Performances . Kampana . Conversations
Daftar Isi / Table of Contents
JADWAL IDF2020.zip / IDF2020.zip SCHEDULE p. 3
Sambutan / Forewords Direktur Jenderal Kebudayaan, Kementerian p.5 Pendidikan dan Kebudayaan Republik Indonesia Foreword by the Director General of Culture, Ministry of Education and Culture of the Republic of Indonesia Deputi Bidang Produk Wisata dan Penyelenggara p.7 Kegiatan (Events), Kementerian Pariwisata dan Ekonomi Kreatif Republik Indonesia Foreword by the Deputy for Tourism Products and Events, Ministry of Tourism and Creative Economy of the Republic of Indonesia Komite Pengarah IDF2020.zip Foreword by the Steering Committee of IDF2020.zip p.9
IDF2020.zip DAYA: Cari Cara p.13 PROGRAM-PROGRAM IDF2020.zip / IDF2020.zip PROGRAMS Pertunjukan / Performances p.17 1’59 Project Indonesia p.18 #SKJ2020 p.19 Li Tu Tu p.20 Sila p.21
Kampana Mengintip Kampana / Peeking the 2020 Kampana p.23
Pertunjukan Kampana / Kampana Performances Virtual WAY (WhoAreYou) p.25 Re-reading Impact p.26 The Other Half p.27
Kampana Trajectory/Performative Talks p.28
zip.Conversations p. 30
Road to IDF2020.zip p.35
Biodata Singkat / Short Bios p.41 Kepanitiaan / The Committee p.52 IDF2020.zip // JADWAL // SCHEDULE (GMT
14:00 15:00 16:00
Day 1 Saturday November 7, 2020
2:00 PM Day 2 KAMPANA TRAJECTORY & KAMPANA PERFORMANCE Sunday The Other Half (work in progress) - Puri Senja November 8, 2020 4:00 PM KAMPANA TRAJECTORY Gege Diaz
2:00 PM Day 3 KAMPANA TRAJECTORY & KAMPANA PERFORMANCE Monday Virtual WAY (WhoAreYou) November 9, 2020 Eyi Lesar 4:00 PM KAMPANA TRAJECTORY Anis Harliani 2:00 PM Day 4 KAMPANA TRAJECTORY & KAMPANA PERFORMANCE Tuesday Re-reading Impact - Irfan Setiawan November 10, 2020 4:00 PM KAMPANA TRAJECTORY Eka Wahyuni Day 5 Wednesday November 11, 2020
2:00 PM Day 6 PERFORMANCE Thursday #SKJ2020 November 12, 2020 Gymnastik Emporium
Day 7 Friday November 13, 2020
Day 8 Saturday November 14, 2020 17:00 18:00 19:00 20:00 21:00
7:30 PM Opening of IDF 2020.zip DAYA: Cari Cara
8:00 PM PERFORMANCE 1’59 Project Indonesia - Eun-Me Ahn 8:00 PM PERFORMANCE Sila - Hari Ghulur
7:00 PM KAMPANA TRAJECTORY & KAMPANA PERFORMANCE The Other Half (work in progress) Puri Senja
7:00 PM KAMPANA TRAJECTORY & KAMPANA PERFORMANCE Virtual WAY (WhoAreYou) Eyi Lesar
7:00 PM KAMPANA TRAJECTORY & KAMPANA PERFORMANCE Re-reading Impact - Irfan Setiawan
7:00 PM PERFORMANCE #SKJ2020 - Gymnastik Partisipatory 7:30 PM PERFORMANCE #SKJ2020 - Gymnastik Emporium 7:00 PM zip.CONVERSATIONS Presence - Where are we now?
7:00 PM zip.CONVERSATIONS Resilience as Part of Our Blueprint
7:00 PM PERFORMANCE Li Tu Tu - Ayu Permata Sari 8:00 PM Closing of IDF 2020.zip DAYA: Cari Cara Sambutan Direktur Jenderal Kebudayaan, Kementerian Pendidikan dan Kebudayaan Republik Indonesia
Salam budaya Saya mengucapkan apresiasi yang setinggi- Saya percaya bahwa setiap hambatan tingginya atas terselenggaranya kembali justru mendatangkan jalan keluar yang Indonesian Dance Festival 2020, terutama tidak terduga. Menghadirkan panggung di di saat pandemi masih melanda dunia. IDF ruang virtual justru mempertemukan seni tetap bersemangat dan berkomitmen untuk dengan masyarakat yang lebih luas. Apalagi menjalankan perannya sebagai festival tari mengajak mereka untuk ikut terlibat dalam kontemporer yang selalu ditunggu-tunggu proses penciptaan seni bersama dari rumah oleh masyarakat seni tari di Indonesia, masing-masing seperti yang dilakukan IDF bahkan di dunia. kali ini. Hal ini tentu memberi pesan bahwa Kebijakan Pembatasan Sosial Berskala seni tidak hanya sarana yang mengolah rasa Besar (PSBB) untuk mencegah penularan dan keluhuran jiwa, tetapi juga wadah yang COVID-19, seperti larangan untuk dapat diandalkan untuk menjaga kesehatan berkumpulnya masyarakat sangat jiwa dan raga kita semua. berpengaruh pada perikehidupan para Semoga kehadiran IDF tidak hanya pekerja seni. Banyak kegiatan dan berbagai memberikan tanah yang gembur bagi acara kesenian harus dibatalkan sehingga kehidupan tari kontemporer di Indonesia mata pencaharian pekerja seni pun ikut dengan terus melahirkan seniman-seniman terdampak. Perlu upaya yang kuat dan tari bermutu sejajar dengan seniman- kreativitas yang sangat tinggi untuk dapat seniman tari mancanegara, tetapi juga bertahan dan tetap berkreasi di masa ini berdampak positif terhadap kehidupan seperti yang dilakukan IDF. Karenanya budaya masyarakat seluas-luasnya. kegiatan seni seperti yang dilakukan IDF Akhirul kalam, selamat berfestival. harus didukung sepenuhnya.
Hilmar Farid
Direktur Jenderal Kebudayaan Kementerian Pendidikan dan Kebudayaan Republik Indonesia
5 Foreword by the Director General of Culture, Ministry of Education and Culture of the Republic of Indonesia
Warm greetings to you all! I would like to express my highest I believe that every obstacle leads to appreciation for holding the 2020 unexpected solutions. Presenting a stage Indonesian Dance Festival, especially in a virtual space actually brings the arts when the pandemic is still happening.The within reach of the wider community. IDF remains passionate and committed Especially by inviting them to be involved to carrying out its role as a contemporary in the process of creating art together dance festival that is always celebrated from their homes, as has been done by the dance community in Indonesia by the IDF this year.It certainly implies a and the larger world. message that art not only serves a means The implementation of Large-Scale Social to cultivate feelings and sublimation of Restriction Policy (PSBB) to prevent the the soul, but also a platform that can be transmission of COVID-19, including a relied on to maintain the health of our ban on community gatherings, has had souls and bodies. a great impact on artists’ lives. Many Hopefully the presence of the IDF art activities and events have had to will not only provide a foundation for be canceled, which consequently has contemporary dance life in Indonesia afected the artists’ livelihoods. It takes by continuing to produce international perseverance and innovative thinking quality dance artists, but will also have a to be able to survive and keep being positive impact on the cultural life of the creative in this era. These are the values community as widely as possible. of the IDF and activities such as these Lastly, enjoy the festival. should be fully supported.
Hilmar Farid
Director General of Culture Ministry of Education and Culture of the Republic of Indonesia
6 Sambutan Deputi Bidang Produk Wisata dan Penyelenggara Kegiatan (Events), Kementerian Pariwisata dan Ekonomi Kreatif Republik Indonesia
Assalamualaikum Wr. Wb. Salam Sejahtera bagi kita semua Om Swastiastu
Salam Indonesia Maju!
Indonesian Dance Festival (IDF) merupakan biennale festival tari kontemporer internasional di Indonesia yang paling bergengsi dan terlama sejak tahun 1992. Kami sangat terkesan dengan visi IDF untuk mempromosikan tari kontemporer Indonesia ke dunia dan menggunakan tari sebagai sarana untuk mempromosikan toleransi, keragaman, dan kebaikan kemanusiaan. Kemudian mengenai usahanya untuk mengembangkan pendidikan tari kontemporer Indonesia serta mengembangkan ekosistem tari Indonesia dan ekonomi kreatif pelaku tari Indonesia, terlebih untuk menghadapi era adaptasi kebiasaan baru seperti saat ini. Pada kesempatan ini, apresiasi kami sampaikan kepada para penyelenggara atas terciptanya kegiatan ini. Di kala industri pariwisata dan ekonomi kreatif sangat terdampak pandemi COVID-19, tema acara DAYA: Cari Cara mampu memotivasi kita untuk tetap terus berkarya dan menciptakan kreatiftas, sehingga mampu bertahan dan bahkan meningkatkan kualitas. Kami sangat percaya bahwa dalam setiap krisis selalu ada peluang. Mari kita manfaatkan peluang-peluang yang ada sebaik mungkin. Kami ucapkan selamat menonton dan mengikuti rangkaian kegiatan Indonesian Dance Festival 2020 ini. Mari bersama kita dukung industri maupun komunitas kegiatan pariwisata dan ekonomi kreatif di Indonesia sehingga bisa senantiasa menyajikan acara hiburan berkualitas bagi masyarakat. Semoga Indonesian Dance Festival 2020 mampu menjadi sarana dalam mempromosikan pariwisata dan ekonomi kreatif Indonesia.
Wassalamualaikum Wr. Wb.
Rizki Handayani Deputi Bidang Produk Wisata dan Penyelenggara Kegiatan (Events) Kementerian Pariwisata dan Ekonomi Kreatif
7 Foreword by The Deputy for Tourism Products and Events, Ministry of Tourism and Creative Economy of the Republic of Indonesia
Assalamualaikum Wr. Wb. Warm greetings Om Swastiastu
Greetings Indonesia!
The Indonesian Dance Festival (IDF) has been the most prestigious and longest running biennale international contemporary dance festival in Indonesia since 1992. We are deeply impressed by the IDF’s vision of promoting Indonesian contemporary dance to the world and using dance as a means of encouraging tolerance, diversity and humanity. The festival’s eforts to develop the education of Indonesian contemporary dance as well as the Indonesian dance ecosystem and the creative economy of Indonesian dance artists, are outstanding, especially in facing the era of adaptation to the new habits like today. On this occasion, we would like to deliver our appreciation to the organizers for the realization of this activity. At a time when the tourism industry and creative economy are severely afected by the COVID-19 pandemic, the theme “DAYA: Cari Cara” motivates us to keep supporting and animating creativity, so that we can persevere and even improve our quality as human beings. We frmly believe that there is always an opportunity in every crisis. Let’s take advantage of the existing opportunities as best as we can. We would like to wish you an enjoyable viewing of and participation in the Indonesian Dance Festival 2020 programs. Let us together support the industry and community of tourism activities and the creative economy in Indonesia to always present quality entertainment events for the community. We hope the 2020 Indonesian Dance Festival will be able to become a means of promoting tourism and Indonesia’s creative economy.
Wassalamualaikum Wr. Wb. Rizki Handayani Deputy for Tourism Products and Events Ministry of Tourism and Creative Economy
8 Sambutan Tim Pengarah IDF2020.zip
Sebagai manusia yang dikaruniai akal budi, Kami sadar, pengalihan pertunjukan tari segala keterbatasan yang kita alami pada dari panggung ke medium digital bukanlah saat pandemi 2020 ini justru menjadi jalan sesederhana memindahkan cairan dari lain untuk berkreasi, berkarya, dan tetap satu wadah ke wadah lain. Oleh karena itu, menjaga harapan. Tidak hanya di Indonesia kami mengusung tema DAYA: Cari Cara, namun seluruh dunia, setiap orang sedang demi menantang para seniman tari mencari beradaptasi dengan situasi baru yang tidak cara ungkap yang sesuai dengan situasi pernah ada presedennya: bagaimana cara pandemi dan karakteristik teknologi digital. tetap beraktivitas dan berproduksi, baik secara Selain itu, tema tersebut juga kami tujukan individu maupun kolektif, meskipun dibayang- pada segenap masyarakat yang nantinya bayangi oleh virus dan kecemasan yang ada di menyaksikan rangkaian program IDF2020.zip mana-mana. ini, bahwa tari mampu menyalurkan energi dan Alih-alih mengeluhkan keadaan, kami justru membangkitkan daya kita bersama. menganggap tahun ini spesial terutama dalam Pada panggung utama, Anda akan menggarap sebuah festival tari. Indonesian menyaksikan bagaimana Eun-Me Ahn dari Dance Festival seperti apa yang bisa kami Korea dan Gymnastik Emporium dari Indonesia suguhkan pada pemirsa kala pandemi? melibatkan masyarakat umum (netizen), untuk Setelah diskusi panjang dengan kurator berpartisipasi dalam aktivitas tari. Melalui dan tim produksi, kami akhirnya merancang akun daring masing-masing, masyarakat IDF2020.zip. Meminjam karakteristik format diajak menari bersama, bergembira dengan fle komputer tersebut, kami membayangkan tubuhnya, melakukan self-healing, dan untuk dunia tari yang bisa menyusut dan sejenak melupakan pelbagai persoalan yang mengembang secara adaptif dan dinamis. menyesakkan. Untuk mendorong aktivitas Bagaimana suatu gagasan, praktik, atau tari ke tataran wacana, kami juga merancang aktivitas tari berkelindan dalam jejaring data sejumlah program diskusi, workshop, dan dan algoritma medium digital. bincang-bincang, terhimpun dalam agenda Dance Talks dan zip.Conversations. Sejumlah pembicara kenamaan dari berbaga disiplin keilmuan akan hadir pada agenda tersebut, untuk mengetengahkan isu-isu seputar dunia tari dan pandemi.
9 Seperti tahun-tahun sebelumnya, jantung Tahun ini, meskipun dengan pelik dari program IDF2020.zip ini tetap adalah persoalannya, tetap hendak kami tandai pembinaan seniman tari muda yang sebagai satu momen penting dalam berkelanjutan. Dalam program Kampana, perjalanan Indonesian Dance Festival. Jika kami memilih enam koreografer muda dari pada tahun-tahun sebelumnya kami punya berbagai daerah di Indonesia untuk mengikuti tanggung jawab lebih besar pada dinamika serangkaian workshop dan diskusi intensif dunia tari secara khusus, maka pada tahun dengan para kurator. Mereka adalah: Eka ini kami berharap aktivitas tari bisa menjadi Wahyuni dari Berau, Eyi Lesar dari Manado, medium refektif bagi masyarakat luas dan Gege Diaz dari Flores, Irfan Setiawan mampu menyumbang harapan bahwa selagi dari Kepulauan Bangka Belitung, Puri kreativitas tidak mati, manusia akan bertahan. Senja dari Surabaya dan Anis Harliani dari Selamat menikmati IDF2020.zip dan salam Bandung. Simak gagasan dan karya mereka budaya! pada Kampana Trajectory dan Kampana Performances.
Komite Pengarah IDF2020.zip
Melina Surya Dewi Maria Darmaningsih Nungki Kusumastuti
10 Foreword by the Steering We realize that the shift from on-stage Committee of the IDF2020.zip dance performance to a digital medium is not as simple as pouring water from one container to the other. Therefore, As human beings with intellectual and we came up with the theme Daya: Cari common sense, all obstacles that we have Cara to challenge dance artists to fnd to deal with during the current pandemic the suitable language of expression have inspired us to fnd an alternative to during the pandemic situation within create, work, and maintain hope. Every the characteristics of digital technology. single person, not only in Indonesia, but Moreover, we also present to the public in the whole world, is adapting to the new, audience of the IDF2020.zip the theme unprecedented situation: how to stay that dance can be used as a way to active and produce, both individually and channel our energy and generate our collectively, though overshadowed by the power. virus and fear around us.
On the main stage, you will see how Instead of complaining about the situation, Eun-Me Ahn (Korea) and Gymnastik we found this year to be special for Emporium (Indonesia) involve the netizens preparing a dance festival. What kind of to participate in dance activities. By using Indonesian Dance Festival can we present their personal social media accounts, the to the audience during the pandemic? netizens are invited to dance together, Following a long discussion with the have fun with their bodies, do self-healing, curators and production team, we fnally and forget about various stifing problems designed IDF2020.zip. By adopting the for a moment. To develop the dance characteristics of the computer fle format, activities to the discourse level, we have we imagine a contracting and expanding also designed a number of discussions, world of dance in an adaptive and dynamic workshops, and talk shows, compiled way, in which ideas, practices, or dance in Dance Talks and zip.Conversations activities become intertwined in data agendas. Famous speakers from various networks and algorithms of digital media. felds will be present in the programs to address issues surrounding the world of dance and the pandemic.
