Tuesday, November 3, 2009

My Mother Sarasmani Sampurno

Reported by Prasetyo Sampurno

To work in an artistic atmosphere is in fact a kind of production activity which is the same as other forms of works. Only the product that is produced is a work of art which has a different appreciation value. Therefore, there is the same challenge in the productivity for people who work in the field of art as those who work in other professions.


Art, the artists and supporting community form a triangular chain that determine the development of the life of the art itself. Therefore, in the competitive era at present, to be able to guard the existence of art, the main performers of art, i.e. the actors and actresses are challenged not only to be productive but also must be able to manage and “to market extensively” the products of their art to the relevant community.

The expertise to manage basic materials and make it into a beautiful form of the art of performing, touching the heart and able to be enjoyed by all layers of the community without considering the background of the culture, has been one of the keys of success of the Taman Mini Indonesia Indah Pelangi Nusantara Cultural Team.

Since 1988, starting with the Brisbane 88 Expo until the end of 1997, 27 cultural missions by this team have been sent to various countries in the four continent. Activities abroad, among others, have included joining events in Japan, Australia, and South Korea. They have also played in tourism mission to Netherland, Hong Kong, America, and Taiwan; joined the dance festival in Thailand, RRC and South Korea; also played a role in a trade mission to Switzerland and Japan, performed in a state event at Brunei Darussalam; played a role in Cultural Diplomacy to Latin America; and performed in an investment mission to Switzerland. As cultural ambassadors of the people of Indonesia Pelangi Nusantara in each of its performance is able to invite sounds of admiration of the other nations abroad.

During its one month mission to the Indonesia-Japan Friendship Festival in late 1997, to be exact in the month of October, the Pelangi Nusantara Team has obtained an extraordinary response from the Japanese community. At its peak, the success of this mission has led the leader of the Taman Mini Indonesia Indah Pelangi Nusantara Cultural Team, Mrs. Sarasmani Sampurno, to receive an international award. THE SOKA GAKAI INTERNATIONAL PEACE AND CULTURE AWARD was given by SOKA GAKAI INTERNATIONAL (SGI), a Japanese Private Institution for peace and culture, to Mrs. Sarasmani Sampurno, in recognition of her standing valuable contribution to the creation of a more peaceful world by bringing countries together in friendship through the cultural medium of dance. This award was signed by Mr. Daisaku Ikeda, President Soka Gakai International and Mr. Einosuke Akiya, President Soka Gakai Japan.


Similar award have also been given to among others: General Andres Rodrigues (President of Paraguay); Dr. Carlos M. Clerc (President, International University of Lomas de Zamora), Dr. Emerlinda R Roman (President, University of the Philippines); Dr. Ana Milena Munoz Gaviria (First Lady of the Colombian President); Dr. Howard Eugene Hunt (Professor, Tufts University) and Mr. Vasant Sathe (President, India Council of Cultural Relations).

The cultural mission that was performed in 16 cities in Southern Japan received a warm reception from the Japanese Community one can be very proud of. The performance was carried out in a building with a capacity of 1.000 to 2.5000 seats, of which the greater part was fully occupied. To watch this performance each spectator must buy a ticket of 4,000 to 4,500 Yen. In fact this is not so surprising because the potency and quality as owned by The Pelangi Nusantara Team is of high quality. Not only foreign missions, but also various tasks at home have been carried out seriously by this team. Performance at the Presidential Palace, and cultural missions to the regions from time to time are part of the agenda and activities.
To become an artist is a choice of life; so, there will never be a term “forced” to become an artist. An Artis is a beauty divine creature, be assigned to serving the world within a long period dedication. They do work hard without self interest, on the contrary, their focus mission is to enhance the beauty-peace-being of the world ( in Javanese terms be said, mamayu hayuning bawana).




This expression that has been quoted from a poet on this country has a wide meaning. As a choice of life, working in the field of art has more power and love which in the end will result in satisfaction and to produce a beauty culture cause towards the world of peace, as a destination of culture works. It is the deep love and commitment towards art, especially the art of dancing and music. That is the main reasons why a number of prominent actors and actresses be united in the Pelangi Nusantara Cultural Team. Because of their divine called.



