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INTERMINGLING OF CONTINUITY AND DISCONTINUITY57of the PKJT project; I focused people’s eyes on the fullversions of the court dances. Ordinary people couldbe enchanted by these full versions if performers wereskilled and well rehearsed, and the performance waspresented in full seriousness. The audience did not onlysee the physical, superficial beauty of the dancers butperceived their inner beauty, elegant movements andmeditative atmosphere, which moreover called Javaneseculture and history to mind throughout the wholeexpression.There were also a number of effects on the performers:(1) the dancers and musicians became more absorbedin their performance of the full version as time wentby, which created a meditative atmosphere; (2) theclassical tempo of the music was comfortable for theperformers (as well as the audience) because it was anatural tempo for breathing; (3) each mature dancerwas free to express her own wiletan, unlike in the PKJTstyle, which strictly demanded that dancers move in asynchronized way. Through this freedom of expression,the performers could feel satisfaction in completing anhour-long performance as if it were a ritual ceremony.In this way, both the performers and the audienceexperienced another dimension of time and space andderived a kind of satisfaction that could not be attainedthrough performing or watching performances of thecontracted as well as the transformed versions of courtdances.Court dances in their full versions, therefore, stillcontain much potential under current circumstances.Nevertheless, there are few dancers or organizationsthat are aware of them in Surakarta. Some dancers feelit is difficult to leave behind the customs that wereimplanted during the PKJT era.Generally speaking, the performing arts in Indonesiahave developed under the art policies of the governmentin relation to tourism or to the creation of a nationalculture. They have, therefore, been developed for urgent,practical use. PKJT was also started under the art policyof the government in the 1970s, and Humardani’sinnovations were suitable under that policy. It is truethat the pemadatan of the Srimpi or Bedhaya dancesexpanded the range of traditional dances. However, itis also true that the idea, fixed since the PKJT period,that the Srimpi or Bedhaya dances in their full versionsare too long and boring has prevented the public fromappreciating higher arts or admiring their own cultureand history.Artistic values can be limited or changed accordingto social and cultural contexts, such as customs,preconceptions, government art policies or influencesfrom foreign countries and so on. It would be effectivefor cultural communities to revalue and spontaneouslyreconsider the results of former art projects in searchof their own roots, historical memory and culturalidentity.NOTES1A kind of Javanese court dance performed by four females.2A kind of Javanese court dance performed by nine females.3See Rustopo 1990, Chapter IV, on the PKJT- ASKI andthe role of Gendhon Humardani.4 He was a younger brother of Sudjono Humardani, a privateassistant to President Suharto.5See http://www.isi-ska.ac.id/sejarah/sejarah.htm.6Humardani himself used the term corps de ballet to meangroup dancing in Javanese dance (Humardani 1970).7 R. Supanggah, the head of the Graduate School of theISI Surakarta, criticized Humardani’s pupils on theirpassiveness and lack of initiative (Supanggah 2003).8Martopangrawit could gather ten Srimpi and ten Bedhayamusic compositions (Martopangrawit 1976), but most ofthe Bedhaya choreographies were out of use at that time,according to Sri Sutjiati Djoko Soehardjo.9The PKJT project was ended with the foundation of theTBJT in 1983. The TBJT supports arts innovation andcreation so that it is sometimes regarded as standing apartfrom ordinary people.10 Here we do not take the Bedhaya Ketawang intoconsideration, which is still the monopoly of the SurakartaCourt for its coronation anniversary. Martopangrawit(1976) does not include this in his publications.11 Ketan Biru and Nasi Uduk.12The Republic of Indonesia commemorates its independenceday every 17 th of August.REFERENCESHumardani, Gendhon. “Menonton Ballet di Covent Garden1961 kesan-kesan.” 1961. Gendhon Humardani Pemikiran &Asian Transformations in ActionThe Work of the 2006/2007 API Fellows