11 As in previous years, the heart of the IDF2020.zip programs remains the continuous development of young dance artists. In the Kampana program, we selected six young choreographers from various regions in Indonesia to attend a series of workshops and intensive discussions with curators. They are Eka Wahyuni (Berau), Eyi Lesar (Manado), Gege Diaz (Flores), Irfan Setiawan (Bangka Belitung Islands), Puri Senja (Surabaya), and Anis Harliani (Bandung). Check out their ideas and works on Kampana Trajectory and Kampana Performance.
This year, despite its complicated problems, we would like to mark it as an important moment in the journey of the Indonesian Dance Festival. If in previous years we had greater responsibility for the dynamics of dance in particular, this year we hope that dance activities can become a refective medium for the wider community and contribute to the building of hope, that as long as we have creativity, humanity will survive.
Enjoy the IDF2020.zip!
Steering Committee of the IDF2020.zip
Melina Surya Dewi Maria Darmaningsih Nungki Kusumastuti
12 Pernyataan Kuratorial
IDF2020.zip DAYA: Cari Cara
Tahun 2020 ini, tari kontemporer di Indonesia untuk mengartikulasikan gagasan, tubuh, dan dan seluruh dunia tidak berhelat seperti koreograf. amun di sisi lain, pengalaman biasanya. Kita tengah menghadapi krisis. keintiman fsik serta kesinambungan ruang- Sepertinya kita tahu apa sebabnya. Atau waktu antara pertunjukan dan penonton benarkah kita sungguh mengerti? hilang atau digantikan oleh getaran-getaran Suka atau tidak, keberadaan kita sebagai lain. Cara penonton mengakses, mengalami, manusia terwujud melalui tubuh kita. Cara mengapresiasi, dan memandang tari jelas bertahan hidup yang dipraktikkan oleh hampir tidak sama dengan saat tari dihadirkan semua populasi dunia akibat COVID-19 langsung di atas panggung. Tubuh mengingatkan kita pada fakta ini. Pencipta pertunjukan semakin “termediasi” dan tari kontemporer bergiat di atas tanah subur pengalaman (menonton) tari menjadi ambigu dari realitas fsik ini tetapi karya mereka dalam proses digitalisasi. melampaui penggunaan tubuh anatomis Menghadapi situasi yang kompleks ini, untuk mengintegrasikan banyak tubuh, Indonesian Dance Festival (IDF) beralih nama material maupun non-material: tubuh sebagai menjadi IDF2020.zip dan mengusung tema wadah keberadaan, manifestasi dari “Daya”, D Cari Cara. engadopsi ciri khas fle tubuh yang dibayangkan, tubuh yang diatur .zip, rangkaian acara IDF tahun ini akan oleh berbagai jenis kuasa, tubuh yang disajikan dalam bentuk yang lebih lantam, energik, tubuh emosional, atau tubuh yang tetapi menawarkan penjelajahan yang lebih dicurigai terinfeksi hanyalah beberapa di hidup melalui tari kontemporer Indonesia dan antaranya. beberapa sajian internasional untuk dinikmati, ita terlibat dalam koreograf masif, diatur direfeksikan, dan didiskusikan bersama. oleh kebijakan, norma, nilai, dan wacana. ‘Daya’ dalam bahasa Indonesia adalah kata Namun, tubuh juga memiliki kekuatan berlapis yang digunakan dalam konteks yang untuk bernegosiasi dengan kerangka yang berbeda. Ini mengekspresikan kekuatan dipaksakan ini, membangkitkan ketegangan hidup, dorongan primordial, transformasi, antara kedaulatan dan kungkungannya. potensi atau pemberdayaan. Sedangkan ‘Cari Pencipta tari kontemporer, selama masa Cara’ mengacu pada moda bertahan hidup, pandemi menegosiasikan ketegangan ini menemukan cara untuk tetap hidup pada dengan lebih intens. masa-masa sulit seperti pandemi yang saat Teknologi komunikasi digital memungkinkan ini kita hadapi. seniman terus berkarya di tengah pandemi Dalam semangat ini, Eun-Me Ahn Company global ini. Ruang-ruang baru dengan bingkai dari Korea memfasilitasi pertunjukan dance- terbatas dan arak fsik menggerakkan para on-flm daring yang menampilkan 50 pecinta pencipta tari kontemporer mencari strategi tari Indonesia dari berbagai latar belakang dan baru dalam berkreasi. Di satu sisi, teknologi usia. Diciptakan melalui kolaborasi jarak jauh digital memberikan kemungkinan bahasa baru dengan semua peserta, 1’59” merupakan 13 durasi yang tepat dari setiap koreograf mini proses kreatif mereka. Program Pertunjukan dinamis yang mencerminkan kompleksitas Kampana menghadirkan tiga ‘karya dalam dan keragaman sosial-budaya di Indonesia. proses’ dari tiga koreografer muda, di mana Dua “karya di dalam pandemi” yang masing-masing menawarkan pengalaman diciptakan oleh Gymnastik Emporium tari yang sangat pribadi di dalam dan melalui dan Hari Ghulur, menunjukkan contoh teknologi digital: Irfan Setiawan dengan kewaspadaan kreatif dan kehadiran di karyanya Re-reading Impact, Puri Senja masa penjarakan sosial. Kolektif Gymnastik dengan The Other Half, dan Eyi Lesar dengan Emporium bekerja sama dengan 5 guru Virtual WAY (WhoAreYou). olahraga di Yogyakarta menciptakan karya etelah melakukan refeksi atas tari, pandemi, baru bertajuk #SKJ2020 sebagai refeksi dan keberadaan manusia melalui dua zip. ironis atas citra tubuh optimis yang digulirkan conversations Resilience as part of Our melalui program wajib Senam Kesehatan Blueprint dan Presence: Where are we now? , Jasmani (SKJ) pada tahun 1970-an hingga IDF2020.zip akan ditutup dengan penampilan 1990-an. SKJ merupakan program senam Li Tu Tu oleh Ayu Permata Sari. Karya ini yang pada saat itu digunakan untuk merefeksikan kegigihan di tengah arak fsik, mengkonstruksikan visi nasional pemerintah mempertanyakan cara kita berinteraksi dan Orde Baru melalui tubuh pelajar di Indonesia. menjalin hubungan. Hari Ghulur menampilkan pratinjau daring dari kreasi barunya Sila, di mana ia mengubah posisi duduk bersila dalam ritual orang DAYA: Cari Cara merupakan kualitas yang adura men adi pelantar koreograf atas dibagikan melalui semua karya dan aktivitas. kekhusukan spiritual dan ekspresi sosial. Dengan ketahanan dan kehadiran, para seniman “mencari cara” dan menemukan Program Kampana menghadirkan enam kembali bahasa koreograf di masa koreografer muda Indonesia yang telah “Normal Baru”. Mereka dengan semangat mengikuti serangkaian lokakarya dan diskusi menegaskan bahwa “Normal” adalah sebuah virtual yang intens selama tujuh bulan. pertanyaan, dan bahwa dengan setiap hari Di dalam program Mengintip Kampana baru, dengan setiap gerakan baru, kita dapat 2020, masing-masing koreografer muda ini menciptakan kemungkinan yang berlipat akan berbagi tentang proyek pertunjukan, ganda. penjabaran visi dan konsep, serta cerita
Arco Renz Linda Mayasari Nia Agustina Rebecca Kezia
14 Curatorial Statement
IDF2020.zip between a performance and an audience DAYA: Cari Cara is lost or replaced by other vibrations. The way an audience accesses, experiences, appreciates, and views dance is clearly not the same as when it is performed on stage. The performing body is increasingly In 2020, contemporary dance in Indonesia “mediated” and the experience of (watching) and around the world is not doing “business dance becomes ambiguous by means of its as usual”. We live in times of crisis. And we all digitalisation. know why. Or do we really ? Facing this complex situation, the Indonesian If we like it or not, our existence as human Dance Festival has changed its name to beings manifests through our bodies. And IDF2020.zip and presents the theme DAYA: the mode of survival that is being practiced Cari Cara. Adopting the characteristics of by almost all of the world’s population the . ip fle, the series of events of this year’s due to COVID-19 reminds us of this fact. IDF will be presented in a more compact Contemporary dance makers create on the form, yet it proposes a vivid journey through fertile ground of this physical reality but their contemporary Indonesian dance, and a work goes beyond the employment of the few international excursions, to be enjoyed, anatomical body in order to integrate multiple refected on, and discussed together. bodies, material as well as immaterial: the body as a container of existence, a Daya in Indonesian is a multi-layer word used manifestation of “Daya”, the imagined body, in diferent conte ts. It e presses life force, the body governed by various kinds of power, primordial drive, transformation, potential or the energetic body, the emotional body, or the empowerment. Meanwhile, Cari Cara refers to body suspected of infection ... to just mention the mode of survival, of fnding ways to stay a few. alive during moments of hardship, such as the pandemic that we are currently confronted We are involved in a massive choreography, with. governed by policies, norms, values, and discourses. But the body also retains the In this spirit, Eun-Me Ahn Company from power to negotiate with these imposed orea facilitates an online dance-on-flm frameworks, generating a tension between performance featuring 50 Indonesian dance its sovereignty and its confnement. enthusiasts of all backgrounds and ages. Contemporary dance makers, during these Created through a long-distance collaboration times of pandemic, negotiate this tension ever of all the participants, 1’59” is the exact more intensely. duration of each of these vibrant mini- choreographies that refect the socio-cultural Digital communication technologies enable complexity and diversity of Indonesia. artists to continue creating dance works in the midst of this global pandemic. These There are two “work-in-pandemic” showings new spaces of limited frames and physical of performances in-the-making by the distance have contemporary dance makers Gymnastik Emporium and Hari Ghulur. search for new creation strategies. On the Both processes are examples of creative one hand, digital technologies provide the vigilance and of being present in times of possibility for new languages to articulate social distancing. The collective Gymnastik ideas, bodies and choreographies. But on Emporium worked with 5 sports teachers the other hand, the experience of physical in Yogyakarta to create a new work entitled intimacy and of time-space continuity #SKJ2020, an ironic refection on the
15 optimistic body image divulged through personal experience of dance within and the compulsory Physical Health Gymnastics through digital technologies: Irfan Setiawan (SKJ) program in the 1970s to 1990s. SKJ with his work Re-reading Impact uri en a was a gymnastics program which at that with The Other Half; and Eyi Lesar with Virtual time was used to construct the government’s WAY (WhoAreYou). New Order vision of nationalism through the fter refecting on dance, the pandemic and bodies of Indonesian students. Hari Ghulur human existence in two zip.conversations, presents an online preview of his new creation Resilience as part of Our Blueprint and Sila in which he transforms the Madurese Presence: Where are we now?, the IDF2020. ritual cross-legged sitting position into a zip will be closed with the performance of choreographic platform of intense spiritual Li Tu Tu by Ayu Permata Sari. A work that and social expression. refects persistence in the midst of physical The Kampana program presents six distancing and questions the ways we young Indonesian choreographers who interact and cultivate relationships. have attended an intense series of virtual workshops and discussions over a period of 7 months. In Peeking the 2020 DAYA: Cari Cara is a quality shared by Kampana program, each of these young all presented works and activities. With choreographers will share their performance resilience and presence the artists “search projects, lay out their visions and concepts, ways” and reinvent choreographic languages and tell their creative processes. The in times of ew ormal . They vibrantly a rm Kampana Performance program presents that “normal” is a question, and that with three of the young choreographers’ works- every new day, with every new movement, we in-progress. Each of them proposes a very can create a multiplicity of possibles.
Arco Renz Linda Mayasari Nia Agustina Rebecca Kezia
16 PROGRAM IDF2020.zip
©Youngmo
PERFORMANCES
Setiap penyelenggaraan Indonesian Dance Festival, tim kurator akan memilih sejumlah karya dari koreografer atau kelompok tari dari dalam dan luar negeri, dengan pertimbangan yang ketat apakah itu berdasarkan kebaharuan genre, penggarapan tema, penyampaian isu dan wacana, atau pertimbangan lain seperti kesetaraan geografs, usia, gender, maupun kelas sosial pengkarya. Dari tahun ke tahun penyelenggaraan Indonesian Dance Festival, karya-karya yang mengisi program ini kemudian menjadi salah satu titik tolak untuk melihat perkembangan tari kontemporer di Indonesia dan internasional.
On each event of the Indonesian Dance Festival, the curatorial team selects a number of works by Indonesian and foreign choreographers or dance groups under strict ualifcations the novelty of the genre, the development of themes, the delivery of issues and discourse; or demographic consideration on the origin, age, gender, and social class of the artists. From year to year, the works presented at the Indonesian Dance Festival become one of the starting points to observe the development of contemporary dance in Indonesia and in the global world.
17 ©Youngmo 1’59 Project Indonesia Eun-Me Ahn 1’59 Project Indonesia is a vibrant dance- on-flm show, involving Indonesian dance 1’59 Project Indonesia merupakan stakeholders from all backgrounds millennials pertunjukan dance-on-flm yang semarak, to baby boomers, amateurs to professionals, melibatkan 50 pegiat tari Indonesia segala shocking to extraordinary. 1’59”, the duration lapisan, mulai dari milenial sampai baby of each of the thrilling mini-choreographies, oomers, dari amatir ke profesional, dari is facilitated by Eun-Me Ahn, a South Korean yang mengejutkan sampai yang luar biasa. choreographer, and her team. 1 minute 59 1’59”, durasi masing-masing koreografi- seconds is also the average focus time to mini yang menggetarkan ini, difasilitasi watch videos on a digital platform; it is short if oleh koreografer Korea Selatan Eun-Me we want to say a lot of things, but enough to Ahn dan timnya. 1 menit 59 detik juga express feelings or share critical issues. After adalah waktu rata-rata kemampuan kita two months of training and online workshops fokus pada sebuah video di platform digital, with Eun-Me Ahn and the team, each of pendek jika hendak mengatakan banyak the participants submitted a dance-flm hal tapi cukup untuk mengekspresikan with a duration of 1’59” in various forms and perasaan atau berbagi soal genting. Setelah genres that refect their individual desires, dua bulan pelatihan dan workshop online hopes and thoughts. Without any artistic bersama Eun-Me Ahn dan tim, 50 peserta censorship to sort or classify each participant, menyerahkan sebuah dance-flm berdurasi Eun-Me Ahn simply designed the plot of the 1’59” dengan berbagai bentuk dan genre show by editing the order of appearance of yang merefeksikan hasrat, harapan, dan the choreographies. The result is a series pemikiran masing-masing. Tanpa sensor of colorful mini shows, a refection of the artistik untuk memilah dan memutuskan complexity and diversity of Indonesia’s social setiap peserta, Eun-Me Ahn merancang life, with all the challenges and excitement alur pertunjukan secara sederhana dengan that drive it. mengedit urutan kemunculan setiap koreograf. asilnya, rangkaian pertun ukan mini kaya warna, refeksi dari kompleksitas dan keberagaman sosial Indonesia dengan rtistic Director un- e hn segala tantangan dan keseruan yang rtistic Coordinator Clint utes menggerakkannya. roduction ssistant iko etyanto Workshop peakers Ismail asbeth, elanie ane, onica illette, ia apermoon
18 hotographer urnia aumil a ar #SKJ2020 Gymnastik Emporium Along with the economic boom in Indonesia in the 1970s, the New Order government ersamaan dengan lon akan ekonomi programmed a compulsory gymnastics Indonesia pada 1970-an, pemerintah exercise regimen for school students and Orde aru memprogramkan senam wa ib civil servants. It began with the Indonesian untuk seluruh siswa sekolah dan pegawai Morning Gymnastics (Senam Pagi negeri. Pada mulanya bernama Senam Pagi Indonesia) that changed to the Physical Indonesia kemudian berganti jadi Senam ealth ymnastics Senam Kesehatan Kesehatan Jasmani, dan berlangsung Jasmani) which lasted until the mid-1990s. sampai medio 199 -an. oreograf senam The choreography of the gymnastics was tersebut disusun oleh pemerintah pusat designed by the central government and dan disebar ke seluruh penjuru negeri, demi spread throughout the country to prepare menyiapkan tubuh masyarakat yang sehat a society with a healthy body in welcoming untuk menyongsong kemajuan Indonesia. the country’s development. The Gymnastik Gymnastik Emporium membaca program ini Emporium team sees this program as a sebagai perangkat kebudayaan Orde aru cultural tool of the New Order government to untuk mengkonstruksi nilai-nilai Indonesia construct Suharto’s authoritarian government versi pemerintah otoritarian Soeharto pada version of Indonesian values in the bodies tubuh pelajar dan aparatur negara. #SKJ2020 of students and state apparatus. Physical (Senam Keragaman Jasmani 2020) adalah Diversity Gymnastics (Senam Keragaman parodi tubuh-tubuh optimisme a la Orde aru Jasmani) 2020 is a parody of optimistic tersebut, sebuah produksi karya yang berdiri bodies à la the New Order government, a di antara seni tari dan gerak senam. production of work that stands between Sebagai bagian dari #SKJ2020, Gymnastik dance and gymnastics. Emporium juga mengajak keterlibatan As part of the #SKJ2020 project, the masyarakat untuk membuat sendiri koreograf Gymnastik Emporium also invites yang juga bermain-main di wilayah antara seni public participation to create their own dan olahraga, untuk kemudian tampil dalam choreographies that also explores the program Gymnastik Partisipatori. intersections between arts and sports to be premiered at Gymnastik Partisipatori program.