Pelangi Nusantara is not a place to learn an art, but more like a vehicle to apply an art in teamwork. The approach is more application. The members who have a varied background of work, education, and profession, work in solid team, undergo severe discipline and training, create and develop their creativity, talent, and ability in the art dedication. In fact, each member has a skill in a quality mastered, at least, an artist masters a number of dances from four different regions of Indonesia.< Through the Pelangi Nusantara, various cultural information are disseminated to all corners of the world, however, up to now, particularly traditional arts, including the art of stage performing, is still considered as a tertiary need and an inferior perception by public. Pelangi Nusantara is able to present an art work to inspire which is also interesting to be enjoyed and further researched. With a professional management Pelangi Nusantara is able to respond an art called from the international society to perform professionally. Pelangi Nusantara offers a diplomacy culture to contribute a peace and beauty at one blast according to their divine cultural assignment for the world. Art, the artists and supporting community form a triangular chain that determine the development of the life of the art itself. Therefore, in the competitive era at present, to be able to guard the existence of art, the main performers of art, i.e. the actors and actresses are challenged not only to be productive but also must be able to manage and “to market extensively” the products of their art to the relevant community. The expertise to manage basic materials and make it into a beautiful form of the art of performing, touching the heart and able to be enjoyed by all layers of the community without considering the background of the culture, has been one of the keys of success of the Taman Mini Indonesia Indah Pelangi Nusantara Cultural Team. Since 1988, starting with the Brisbane 88 Expo until the end of 1997, 27 cultural missions by this team have been sent to various countries in the four continent. Activities abroad, among others, have included joining events in Japan, Australia, and South Korea. They have also played in tourism mission to Netherland, Hong Kong, America, and Taiwan; joined the dance festival in Thailand, RRC and South Korea; also played a role in a trade mission to Switzerland and Japan, performed in a state event at Brunei Darussalam; played a role in Cultural Diplomacy to Latin America; and performed in an investment mission to Switzerland. As cultural ambassadors of the people of Indonesia Pelangi Nusantara in each of its performance is able to invite sounds of admiration of the other nations abroad. 


During its one month mission to the Indonesia-Japan Friendship Festival in late 1997, to be exact in the month of October, the Pelangi Nusantara Team has obtained an extraordinary response from the Japanese community. At its peak, the success of this mission has led the leader of the Taman Mini Indonesia Indah Pelangi Nusantara Cultural Team, Mrs. Sarasmani Sampurno, to receive an international award. THE SOKA GAKAI INTERNATIONAL PEACE AND CULTURE AWARD was given by SOKA GAKAI INTERNATIONAL (SGI), a Japanese Private Institution for peace and culture, to Mrs. Sarasmani Sampurno, in recognition of her standing valuable contribution to the creation of a more peaceful world by bringing countries together in friendship through the cultural medium of dance. This award was signed by Mr. Daisaku Ikeda, President Soka Gakai International and Mr. Einosuke Akiya, President Soka Gakai Japan.

Similar award have also been given to among others: General Andres Rodrigues (President of Paraguay); Dr. Carlos M. Clerc (President, International University of Lomas de Zamora), Dr. Emerlinda R Roman (President, University of the Philippines); Dr. Ana Milena Munoz Gaviria (First Lady of the Colombian President); Dr. Howard Eugene Hunt (Professor, Tufts University) and Mr. Vasant Sathe (President, India Council of Cultural Relations).

The cultural mission that was performed in 16 cities in Southern Japan received a warm reception from the Japanese Community one can be very proud of. The performance was carried out in a building with a capacity of 1.000 to 2.5000 seats, of which the greater part was fully occupied. To watch this performance each spectator must buy a ticket of 4,000 to 4,500 Yen. In fact this is not so surprising because the potency and quality as owned by The Pelangi Nusantara Team is of high quality. Not only foreign missions, but also various tasks at home have been carried out seriously by this team. Performance at the Presidential Palace, and cultural missions to the regions from time to time are part of the agenda and activities.

To become an artist is a choice of life; so, there will never be a term “forced” to become an artist. An Artis is a beauty divine creature, be assigned to serving the world within a long period dedication. They do work hard without self interest, on the contrary, their focus mission is to enhance the beauty-peace-being of the world ( in Javanese terms be said, mamayu hayuning bawana).

This expression that has been quoted from a poet on this country has a wide meaning. As a choice of life, working in the field of art has more power and love which in the end will result in satisfaction and to produce a beauty culture cause towards the world of peace, as a destination of culture works. It is the deep love and commitment towards art, especially the art of dancing and music. That is the main reasons why a number of prominent actors and actresses be united in the Pelangi Nusantara Cultural Team. Because of their divine called.


Pelangi Nusantara is not a place to learn an art, but more like a vehicle to apply an art in teamwork. The approach is more application. The members who have a varied background of work, education, and profession, work in solid team, undergo severe discipline and training, create and develop their creativity, talent, and ability in the art dedication. In fact, each member has a skill in a quality mastered, at least, an artist masters a number of dances from four different regions of Indonesia.


read more "My Mother Sarasmani Sampurno"

Sunday, August 16, 2009

Rama Widi Harp Recital 2 September 2009 Goethe Haus Jakarta



Rama Widi Harp Recital
Goethe Haus September 2, 2009
at 8:00 pm

Program No. 1 - Kicir-kicir, traditional song from Jakarta Indonesia
Harp: Rama Widi

