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MULTIPLE IDENTITIES VIA THE GLOBALIZATION OF ART, MEDIA AND PERFORMANCE 133the lives of people and the artists themselves to createsomething new. Rianto’s motto is “new creation, newidea”.Rianto works with artists from different countries, forexample, Pappatarahumara (a contemporary dancecompany in Tokyo), Noh actors, and Sen Hea Ha fromKorea. He also takes dancers from Indonesia toperform in dance festivals around the world.Rianto’s challenge is that not many people know aboutcontemporary dance in Indonesia. However,awareness is growing as a result of dance festivals suchas the Indonesian Dance Festival in Jakarta, the SoloInternational Performing Arts event and the LenyogArt Festival in Kalimantan.Mugiyono KasidoMugiyono, the most senior artist mentioned here, wasborn in 1967. Known as one of Indonesia’s leadingcontemporary performers, he comes from a family ofdalang (shadow puppet masters) in Central Java. Hestarted dancing at the age of eight, and continued tostudy classical Javanese dance, graduating in 1993 fromthe Institut Seni Indonesia at Surakarta (STSI).Mugiyono highly values the masters he has studiedunder, such as R. Ng. Rono Suripto from theMangkunegaran Palace, Suprapto Suryodarmo, andSardono W. Kusumo.Starting in 1992, while still studying at STSI,Mugiyono began choreographing contemporarypieces. He wanted to do something new.In addition to dance, he teaches and conductsworkshops. However, he points out, “Anywhere in theworld, it is hard to live as a dancer”. 4 In Solo it isacceptable to perform both traditional andcontemporary dance, and Solo society is supportive.But there is not much support from the government.“The concept of my contemporary work is‘nowadays’”, says Mugiyono. In his vision, he tries tomake the traditional and contemporary elements in hisdance enhance and support each other. He tries totransmit old forms in a modern way. For example, inhis performances, he uses old dance techniques andstories, but wears ordinary clothes and presents thestories in a contemporary way.2. Village, Palace, Street, FestivalsAwa OdoriAwa Odori is a type of dance performed in mid-Augustin Tokushima city in Japan’s southern island Shikoku.Everywhere in Japan in mid-July or mid-August,people gather to dance in honor of the ancestors forObon (Festival of the Dead). In most Obon festivals,people dance calmly in unison in a circle, withmusicians seated in a tower in the center. However, inTokushima, people dance in small separate groups thatparade through the streets, accompanied by musiciansplaying kane (gongs), taiko (drums), fue (flutes) andshamisen (guitar). At times the dance can be veryfrenzied and acrobatic. Dancers and musicians,including women, men and children, make fun withspectators and invite them to join the dancing. Themen, wearing happi (short tunics) and white shorts,dance more energetically than the women who aredressed in yukata (cotton summer kimonos) and strawhats. The women look like delicate white egretsstepping through a pond.Awa Odori is very popular and draws hundreds ofthousands of people from around Japan. Someparticipants practice all year just to dance in the event.Some groups are very traditional, wearing typicalyukata; others adopt a more “pop” style, with costumesdecorated with metallic silk-screen designs, and usingposes from rock or rap bands. Some groups dance forshow in front of an audience seated on viewingbleachers; others just dance for pleasure, wanderingaround at random in the back streets. The eventprovides traditional, informal fun for everyone, adultsand children.An important contribution to the success of AwaOdori is good management by the city authorities. Forexample the authorities invite dancers to come from allover Japan, provide bleachers for the audience to watchthe parades, and close off large parts of the city totraffic so that groups can dance freely.TohnoTohno city is located in Iwate prefecture innortheastern Japan. Northern Japan is known as thecountry’s rice bowl, and is also known for its severewinters. Tohno became famous in Japan afterethnologist Kunio Yanagida published his book TohnoThe Work of the 2010/2011 API Fellows
134 Panel 3Monogatari (Tales of Tohno) in 1910, introducing theregion’s colorful folk tales and ghost stories.The region preserves several very old forms of folkdance. One is Shishi-Odori, a very energetic jumpingdance. It’s a kind of “lion dance” using huge masks thatare part-deer, part-lion, and that feature enormousmanes made from shaved wood bark.Another is Hayachine Kagura, an ancient maskeddance performed at Hayachine Shinto Shrine in themountains. Kagura is a type of dance performed atShinto shrines. Experts think that Hayachine Kagurashows the original form of Noh Theater, before itreached the capital of Kyoto and was refined after the14 th century. It has been preserved for centuries byvillagers who have their own groups of performers andeven a local hereditary iemoto, Mr. Suzuki.Shishi-Odori is still going strong, with groups of youngfarmers training and dancing at festivals. But thevillage of Hayachine is ageing, and Mr. Suzuki has noheir. The tradition, which has lasted for so long, is insome danger. It was moving to watch Mr. Suzuki, whois very old and had recently had