Choreographers bdi arya ri Dwianto erformers bdi arya, ndreas gus r atmo, ri Dwianto, udi antosa, rvinamurti urnisetyowati, inanti ekar ahina, mi ariyani Videographer uthf rasetyo ditor arhan ughnial okhmatullah ulyanto ighting Designer ugeng tomo Composer Vandy i aldi raphic Designer urnia aumil a ar Dramaturg Irfanuddien ho ali roduction anager uhammad be 19 i Tu Tu Ayu Permata Sari
Gerak tangan menyeimbangkan dan The hand gesture of balancing and throwing melemparkan piring tari kuadai suku the plate of the Semendo tribe dance is the Semendo merupakan pintu masuk entrance to Li Tu Tu. From there, Ayu Permata penggarapan karya Li Tu Tu. Dari sana, Ayu Sari and dancers trace the relationship Permata Sari dan para penari menelusuri between the traditional dance from North lagi hubungan antara tari tradisi dari daerah ampung and the concept of tunggu tubang. ampung tara tersebut dengan konsep The essence of kuadai dance strength, tunggu tubang. agaimana kekuatan, balance, equality, communication, and trust is keseimbangan, kesetaraan, komunikasi, dan the representation of personality of the tunggu kepercayaan adalah representasi konsep tubang, the frst daughter of the emendo tunggu tubang, anak perempuan pertama tribe who is responsible for managing and suku Semendo yang berperan mengatur dan maintaining the family inheritance. On the menjaga harta warisan keluarga. Namun di other hand, the role needs to be revisited and satu sisi, peran tersebut perlu ditinjau ulang criticized holistically, especially in the context dan dikritisi secara holistik, terutama dalam of contemporary society. Then, how are the konteks hari ini. antas, bagaimana ika discovery, review, and criticism done by the penelusuran, tinjauan ulang, dan kritik yang choreographer presented to the audience? dilakukan koreografer tersebut dibentangkan ow will the personal e perience and memory pada penonton agaimana pengalaman of the audience be? Thus, Li Tu Tu will appear dan ingatan personal khalayak ketika in a format that allows various interpretations menyaksikannya? Demikianlah, Li Tu Tu akan according to the experience of each audience tampil dengan format yang memungkinkan member. beragam interpretasi, sesuai dengan pengalaman masing-masing penonton. hotographer oshi hotography Choreographer yu ermata ari Dancers halib uhammad, urachma Dinda Chairani, yu ermata ari Creative Team abilla urnia d an . d esidency artner tudio anaf ighting and ound Crew tudio anaf tage anagement Team edy oga and osen Carol Videographer Way aw 20 Sila ari hulur
Sila merupakan karya work-in-progress Sila is an in progress work composed by ari yang digubah ari hulur dari posisi Ghulur from a cross-legged sitting position duduk bersila sembari melantunkan pujian while singing praise to God, developed from pada Tuhan, ritual tradisi dan keagamaan traditional and religious rituals, specifcally terutama yang ia ambil dari Madura, from Madura, as a choreographic platform. menjadi sebuah platform koreograf. Sila Sila is an endeavor to reach an emotional adalah ikhtiar mencapai puncak emosi and spiritual perfection with the position dan spiritual namun dengan posisi tubuh of the body attached to the ground and menempel pada tanah dan membumi. Durasi grounded. Time duration and position dan ketepatan posisi merupakan elemen accuracy become the crucial elements. krusialnya. Karya ini pertama kali dipentaskan The work was performed for the frst time secara tunggal oleh ari hulur dalam as a solo performance by ari hulur at International Choreographers Residency the Choreographers Residency Concert, Concert, American Dance Festival 2018 dan the 2018 American Dance Festival, and dipentaskan lagi di Of tage 1 Contact Of tage 1 Contact estival, ingapore. Festival, Singapura. Tetap berlatih selama s ari hulur keeps on practicing during masa pandemi ini, Sila adalah contoh menarik the pandemic and working with Sawung bagaimana daya beker a, sebagaimana ari Dance Studio to develop Sila as a group Ghulur bersama Sawung Dance Studio terus performance, this work is an interesting memperbaharui karya ini dalam format grup. example of a working force.
roduction awung Dance tudio, urabaya Choreographer ari hulur oh. ariyanto roducer ekar lit Dancers atry ka, uri en a, rrina prilyani, . usdi, ari hulur usic Director Wayan Dhamma ighting Designer aprol Videographer Istamokagram tage anager . asir Documentation arangan rt rodc.
21 hotographer ade Dhana
22 KAMPANA
Kampana adalah bentuk mutakhir dari program pemberdayaan seniman tari muda, yang telah dimulai Indonesian Dance Festival sejak pertama kali berdiri pada 1992. Keberadaan program ini dari masa ke masa dengan berbagai format dan penamaan menunjukkan bahwa IDF juga hadir sebagai ruang inkubatoris, sebuah upaya memberi akses untuk seniman tari muda dalam mengembangkan gagasan dan praktik kepenariannya. Dengan durasi yang panjang, para koreografer terpilih memperoleh workshop kepenarian, riset artistik, kritik tari, dan diskusi intensif dengan para kurator, untuk kemudian diaplikasikan pada karya masing-masing.
Kampana is the latest form of the empowerment program for young dance artists, started since the frst edition of the Indonesian Dance estival in 199 . The presentation of this program from time to time with various formats and names indicates the role of the ID as an incubatorial space, an efort to provide access for young dance artists to develop their dance ideas and practices. Over a long period, the selected choreographers participate in dance workshops, artistic research, dance criticism, and intensive discussions with the curators. The lessons gained from the program agendas are then applied to their respective works.
MENGINTIP KAMPANA 2020 I T
KAMPANA, pada prinsip kurasinya, bukan KAMPANA, according to its principle of sekadar memilih dan menampilkan karya curation, is not just selecting and presenting yang telah mapan. Platform ini adalah established works. This platform is a laboratorium uji coba bagi seniman muda laboratory for young artists during the creative dalam proses pembentukan karya mereka. process of their work. The six choreographers Enam koreografer yang kami undang invited in this program, nis arliani, ka mengikuti program ini, yakni, nis arliani, Wahyuni, yi esar, Irfan etiawan, ege ka Wahyuni, yi esar, Irfan etiawan, ege Dia , and uri en a, ofered ideas for works Diaz, dan Puri Senja, menawarkan gagasan in line with the IDF2020.zip theme. They have karya yang sejalan dengan tema IDF2020.zip. ignited their power based on their respective agaimana mereka menghidupkan daya contexts, starting from contact with traditions pada konteks masing-masing, mulai dari and social issues, to issues of gender and persinggungan dengan tradisi, isu sosial, sexuality. sampai persoalan gender dan seksualitas.
23 We should change the plan of the Kampana process that has been Proses Kampana yang telah kami rencanakan implemented since 2019, due to the dari tahun 2019, terpaksa mencari jalan lain global pandemic. Meetings and a series karena pandemi global. Pertemuan dan of workshops, as important aspects of rangkaian lokakarya, yang menjadi bagian Kampana, should be changed into online penting Kampana, mesti disiasati dengan meetings and long-distance consultations pertemuan daring serta konsultasi jarak which were previously uncommon jauh yang pada saat itu masih terasa asing, practices, especially in the creative khususnya bagi proses kreatif seni tari. Namun, process of dance. owever, the changes hal tersebut tidak mengecilkan semangat para did not reduce the enthusiasm of the seniman Kampana terpilih, justru membawa selected Kampana artists. It even brought kemungkinan baru dalam proses penciptaan new possibilities to their creation process. mereka. Through a number of adjustments, Melalui sejumlah penyesuaian, Kampana tetap Kampana still tries to facilitate the berusaha memfasilitasi kebutuhan dan aspirasi artistic needs and aspirations of the artistik para koreografer terpilih dan berupaya selected choreographers and tries to mempertahankan gagasan utama masing- defend their respective main ideas. To masing. Yang menggembirakan, tiga koreografer our delight, the three choreographers menemukan cara bernegosiasi dengan peralihan found a way to negotiate the transition medium pertunjukan, dari panggung ke platform of the performance medium, from the daring. al ini uga merupakan manifestasi daya, stage to online platforms. This is also memacu para seniman mengeksplorasi potensi a manifestation of power, spurring the karya dengan bahasa dan ruang virtual. Tiga artists to explore the potential of their pertunjukan dari tiga koreografer tersebut akan works with virtual language and space. menjumpai Anda dalam program Kampana You will meet the performances by these Performances. three choreographers in the Kampana Performances program. Sementara tiga koreografer lainnya akan terus melanjutkan proses kreatif mereka. Kami Meanwhile, the other three berharap di perhelatan berikutnya mereka bisa choreographers will continue their creative menyajikan karya terbaik. Namun, kami telah process. We hope that they will present mempersiapkan ruang agar publik luas bisa their work at the ne t ID . owever, we mengikuti proses yang telah dialami oleh seluruh have prepared a space so that the wider peserta Kampana tahun ini. Keenam koreografer public can follow the process that has akan mempresentasikan gagasannya, been experienced by the participants of membentangkan konsep pertunjukannya, dan this year’s event. In Kampana Trajectory, menceritakan proses kreatifnya dalam program the six choreographers will present their yang kami namai Kampana Trajectory. Pada sisi ideas, lay out the performance concepts, lain, agenda tersebut juga merupakan bagian and narrate their creative process. On dari praktik pengembangan kesenimanan the other hand, the agenda is also part mereka. Kami berharap Anda dapat turut serta of their artistic development practice. We dan menjadi bagian dalam perjalanan seniman hope you can participate and take part in muda Kampana 2020, menelusuri ruang dan the journey of the 2020 Kampana young ketubuhan baru dalam IDF2020.zip artists, exploring new spaces and bodies in IDF2020.zip. Selamat menyaksikan! Enjoy the show!
24 PERTUNJUKAN KAMPANA KAMPANA PERFORMANCES
hotographer udy Wicaksono Virtual WAY (WhoAreYou) yi esar
ukankah dalam ohanes kita telah ohn reminds us how ironic it is for diingatkan betapa ironisnya manusia yang humans who judge, persecute, and even menghakimi, mempersekusi, bahkan kill fellow humans et any one of you membunuh sesama manusia arangsiapa who is without sin be the frst to throw di antara kamu tidak berdosa, hendaklah ia a stone at her. owever, bullying in the yang pertama melemparkan batu kepada name of religion, race, class, gender and perempuan itu.” Namun perundungan atas sexual orientation has taken root in society. nama agama, ras, golongan, gender dan In fact, it transforms and mutates into orientasi seksual telah mengakar dalam various forms in virtual space. In virtual masyarakat. ahkan ia bertransformasi space, hori ontal conficts are more easily dan bermutasi ke berbagai bentuk ketika ignited due to the loss of integrity and memasuki wilayah digital. Dalam jagad maya, accuracy of information. The shift in the konfik hori ontal lebih mudah tersulut akibat space of confict serves as a motive for hilangnya keutuhan dan keakuratan informasi. the development of yi esar’s work from eralihan konfik tersebut men adi modus Who Are You to Virtual WAY (WhoAreYou), perkembangan karya yi esar dari Who showing how the process of staring Are You menjadi Virtual WAY (WhoAreYou), at a screen forms a distance from the menampilkan bagaimana proses tatapan layar conte t of an event. esides e pressing yang berjarak dengan konteks peristiwa. incomplete gazes through camera work Selain membahasakan tatapan yang tidak and the interaction of the dancers’ bodies, utuh melalui kerja kamera dan interaksi this work also embodies terror, fear and tubuh penari, karya ini juga menubuhkan anxiety as the consequence of mass teror, ketakutan, dan kecemasan sebagai persecution and alienation. The exploration konsekuensi dari persekusi dan alienasi of motions, sounds, and visuals in the massa. Melalui gerak, suara, dan visual, kita work gives the audience an impression of akan dibuat seolah-olah berada dalam situasi being in a real situation experienced by yang dialami oleh penari, seakan mengajak the dancer, as if inviting us to rethink what kita untuk bertanya sekali lagi, apa yang kita we see. lihat.
25 hotographer Way aw Re-reading Impact Irfan Setiawan
ata benturan seringkali diucapkan dengan perasaan cemas, marah, takut, atau keras! ita lupa bahwa benturan uga bisa dilafalkan dengan khidmat. Ada banyak jenis The word clash is often spoken with feelings benturan, mulai dari the great impact pada of anxiety, anger, fear, or rage! We forget fsika, benturan dalam demonstrasi, konser that clash can also be spoken solemnly. musik, atau pertandingan sepak bola, sampai There are many kinds of impacts, from benturan antara pilihan individu dengan the great impact on physics, to clashes in norma sosial. Masing-masing benturan demonstrations, music concerts, or football memiliki suara yang berbeda dan tubuh matches, to clashes between individual yang berbeda. Pandemi yang sedang kita preferences and social norms. Each impact alami juga membuat benturannya, suaranya, has a diferent sound and body. The dan tubuhnya sendiri. Dua metode yang pandemic we are currently experiencing has berlawanan dalam memerangi COVID-19, also made its impact, its voice, and its own sains dan kepercayaan, adalah benturan. body. A clash happens between the two Praktik kapitalisme obat dan vaksinnya opposing methods of fghting COVID-19 juga adalah benturan. Re-reading Impact science and religious belief. The practice of karya Irfan Setiawan akan mengeksplorasi drug and vaccine capitalism is also a clash. kontras dari berbagai jenis benturan tersebut, Re-reading Impact by Irfan Setiawan will sekaligus juga berupaya menelusuri asal- explore the contrasts of the various types of usulnya, mendedahkan konsekuensinya, clashes, as well as trace their origins, expose dan mencampur-aduk perasaan kita ketika the consequences, and stir up our feelings menanti benturan lain datang dengan suara while waiting for another clash with a louder yang lebih keras. sound.
26 hotographer I ade ariasa W.D The Other alf Puri Senja
Trauma membekas pada tubuh. Jejak- jejak pelecehan seksual seperti cat calling, disentuh atau diraba tanpa izin, dan berbagai bentuk perlakuan seksis, berdampak Traces of sexual harassment, such as cat pada gerak-gerik refeks tubuh otot-otot calling, being touched or caressed without mendadak tegang atau waspada di tempat permission, and various forms of sexist keramaian, misalnya. al itulah yang memicu treatment, afect the body’s refe es tensed Puri Senja membongkar dan memanggil lagi muscles or being alert in crowded places. memori tubuhnya. agaimana pengalaman The condition inspires Puri Senja to unload personalnya mengalami itu semua menubuh and recall the memory of her body. ow her pada gesture, baik dalam kehidupan personal experience in dealing with all of the sehari-hari maupun ketika menari. Di sisi treatments got embodied in her daily and lain, pertunjukan The Other Half ini mesti dancing gestures. On the other hand, the mencari alternatif untuk menemui khalayak, pandemic forces The Other Half to fnd an akibat pandemi. Tentu tidak sekadar alternative to meet its audiences. Obviously, mendokumentasikan karya kemudian it’s not simply recording the work and mengunggahnya ke platform digital, uploading it to digital platforms, but exploring namun dengan mengeksplorasi berbagai various cinematographic possibilities. ow kemungkinan sinematografs. agaimana does the virtual version of The Other Half The Other Half versi virtual ini berkembang, develop, both in terms of ideas and methods baik dari segi gagasan maupun metode of creation? penciptaan?