Program No. 2 - La Fille aux Chefeux de Lin, Claude Debussy
Harp: Rama Widi

Program No. 9 - scene de ballet, CH. DEBERIOT OP. 100
Piano: Rama Widi
Violin: Inez Raharjo (15 years)

Program No. 11 - DALAM DOAKU, Ananda Sukarlan
Yosefin Emilia, mezzosoprano; Rama Widi, baritone; Aditya Setiadi, piano


read more "Rama Widi Harp Recital 2 September 2009 Goethe Haus Jakarta"

Friday, March 20, 2009

Bach JS; Cantata BWV 106 - Waktu Tuhan adalah waktu yang terbaik

Diungkapkan dalam master piece karya musik, Cantata No. 106 (BWV 106), Gottes Zeit ist die allerbeste Zeit [Gods time is the very best of times], atau Actus Tragicus, oleh Johann Sebastian Bach pada tahun 1917. Pada saat itu adalah pemakaman dari paman Bach. Disini Bach ingin menempatkan kita semua dalam perasaan malu dan tahu diri, karena kita tidak bisa menyelamatkan diri kita sendiri, keselamatan kita adalah keselamatan dari TUHAN.

Dimulai dengan Movement 1, Sonatina yang merupakan bagian terbaik dari komposisi Bach dimainkan oleh 2 Solo Recorder/Block Flute Alto, yang saling mengejar, satu sama lain, merupakan cara Bach, menunjukan, bagaimana kita harus berjuang mengejar mendapatkan dan memahami waktunya TUHAN.

Conductor: Rev. Billy Kristanto, Dipl. Mus. MCS
Choir Eliata
Alto Blockflute: Prasetyo Sampurno, Juhad Ansyari
Viola de gamba: Hery Sunarta, Kadensi, Ella, Obrien Kussoy
Cello: Asep Hidayat
Bass: Ari Moeladi

Friday, March 20th, 2009
07.30pm
Gereja Kristus Ketapang
Jl. K. H. Zainul Arifin No. 9
Jakarta Pusat


1. Sonatina

2a. Chorus
(Kisah Para Rasul 17:28)

Gottes
Zeit
ist
die
allerbeste
Zeit.

Tuhan punya
waktu
adalah
yang
terbaik
waktu.

{Waktu Tuhan adalah waktu yang terbaik.}


In
ihm
leben,

Dalam
Dia
Hidup,

{Dalam Dia kita hidup,}

weben
und
sind
wir,

bergerak
dan
ada
kita,

{bergerak dan berada - move and being,}

solange
er
will.

selama
Dia
berkehendak.

In
ihm
sterben
wir
zur
rechten
Zeit,

Dalam
Dia
mai
kita
pada
yang tepat
waktu,

{Dalam Dia kita mati pada waktu yang tepat,}

wenn
er
will.


saat
Dia
berkehendak.

2b. Tenor Arioso
(Mazmur 90:12)

Ach,
Herr,
lehre
uns
bedenken,

Oh,
Tuhan,
ajari
kami
mencamkan,

daß
wir
sterben
müssen,

bahwa
kami
mati
pasti,

auf daß
wir
klug
werden.

supaya
kami
bijaksana
menjadi.

2c. Bass Aria
(Yesaya 38:1)

Bestelle
dein
Haus;

Rapikan
kamu punya
rumah,

denn
du
wirst
sterben

karena
kamu
akan
mati

und
nicht
lebendig
bleiben!

dan
tidak
hidup
tetap!

{dan tidak akan hidup abadi!}

2d. Chorus (Alto, Tenor, Bass) dan Soprano Arioso
(Sirach 14:17, Wahyu 22:20)

Es
ist
der
alte
Bund:

Ini
(tertulis)
di
yang terdahulu
perjanjian:

{Sudah tertulis di Perjanjian Lama:}

Mensch,
du
mußt
sterben!

Hai manusia,
kamu
pasti
mati!

Soprano:

Ja,
komm,
Herr
Jesu,
komm!

Ya,
datanglah,
Tuhan
Yesus,
datanglah!

3a. Alto Aria
(Mazmur 31:6)

In
deine
Hände
befehl
ich
meinen
Geist;

Ke dalam
Engkau punya
tangan
menyerahkan
aku
aku punya
nyawa;

{Ke dalam tangan-Mu kuserahkan nyawaku;}

du
hast
mich
erlöset,
Herr,
du
getreuer
Gott.

Engkau
telah
diriku
menebus,

TUHAN,
Engkau
yang setia
Allah.

{Engkau telah membebaskan aku TUHAN, Engkau Allah yang setia.}

3b. Bass Arioso dan Alto Chorale
(Lukas 23:43)

Heute
wirst
du
mit
mir
im
Paradies
sein.

Hari ini
akan
kami
dengan
Aku
di
Firdaus
berada.