a stroke, put on themask and dance for us. We could see a world of ancientart that might not survive the modern age.Downtown KabukiIn centuries past there were many traveling Kabukitroupes in Tokyo and in the provinces, but in the early20 th century they were combined into the “GrandKabuki” based in Tokyo. Grand Kabuki is performedby famous artists in big theaters. The level of art is veryhigh, with large orchestras of traditional instruments,painted stages, brocade costumes, and beautifully madewigs and makeup. The manner of speaking is verystylized, as are many of the movements.In fact, some of the small Kabuki troupes didn’tdisappear but went “underground” into small theatersin the old downtowns of poorer neighborhoods inOsaka and Tokyo. One of these theaters is the NaniwaClub in the Shinsekai area of Osaka. I went to see atroupe called Hisho.Unlike at the Grand Kabuki, where people sit veryquietly and clap politely at the end, the audience forHisho was lively, eating and drinking, shouting theirappreciation, and even tacking wads of Y10,000 notesonto their favorite actor’s kimonos. The Hisho troupeis basically one family, with set pieces performed by thegrandfather, grandmother, aunt, father, and evenyoung children. They wore blond wigs, had costumesmade of day-glo synthetics, and danced to pop musicwhile lit by strobe lights. It was Kabuki adapted tointernational pop culture.At the time of its beginnings in the early 1600s, Kabukiwas the art of the people; the pop culture of its day.Nowadays people think of it as “traditional art,” but inOsaka one could see how it grew out of pop culture.Mangkunegaran PalaceThe royal courts of Java preserve a rich tradition ofdance, gamelan music, costume, textiles, ritual, andphilosophical teaching. Their dance is similar toJapanese Noh theater in that the pace is slow andstately, the mood contemplative and abstract. Thecourts themselves, led by hereditary Sultans, andprizing small but important differences between eachother, are similar to Japan’s iemoto (hereditary schoolsheaded by grand masters).Of these, Mangkunegaran Palace, a princely house inSolo dating from 1756, is one of the leading centers oftraditional performance in Indonesia. Its pendopo(open-sided performance hall) is one of the oldest andlargest in the country, and its ruling family placesmuch emphasis on preserving old forms of dance andmusic, and teaching them to Indonesians and foreignstudents.I studied in Solo from August 2006 until July 2008,and again from February to July 2011 on the APIfellowship, and during those years spent much timeviewing performances and studying at MangkunegaranPalace.Mangkunegaran’s emphasis on tradition is actually anadvantage in a globalized age. People around the worldwant to see the highest and best example of old artforms, and so they are drawn to Mangkunegaranbecause of its quality. It is proof that something thatseems very traditional and local can have aninternational appeal.However, it doesn’t happen just by accident.Mangkunegaran Palace works hard on outreach toIndonesians and foreigners, including providing publicperformances on Wednesdays and by <strong>org</strong>anizing theThe Work of the 2010/2011 API Fellows
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CULTURE, POWER AND PRACTICES:THE GL
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viABOUT THE BOOKCULTURE, POWER AND
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viiiACKNOWLEDGEMENTSThe API Coordin
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x(co-authored with Gunawan Wiradi,
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xiiSri Wahyuni is the director of t
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xivThe gap between rich and poor is
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xviand development mainly: Economy,
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xviiiIn closing, I would like to qu
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xxmovements to defend their rights,
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xxiicomplex relationships between f
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xxivIndonesian Academy of Social Sc
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OPENING REMARKS AND OVERVIEWDr. Rat
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247There is also a massive movement
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249need to be looked at, as globali
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251Appendix IWorkshop ScheduleThe T
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25313:00 - 15:00 Concluding PanelCh
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255THAILANDAroon Puritat, Artist an
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257RAPPORTEURSGarry MorrisonMarian
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Communication, Education and Public
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261have used tourism as a mechanism
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263Panel 4: Multiple Modernities vi
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265out how Asian women politicians
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267CONTACT DETAILS (as of March 201
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