27 KAMPANA TRAJECTORY/ O TIV T
nis arliani Dengarkan cerita nis arliani tentang isten to nis arliani’s story about her pengalamannya mengikuti sejumlah experiences in participating in a number of lokakarya tari nasional dan internasional. national and international dance workshops. agaimana masing-masing program tersebut er e perience in oining a number of dance membubuhkan jejak pada karyanya. Selain itu, workshops has afected her creative process. nis arliani uga akan membentangkan konsep In addition, nis arliani will also e plain the tubuh ideal dalam persepsi gender yang sedang concept of an ideal body in gender perception ia kembangkan dalam program Kampana IDF that she is working on in the 2020 IDF’s 2020. Kampana.
yi esar yi esar akan menuturkan bagaimana kisah yi esar will share how his life as a dancer is kepenariannya yang dipengaruhi oleh refeksi infuenced by spiritual refection on the social spiritual atas konteks sosial Indonesia hari ini. conte t of Indonesia today. e will also describe Ia juga akan menceritakan penemuan kembali the rediscovery of himself through the process dirinya melalui proses penciptaan karya, terutama of creating works, especially in the 2020 IDF’s yang ia lakukan dalam Kampana IDF 2020. Kampana.
Puri Senja Puri Senja akan merunut karier kepenariannya Puri Senja will revisit the journey of her dance sejak awal, ketika ia masih SMA sampai ia career from the beginning, since she was in high masuk pada wacana memori dan tubuh. school until she began to work on the discourse Wacana yang menghubungkan bagaimana of memory and body. The discourse that pelecehan dan kekerasan seksual masa lalu describes how past sexual abuse and violence membekas pada gejala ketubuhan hari ini, yang afect her present body, is what she is working sedang ia garap dalam karya The Other Half. on in The Other Half. isten to uri en a’s Dengarkan cerita Puri Senja tentang story about her personal experiences that are pengalaman personalnya yang menubuh pada embodied in her latest work. garapan mutakhirnya tersebut.
28 Irfan Setiawan Irfan Setiawan akan membentangkan Irfan Setiawan will present his journey as a perjalanan berkaryanya yang, secara benang dancer, which in general always returns to merah, selalu kembali bersoal dengan the question of identity. On the one hand he identitas. agaimana ia selalu merasa ditarik always feels drawn to go home , but at the untuk pulang di satu sisi, namun uga same time he keeps on refecting his new sekaligus merefeksikan identitas barunya identity that is infuenced by the years of yang dipengaruhi oleh proses bertahun- wandering in Jakarta. The two poles between tahun merantau di Jakarta. Dua kutub antara hometown and overseas are pulling towards kampung halaman dan perantauan tersebut each other in his works. The question of tarik-menarik dalam karyanya. Pertanyaan soal identity can also be found in Re-reading identitas tersebut juga kemudian lekat pada Impact, his work for the IDF2020.zip. karya Re-reading Impact, yang ia garap untuk IDF2020.zip. Eka Wahyuni Video ini menjadi susunan sketsa gagasan This video is a compilation of sketches of proyek terbaru Eka berjudul The nchantment Eka’s latest project entitled The Enchantment of Tari ong yang dieksplorasi melalui of Tari Gong that is explored through the pendekatan budaya media digital. Video approach of digital media culture. ka fnds dipahami Eka bukan sekadar teknologi untuk video not only as a technology to record merekam dan memindahkan dokumentasi and transfer documentation of her process proses dan karyanya ke dalam format and work into a virtual presentation format, presentasi virtual, tetapi medium artistik. but also as an artistic medium. Experiencing Mengalami video bagi Eka nyaris mirip the video medium for Eka is almost similar dengan ketika ia menelusuri sejarah tari gong to when she traces the history of the gong melalui potongan-potongan artefak, gerak, dance through pieces of artefacts, motion, dan ingatan, di mana jarak, pengaturan fokus, and memories; where distance, focus dan distorsi berkelindan di dalamnya. adjustment, and distortion are intertwined.
Gege Diaz Dalam video ini Gege menyusun pembacaan In this video, Gege compiles a re-reading of ulang terhadap jejak kekaryaan dan the traces of his dance works and his body ketubuhan tarinya yang berada dalam dimensi in the intersection of tradition and modernity. pertemuan antara tradisi dan modernitas. Instead of placing tradition and modernity in Alih-alih menempatkan tradisi dan modernitas antagonism, Gege creates a dialogue based dalam antagonisme, Gege justru menjadikan on them. Gege’s choreography, Rufus, shows keduanya sebagai dua hal yang dialogis. how the Flores tradition and modern reality arya koreograf ege yang ber udul Rufus can live and synergize within him as a single menunjukkan bagaimana tradisi Flores dan entity. realitas modern dapat hidup dan bersinergi di dalam dirinya sebagai sebuah entitas.
29 zip.Conversations
agaimana pandemi mempengaruhi aktivitas ow the pandemic afects the activities of ketubuhan, baik dari segi biologis, politis, the body in terms of the physical, politics, maupun eksistensinya, akan diperbincangkan and existence, will be discussed at zip. dalam zip.Conversations. Program ini terbagi Conversations. This program is divided dalam dua sesi diskusi dengan tema yang into two discussion sessions with diferent berbeda, akan dibuka oleh pembicara kunci themes, opened by the keynote speakers dari disiplinnya masing-masing, kemudian based on their expertise, then responded to direspons oleh tiga seniman tari untuk setiap by three dance artists in each session. The sesi. Program zip.Conversations adalah zip.Conversations is an attempt to observe upaya untuk melihat keterkaitan antara praktik the relationships between artistic practice artistik dengan disiplin keilmuan lain, demi with other felds of study and to fnd a way to mencari cara bertahan, beradaptasi, dan survive, adapt, and negotiate with the current bernegosiasi dengan situasi 2020 ini. situation.
Presence - Where Are We Now? Presence - Where Are We Now? Since the rapid development of information Sejak berkembang pesatnya teknologi and digital technologies, we prefer to look informasi dan digital, kita lebih memilih for information, connections, communities, mencari informasi, berhubungan, and mobility online rather than o ine. This berkomunitas, bahkan memobilisasi diri development implies the danger of the secara daring (dalam jaringan) ketimbang absence of the world of physical reality luring (luar jaringan). Perkembangan ini which afects our lives in a signifcant way. mengimplikasikan bahaya dari ketidakhadiran We start to get confused about how to dunia realitas fsik yang mempengaruhi hidup diferentiate among reality, representation, kita secara signifkan. Implikasinya, kita mulai and manipulation. Performance art, which kehilangan petunjuk mana yang realitas, mana relies heavily on the physical presence and yang representasi, mana yang manipulasi. interaction between the performer and Keberadaan seni pertunjukan, yang sangat audience, serves as a catharsis amidst the bergantung pada kehadiran dan interaksi current condition. owever, the COVID-19 fsik antara penampil dan khalayak, mampu pandemic has afected the performance art menjadi katarsis untuk kondisi tersebut. scene, especially in realizing the interaction Namun kemunculan pandemi COVID-19, between a work with its audience. The juga turut mempengaruhi skena seni physical space that serves as a platform for pertunjukan, khususnya dalam mewujudkan aesthetic experience to be felt and enjoyed interaksi antara karya dengan penonton. together no longer exists. Currently, both Tidak ada lagi ruang fsik sebagai pelantar the performer and the audience meet and untuk hadirnya pengalaman estetik yang interact in an absence, or perhaps in an dicerap dan dirayakan bersama.Saat ini, baik unreal presence. ow do we understand this penampil maupun penonton harus bertemu absence as a new kind of presence? dan berinteraksi dalam ketidakhadiran atau mungkin kehadiran semu. agaimana memaknai ketakhadiran ini menjadi sebuah kehadiran baru? 30 Selain persoalan bentuk interaksi antara esides the issue of interaction between a karya dan penonton, ketubuhan seniman work with its audience, the body of dancers is tari juga adalah persoalan yang pelik dalam another di cult problem. If the representation situasi saat ini. Para seniman tari dipaksa of the body and its experiences can be untuk mempertanyakan lagi tentang mediated through digital technology in various kenyataan tubuh. Jika representasi ketubuhan forms, do we still view the body as something beserta pengalamannya bisa dimediasi equivalent to the one before the physical melalui teknologi digital dengan berbagai presence is replaced by virtual space? Will bentuk, apakah kita masih memandang performing arts maintain its role as a facilitator tubuh sebagai sesuatu yang sama dengan of catharsis in the virtual world? pengalaman sebelum kehadiran fsik In this discussion, we will observe the tergantikan dalam ruang virtual isakah changes in the substance of physical and seni pertunjukan memainkan lagi peran virtual presence, as well as how digital media sebagai fasilitator katarsis dalam jagad maya has become a new playground in our social tersebut? and artistic interactions today. The discussion Dalam diskusi ini kita akan mengetengahkan will be started by Ayu Utami, a writer who soal perubahan substansi kehadiran fsik dan uses a critical spiritualism approach and a kehadiran virtual, serta bagaimana media journalist who participated in the Indonesian digital menjadi arena bermain baru dalam reformasi movement of 1998, to open interaksi sosial dan kesenian kita hari ini. a dialogue with dance practitioners Eko Diskusi ini akan dipantik oleh Ayu Utami, Supriyanto (choreographer, Indonesia) and penulis yang menggunakan pendekatan elanie ane choreographer, Indonesia . spiritualisme kritis dan jurnalis yang aktif dalam gerakan reformasi 98, untuk membuka dialog dengan praktisi tari, Eko Supriyanto koreografer, Indonesia dan elanie ane (koreografer, Indonesia).
31 Resilience as Part of Our Blueprint Resilience as Part of Our Blueprint Melalui zip.Conversation ini, kami ingin Through this zip.Conversation, we would like membuka perspektif tentang hubungan kita, to open up perspectives on the relationship manusia, dengan bentuk kehidupan lain di of us humans with other forms of life on muka bumi. Perspektif umum, mikrobiologi earth. According to the general perspective, yang menyebabkan pandemi, baik saat ini microbiology is the cause of pandemics atau di masa lampau, adalah musuh tak throughout human history, a scourge or kasat mata yang harus diperangi. Namun, invisible enemy to be fought. menurut sejumlah pandangan sains, virus owever, some scientifc views believe that menyimpan informasi biologis dari suatu viruses store biological information of an organisme dalam bentuk kode. Jika kita organism in the form of code. If we look at melihat organisme mikrobiologi seperti bakteri microbiological organisms such as bacteria or atau virus dari sudut pandang yang berbeda, viruses from a diferent viewpoint, would there apakah ada kemungkinan untuk belajar dari be a possibility of learning from a pandemic? pandemi? Apakah mungkin untuk memahami Would it be possible to conceive microbes, or mikroba, atau virus atau alam pada umumnya viruses or nature at large diferently, beyond secara berbeda, di luar menempatkannya the threat that these can represent to human sebagai ancaman bagi kesehatan dan hasrat health and desire? If the human body is manusia ila tubuh manusia sesungguhnya believed to be able to adapt by managing dapat beradaptasi dengan mengelola kode the genetic code possessed by viruses as genetik yang dimiliki virus sebagai pembawa messengers from this planet, does the code pesan dari planet ini, apakah kode-kode actually arise as a result of human behavior tersebut sesungguhnya juga muncul in a sharing space with the organic and akibat perilaku manusia dalam berbagi non-organic creatures on this planet? What ruang dengan berbagi makhluk organik if microbiological adaptation, evolutionary dan non organik di planet ini agaimana patterns and self-repair could inform and jika kemampuan memperbaiki diri sendiri, inspire strategies of resilience? adaptasi, dan pola evolusi mikrobiologis dapat memberi informasi dan menginspirasi In this session, molecular biologist Prof. strategi ketahanan? Pratiwi Sudarmono will speak about esilience as art of our lueprint from Dalam sesi ini, ahli biologi molekuler Prof. the perspective of her distinguished Pratiwi Sudarmono akan berbicara tentang expertise. Invited artists Olé Khamchanla etahanan sebagai agian dari Cetak choreographer, aos , osh arcy iru ita dari sudut pandang keahliannya. (choreographer, Indonesia), and Gisèle Vienne eniman Ol hamchanla koreografer, aos , (choreographer, France) will then engage in a Josh Marcy (koreografer, Indonesia), dan conversation about resilience in and around Gisèle Vienne (koreografer, Prancis akan turut their respective artistic practices. terlibat dalam percakapan tentang ketahanan di dalam dan sekitar praktik artistik masing- We hope to explore together surprising and masing. inspiring intersections between contemporary dance and other felds of knowledge and Kami berharap dapat mengeksplorasi experience, which in turn might open persimpangan yang mencengangkan dan strategies on what meaningful resilience could menginspirasi antara tari kontemporer, bidang be in 2020 and beyond. pengetahuan dan pengalaman lainnya, yang pada gilirannya dapat membuka strategi tentang apa arti ketahanan pada tahun 2020 dan seterusnya.
32 Road to IDF2020.zip
ROAD TO IDF2020.zip: DANCE & HUMANITY diinisiasi oleh Yayasan Loka Tari Nusantara, ROAD TO IDF2020.zip: DANCE & HUMANITY lembaga payung IDF sebagai rangkaian was initiated by the Loka Tari Nusantara program menuju Indonesian Dance Foundation, the umbrella organization of the Festival (IDF) 2020, program ini merupakan IDF, as a series of programs leading towards respons terhadap pandemi yang saat the Indonesian Dance Festival (IDF) 2020. ini mengkoreograf ulang seluruh aspek This program is a response to the pandemic kehidupan kita. which is currently re-choreographing all Sebagai rangkaian program menuju aspects of our lives. IDF2020.zip, program ini merupakan As a series of events leading to the IDF2020. respons terhadap pandemi yang saat zip, this program is a response to the ini mengkoreograf ulang seluruh aspek pandemic that is currently re-choreographing kehidupan kita.Mulai dari bagaimana all aspects of our lives. The program tries to kita mengalami dan memperlakukan refect our e periences and the ways we treat tubuh, bagaimana berinteraksi satu the body, interact with each other, survive, sama lain, cara bertahan hidup, sampai and become dependent on communication ketergantungan pada teknologi komunikasi. technology. Kesenian pun terpaksa mencari alternatif, Art is forced to look for alternatives, develop mengembangkan berbagai inovasi dan various innovations and strategies to survive. strategi untuk mempertahankan hidupnya. The limited space for movement is clearly Keterbatasan ruang gerak jelas menjadi a challenge not only for artists, but also tantangan tak hanya bagi seniman, tetapi for other practitioners such as curators, juga praktisi lain seperti kurator, produser, producers, art space managers, and other pengelola ruang seni, dan pelaku seni art stakeholders. Various possibilities are lainnya. Berbagai kemungkinan kini now being e plored to fnd the most suitable tengah dieksplorasi untuk menemukan forms, media, approaches and methods bentuk, medium, pendekatan, dan metode for artistic work. Observing the dynamics of kerja seni yang paling memungkinkan. changing patterns of artistic practice during Mengamati dinamika perubahan pola the pandemic, the online or virtual media praktik seni di masa pandemi, media seems to be the easiest choice to be taken. daring/virtual tampaknya menjadi pilihan Is dance ready to face all these shifts? Where yang paling mudah diambil untuk saat ini. is the position of the body at the intersection Lantas siapkah tari menghadapi semua of two universes, physical and virtual? Is pergeseran ini? Bagaimana posisi tubuh the history of dance as the main source of dalam persimpangan dua agad, fsik dan knowledge of the body and the body itself virtual? Apakah sejarah tari sebagai sumber entering a new historical stage? What kind of utama pengetahuan tubuh dan ketubuhan history will it be? Road to IDF2020.zip: Dance tengah memasuki jilid kesejarahan and umanity program tries to e plore these barunya? Lantas sejarah macam apakah questions. itu? Program Road to IDF2020.zip: Dance and Humanity mencoba mengeksplorasi pertanyaan-pertanyaan tersebut.