{[Kata Yesus kepada penjahat di kayu salib:] Hari ini kamu akan bersama-Ku di Firdaus.}

Chorale:

Mit
Fried
und
Freud
ich
fahr
dahin

Dengan
damai
dan
ceria
aku
berangkat
ke sana

In
Gottes
Willen,

dalam
Tuhan punya
kehendak,

Getrost
ist mir
mein
Herz
und
Sinn,

terhibur
aku
aku punya
hati
dan
pikiran,

Sanft
und
stille.

penuh damai
dan
ketenangan.

Wie
Gott
mir
verheißen
hat:

Sebagaimana
Allah
bagiku
menjanjikan
telah;

{Sebagaimana Allah telah menjanjikan padaku,}

Der
Tod
ist
mein
Schlaf
geworden.

itu
kematian
adalah
aku punya
tidur
menjadi.

{kematian hanyalah tidur sementara bagiku.}

4. Chorale

Glorie,
Lob,
Ehr
und
Herrlichkeit

Kejayaan,
pujian,
kehormatan
dan
kemegahan

Sei dir,
Gott
Vater
und
Sohn
bereit,

bagi-Mu,
Allah
Bapa
dan
Anak
diberikan,

Dem
heilgen
Geist
mit
Namen!


kepada
yang kudus
Roh
bernama!

{juga kepada Roh Kudus!}

Die
göttlich
Kraft


Yang
berasal dari Allah
kekuatan

{Kekuatan yang berasal dari Allah}

Mach
uns
sieghaft


membuat
kita
penuh kemenangan

Durch
Jesum
Christum,
Amen.

melalui
Yesus
Kristus,
Amen.
read more "Bach JS; Cantata BWV 106 - Waktu Tuhan adalah waktu yang terbaik"

Thursday, March 12, 2009

The Cultural Art Forms of Indonesia DANCE




Pagelu Dance from Toraja (Sulawesi Selatan)
Bali Dance

Wira Pertiwi Dance (Bagong Kusudiardjo Creation) from Central Java 
Marbonataon Dance from Sumatera Utara (Batak)
 
Surakarta Central Java Dance by Sulistyo Tirtokusumo

Written in bahasa by Prof. Dr. R.M. Soedarsono
DANCE
Until now there are still a number of dances in Indonesia which, when traced, are clearly dances dating from pre-historic times. Those dances can found the forms not only in isolated areas, but also live among the community that has already embraced another religion. An example is the SANGHYANG JARAN dance in Bali that live in the circles of a community of Hindu followers and JARAN KEPANG in Java of which the community embrace the Islam religion.

SANGHYANG JARAN

In Bali SANGHYANG JARAN is a possessed dance, carried out by a group-up man who in his state of unconsciousness is possessed by soul of a horse. The man carries a small toy horse on which he pretends to ride, which in his state of being possessed or called KERAWUHAN in Bali, he behaves like a horse. He runs in every directionof the performance area, and sometimes steps on burning coal which have already been prepared. This dance is consider sacred by the community in Bali and functions as a means to drive out an epidemic. According to a term in the division of the performing arts in Bali, a dance categorize SANGHYANG JARAN is very sacred dance. Therefore the performance is carried out in the part of the pura or the most sacred religious building called jeroan. Dances can be included in the category of the SANGHYANG kind dance in Bali are SANGHYANG BAJOG (Monkey), SANGHYANG CELENG (wild boar), and SANGHYANG LELIPI (Snake). It can be assumed that this kind of SANGHYANG dance is a ceremonial dance to worship the soul of the totem animal. In the primitive belief the totem animal is always considered to be an animal that guards the community.
On the Island of Java, dances that have come from pre-historic times are also still alive although their original function have disappeared or changed. In Central and East Java there are a lot of dances that are connected with horses under different names, such as JARAN KEPANG, JARAN LUMPING, INCLING, etc. Although the performances have already lost their sacred function as a means to drive out epidemic, but the remnants in the form of exhibition still behaves in a supernatural nuance. A dancer who is already possessed by the soul of a horse, has lost his identity and has turned into a horse totem animal, such as eating pieces of broken glass, drinking water out of a pail straight with his mouth, etc.

BEDHAYA KETAWANG
The Bedhaya dance in the palaces of Surakarta and Yogyakarta carried out by nine women dancers is a ceremonial dance which people consider sacred. The number of nine dancers can be connected with cosmology of India, which considers the number nine as a sacred number, because the number represents the nine wind directions or the nine gods who guard the nine wind directions. The nine wind directions are North, East, West, South, North-West, North-East, South-East, South-West, and Center. The main meaning of Bedhaya dance is to keep the balance of nature and universe. Sometimes the nine dancers are said by the Javanese court circles to represent the nine holes of the body of a human being. The nine holes of a human body are one mouth, two eyes, two nostrils, two ear holes, one anus, and one sexual organ. The meaning is that when a person is able to NUTUPI BABAHAN NAWA SANGA or able to close the nine holes, one will be a perfect person, who is able to control one's carnal desire. This kind of description can be found in the story of Arjunawiwaha.

