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MULTIPLE IDENTITIES VIA THE GLOBALIZATION OF ART, MEDIA AND PERFORMANCE 137in our traditional styles (shu – “obey”). When webecame close to each other, we explained to theaudience our styles and how we use them to createcontemporary dance (ha – “break”). We then dancedtogether in contemporary style (ri – “depart”). At theend, we crossed to the opposite side of the stage towhere we started, and danced our traditional stylesagain (back to shu again). The challenge was for us toshow contemporary dance together and in the processto return to the origin of dance that transcends bothgenres.An important part of the event was talking with theaudience at the end of the program. In the stronglyartistic society of Solo, criticism from the audience isuseful for artists in order to develop their work. Whenthe experience and knowledge of the individual artistsare different, this can make for a conflict of ideas, but itis also a starting point of conversation and discussion.Many audience members said that it was interesting tosee the differences and similarities between Javaneseand Lanna culture, and how we developed traditionalforms into contemporary dance. However, somepeople said it didn’t feel so much like a dance“performance” as a “workshop” on stage.The critics were probably right because contemporaryexperiments like ours are in a sense “workshops”.Artists are feeling their way, experimenting as they go.In this case, it was a combination of three cultures: aJapanese concept, Lanna dance, and Javanese dance.Kembang KapasI first met singer Peni Candra Rini at the APPEX(Asian Pacific Performing Exchange) program held inBali in February 2010. Born in 1983 in Tulungagungin East Java, Peni is a composer and well-knownsindhen (a female singer who sings with a gamelan).Peni has received awards for her work and participatesin many festivals, collaborating with different artistsfrom all over the world.In February 2011 I had a conversation with Peni inwhich we said that we would like to create acollaboration piece featuring music and dance. Westarted to work on this project, with each of usworking from our own traditional base. Theperformance was held at the Theater Kecil ISISurakarta in Solo on 11 July 2011. The title KembangKapas meant “cotton flowers”, which are the flowers oflife. It was inspired by a poem “Kembang Kapas” byGarin Nugroho, an Indonesian artist and moviedirector. Peni wrote and sang the music, which wastraditional Javanese-modern fusion; I did thechoreography, which was Lanna-contemporary fusion.Peni said, “We’re all of the new generation that canplay on Facebook and use Skype to talk with friends inother countries. But we are very lucky that we knowabout traditional arts. I am a sindhen singer; I wasfamous for my voice and almost became a pop singerand a star in Jakarta. But I decided to be a teacher toteach students how to sing traditional music. It makesonly small money, but I’m so happy that I can help topass on our traditional music and at the same time Ican work on creating new music based on thattradition I have within me. Amin!” 6ConclusionIn the 21 st century, Asian dance traditions are at aturning point. Some traditions will probably be lost,such as the knowledge of the old Hayachine Kaguradancer Mr. Suzuki in the town of Tohno. But in thesame area, the Shishi-Odori dance is healthy, andcontinues with the young generation. The key tosurvival is the ability to make dance attractive to, andtaught to, young people, and not only the property ofthe old.In Bali, the strong Hindu beliefs of the people ensuretraditions are passed from generation to generation inlocal ceremonies such as the festival at Samwan Tigatemple.In Osaka, “Downtown Kabuki” connects withaudiences by bringing in “pop” elements. InTokushima, good city management of the Awa OdoriFestival helps to make the event fun and popular.The “In The Arts Island 2011” festival in Bali and EastJava has succeeded because of the open-mindedness ofthe local artists and audiences, including villagers.Performing arts in Mangkunegaran Palace thrivebecause the palace has pride in its tradition, promotesthe arts, and teaches to local and internationalstudents.For some artists the challenges are more difficult thanfor others. Noh Theater has elements that make it feelvery modern and abstract, so it should be easy to use itin contemporary work. However, a young actor likeThe Work of the 2010/2011 API Fellows