33 34 COVID-19 RESPONSES:
LAYAR TERKEMBANG COVID-19 RESPONSES: BILLOWING SAILS Twenty choreographers from various parts Dua puluh koreografer dari berbagai of the world, who have been involved in the belahan dunia, yang pernah terlibat dalam Indonesian Dance Festival in the past, will pengarungan Indonesian Dance Festival spread their optimism to us. Through short tahun-tahun lampau, akan menularkan videos, they will show their respective life optimismenya pada kita. Melalui video force during the pandemic that is e tracted pendek, mereka akan menunjukkan daya from various aspects of the body and hidup masing-masing pada masa pandemi, choreography. As we know, during the nearly yang digali dari berbagai aspek ketubuhan thirty years of the IDF, a sailing map has been dan koreograf. ita tahu, selama hampir tiga laid out with a wide geographical coverage, puluh tahun keberadaan IDF, telah terbentang as well as an e ploration of the body and peta arung dengan cakupan geograf yang the choreography, along with their historical luas serta penggalian tubuh dan koreograf conte ts. beserta konteks kesejarahannya. The ID ’s frst ourney in the 9 s went hand Gerak arung pertama pada era 90-an, berjalan in hand with the pace of communication seiring laju perkembangan teknologi komunikasi technology development which was marked yang ditandai dengan masuknya internet ke by the coming of the internet into the life of tengah kehidupan masyarakat Indonesia. Kita Indonesian society. We are connected with pun terhubung dengan warga dunia melalui global citi ens through media e periences. pengalaman media. Di satu sisi, pengalaman On the one hand, direct e perience that langsung yang diperantarai oleh keluarga, is mediated by family, traditional customs, pemangku adat, agama masih memiliki and religion still plays a role in shaping peran dalam membentuk identitas sosial, social identity, choreographing behavior mengkoreograf perilaku, dan menentukan and determining morality. On the other moralitas. Di sisi lain, lapis realitas baru hand, the new layers of reality presented by yang disuguhkan oleh media menghadirkan the media provide a variety of possibilities beragam imajinasi yang tak terbayangkan that were previously unimaginable. The sebelumnya. Pengalaman tubuh dan e perience of the body and embodiment are ketubuhan disusun ulang, lantaran bagaimana rearranged, as they are also infuenced by kita mengalami tubuh dan ketubuhan turut the media. The relationships between body, dipengaruhi oleh media. Hubungan tubuh, embodiment, technology and media have ketubuhan, teknologi, dan media pun telah been observed through various perspectives dibaca melalui berbagai perspektif dan and artistic e pressions of domestic and ungkapan artistik para koreografer baik foreign choreographers participating in the dari dalam dan luar negeri yang hadir di Indonesian Dance Festival. sepanjang perhelatan Indonesian Dance Festival. Now is the time for us to take another look at the journey in the virtual adventure of Sekaranglah saatnya kita melihat lagi Billowing Sails, a series of short videos from perjalanan tersebut dalam arung virtual Layar the artists who helped shape the map of the Terkembang, sebuah rangkaian video pendek Indonesian Dance Festival. Regarding this dari para seniman yang ikut membentuk matter, the IDF sailing map does not only peta Indonesian Dance Festival. Dan melihat show the relationships between artists across bagaimana peta arung IDF tersebut tidak generations and countries, but also links hanya memperlihatkan hubungan antara a number of artistic practices from various seniman lintas generasi dan negara, tetapi juga backgrounds of cultural e periences. mempertautkan berbagai praktik artistik dari berbagai latar pengalaman kultural.
33 34 DANCE TALKS
Agenda ini adalah upaya This agenda is an attempt to investigate menelisik peran penting the important role of dance as a source of tari sebagai sumber knowledge. Dance has shown us the links pengetahuan. Bagaimana between the body and the dynamics of tari memperlihatkan culture, historical conte t, economy, and pertautan antara ketubuhan global discourse. In addition to building dengan dinamika shared optimism, reviving our power, and kebudayaan, konteks building strength in dealing with some sejarah, ekonomi, dan issues caused by the pandemic, this agenda medan pertarungan serves to remap the various sources of wacana global. Selain demi dance power to help us project alternative membangun optimisme strategies in preparing for the post- bersama, menghidupkan pandemic future of Indonesian dance. daya, dan menggalang kekuatan dalam menghadapi persoalan pandemi, agenda ini berfungsi untuk memetakan ulang berbagai sumber kekuatan tari, yang pada gilirannya kita mampu memproyeksikan strategi alternatif dalam mempersiapkan masa depan tari Indonesia pasca- pandemi.
35 TARI SEBAGAI DIPLOMASI DAN PROMOSI BUDAYA DANCE AS CULTURAL DIPLOMACY AND PROMOTION
Rangkaian misi kebudayaan yang dilakukan The series of cultural missions carried out pemerintahan Soekarno pada masa awal by the Soekarno government during the kemerdekaan Indonesia ke sejumlah negara, early days of Indonesian independence to a baik yang terafliasi dengan lok arat number of countries, both a liated with the maupun Blok Timur, menunjukkan bagaimana West and East blocs, indicate the important kesenian khususnya tari menempati posisi role of arts, especially dance, in the political penting dalam agenda politik diplomasi agenda of cultural diplomacy. Looking at the kebudayaan. Menatap peta yang lebih besar, wider map, the dynamics of Indonesian dance dinamika medan seni tari Indonesia pada following the country’s independence cannot masa awal kemerdekaan tak lepas dari be separated from the situation of post- percaturan politik global pasca-Perang Dunia World War II global politics. Soekarno, with II. Soekarno dengan cita cita keindonesiaan his concept of Indonesian nationalism and a dan prinsip politik bebas aktif membuat lalu “free and active” foreign policy, developed a lintas kebudayaan sangat dinamis melalui dynamic cross-cultural interaction through a rangkaian misi kebudayaan ke negara-negara series of cultural missions to several nations in yang berafliasi dengan kedua blok besar. a liation with the two locs. Jauh setelah itu, Daisuke Muto dalam katalog Long after that, Daisuke Muto, described the IDF 2010 Powering the Future, menempatkan IDF in internationalism and global dynamics IDF dalam wacana internasionalisme dan discourse in the 2010 IDF: Powering dinamika global. Daisuke menyebutkan the Future program catalogue. Daisuke ketika IDF pertama dirintis tidak lama mentioned the emergence of the IDF, which setelah jatuhnya Uni Soviet, dunia sedang was not long after the fall of the Soviet Union, mengalami globalisasi yang bergerak cepat as being in line with the fast movement mengikuti disintegrasi dari kekuatan dunia of globalization, following the end of the Perang Dingin. Dunia banyak berubah di dua Cold War between the world powers. The dekade terakhir. Leburnya ekonomi dunia world has signifcantly changed in the last telah merevitalisasi mobilitas masyarakat two decades. The dissolution of the world dan barang, yang didukung dengan economy has revitalized the mobilization perkembangan internet dan teknologi of people and goods, supported with the informasi. development of the internet and information Dalam dunia masa kini yang telah technology. terdesentralisasi, keanekaragaman sosial dan In today’s decentralized world, the social and budaya dalam rimba pluralitas terekspose cultural diversity in the jungle of plurality is pada kita. Tari pun tak terkecuali. Kini e posed to us. Dance is no e ception. ow kita bertukar informasi melalui email dan we e change information through emails memberitahu teman-teman untuk mengecek and tell our friends to check out videos video di YouTube. Kita bahkan dapat on YouTube. We can even invite dance mengundang perkumpulan tari di luar negeri. companies from other countries. Those Hal tersebut saat ini terasa lumrah, dan sulit things are currently so common that it makes bagi kita untuk mengingat bahwa tidak ada it hard for us to remember that nobody ever satu orang pun yang bisa membayangkan imagined this drastic development before kemajuan drastis ini sebelum 1992. 1992.
36 Pada saat bersamaan, perkembangan At the same time, the development of teknologi komunikasi tersebut dan perubahan communication technology and changes in strategi kebudayaan masa pemerintahan cultural strategy during Soeharto’s presidency Soeharto, mendorong munculnya agen-agen had inspired the emergence of non- seni non-pemerintahan yang mengambil governmental arts agencies to take part in peran diplomasi kebudayaan Indonesia. the Indonesian cultural diplomacy programs. Seniman, organisasi seni non-pemerintah, Artists, non-governmental arts organizations, produser, kurator, manajer seni, menjadi producers, curators, and art managers, kekuatan yang dominan untuk menggerakkan serve as a dominant power to drive the dinamika perkembangan seni kontemporer development of Indonesian contemporary Indonesia di dalam percaturan seni global. arts in the global art scene. They directly Mereka secara langsung menjalin hubungan establish working relationships and are kerja dan terlibat dalam berbagai perhelatan involved in various international dance events seni tari internasional sebagai representasi as the representations of Indonesian art. Such kesenian Indonesia. Pola jaringan kerja working network patterns are continuously semacam itu terus direproduksi hingga saat reproduced today in various forms. ini dengan bentuk yang beragam. In this session we will discuss the position of Dalam sesi ini kita akan berbincang perihal Indonesian dance on the global map, as a posisi tari Indonesia di peta global, sebagai means of diplomacy and cultural promotion. salah satu cara diplomasi dan promosi y observing history and today’s conte t, we budaya. Melalui pembacaan sejarah will elaborate on changes in dance aesthetics, dan konteks praktik hari ini, kita akan distribution of capital, structure of agency in mengelaborasi perubahan estetika tari, the Indonesian dance landscape and their distribusi modal, struktur agensi dalam relationship to the global discourse scene. lanskap tari Indonesia dan hubungannya Collectively, we will once again e amine the dengan percaturan wacana global. Secara depth and breadth of our thinking in looking kolektif kita akan kembali menguji keluasan at the history of dance in order to build a dan kedalaman cakrawala pikir kita dalam critical awareness based on the collective menatap sejarah tari, sehingga kita dapat memory and inherited dance aesthetics. membangun kesadaran kritis atas ingatan- ingatan kolektif serta estetika tari yang kita warisi hingga hari ini.
Keynote Speaker : Jennifer Lindsay (Australia, Researcher) peakers eannie ark Indonesia, ecutive Director of adepokan eni agong Kussudiardja (PSBK), Sekar Putri Handayani (Indonesia, Independent rt Worker and utu a ar rcana Indonesia, ournalist, Cultural pert Moderator : Linda Mayasari (Indonesia, the Director of Cemeti and Member of Curatorial Team of the IDF) 37 38 TARI SEBAGAI RITUS PENGUATAN LANSKAP EKONOMI
DANCE AS A TOOL FOR ECONOMIC LANDSCAPE STRENGTHENING
Ekonomi dalam konteks ini bukan hanya conomy, in this conte t, is not limited urusan keuangan, tetapi juga meliputi to the monetary, but also includes the dinamika perputaran modal non-moneter dynamics of non-capital fows occurring yang kita lakukan untuk memenuhi segala to fulfll all aspects of need in the setting aspek kebutuhan dalam iklim masyarakat of contemporary society. Production and kontemporer. Pola produksi dan konsumsi consumption patterns have surpassed the telah melampaui pemenuhan nilai guna, dan fulfllment of practical use value, and operate kemudian beroperasi di wilayah nilai simbolik. in the realm of symbolic value. In other words, Dengan kata lain, suatu produk dikonsumsi a commodity is produced and consumed bukan karena kegunaannya, melainkan no longer for the sake of its usage, but the citra dan pesan yang menyelubunginya. images and messages that envelop it. In the Dalam perkembangan pasar selanjutnya, ne t development of the market, products produk-produk tersebut sebagai objek telah serve as objects from which the functions and direnggut fungsi dan maknanya, kemudian meanings are snatched away and replaced diselubungi aneka imaji baru, menjadi piranti by various new images, becoming a tool to untuk mengekspresikan identitas tertentu e press certain identities that can only be yang hanya dapat direngkuh dengan cara attained by buying and consuming. Products membeli dan mengkonsumsi. Produk pun are made not to meet the needs, but make dibuat bukan untuk memenuhi kebutuhan, the needs. Meanwhile, consumption is no tetapi menciptakan kebutuhan. Sementara, longer driven by the logic of need, but the konsumsi tidak lagi didorong logika logic of desire. kebutuhan, melainkan logika hasrat. In the landscape of Indonesian society that is Pada lanskap masyarakat kita yang berada located in the intersection between traditional dalam arsiran ekonomi tradisional dan and capitalist economies, sign and symbolic kapital, nilai tanda dan simbolik berkelindan values are intertwined between the needs to antara pemenuhan kebutuhan spiritual dan fulfll spiritual and market demands. Traditional pasar. Contohnya khazanah tari tradisional. dance is the best e ample. istorically, Dalam sejarahnya, tari di Indonesia memiliki dance in Indonesia had a close relationship hubungan dengan tradisi yang bekerja dalam with traditional customs that worked in nalar eksoteris dan transendental, dalam e oteric and transcendental reasonings in kesatuan sistem ekonomi tradisional. Misalnya the unity of a traditional economic system. dalam masyarakat agraris. Perubahan tata Let’s take a look at agrarian society. The kelola agraris akibat masuknya unsur-unsur changes in agrarian management as a result religi baru dan laju industri menepikan of the coming of new religious elements and bentuk-bentuk kesenian yang sebelumnya industrial developments pushed aside some hidup di sana. Hari ini kita melihat bahwa forms of arts that previously lived there. We tari tradisi memperoleh ruang hidup have seen that today, how traditional dance barunya dalam pasar. Mau tidak mau, tari gets its new ecosystem in the market. Like it kemudian bernegosiasi dengan pasar untuk or not, dance then negotiates with the market memperoleh ruang hidupnya yang baru, dan to become a new ecosystem and changes menempuh peralihan dari ritus spiritual ke from a spiritual rite to a commodity. Dancers komoditi. Para pelaku tari menggali berbagai have been looking for potentials, from the macam potensi tari baik dari kanon klasik, classic canon, populist, modernist, and kerakyatan, modernis, dan kontemporer contemporary movements outside the artistic
37 38 di luar khazanah artistik pemanggungan repertoire of the stage to be developed into untuk diolah ke dalam beragam bentuk nilai many forms of value ofered to the public. yang ditawarkan kepada khalayak. Dengan Therefore, the market of dance not only e ists demikian, pasar tari tidak hanya berdenyut in the scope of performance, but penetrates dalam ruang pertunjukan, tetapi merambah into various forms of transactional spaces. ke berbagai bentuk ruang transaksi lainnya. This session will discuss the position of arts, Sesi ini akan membahas posisi kesenian especially dance, in the Indonesian economic khususnya seni tari dalam lanskap ekonomi landscape. Furthermore, the various forms of konteks Indonesia. Selain itu, beragam products and needs that have emerged from bentuk produk dan kebutuhan yang muncul dance practice will be revisited to observe the dari praktik tari akan ditinjau ulang untuk logic of the economics of dance that works membaca nalar ekonomi tari yang bekerja in the intersection of traditional and modern dalam arsiran masyarakat tradisi dan modern, society, as well as their relation with the serta keterhubungannya dengan dinamika broader economic dynamics. ekonomi yang lebih luas.
Keynote Speaker : Martin Suryajaya (Indonesia, philosophy writer and arts critics) Speakers : Diane Butler (USA, Program Director) and Saras Dewi (Indonesia, activist and lecturer) Moderator : Berto Tukan (Indonesia, writer and researcher)
BODILY ARCHIVE
Dengan format presentasi arsip tubuh dan With the format of body archive melalui medium digital, dua orang koreografer, presentation and through digital media, two Eko Supriyanto dan Kadek Puspasari akan choreographers, Eko Supriyanto and Kadek menampilkan respons artistik masing-masing Puspasari will present their respective artistic terhadap situasi keruangan masa pandemi responses to the pandemic spatial situation yang menaungi tubuh mereka. Sebuah that shelters their bodies. It is an attempt to ikhtiar untuk merekam dan mengarsipkan record and archive how the body negotiates bagaimana tubuh bernegosiasi dengan with these conditions. This program is an kondisi tersebut. Program ini adalah sajian archival presentation of the body of dance arsip mengenai tubuh tari yang tengah that is struggling in a global pandemic. berjuang dalam pandemi global.
Choreographers: Eko Supriyanto dan Kadek Puspasari
39 40 RUBUH TUBUH
Rasa rindu, rasa ingin bertemu tersangatkan. onging is e pressed in our strong passion to intensitas pertemuan, tatap muka terbatasi. meet. The intensity of face-to-face meetings Adalah ruang baru, ranah virtual. is reduced. It is a new space, a virtual Aktivitas tubuh banyak dibatasi oleh space. Bodily activities are limited to virtual pertemuan virtual, tak bisa memegang, tidak meetings; we can’t touch or feel the warmth bisa merasakan kehangatan pertemuan, of a meeting. We are limited by space and kita terhambatkan ruang dan waktu. Rindu time. We long for feelings, imaginations, and banyak rasa, banyak imajinasi, banyak thoughts. This work is all about longing and a pikiran. Karya ini adalah tentang rindu dan lonely, broken body. tubuh rubuh yang sendiri.