Bedhaya Dance Illustration


The documentation of classical Javanese court dance Bedhaya and Srimpi is a project to conserve these dances. The reconstructions are done gradually with the support of experts and choreographers, such as Sulistyo Tirtokusumo. Dress reconstructions will be done by Iwan Tirta, the leading Indonesian batik designer. Currently, the audiovisual documentation of "Bedhaya Pangkur" had been completed, as well as the musical accompaniment of "Bedhaya Anglir Mendung" and "Bedhaya Duradasih".
Source: bramkushardjanto youtube

The Bedhaya Ketawang from the palace of Surakarta is considered the very sacred among the Bedhaya dances. This dance is considered as a dance that is very sacred by the tradition of the palace Surakarta as it describes the meeting between the ruling Sultan Agung or the Susuhunan with the Kanjeng Ratu Kencanasari (Wedapradangga, 1990). Because it is so sacred, the dance must be carried out by seven girls who are spiritually clean, and is only performed one day after the coronation of the king. Nevertheless, since the reign of Susuhan Pakubuwono X, the Bedhaya Ketawang dance, besides being performed only after the coronation of the king, it is also repeated once a year at the date of the commemoration of the Susuhunan coronation. The performance is held in the pendapa (halls) with the court officials sitting in front of him. Various articles for the ceremony are placed behind the king. During the performance people say that sometimes the Susuhunan can see Kanjeng Ratu Kencana sari to be present there, and later on the Batak dancer, that is one who has the most important role in the dance composition, will possessed by her. With these feature it can be assumed that Bedhaya Ketawang dance is a means of meditation carried out by Susuhunan to request the present of Kanjeng Ratu Kencana sari or Kanjeng Ratu Kidul. This means that Bedhaya Ketawang also has a mystical meaning.
LUAMBEK
Minangkabau is a n area in west Sumatera which has a very unique dance development. Although the inhabitants of this area are strong believers of Islam, but it appears that the custom and culture still store old values. One of the very interesting forms of dance is the LUAMBEK which they say used to have a very important function in the appointment of the Penghulu (muslim leader) of the nagari sicincin, which the Minangkabau circles ia called BATAGAK PANGHULU ALEK PAULEH which means “a continuous feast” (Yusril, 1997).Alek Pauleh is performed in a temporary building called laga-laga. LUAMBEK which is important ceremonial dance carried out by two male dancers. Both make the SILAT (traditional self defense art) movements, if one attacks or lalu, the other party is ambek. From those two terms comes the name LUAMBEK. One very interesting thing is that although the two pretend to be fighting, the never touch each other.
NEW CREATION.
After Indonesia became independence in the year 1945, there are several choreographer who want to present a dance choreography that is not bound to various tight traditional rules. The movement for the modernization at first limited to the way it was expressed and was still referring to the traditional stock. The innovation lies in the preparation of the composition and the shortening of time. Afterwards they also borrow from the stock of movements from other ethnical groups.I Ketut Mario from Bali, Tjetje Soemantri from West Java, Bagong Kusudiardjo and Wisnu Wardhana from Central Java, including Yogyakarta, are a number of pioneers of the modernization of dances. Meanwhile, several more courageous modernizers of dances are Sardono W. Kusumo, Gusmiati Suid, Miroto and others. One important matter that should be noted is that the Western influence of the modernization of dances in Indonesia touches more the idea and not merely the technique. 

There are some variety traditional dances in the Archipelago of Indonesia, they are: 

