park to become One indicator of BIPAF achieve- a duet dancer at the Korean Festival, in ments is that the works presented in the Seoul. The works presented at BIPAF 2019 showcase and pitching can be invited by and observed by IDF curators and the Di- stakeholders/buyers to perform on their rector of SIPA/IMF hopefully present the 56 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 47-57 works of BIPAF 2019 at the festival they UPI. The characteristics of the performing will be held in 2020. arts in BIPAF are the works of Indonesian Another achievement is the forma- artists who have novelty but have regional tion of BIPAF Community in 2018 as the characteristics, works of art produced by main organizer of BIPAF 2019. BIPAF international collaborations, and works of community is an organization/communi- foreign artists that have one of the charac- ty consisting of students, alumni, and UPI teristics of the country’s performing arts. lecturers who organize BIPAF. BIPAF com- Judging from the variety of works munity was originally a temporary com- that were staged at BIPAF 2017 to 2019, BI- mittee of BIPAF organizer. In terms of buil- PAF is included at the international level. ding community, Ardipal (2015) discusses Stakeholders/buyers present at BIPAF are the role of art participants. Art participants the director of SIPA/IMF, IDF and JIPA cu- are people, who are involved in art activi- rators from Jogjakarta, and the general sec- ties, they are art figures, artists, musicians, retary of IMACO from South Korea. The including music listeners. Ardipal argued works and artists who successfully perfor- that these people support the arts. By quo- med outside Bandung include SIPA and ting from the National Endowment for the IMF in Surakarta, and the Korean Festival, Art (NEA), Ardipal (2015) described an art South Korea. The holding of BIPAF 2019 as infrastructure building whose foundation an international festival can be carried out consists of: art scene, art organization, art because of the cooperation of various par- school, voluntary financial support, uni- ties, especially BIPAF Community. ty, and association network, and public policy. This art infrastructure is a group REFERENCES of people as a community somewhere. 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