Music : Birds In Warped Time II (Somei Satoh) Conseptor : Eko Supriyanto Choreographer : Danang Cahyo Wijayanto Dancers : Prasetyo Dwi Adi Nugroho, Ainund Najib, Febryan Danang Isyawara M. I. Arif Ramadhan, Rizky Febriyantoro, A. M. Eti Purnama Sari Videographer : Tunggal Aji Sidik Permono, Eko Wahyudi Duration : 11 minutes
EMBODIED CONFINEMENT
Membaca ruang kurungan. Pembacaan This work observes the confnement of space. realitas kehidupan 60 hari masa isolasi. It is the reading of life’s reality during the 60 Kepekaan hidup, manajamkan rasa days of quarantine in March until May 2020. kemanusiaan. Ini adalah kesadaran yang Life sensitivity sharpens humanity, the most terpenting selain dari estetikanya. Keluasan important awareness beside aesthetics. bukan hanya dimensi ruang, membaca Width is not only about space, but observing secara subyektif dan kesadaran atas ruang the objective space subjectively and with objektifnya. Membaca ruang luar dari dalam, full awareness. We observe the space from membaca ruang berbatas untuk melihat within, observing the limited space to fnd its keluasan di dalam. Ini adalah kesadaran untuk width. It is the awareness to survive. bertahan.
Concept, work, and video : Kadek Puspasari Aesthetic moments actors : Kadek Puspasari, Nina Moure, Christophe Moure Location : France Time : March–May 2020
39 40 BIODATA SINGKAT Short Bios
Anis Harliani Kencana Ekaputri lahir Anis Harliani Kencana Ekaputri was di Bandung, 28 April 1995. Ia merupakan born in Bandung on April 28th, 1995. She lulusan Institut Seni dan Budaya Indonesia graduated from the Bandung Institute of Bandung (ISBI Bandung). Untuk Indonesian Arts and Culture. To deepen memperdalam pengalaman, ia mengikuti her experience, she joined several dance sejumlah program workshop tari, seperti workshop programs, including the 2016 IDF Akademi IDF 2016, Panama Picture, Bandung Academy, Panama Picture, Bandung Dance Dance Colective DANCEVERCITY, Sharon Collective DANCEVERCITY, Sharon Bittner, Bittner, dan masih banyak lagi. Ia tergabung and many more. She is currently a member of dalam Bandung Performing Arts Forum. Pada the Bandung Performing Arts Forum. In 2019, 2019, ia terpilih sebagai koreografer dalam she was selected as a choreographer for HelaTari Salihara, untuk mengembangkan HelaTari Salihara to develop her experiment eksperimennya yang pernah tampil di that was previously performed at the Paradance. Paradance.
Arco Renz adalah Direktur Artistik di Kobalt Arco Renz is the artistic director of Brussel- Works, sebuah kelompok tari di Brussels based Kobalt Works dance company. He yang menciptakan berbagai karya di Eropa has made choreographies in Europe and dan Asia. Setelah keterikatan artistik bersama Asia. After a continuous artistic connection Indonesian Dance Festival sebagai koreografer with the IDF as a choreographer and dan penari sejak 2006, ia kemudian tergabung dancer since 2006, he joined the curatorial dalam tim kuratornya untuk penyelenggaraan team for the 2018 and 2020.zip editions. 2018 dan edisi 2020.zip. Sebagai koreografer, As a choreographer, director, dancer, direktur, penari, kurator, dramaturg atau curator, dramaturg, and tutor, he has pengajar, ia terlibat dalam berbagai proyek participated in various projects in Indonesia, dengan beragam kebudayaan dan wilayah Cambodia, Vietnam, the Philippines, Laos, seperti Indonesia, Kamboja, Vietnam, Singapore, Taiwan, Korea, and Japan. Filipina, Laos, Singapura, Taiwan, Korea, is choreographies specifcally discuss dan epang. arya koreografnya secara the intersections of research, transition, khusus bersoal tentang persimpangan antara and performance. Since 2001, he mostly penelitian, peralihan, dan pertunjukan. Sejak produced his works in Europe and Asia, in 2001, ia menghasilkan karya yang sebagian addition to commissioned works for operas besar dikerjakan di Eropa dan Asia, selain and companies in various countries. He mengerjakan karya pesanan untuk opera dan learned theatrical dance and literature in Berlin perusahaan-perusahaan di berbagai negara. and aris before oining the frst generation of Ia mempelajari tari teater, dan sastra di P.A.R.T.S. in Brussels. Berlin dan Paris sebelum bergabung dengan generasi pertama P.A.R.T.S. di Brussels.
41 Ayu Permata Sari lahir di Kotabumi, Ayu Permata Sari was born in Kotabumi, Lampung Utara pada 1992. Dari 2010- Lampung Utara in 1992. From 2010–2016, 2016, ia mendalami tari melalui jurusan she studied dance at the Department of penciptaan koreograf di Institut eni Choreography Creation at the Indonesian Art Indonesia (ISI) Yogyakarta, untuk gelar Institute (ISI) Yogyakarta for her bachelor’s sarjana dan masternya. Ia terpilih untuk and master’s degrees. She was selected as mengikuti residensi di Leuven dan Brussels a participant of Monsoon Europalia’s artist (Belgia) sebagai bagian dari Monsson residency program in Leuven and Brussels Europalia Festival. Pada 2018, salah satu (Belgium). In 2018, one of her works entitled karyanya berjudul Kami Bu-ta memenangkan Kami Bu-ta won the “Jasa Bakti” award penghargaan “Jasa Bakti” dari Asian from the Asian Technology Festival in Johor, Technology Festival di Johor, Malaysia. Malaysia. Her work, entitled TubuhDang Karyanya berjudul TubuhDang TubuhDut TubuhDut, was selected in the 2018 IDF masuk dalam program Kampana IDF tahun Kampana program, and has been performed 2018, dan sudah dipentaskan di beberapa in several cities in Indonesia and various kota di Indonesia dan berbagai negara countries such as Singapore, Malaysia and seperti, Singapura, Malaysia, dan Jerman. Germany. She has received an art grant from Ia pernah mendapatkan hibah seni dari Salihara Arts Center with the work X (2019) Komunitas Salihara dengan karya X (2019) and Presentasi tari : Ma Nam Ju Pan (2020). dan Presentasi tari : Ma Nam Ju Pan (2020). In 2020–2021, Ayu is working with a collective 2020-2021, Ayu berproses dengan kolektif of producers, curators and art managers from produser, kurator, dan manajer seni dari Japan and Southeast Asia in the 3Cs Karakoa Jepang dan Asia Tenggara dalam 3Cs Project. Karakoa Project. Ayu Utami is an award-winning Indonesian Ayu Utami adalah penulis Indonesia writer who was the laureate of the Prince berprestasi, penerima Prince Claus Award Claus Award in 2000 and the Ahmad pada 2000 dan Penghargaan Ahmad Bakrie Bakrie Award for Literature in 2018. During untuk Sastra tahun 2018. Selama rezim militer Indonesia’s military regime, Ayu was a Indonesia, Ayu adalah seorang jurnalis dan journalist and activist for freedom of the press. aktivis kebebasan pers. Novel pertamanya er frst novel Saman (1998), published just Saman (1998), diterbitkan hanya beberapa a few days before President Suharto stepped hari sebelum Presiden Suharto lengser, down, was highly acclaimed by literary mendapat pujian tinggi dari kritikus sastra dan critics and became a bestseller as well as a menjadi buku terlaris sekaligus mercusuar beacon of freedom during the movement for kebebasan selama gerakan perubahan political change (Reformasi) in Indonesia. In politik (Reformasi) di Indonesia. Menurutnya, Indonesia’s democratic political system, she dalam sistem politik demokrasi Indonesia, believes that religious radicalism constitutes radikalisme agama merupakan tantangan the main challenge to freedom of expression. utama kebebasan berekspresi. Untuk To cope with this challenge, she focuses her mengatasi tantangan ini, dia memfokuskan works on the promotion of what she terms karyanya untuk menyebarluaskan apa yang critical spiritualism. This concept was frst dia sebut sebagai “spiritualisme kritis”. mentioned in her novel Bilangan Fu (The Konsep tersebut pertama kali diterapkan Number Fu, 2008) and has permeated all her dalam novelnya Bilangan Fu (The Number works since then. Fu, 2008) dan telah meresap dalam semua karyanya sejak saat itu. Berto Tukan born in Larantuka, East Flores, 21 April 1985, he is a Jakarta-based freelance writer and researcher. His published works Berto Tukan lahir di Larantuka, Flores Timur, include Seikat Kisah Tentang yang Bohong 21 April 1985, adalah seorang penulis dan (short-story collection, 2016), and Sudah peneliti lepas yang saat ini berdomisili di Lama Tidak Bercinta Ketika Bercinta Tidak Jakarta. Bukunya yang telah terbit adalah Lama (poetry collection, 2018). In addition to “Seikat Kisah Tentang yang Bohong” writing a number of essays and conducting (kumpulan cerpen, 2016) dan “Sudah Lama
42 Tidak Bercinta Ketika Bercinta Tidak Lama” research, he is a coordinator of study (kumpulan puisi, 2018). Selain menulis se- subjects at Gudskul: Collective Studies and jumlah esai dan meriset beberapa hal, ia Ecosystems of Contemporary Art. aktif sebagai koordina tor subjek belajar di Gudskul: Studi Kolektif dan Ekosistem Seni Rupa Kontemporer. Diane Butler has collaborated with artists from various cultures, especially America, Europe, and Asia for more than 25 years. Diane Butler telah banyak berkolaborasi She has lived in Bedulu and Tejakula villages, dengan seniman dari berbagai macam Bali, since 2001. Together with Suprapto budaya terutama Amerika, Eropa, dan Suryodarmo, she initiated the Dharma Nature Asia selama lebih dari 25 tahun. Ia hidup di TIme foundation to support interculturalism in desa Bedulu dan Tejakula, Bali sejak tahun the cultural environment through art, religion 2001. Bersama Suprapto Suryodarmo, ia and nature. menginisiasi sebuah yayasan Dharma Nature Time untuk mendukung interkultural pada Eka Wahyuni was born in Tanjung Redeb, lingkungan budaya melalui seni, religi, dan Berau, on March 3, 1989. On a day-to-day alam. basis, she works as a translator, archivist, and production manager. In the last seven years, she has been involved in dance Eka Wahyuni lahir di Tanjung Redeb, and has attended a number of residencies Berau 3 Maret 1989. Sehari-hari, ia bekerja mentored by well-known Indonesian and sebagai penerjemah, arsiparis, dan di bidang foreign choreographers. As a dancer, she manajemen produksi seni. Sejak tujuh was involved in Dance Heginbotham in the tahun terakhir, ia mulai berkecimpung dalam DanceMotion USA program, collaborated with dunia tari dan mengikuti sejumlah residensi Citra Pratiwi in Gelora, and was involved in yang dimentori oleh koreografer kenamaan the works by Masegit Rokateater and Kalanari Indonesia dan luar negeri. Sebagai penari, Theater Movement. In 2018, she received ia terlibat dalam Dance Heginbotham pada a Kelola Foundation grant for the National program DanceMotion USA, berkolaborasi Internship program. dengan Citra Pratiwi untuk karya Gelora, terlibat dalam karya Masegit Rokateater dan Kalanari Theater Movement. Pada 2018, Eko Supriyanto born in Astambul, South ia menerima hibah Yayasan Kelola untuk Kalimantan, 26 November 1970, he grew program Magang Nusantara. up in Magelang, Central Java. He inherited the talent in art from his grandfather, Djojoprayitno, a wayang orang dancer of Eko Supriyanto lahir di Astambul, Sri Wedari (Solo) in the 1960s. From 1990– Kalimantan Selatan, 26 November 1970, 1997, Eko studied Javanese dance at the tetapi dibesarkan di Magelang, Jawa Indonesian Arts College (STSI) in Surakarta. Tengah. Darah seni mengalir dari kakeknya, He appeared twice at the Indonesian Dance Djojoprayitno, penari wayang orang Sri Festival (IDF) with the works Lah (1994) and Wedari (Solo) 1960-an. Eko masuk Sekolah Leleh (1996) which led him to the American Tinggi Seni Indonesia (STSI 1990-1997) Dance Festival (ADF 1997) in Durham, North Surakarta mendalami tari Jawa. Dua kali ia Carolina and the sia acifc erformance tampil dalam Indonesian Dance Festival (IDF) Exchange (APPEX 1997) in Los Angeles, dengan karya Lah (1994) dan Leleh (1996) USA. Eko continued his studies at the yang mengantarkannya ke American Dance Department of World Arts and Culture at Festival (ADF 1997) di Durham, North Carolina UCLA, California (1998-2001). He earned dan sia acifc erformance change doctoral degrees from the Gajah Mada (APPEX 1997) di Los Angeles, AS. Kemudian University and the Indonesian Art Institute of Eko melanjutkan kuliah di Department World Surakarta. Arts and Culture di UCLA, California (1998- 2001). Kini ia telah meraih gelar doktor di Universitas Gajah Mada dan ISI Surakarta.