1. Provinsi DI Aceh / Nanggro Aceh Darussalam / NAD Tari Tradisional : Tari Seudati,Tari Saman  Meuseukat
2. Provinsi Sumatera Utara / Sumut Tari Tradisional : Tari Serampang Dua Belas, Tari Tor-tor
3. Provinsi Sumatera Barat / Sumbar Tari Tradisional : Tari Piring, Tari payung
4. Provinsi Riau Tari Tradisional : Tari Tanduk, Tari Joged Lambak
5. Provinsi Jambi Tari Tradisional : Tari Sekapur Sirih, Tari Selampit Delapan 
6. Provinsi Sumatera Selatan / Sumsel Tari Tradisional : Tari Tanggai, Tari Putri Bekhusek 
7. Provinsi Lampung Tari Tradisional : Tari Jangget, Tari Melinting 
8. Provinsi Bengkulu Tari Tradisional : Tari Andun, Tari Bidadei Teminang 
9. Provinsi DKI Jakarta Tari Tradisional : Tari Topeng, Tari Yapong 
10. Provinsi Jawa Barat / Jabar Tari Tradisional : Tari Topeng Kuncaran, Tari Merak 
11. Provinsi Jawa Tengah / Jateng Tari Tradisional : Tari Serimpi, Tari bambangan Cakil 
12. Provinsi DI Yogyakarta / Jogja / Jogjakarta Tari Tradisional : Tari Serimpi Sangupati,Tari Bedaya 
13. Provinsi Jawa Timur / Jatim Tari Tradisional : Tari Remong, Tari Reog Ponorogo 
14. Provinsi Bali Tari Tradisional : Tari Legong, Tari Kecak 
15. Provinsi Nusa Tenggara Barat / NTB Tari Tradisional : Tari Mpaa Lenggo, Tari Batunganga 
16. Provinsi Nusa Tenggara Timur / NTT Tari Tradisional : Tari Perang, Tari Gareng Lameng 
17. Provinsi Kalimantan Barat / Kalbar Tari Tradisional : Tari Monong, Tari Zapin Tembung 
18. Provinsi Kalimantan Tengah / Kalteng Tari Tradisional : Tari Balean Dadas,Tari Tambun Bungai 
19. Provinsi Kalimantan Selatan / Kalsel Tari Tradisional : Tari Baksa Kembang, Tari Radap Rahayu 
20. Provinsi Kalimantan Timur / Kaltim Tari Tradisional : Tari Perang, Tari Gong 
21. Provinsi Sulawesi Utara / Sulut Tari Tradisional : Tari Maengkat, Tari Polo-palo 
22. Provinsi Sulawesi Tengah / Sulteng Tari Tradisional : Tari Lumense, Tari Pule Cinde 
23. Provinsi Sulawesi Tenggara / Sultra Tari Tradisional : Tari Dinggu, Tari Balumpa 
24. Provinsi Sulawesi Selatan / Sulsel Tari Tradisional : Tari Bosara, Tari Kipas 
25. Provinsi Maluku Tari Tradisional : Tari Lenso, Tari Cakalele 
26. Provinsi Irian Jaya / Papua Tari Tradisional : Tari Musyoh, Tari Selamat datang 
27. Provinsi Timor-Timur / Timtim Tari Tradisional before separated from Indonesia: Tari Wira,Tari Suru Boek
Rapa'i Saman Dance from ACEH (Nanggroe Aceh Darussalam)
Lenggang Nyai Dance from Jakarta

Golek Puteri Dance from Yogyakarta
Gandrung Banyuwangi Dance from East Java

Merak Dance from West Java

Senandung Kipas Dance from Sumatera Melayu
Piring Dance from West Sumatera

Tari Beksan Golek Montro Mangkunegaran - Solo Central Java

read more "The Cultural Art Forms of Indonesia DANCE"

Friday, February 20, 2009

GORDANG SEMBILAN

Written in bahasa by Prof. Dr. R.M. Soedarsono
Posting inspired by Andrea 'Uli' Tobing-Hilliard

One of the very interesting ethnical music ensembles dating from the Pre-historic era is the GORDANG SEMBILAN, owned by the Batak Mandailing in North Sumatera. This ensemble consists of nine big one-head drums and several bronze blow instruments. While in some part of the areas in Indonesia the drum always functions as a rhythmical instrument, then what is interesting in GORDANG SEMBILAN is that the nine drums have more the feature of a melody. By observing the instruments in this ensemble, it is very clear that there is no Indian element, and can even be said to have more Pre-historic features. In the Batak Mandailing Society, when this very sacred instruments are not played, they are always stored in a special house called SOPO GORDANG meaning the house of the GORDANG. People say that the nine drums represent the nine clans in the Batak etnic, and the highest clan is the Raja (English: KING). Only ensemble from SOPO GORDANG is allowed to play a sacred music and to be played when to be needed to call the souls of the forefathers.



Because it is so sacred, the taking down those instruments must be with the authorization of the KING followed by executing the ritual buffalo butchery. After the drums are being
synchronized then must be followed by executing the ritual buffalo butchery as well. This musical ensemble, which consider the drum to be the most important, forms the main ensemble of the Batak Society consisting among other of the Batak Mandailing, Batak Karo, Batak Pak-pak Dairi, Batak Simalungun, and Batak Toba (Margaret J. Kartomi, 1977).