138 Panel 3Tatsushige Udaka under the control of the iemotosystem must be very careful. He cannot do anythingtoo adventurous, too suddenly.Other artists, such as half-Japanese, half-Swiss HeidiDurning in Kyoto, are relatively free to do what theywant, but they find it difficult to be entirely acceptedin local society.Peni, Rianto, and Mugiyono represent differentaspects of Indonesia’s very active performance world.Peni uses avant-garde composing and singing; Riantotravels between Japan and Solo; Mugiyono performs inarts festivals worldwide. All three are succeeding inbringing their traditional arts into the modern worldand appealing to new audiences.These are all examples of what I saw during my oneyear of research: how performers and institutionsmanage to continue traditional dance in interestingways in order to survive in a borderless modern world.For myself, I took up the challenge of fusion andmodernization through collaborative performanceswith Noh actor Tatsushige in “Tatsushige toRonnarong,” with Javanese dancer Rianto in “Riantoto Ronnarong,” and with Javanese singer andcomposer Peni Candra Rini in “Kembang Kapas”.The benefit was not only in the performances that wecreated, but in the time we spent working together,exchanging our cultures through dance. Through theseconnections we are building a network in the Asiandance world, and we will continue this in our owncountries through performances, by giving danceworkshops, and by giving presentations around Asiaand beyond.This kind of collaboration is not a new thing. But in atime of globalization when traditional arts are underthreat, it is important to show how we can developtraditional arts, and bring them alive in thecontemporary world.NOTE ON TERMINOLOGY1In this paper, I divide dance into “traditional” and“contemporary”. Traditional dance has generally arisen inone place or among one people, and has been practiced over along time. Contemporary dance has no “place” because it canbe performed anywhere in the world, and it focuses on onetime, now. Of course, over a long time, traditional danceabsorbed outside influences. For example, traditional Lanna23dance was impacted upon by Siam and China. Noh andKabuki have roots in China. The traditional performances,which I looked at, are the results of these complex processes.Contemporary dance differs from traditional because artistshave access to, and freely make use of, dance styles from anyplace in the world, in addition to which they inventmovements that are new and unique to them. Mostcontemporary dance today involves a specific concept, whichcan be political, emotional, or artistic. This differs fromtraditional which usually focuses on established forms andstories.Conversation with Tatsushige Udaka, 7 September 2010Facebook message from Heidi Durning, 12 February 20114 Conversation with Mugiyono Kasido, 9 February 201156Program notes for “Tatsushige to Ronnarong”, 22 January2011Conversation with Peni Candra Rini, 4 July 2011REFERENCESAlex Kerr. http://www.alex-kerr.com/Antengannuswantara’s Blog. Perihal : Kesenian Bantengan.http://bantengannuswantara.wordpress.com/2010/06/18/perihal-kesenian-bantengan/.Encyclopedia of Shinto. Shishi-odori.http://eos.kokugakuin.ac.jp/modules/xwords/entry.php?entryID=1018.Hanamaki City Official Website. Hayachine Kagura Dance.http://www.city.hanamaki.iwate.jp/english/kagura_shishiodori.html.Heidi S. Durning. Biography. http://www.lucbouvrette.com/heididurning/heididurning2.html.In the Art Island Festival. In the Art Island Festival 2011(Featival Seni Pertunjukan Keliling). http://theartsisland.blogspot.com/.Masayuki Nakamura. r. 2009. A Bilingual Guide to JapaneseTraditional Performing Arts. (Translated by Jeffrey Hunter).Tankosha).Joglosemar. Puro Mangkunagaran.http://www.joglosemar.co.id/mangkunegaran.html.Kunio Yanagida. 1910. (trans by Ronald A. Morse 2010). TheLegends of Tono. Lexington Books.Mugi Dance. Biography. http://www.mugidance.<strong>org</strong>/biografi.php?bhs=eng.Napovedik. Nohsono. http://www.napovednik.com/dogodek169201_nohsono.Rianto: Indonesian Dancer, Choreographer. http://riantodancer.jugem.jp.Ronald Cavaye, Paul Griffith and Akihiko Senda. 2004. A GuideTo The Japanese Stage From Traditional to Cutting Edge.Kodansha International Ltd.The 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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MULTIPLE MODERNITIES: GLOBALIZATION
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FLUX AND FLOWS OF PEOPLE, POWER AND
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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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