43 Eun-Me Ahn merupakan seorang tokoh Eun-Me Ahn is an important fgure in the penting di dunia seni pertunjukan Korea South Korean performing arts. She studied Selatan. Ia belajar tari kontemporer di Ehwa contemporary dance at Ehwa Women’s Women’s University, Seoul. Kemudian, ia University, Seoul. Later, she founded the Eun- mendirikan Ahn Eun-Me Company pada 1988 Me Ahn Company in 1988 before moving to sebelum pindah ke New York pada 1991 New York in 1991 to attend the Tisch School untuk menuntut ilmu di Tish School of the of the Arts. In 2001 she returned to South Arts. Pada 2001 ia kembali ke Korea Selatan Korea as a choreographer and performer sebagai koreografer dan penampil yang revisiting classics of her country (Princess menengok kembali karya klasik negaranya Bari), and investigating social issues such as (Princess Bari), menyelidiki isu sosial seperti generational issues (Dancing Grandmothers, isu generasi (Dancing Grandmothers, Dancing Dancing Teen, Dancing Middle-aged Men), Teen, Dancing Middle-aged Men), atau and special alignments (Ahnsim with the keberpihakan khusus (Ahnsim Dance dengan blinds, Daeshin Dance with people with penderita tuna netra, Daeshin Dance dengan dwarfsm . he has composed more than 1 penderita dwarfsme . Ia telah menggubah dance numbers and has received international lebih dari 150 nomor tari dan mendapat acclaim through the works Symphoca pengakuan internasional melalui karya Princess Bari, Let Me Change Your Name Symphoca Princess Bari, Let Me Change and Dancing Grandmothers, which were Your Name dan Dancing Grandmothers, yang performed on world-renowned stages. tampil di panggung-panggung ternama di dunia. Eyi Lesar, born in Manado, February 13, 1993, is a dancer and choreographer, the alumni of the Department of Dance of the Eyi Lesar lahir di Manado, 13 Februari 1993, Jakarta Arts Institute.He learned a number adalah seorang penari dan koreografer, of dance genres, such as break dancing, alumnus Jurusan Seni Tari, Institut Kesenian traditional, modern, and hip-hop, which later Jakarta. Ia terlatih oleh sejumlah genre tari, infuenced his choreography. In addition to seperti break dance, tradisi, modern, dan collaborating with a number of well-known hip-hop, yang kemudian mempengaruhi Indonesian and international choreographers, koreografnya. elain berkolaborasi dengan such as artati, ko upriyanto, ola ulfanti, sejumlah koreografer kenamaan Indonesia Tom Ibnur, Peter Wilsgon, Kaptonczai Erika, dan mancanegara, seperti Hartati, Eko Arno Schuitmaker, he has produced a upriyanto, ola ulfanti, Tom Ibnur, eter number of works as a choreographer and Wilsgon, Kaptonczai Erika, Arno Schuitmaker, appeared at several important Indonesian ia telah menghasilkan sejumlah karya festivals, among others Sanguin (2005 sebagai koreografer dan tampil di sejumlah Sejumlah Tempat di Jakarta), Tomorrow festival penting Indonesia antara lain, (2017 Jakarta Dance Meet Up), Who Are Sanguin (Sejumlah Tempat di Jakarta, 2005), You (2018 Kelola Foundation Art Grant), and Tomorrow (Jakarta Dance Meet Up 2017), Adinterim (2019 HelaTari Salihara). Who Are You (Hibah Seni Kelola 2018), dan Adinterim (HelaTari Salihara 2019). Gege Diaz, born 34 years ago, is an alumni of the Jakarta Arts Institute. Since 2006, he Gege Diaz lahir di Larantuka 34 tahun yang has been a member of JeckosDANCE and lalu, merupakan lulusan Institut Kesenian StreetpaS dance groups. He has performed Jakarta. Sejak 2006, ia bergabung dengan with JeckosDANCE in Esplanade, Singapore grup JeckosDANCE serta grup StreetpasS. in 2007; Japan (Nagoya, Yokohama, Ia pernah ikut pentas bersama JeckosDance Fukuoka); Jerman (Frankfurt) and Rusia di gedung Esplanade, Singapore pada 2007, (Shoci). In 2017, he performed his work Jepang (Nagoya, Yokohama, Fukuoka), The Life of the People at Larantuka at the Jerman (Frankfurt) dan Rusia (Shoci) di tahun Jakarta Dance Meet Up. He also won the 2014. Pada 2017, ia menampilkan karya 2018 Choreo Jam under the category of Solo berjudul The Life of the People at Larantuka Dance. dalam Jakarta Dance Meet Up. Kemudian, ia menjuarai Choreo Jam 2018 dengan kategori solo dance. 44 Gisèle Vienne adalah seorang seniman, Gisèle Vienne is a Franco-Austrian artist, koreografer, dan sutradara Perancis-Austria. choreographer and director. After graduating Setelah menamatkan studi di bidang in Philosophy, she studied at the puppeteering Filsafat, ia mempelajari pertunjukan boneka school Ecole Supérieure Nationale des Arts di Ecole Supérieure Nationale des Arts de de la Marionnette. She works regularly with, la Marionnette. Ia pernah berkolaborasi among others, the writer Dennis Cooper and dengan penulis Dennis Cooper dan musisi the musicians Peter Rehberg and Stephen Peter Rehberg dan Stephen O’Malley. O’Malley. Her work has been touring in Karya-karyanya telah dipentaskan di penjuru Europe and regularly performed in Asia Eropa, Asia, dan Amerika, antara lain I and in America, among which, I Apologize Apologize (2004), Kindertotenlieder (2007), (2004), Kindertotenlieder (2007), Jerk (2008), Jerk (2008), This is how you will disappear This is how you will disappear (2010), LAST (2010), LAST SPRING: A Prequel (2011), SPRING: A Prequel (2011), The Ventriloquists The Ventriloquists Convention (2015) dan Convention (2015) and Crowd (2017) Gisèle Crowd (2017). Ia beberapa kali menggelar Vienne has frequently been exhibiting her pameran fotograf di se umlah museum karya photographs in museums, her published tulisnya telah dipublikasikan secara luas, books including JERK/Through Their Tears antara lain JERK/Through Their Tears dan 40 and 40 PORTRAITS 2003–2006 has led to PORTRAITS 2003–2006; Sementara musik various publications; and the original music latar pertunjukannya telah tergabung dalam of her shows to several albums. She is now sejumlah album lagu. Saat ini ia menggarap working on a show based on Robert Walser’s sebuah pertunjukan yang dikembangkan dari short story Der Teich, that will premiere in cerita pendek Der Teich karya Robert Walser, November 2020 at the TNB in Rennes. akan tampil pertama kali November 2020 di TNB, Rennes. Gymnastik Emporium is a collective project of artists from various disciplines to create Gymnastik Emporium adalah proyek works that break down the boundaries kolektif eniman dari berbagai disiplin untuk between art and other felds. It is intended mengerjakan karya yang membongkar as a long project, especially to observe the batasan antara seni dan bidang-bidang aspects of performance in the feld of sports, lain. Ia diniatkan sebagai proyek panjang, including the physical and being a spectator. khususnya melihat aspek-aspek pertunjukan Gymnastik Emporium is based in Yogyakarta, pada bidang olahraga, seperti aspek with Abdi Karya, Ari Dwianto, Irfanuddien ketubuhan dan aspek kepenontonan. Ghozali, Kurnia Yaumil Fajar, Muhammad Gymnastik Emporium berbasis di Yogyakarta, AB, and Vandy Rizaldy, each of whom has a terdiri dari Abdi Karya, Ari Dwianto, long track record in national and international Irfanuddien Ghozali, Kurnia Yaumil Fajar, performance works, as its members. Muhammad AB, Vandy Rizaldy, yang masing- masing punya rekam jejak yang panjang pada kerja-kerja pertunjukan nasional maupun Irfan Setiawan was born in Belinyu, Bangka internasional. Belitung and has been learning to dance since the age of 11 years old. He graduated from the Department of Dance of the Jakarta Irfan Setiawan lahir di Belinyu, Kepulauan Arts Institute and has gone through many Bangka Belitung, dan telah menekuni dunia creative processes with various Indonesian tari sejak usia 11 tahun. Ia adalah alumni and international choreographers. He has Jurusan Seni Tari, Institut Kesenian Jakarta won a number of choreography festivals, dan telah melalui banyak proses kreatif received a Creative Space grant from the dengan berbagai koreografer Indonesia Djarum Foundation & Garin Workshop, and maupun internasional.Ia pernah menjuarai was selected as one of Eko Supriyanto’s se umlah festival koreograf, memperoleh assistant choreographers at the 2018 Asian hibah Ruang Kreatif dari Djarum Foundation Games Opening Ceremony. Some of his & Garin Workshop, dan menjadi salah satu works include 1 dari 10 (2015), Encang asisten koreografer Eko Supriyanto dalam Encot (2016), Bala (2017), Sun Ali (2018), acara Opening Ceremony Asian Games 2018. Impact (2019), and many more. During 2019–
45 Beberapa karyanya adalah 1 dari 10 (2015), 2021, he is participating in the European Encang Encot (2016), Bala (2017), Sun Ali Dance Tour “ATTITUDE” with Cie X-Press (2018), Impact (2019), dan banyak lainnya. (France). Dalam rentang 2019-2021, ia berpartisipasi dalam Dance Tour Eropa “SIKAP” bersama Cie X-Press (Prancis). Jeannie Park immigrated to Yogyakarta from the United States in 1996, driven by her interest in Indonesia’s Javanese cultural Jeannie Park berimigrasi dari Amerika heritage. Jeannie has been a Javanese Serikat ke Yogyakarta pada 1996 karena dance practitioner at the Yogyakarta Royal terpikat oleh warisan budaya Jawa di alace since 199 , and became the frst Indonesia. Jeannie menjadi praktisi tari Jawa foreign dancer to dance bedhaya at Bangsal di Kraton Yogyakarta sejak tahun 1998, Suryo Kencono, Kraton Yogyakarta. She has dan menjadi penari asing pertama yang participated in various residency programs as menari bedhaya di Bangsal Suryo Kencono, an independent creative producer and arts Kraton Yogyakarta. Ia telah berpartisipasi manager through BAM, New York; Kennedy dalam berbagai program residensi sebagai Center for Performing Arts, Washington, produser kreatif independen dan manajer D.C.; Asian Cultural Council; and the Japan seni melalui BAM, New York; Kennedy oundation. eannie was a program o cer Center for Performing Arts, Washington, for elola oundation, Indonesia’s frst service D.C.; Asian Cultural Council; dan Japan organization for the arts; and has served Foundation. Jeannie pernah menjadi staf as Director of the Kohn Turner Gallery, Los program Yayasan Kelola, organisasi layanan Angeles, USA. Currently, Jeannie serves as pertama di Indonesia untuk seni; dan pernah Executive Director of the Padepokan Seni menjabat sebagai Direktur Kohn Turner Bagong Kussudiardja. Gallery, Los Angeles, AS. Kini, Jeannie turut mengembangkan Padepokan Seni Bagong Kussudiardja sebagai Direktur Eksekutif. Jennifer Lindsay frst came to Indonesia in 1970, and since then, Indonesia has become an important part of her life. While in Jennifer Lindsay pertama kali datang ke Indonesia, she worked as Cultural Counselor Indonesia pada 1970, dan sejak saat itu at the Australian Embassy (1989-1992), Indonesia menjadi bagian penting dalam rogram O cer at the ord oundation, and hidupnya. Selama di Indonesia, ia bekerja participated in cataloging manuscript projects sebagai Cultural Counsellor di Kedutaan at the Sultan’s palace in Yogyakarta. In Besar Australia (1989 - 1992), Program addition to serving as lecturer and researcher O cer di ord oundation, dan pembuatan at the University of Sydney and the National naskah proyek dan katalogisasi manuskrip di University of Singapore, she edits, translates istana Sultan di Yogyakarta. Selain berposisi and contributes to numerous academic pengajar dan peneliti di University of Sydney journals; and writes on cultural policy, cultural dan National University of Singapore, ia history, performance, media and languages. mengedit, menerjemahkan, dan berkontribusi he also directed documentary flms about untuk banyak jurnal akademik, menulis Indonesia’s cultural mission during Soekarno’s tentang kebijakan budaya, sejarah budaya, presidency. kinerja, media, dan bahasa.Dia juga mengarahkan flm dokumenter tentang misi Josh Marcy is an independent dance budaya Indonesia selama periode Soekarno. artist based in Jakarta, Indonesia. Josh early trained in hip hop before expanding to Josh Marcy adalah seniman tari yang contemporary dance practice.He just earned berbasis di Jakarta, Indonesia. Ia memulai his master’s on Urban Arts from the Jakarta latihan kepenariannya dari komunitas HipHop Institute of The Arts. In developing his works, sebelum akhirnya memperluas praktik he conducts deep research to investigate the artistiknya ke wilayah tari kontemporer. Ia relation between “what is body” and “what baru saja menuntaskan program Magister is space”, and how the interactions between Seni Urban di Sekolah Pascasarjana Institut these two entities are shaping reality. Josh’s Kesenian Jakarta. Dalam pengembangan recent works included: Pedestrian, performed 46 karya, ia melakukan banyak riset guna melihat at the Regular Jakarta Dance Meet-Up and lebih dalam hubungan antara “apa itu tubuh” the Jakarta Dance Meet-Up selection (2017- dengan “apa itu ruang”, dan bagaimana 2018); Spasial, at the Salihara Arts Center interaksi antar keduanya membentuk realita. (2018), The Meeting at the Jakarta Dance Karya-karya Josh, antara lain, Pedestrian di Extravaganza (2019); Side To Side, In Scale at Jakarta Dance Meet Up Reguler and Jakarta the Bintaro Design District (2019). Dance Meet Up selection (2017-2018), Spasial di Komunitas Salihara (2018), The Meeting di Jakarta Dance Extravaganza Kadek Puspasari was born in Bali in (2019), Side To side, In Scale di Bintaro 1979 and grew up in Solo. She pursued Design District (2019). traditional Balinese and Javanese dance, both in informal and formal settings at the Surakarta Indonesian Art Institute. She Kadek Puspasari Lahir di Bali, 1979, has been frequently working on national kemudian besar di kota Solo. Ia menekuni and international stages. Since 2010, she tari tradisi Bali dan Jawa, baik secara has lived in France and has continued her informal maupun formal melalui Institut Seni career as a dance teacher, dancer and Indonesia Surakarta. Ia banyak terlibat dalam choreographer for both traditional and karya, baik pentas dalam negeri maupun contemporary dance.She is currently a mancanegara. Sejak tahun 2010, ia tinggal choreographer at Abbey Royaumont, a di Perancis dan melanjutkan karier sebagai foundation of contemporary dance, and guru tari, penari, dan koreografer tradisi dan was selected in the program Incubateur kontemporer.Saat ini ia menjadi Koreografer di chorégraphe with La fabrique de la danse fondasi tari kontemporer Abbey Royaumont, Paris.In 2014, she founded a gamelan music dan terpilih dalam program Incubateur dance studio called the Association Pantcha chorégraphe dengan La fabrique de la danse Indra in Paris with her husband, which Paris. Bersama suaminya sejak tahun 2014, currently has more than 40 members. ia mendirikan sanggar/company tari musik- gamelan dengan nama Association Pantcha Linda Mayasari is the director of Cemeti– Indra di Paris, yang saat ini memiliki 40 orang Institute for Art and Society and a member of lebih anggota. the curatorial team of the Indonesian Dance FestivalShe is currently a postgraduate Linda Mayasari merupakan Direktur student of the Cultural Studies program at Cemeti—Institut untuk Seni dan Masyarakat, the Sanata Dharma University, as well as dan anggota tim kurator Indonesian a researcher and writer on the intersection Dance Festival 2020.Saat ini ia tengah of arts, politics, and post-colonialism in menyelesaikan studi Magister Kajian Indonesian cultural and historical contexts. Budaya di Universitas Sanata Dharma, TEROPONG ARSIP: MABUK AMERIKA sambil melakukan penelitian pribadi dan DAN IDENTITAS NASIONAL–Dance menjelajahi persimpangan seni, politik, Archive of Kussudiardjo & Wisnu Wardhana dan pascakolonialisme dalam konteks from the 1950s to 1960s is her research budaya dan sejarah Indonesia. TEROPONG project in collaboration with Muhammad ARSIP: MABUK AMERIKA DAN IDENTITAS AB dan Suluh Senja Romana which was NASIONAL - Arsip Tari Bagong Kussudiardjo presented as part of the 2018 “Jejak-旅 Tabi & Wisnu Wardhana tahun 1950an-1960an Exchange: Wandering Asian Contemporary adalah proyek penelitian yang ia garap Performance”, Yogyakarta. bersama dengan Muhammad AB dan Suluh Senja Romana, dipresentasikan sebagai Martin Suryajaya won frst place in the bagian “Jejak- Tabi Exchange: Wandering 旅 2013 Jakarta Arts Council Literary Criticism Asian Contemporary Performance”, Competition. His latest work is a poem Yogyakarta 2018. anthology Terdepan, Terluar, Tertinggal (Anagram Publisher, 2020). Some of his latest books include: Sejarah Estetika (Gang Kabel, Martin Suryajaya meraih juara pertama 2016), which won the Best Art Publication dalam Sayembara Kritik Sastra Dewan award from Art Stage 2017; and the novel Kesenian Jakarta 2013.Karya terbarunya 47 adalah buku puisi Terdepan, Terluar, Tertinggal Kiat Sukses Hancur Lebur (Banana, 2016), (Penerbit Anagram, 2020). Beberapa buku which won the 2018 Indonesian National mutakhirnya antara lain: Sejarah Estetika Agency for Language Development and (Gang Kabel, 2016) yang memenangkan Books’ Literature Award for Novel Category. penghargaan Best Art Publication dari Art Stage 2017 dan novel Kiat Sukses Hancur Lebur (Banana, 2016) yang memperoleh Melanie Lane is an Australian choreographer Penghargaan Sastra Badan Bahasa 2018 and performer of European/Javanese Kategori Novel. cultural heritage. She has collaborated with artists from flm, visual art, theatre and music, creating works that tread between Melanie Lane adalah koreografer Australia performative forms and contexts. Her dan penari yang mementaskan kebudayaan independent work interrogates physical and Eropa dan Jawa. Ia telah berkolaborasi cultural histories to express current and dengan banyak seniman dari flm, seni rupa, future social mythologies. To interrogate the teater dan musik, dan menciptakan karya body beyond dominant narrative, Lane has antara pertunjukan dan konteks. Karya initiated multiple works and collaborations independennya menginterogasi se arah fsik with performers, bodies and disciplines far dan budaya untuk mengekspresikan mitos- outside the remit of contemporary dance. mitos sosial masa kini dan masa depan. Her independent work has been presented Untuk menginterogasi tubuh lebih dari at international festivals and theatres such narasi dominan, Lane menginisiasi berbagai as HAU Berlin, Tanz im August, Schauspiel karya dan kolaborasi dengan (performers), Leipzig, December Dance, Uzes Danse tubuh-tubuh, dan disiplin yang jauh di luar Festival, Indonesian Dance Festival, O Espaco konteks tari kontemporer. Karya-karya telah do Tempo, Dance Massive, Carriageworks, dipertunjukan di berbagai festival internasional Chunky Move, Arts House and Sydney Opera dan teater termasuk HAU Berlin, Tanz im House. August, Schauspiel Leipzig, December Dance, Uzes Danse Festival, Indonesian Dance Festival, O Espaco do Tempo, Dance Hari Ghulur (Moh. Hariyanto) was born Massive, Carriageworks, Chunky Move, Arts in Madura on October 16, 1986 and has House dan Sydney Opera House. produced a series of works developed from a progressive, continuous embodiment process, including Ghulur (2013), Ghabal Moh. Hariyanto (Hari Ghulur) lahir di (2015), White Stone (2018), and SILA (2018, Sampang Madura, 16 Oktober 1986, telah 2020). Those works have been performed in menghasilkan serangkaian karya yang Indonesia, the USA, Belgium, China, Thailand, berangkat dari proses ketubuhan yang Malaysia, and Singapore. He has also been progresif dan berkelanjutan, antara lain, collaborating with cross-discipline artists, Ghulur (2013), Ghabal (2015), White Stone including anaf painter , awe amagaha (2018), dan Sila (2018, 2020). Karya-karya (musician), Rianto (dancer), Suprapto tersebut telah tampil di Indonesia, Amerika Suryodarmo (dance maestro), Sukarji Sriman Serikat, Belgia, Cina, Thailand, Malaysia, (dance maestro), Carlos Gracia Esteves dan Singapura. Ia juga berkolaborasi dengan (director), Park Ju Chun (dummer), Kuku seniman lintas disiplin, seperti, anaf (choreographer), and Arco Renz (dramaturg). (Perupa), Lawe Samagaha (Musisi), Rianto He currently serves as a lecturer at the (Penari), Suprapto Suryodarmo (Maestro Tari) Wiltatikta Arts College (STKW), Surabaya, and Sukarji Sriman (Maestro Tari), Carlos Gracia founded the Surabaya-based Sawung Dance Esteves (Sutradara), Park Ju Chun (Drummer), Studio while continuing to do laboratory and Kuku (koreografer), Arco Renz (Dramaturg). experimental works. Saat ini ia menjadi dosen di STKW Surabaya dan mendirikan Sawung Dance Studio yang berdomisili di Surabaya dan terus melakukan kerja laboratorium dan eksperimental.