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Wednesday, February 4, 2009

L'Histoire de Babar




This part was played by Inez Raharjo and Terrence Judian

Kisah Babar, Imajinasi Dongeng
Auditorium GoetheHaus
Sunday, 12 October 2008
Jl. Sam Ratulangi 9-15, Menteng Jakarta Pusat

Reportage Reported by Kompas TV

L'Histoire de Babar - Francis Poulenc
A piano composition narratively
based on a story written by Jean de Brunhoff
Pianists:
Nadia Suharto - 19 Maret 1998
Cindy K. Gunawan - 29 Agustus 1997
Inez Raharjo - 9 Mei 1994
Terrence Judian - 22 Desember 1995
Andhanu Candana - 29 Agustus 1992
Cinta M.I. Akharina - 24 November 1992
Maharani Yasmine Putri - 18 Juni 1994
Yuliana Wijaya - 25 April 1993
Dira Saphira Putri - 13 Tahun
Narator Janice Tiffani Halim - 4 Maret 1998

The Story of Babar
Translated from the French by Merle S. Haas
In the great forest a little elephant is born. His name is Babar. His mother loves him very much. She rocks him to sleep with her trunk while singing softly to him.
Babar has grown bigger. He now plays with the other little elephants. He is a very good little elephant. See him digging in the sand with his shell .
Babar is riding happily on his mother’s back when a wicked hunter behind some bushes, shoots at them.
The hunter has killed Babar’s mother! The monkey hides, the birds fly away, Babar cries. The hunter runs up to catch poor Babar.
Babar runs away because he is afraid of the hunter. After several days, very tired indeed, he comes to a town …
He hardly knows what to make of it because this is the first time that he has seen so many houses.
So many things are new to him! The broad streets! The automobiles and buses! However, he is especially interested in two gentlemen he notices on the street.
He says to himself: “Really, they are very well dressed. I would like to have some fine clothes, too! I wonder how I can get them?”
Luckily, a very rich Old Lady who has always been fond of little elephants understands right away that he is longing for a fine suit. As she likes to make people happy, she gives him her purse. Babar says to her politely: “Thank you, Madam.”
Without wasting any time, Babar goes into a big store. He enters the elevator. It is such fun to ride up and down in this funny box, that he rides all the way up ten times and all the way down ten times. He did not want to stop but the elevator boy finally said to him: “This is not a toy, Mr. Elephant. You must get out and do your shopping. Look, here is the floorwalker.”
Babar then buys himself: a shirt with a collar and tie, a suit of a becoming shade of green, then a handsome derby hat, and also shoes with spats.
Well satisfied with his purchases and feeling very elegant indeed, Babar now goes to the photographer to have his picture taken.
Babar dines with his friend the Old Lady. She thinks he looks very smart in his new clothes. After dinner, because he is tired, he goes to bed and falls asleep very quickly.
Babar now lives at the Old Lady’s house. In the morning, he does setting-up exercises with her, and then he takes a bath.
He goes out for an automobile ride every day. The Old Lady has given him the car. She gives him whatever he wants.
A learned professor gives him lessons. Babar pays attention and does well in his work. He is a good pupil and makes rapid progress.
In the evening, after dinner, he tells the Old Lady’s friends all about his life in the great forest.
However, Babar is not quite happy, for he misses playing in the great forest with his little cousins and his friends, the monkeys. He often stands at the window, thinking sadly of his childhood, and cries when he remembers his mother.
Two years have passed. One day during his walk he sees two little elephants coming toward him. They have do clothes on. “Why,” he says in astonishment to the Old Lady,”It’s Arthur and Celeste, my little cousins!”
Babar kisses them affectionately and hurries off with them to buy them some fine clothes.
He takes them to a pastry shop to eat some good cakes.
Meanwhile, in the forest, the elephants are calling and hunting high and low for Arthur and Celeste, and their mothers are worried.
Fortunately, in flying over the town, an old marabou bird has seen them and comes back quickly to tell the news.
The mothers of Arthur and Celeste have come to the town to fetch them. They are very happy to have them back, but they scold them just the same because they ran away.
Babar makes up his mind to go back with Arthur and Celeste and their mothers to see the great forest again. The Old Lady helps him to pack his trunk.
They are all ready to start. Babar kisses the Old Lady goodbye. He would be quite happy to go if it were not for leaving her. He promises to come back some day. He will never forget her.
They have gone … There is no room in the car for the mothers, so they run behind, and lift up their trunks to avoid breathing the dust. The Old Lady is left alone. Sadly she wonders: “When shall I see my little Babar again?”
Alas, that very day, the ing of the elephants had eaten a bad mushroom.
It poisoned him and he became ill, so ill that he died. This was a great calamity.
After the funeral the three oldest elephants were holding a meeting to choose a new King.
Just then they hear a noise. They turn around. Guess what they see! Babar arriving in his car and all the elephants running and shouting: “Here they are! Here they are! Hello, Babar! Hello, Arthur! Hello, Celeste! What beautiful clothes! What a beautiful car!”
Then Cornelius, the oldest of all the elephants, spoke in his quavering voice: “My good friends, we are seeking a King. Why not choose Babar? He has just returned from the big city, he has learned so much living among men, let us crown him King.” All the other elephants thought that Cornelius had spoken wisely and eagerly they await Babar’s reply.
“I want to thank you one and all,” said Babar, “but before accepting your proposal, I must explain to you that, while we were traveling in the car, Celeste and I became engaged. If I become your King, she will be your Queen.”
“Long live Queen Celeste! Long live King Babar!” cry all the elephants without a moment’s hesitation. And thus it was that Babar became King.
“You have good ideas,” said Babar to Cornelius. “I will therefore make you a general, and when I get my crown, I will give you my hat. In a week I shall marry Celeste. We will then have a splendid party in honor of our marriage and our coronation.” Then, turning to the birds, Babar asks them to go and invite all the animals to the festivities, and he tells the dromedary to go to the town and buy some beautiful wedding clothes.
The wedding guests begin to arrive. The dromedary returns with the bridal costumes just in the nick of time for the ceremony.
After the wedding and the coronation everybody dances merrily.
The festivities are over, night has fallen, the stars have risen in the sky. King Babar and Queen Celeste are indeed very happy.
Now the world is asleep. The guests have gone home, happy, though tired from too much dancing. They will long remember this great celebration.