48 Nia Agustina lahir di Jawa Tengah, 1989 dan saat ini bermukim di Yogyakarta. Sejak Nia Agustina was born in Central Java in mendirikan Paradance Platform pada 2015, 1989 and currently lives in Yogyakarta. Since aktivitasnya berkisar pada pemberdayaan founding Paradance Platform in 2015, she seniman tari muda Indonesia. Mulai dari has been active in empowerment programs 2017, bersama suaminya Ahmad Jalidu, ia for Indonesian young dance artists. Since menjalankan gelaran.id, sebuah website yang 2017, she and her husband, Ahmad Jalidu, memuat tulisan seni pertunjukan. Ia terpilih have managed gelaran.id, a website for dalam The Japan Foundation Asia Center’s performance arts articles. She was an Asia Fellowship Program (Februari—Maret awardee of the Asia Japan Foundation Asia 2020), untuk meneliti praktisi tari muda Center Scholarship (February–March 2020) dan berbagai platform-nya di Jepang. in which she studied the Japanese young Untuk tahun-tahun mendatang, ia masih dance practitioners and their platform. For the akan melanjutkan penelitian tersebut dalam coming years, she will expand her research to konteks Asia Tenggara. a Southeast Asian context.
Olé Khamcanla lahir di Laos dan mulai Olé Khamchanla was born in Laos and mempelajari hiphop pada 1990. Dari 1997 has started to learn hip hop since 1990. sampai 2001 ia tergabung dalam A’CORPS From 1997 to 2001, he was a member of sebagai penari dan koreografer, sebelum A’CORPS as a dancer and choreographer mendirikan kelompok tarinya sendiri, before founding his own dance company, Kham. Setelah pulang dari Italia pada Kham. Following his homecoming from Italy 2003, ia kembali ke Laos dan Thailand in 2003, he returned to Laos and Thailand untuk mempelajari tarian tradisional dan to learn traditional dance and explore his memperdalam bahasa koreografnya. elain choreography language. Besides, he also itu ia juga terlibat dalam kerja-kerja luar participates in out-of-the-stage projects, panggung, salah satunya menggagas festival one of them is initiating the frst international tari Internasional pertama di Laos, Fang Mae dance festival in Laos, Fang Mae Khong Khong (FMK). Selain untuk mempromosian, (FMK). FMK is founded to promote, facilitate, memfasilitasi, dan membentuk jejaring build the networks of Asian artists, and has seniman dari Asia, agenda FMK juga terlibat been participating in the development of Laos dalam perkembangan budaya di Laos. culture.
Puri Senjani Apriliani lahir di Surabaya, Puri Senjani Apriliani was born in Surabaya 1994, mendalami tari di Jurusan Sendratasik, in 1994, studied dance at the Department Universitas Negeri Surabaya. Sejak of Arts, Drama, Dance and Music at the tahun 2014, ia berproses sebagai penari, State University of Surabaya. Since 2014, koreografer, dan pelatih tari di berbagai she has worked as a dancer, choreographer, institusi, serta aktif di beberapa komunitas and dance tutor for several institutions, seperti Sawung Dance Studio dan Surabaya and has been a member of Sawung Dance Stage Dance. Ia pernah bekerja bersama Studio and Surabaya Stage Dance. She has koreografer ternama Indonesia maupun collaborated with some famous Indonesian internasional. Beberapa karya Puri adalah and international choreographers. Some of Exist (2014), Sudut (2016), Fase Tubuh her works are Exist (2014), Sudut (2016), (2017), Tim-Bang (2018) dan The Other Fase Tubuh (2017), Tim-Bang (2018) and Half (2019). Sedangkan karya #redzone The Other Half (2019). #redzone (2020) (2020) terpilih sebagai salah satu dari 40 was selected as one of the 40 Indonesian koreografer se-Indonesia dalam program choreographies in the Distance Parade Distance Parade. Karya solonya The Other program. Her solo work, The Other Half, Half yang telah tampil di beberapa festival tari was performed at several Indonesian dance di Indonesia dan terpilih dalam program OFF festivals and selected to be performed at STAGE di M1 Contact Contemporary Dance the OFF STAGE program as part of the Festival, Singapura (2020). M1 Contact Contemporary Dance Festival, Singapore (2020).
49 Putu Fajar Arcana, lahir di Bali 1965, adalah jurnalis dengan kemampuan menulis genre Putu Fajar Arcana, born in Bali in 1965, sastra beragam. Dua bukunya terbit di kala is a journalist with the ability to write pandemi, ePILOG: Esai Kebudayaan Kompas various literary genres. Two of his books (esai) dan Budak Naga (puisi). Ia menulis were published during the pandemic, titled sejumlah lakon- monolognya, tiga kumpulan ePILOG: Kompas Culture Essay (essay) and cerpen, Bunga Jepun (2002), Samsara Dragon Slaves (poetry). He has published (2005), dan Drupadi (2016). Novelnya, several monologues and three poetry Gandamayu (2012) dipentaskan Teater Garasi collections: Bunga Jepun (2002), Samsara tahun 2012 di Gedung Kesenian Jakarta (2005), and Drupadi (2016). His novel, (GKJ). Ia telah menerbitkan antologi puisi Gandamayu (2012) was performed by Teater Bilik Cahaya (1997) dan Manusia Gilimanuk Garasi in 2012 at the Jakarta Arts Building (2012). Ia mendirikan Arcana Foundation (GKJ). He published poetry anthology books untuk menggelar pelatihan menulis daring Bilik Cahaya in 1997 and Manusia Gilimanuk dan menjadi inisiator Workshop Cerpen in 2012. He founded the Arcana Foundation Kompas tahun 2011. Putu juga menjadi tim to hold online writing training and initiated the kreatif proyek seni Indonesia Kita bersama 2011 Kompas Short Story Workshop. Putu Agus Noor dan Butet Kartaredjasa, yang is also a member of the creative team for the mementaskan lakon-lakon komedi satire. Indonesia Kita art project, along with Agus Noor and Butet Kartaredjasa, perform satirical Pratiwi Pujilestari Sudarmono memperoleh comedy plays. gelar PhD di bidang biologi molekul dari Universitas Osaka, Jepang. Ia melakukan Pratiwi Pujilestari Sudarmono received banyak penelitian terkait mikrobiologi klinis her PhD in molecular biology from Osaka antara lain tentang bakteri enterik di Institut University, Japan. She had conducted Penelitian Walter Reed Army, Washington DC several studies on clinical microbiology, dan penelitian kolaboratif tentang penyakit including enteric bacteria at the Walter Reed tropis di Universitas John Hopkins, Baltimore, Army Research Institute, Washington, D.C., Amerika Serikat. Sejak 2007, ia dinobatkan besides collaborative research on tropical menjadi Profesor Mikrobiologi di Fakultas diseases at the John Hopkins University, Kesehatan, Universitas Indonesia. Selain itu, Baltimore, USA. Since 2007, she has been a ia juga menjadi anggota Dewan Riset Daerah professor in the Department of Microbiology, DKI Jakarta sejak 2006 sampai sekarang; Faculty of Medicine, University of Indonesia. ketua Indonesian Committee on Infectious Besides, she is also a member of DKI Jakarta Disease, Emerging and Reemerging; anggota Research Council since 2006 until now, Steering Comittee dari INA RESPOND, the the chairman of the Indonesian Committee Indonesia Research Partnership on Infectious on Infectious Disease, Emerging and Disease; dan anggota Komite Eksekutif South Reemerging; Steering Committee member East Asia Infectious Disease Clinical Research of INA RESPOND, the Indonesia Research Network (SEAICRN). Selama pandemi Partnership on Infectious Disease; and an Corona, ia ditunjuk sebagai tim ahli Gugus Executive Committee member of the South Tugas Percepatan Penanganan Covid 19 di East Asia Infectious Disease Clinical Research Indonesia. Network (SEAICRN). During the Corona pandemic in Indonesia, she was appointed Rebecca Kezia merupakan alumni Jurusan as an expert team for the Indonesia National Sastra Indonesia, Universitas Indonesia. Sejak Task Force of Covid 19. saat itu ia bekerja sebagai manajer program seni dan peneliti seni pertunjukan. Ia pernah Rebecca Kezia graduated from the bergabung dalam program Curator Academy, Indonesian Literature department of the Theaterworks bersama Ong Keng Sen di University of Indonesia. Since then she has Singapura. Selain sebagai anggota kurator been working as an arts program manager Indonesian Dance Festival, ia juga adalah and performance arts researcher. She joined program manajer untuk ide dan edukasi the Curator Academy of Theatreworks with Salihara Arts Centre dan baru saja tergabung Ong Keng Sen in Singapore. She is currently
50 dalam Komite Teater Dewan Kesenian a co-curator of the Indonesian Dance Festival, Jakarta. the manager of education and idea programs at Salihara Arts Center, and she recently joined the Theater Committee of the Jakarta Saras Dewi adalah seorang profesor flosof Arts Council. dan pernah menjadi ketua Program Studi Ilmu Filsafat di Universitas Indonesia (2011- 2016). Ia telah menulis banyak jurnal yang Saras Dewi is a professor of philosophy bereputasi sangat baik di dalam negeri terkait and served as the Head of the Philosophy literatur, feminisme, hak asasi manusia, Department of the University of Indonesia flosof timur, dan etika lingkungan. Ia telah (2011–2016). She has authored many lama terpilih sebagai juri penghargaan literasi reputable Indonesian journals on literature, Khatulistiwa Literary Award di Indonesia dan feminism, human rights, Eastern philosophy, adalah seorang anggota dari komite Asean and environmental ethics. She has served Literary Festival yang mempromosikan diskusi as a member of a jury of panelists of the dan kepekaan terhadap pentingnya literasi Indonesian “Khatulistiwa Literary Award” and komunikasi antar negara Asean. was a member of the ASEAN Literary Festival committee to promote the discussion and raise awareness of the importance of literacy Sekar Putri Handayani adalah produser communications between ASEAN countries. independen (2014 - sekarang) dan seorang manajer produksi (2008 - sekarang). Ia fokus pada produksi tari, pengembangan karya Sekar Putri Handayani is an independent berdasarkan riset dan mengkombinasikannya producer (2014–now) and a production dengan metode antara materi skrip dan manager (2008–now). She is focused on improvisasi. Ia adalah co-founder Rumah dance production, developing works based Banjarsari, sebuah ruang publik dan seni di on research and combining them with the Solo. materials of script and improvisations. She is the co-founder of Rumah Banjarsari, a Solo- based public arts space
51 The Committee OF 2020 IDF
Advisory Board Hilmar Farid Publication and Promotions Team Rizki Handayani A. Sekarjati Sinta Nuriyah Wahid Rain Cuaca Dita Kurnia Steering Committee Imron Zuri Anies Wildani Hariadi Putu Fajar Arcana Project Manager of Road to IDF Nungki Kusumastuti Natasha Hadinata Maria Darmaningsih Melina Surya Dewi Documentation and Videography Anto Doso Curators Arco Renz Subi Linda Mayasari Nia Agustina Graphic Tandun Rebecca Kezia Registration Tiara Sasmita Executive Director Lisa Irawati Website Celic Agustin Vice Executive Director Dhita Saptodewo Bhumi Hangladen
Program Manager Ratri Anindyajati Writer Fariq Alfaruqi
Production Manager Mitae Translator Dhianita Kusuma Pertiwi
Finance Manager Renata Rosari English Editor Bruce Groening
External Relations Manager Book Writing Team Esthi Nimita Sita Tyasutami Andy Maerzyda
Sponsorship Manager Mirah Miryatta Research and Development Rissa Permanadeli Production Team Dwi Retno Anggraeni Fahmi Taftazani Danang Togarmen Oemar Frendi Yessi Ledy Yoga Nur Kumala Sari IDF2020.zip DAYA: Cari Cara Nosen Carol Opening Ceremony
Broadcasting Team EKI Dance Company Broadcasting Team EKI Dance Company Stage Manager Mitae Alinda Rimaya Lighting Deray Anyiet VOX Indonesia Sound Don Sound System External Relations Team Isidora Happy Apsari Belabra Ripita A. 52 Indonesian Dance Festival 2020 would like to thank our sponsors and supporters
Government Institutions Kementerian Pendidikan dan Kebudayaan Republik Indonesia Kementerian Pariwisata dan Ekonomi Kreatif Republik Indonesia
Pemerintah Provinsi Daerah Khusus Ibukota Jakarta Dinas Kebudayaan dan Kesenian Kalimantan Timur Dewan Kebudayaan dan Kesenian Provinsi Kalimantan Tengah Kedutaan Besar Republik Indonesia Roma, Italia Kedutaan Besar Republik Indonesia Wina, Austria
Corporates Institut Seni Indonesia Padang Panjang PT Djarum Foundation Institut Seni Indonesia Surakarta PT Toyota Astra Motor Institut Seni Indonesia Yogyakarta PT Lautan Natural Krimerindo Program Studi Pendidikan Seni Drama Tari Rediprint Digital Printing dan Musik (Sendratasik) pfeld Indonesia FKIP Universitas Palangkaraya Program Studi Pengkajian Seni Pertunjukan Individual Donors dan Seni Rupa Universitas Gadjah Mada Auguste Soesastro Program Studi Seni Pertunjukan Universitas erkins Cofee Kristen Palangkaraya Elizabeth Surya Sekolah Tinggi Filsafat Driyarkara Esti Andayani SMKN 57 Jakarta Niken Rachmad Universitas Atmajaya Universitas Ciputra Surabaya Cultural Institutions Universitas Multimedia Nusantara Artsequator Universitas Negeri Jakarta Bangkok International Performing Arts Market Universitas Pendidikan Indonesia Bandung British Council Universitas Prasetiya Mulya Dewan Kesenian Jakarta Universitas Universal Batam Goethe-Institut Institut Français Indonésie Communities Istituto Italiano di Cultura Cemeti MyDance Alliance Gandrung Dance Studio Rimbun Dahan Gardance Gelaran.id Higher Educational Institutions Indonesia Arts Movement Fakultas Filsafat Universitas Katolik KIG Dance Community Parahyangan Namarina Dance Academy Institut Kesenian Jakarta ParaDance Institut Bisnis dan Informatika Kwik Kian Gie Sanggar Purwa Kencana Topeng Losari IPMI International Business School Sanggar Putra Putri Dayak Kalimantan Timur Institut Seni Budaya Indonesia Aceh Sanggar Seni Mutiara Minang Institut Seni Budaya Indonesia Bandung Sawung Dance Studio Institut Seni Budaya Indonesia Kalimantan Seblaka Sesutane Timur Steps Dance Academy Institut Seni Budaya Indonesia Tanah Papua Swargaloka Institut Seni Indonesia Denpasar The School of Movement
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54 www.indonesiandancefestival.id