Program:
Jakarta Conservatory of Music
Jl. Cipete IV No. 8 Jakarta Selatan 12430
jcom@centrin.net.id
+62 21 7690470/99161338
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Monday, January 26, 2009

Contemporary Piano for Children

Inez Raharjo played The Magic Smith by S. Gubidulina and The Little Tit by S. Gubaidulina, Teater Salihara, 23 Januari 2009, KONSERVATORIUM MUSIK JAKARTA, Direktur Artistik: Adelaide Simbolon.



SOFIA GUBAIDULINA (Christopol, Republik Tatar, 24 Oktober 1931). Gubaidulina adalah seorang komposer Rusia, yang juga menaruh minat besar terhadap kesusasteraan, yang muncul di masa-masa akhir Uni Soviet. Karya-karnyanya ditandai oleh banyak elemen seperti spiritualitas Kristiani, simbol-simbol musikal, struktur-struktur harmoni yang khas yang berasal dari pemecahan dan pengulangan nada-nada sederhana, dan juga penggunaan alat-alat musik tradisional dari wilaya Asia Tengah dimana dia berasal. Setelah perang dunia II selesai, Gubaidulina bisa mewujudkan mimpinya yakni belajar piano dan komposisi di Kazan Conservatory of Music yang kemudian dilanjutkan ke Moscow Conservatory. Karya-karyanya pada saat itu selalu mendapat banyak kritik karena menggunakan metode-metode baru antara lain eksplorasi nada di luar nada-nada yang lazim. Tapi dia mendapatkan dukungan dari Dmitri Shostakovich yang juga menjadi salah satu pengujinya di ujian akhir Konservatori. Ditahun 1970-an Gubaidulina membentuk "Astreja" kelompok musik yang banyak berimprovisasi dengan alat-alat musik tradisional yang langka dari daerah Kaukasus dan Asia Tengah. Karya-karya Gubaidulina yang dimainkan pada konser ini diambil dari "Musical Toys", koleksi 14 lagu-lagu pendek diciptakan khusus untuk anak-anak.

So Eun Kim played Four-finger Exercise composed by W. Lutoslawski, Teater Salihara, 23 Januari 2009, KONSERVATORIUM MUSIK JAKARTA, Direktur Artistik: Adelaide Simbolon.



WITOLD LUTOLAWSKI (Warsawa, 25 Januari 1913 - Warsawa, 7 Februari 1994). Komponis Polandia abad ke-20 yang paling terkenal pada masanya mulai belajar komposisi dan piano di usia remaja. Karya-karyanya saat itu banyak dipengaruhi oleh lagu-lagu rakyat Polandia. Di zaman pendudukan Jerman, Lutolawski sempat menjadi tahanan perang di tahun 1934, tapi ia berhasil melarikan diri dan bekerja sebagai pianis di cafe-cafe di Warsawa. Di tahun 1950-an, ia mulai mengembangkan suatu teknik komposisi harmonik dan kontrapunktal berdasarkan sistem 12-nada yang menjadi ciri khasnya, tapi berbeda dengan sistem 12-nada dari Schoenberg. Teknik barunya ini memberi jalan untuk membuat harmoni dan melodi dari interval-interval tertentu dan juga akor-akor penuh tanpa merubahnya menjadi "tone clusters". Hal lain yang menjadi ciri khasnya adalah penggunaan proses aleatoris, dimana koordinasi irama dari lagu yang sedang dimainkan selalu berubah-ubah setiap saat. Kombinasi antara teknik 12-nada dan aleatory ini membuat karya-karyanya mempunyai tekstur musikal yang kompleks. Karya-karya Lutolawski di acara ini diambil dari "Album for the Young" yang merupakan kumpulan lagu-lagu pendek yang khusus ia ciptakan untuk anak-anak, yang secara harmonik dan melodik dipengaruhi oleh lagu-lagu rakyat Polandia.
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