58 INTERMINGLING OF CONTINUITY AND DISCONTINUITYKritiknya. Surakarta: STSI Press Surakarta, 1991: 80-86.Humardani, Gendhon. “Sendratari Ramayana PrambananGaya Lama—Keberadaannya dalam Perkembangan TariKita.” 1970. Gendhon Humardani Pemikiran & Kritiknya.Surakarta: STSI Press Surakarta, 1991: 98-118.Kusumo, Sardono W. “Hanuman, Tarzan, danPithecanthropus Erectus.” Jurnal Seni pertunjukan IndonesiaXI (2001/2002): 97-114.Martopangrawit. Data-Data Sindenan Bedaya Dan SrimpiKraton Surakarta. Proyek Akademi Kesenian Jawa Tengah diSurakarta. Jakarta: Departmen Pendidikan Dan Kebudayaan(Kode Program No.09502.3604.2305.03), 1976.Murgiyanto, Sal. “Gondokusumo, Bedaya La-La dan lainlain.”1979. Ketika Cahaya Merah Memudar—Sebuah KritikTari. Jakarta: CV Deviri Ganan, 1993:76-78.Pamardi, Silvester. “Surakarta Style Dance: From Palacetowards Outside Wall.” Trans. Tomioka, Michi and SumioFukami. Intercultural Studies 26 (2002):101-121.Rustopo. Gendhon Humardani (1923-1983): Arsitek danPelaksana Pembangunan Kehidupan Seni Tradisi Jawa yangModern Mengindonesia Suatu Biofrafi. Master’s thesis. GajahMada University, 1990.Sedyawati, Edi. Ed. “Performing Arts.” Indonesian Heritage.Vol.8. Singapore: Archipelago Press, 1999.Supanggah, Rahayu. “Sasanamulya: Janin Jamak yangTunggal.” Seni Dalam Berbagai Wacana Mengenang—20tahun kepergian Gendhon Humardani. Surakarta: ProgramPendidikan Pascasarjana STSI Surakarta, 2003:383-403.Tomioka, Michi-a. “Influence of Western Dance on JavaneseTraditional Dance: On the case of PKJT Project in Surakartain the 1970s.” Japanese Journal for Comparative Studies ofDance 11.1(2005): 46-58.Tomioka Michi-b. Who Promoted the Creativity of Arts? TheCase of Javanese Dance of Surakarta Style. Master’s thesis.Osaka City University, 2005APPENDIX: Products and outputs of this project1 Srimpi performances1-1 “Srimpi Gondokusumo” / music CDDate: 20 November 2006Place: The pendopo (Javanese traditional hall) of “Garasi SeniBenowo”, BenowoProducer: Michi TomiokaMusic Director: Suraji (ISI Surakarta)Instructors: Suraji, Sukamso, Hadi Boediono, Supardi,Rusdiyantoro (ISI Surakarta)Musicians (Instrument: Name):“Maju Mawas” and “Mijil Laras” groups from “GarasiSeni Benowo”, Benowo Rebab: Suraji*/ Kendhang:Hadi Boediono*/ Gender Barung: Sukamso*/Gender Panerus: Rudi Triyatmaka / Bonang Barung:Singgih Sri Cundhananik / Bonang Penerus: Suradi /Slenthem: Haryono FN / Demung: Nurochman, Paidi/ Saron Barung: Parjan, Tutiyarso, Bejo Hermanto,Sandi / Saron Penerus: Rossidiq Wahid H / Kethuk,Kempyang,Kenong: Sugimin*/ Gong: Kuat*/ Gambang:Sulardi / Siter, keplok alok: Sriyanto / Suling, keplokalok: Supardi*/ Swarawati: Pujiyani, Dewi Widayati,Imra’atul / Wiraswara: Rusdiyantoro*, Samin, Sarmadi,SartKeprak Player: S.Pamardi (ISI Surakarta)Engineer: Iwan Onone (Studio 19, ISI Surakarta)Description: Twenty-six musicians consisting of seven ISISurakarta instructors (names highlighted with an asterisk onthe list above), nine elder amateurs / semi-amateurs and tenISI Surakarta students or alumni/alumnae were involved inthe project. All the instructors and senior members residearound Benowo. Garasi Seni Benowo, located in the houseof R. Supanggah, the head of the Graduate School of ISISurakarta in Benowo, has become a center of gamelan activitiesin Surakarta. These two groups hold regular rehearsals twicea week which are often attended by students for advancedstudies.1-2 “Srimpi Gondokusumo” / video CDDate: 26 November 2006Place: The pendopo SMKN8/SMKI Surakarta, SurakartaDocument Type: Live performanceRehearsal Period: 28 August - 25 November 2006Producer, Artistic Director, Dance Director:Michi TomiokaDancers (Position: Name):batak: Michi Tomioka / gulu: Sri Setyoasih, dada:Saryuni Padminingsih, buncit: Hadawiyah EndahUtami (ISI Surakarta)Costume Director: Hartoyo (ISI Surakarta and the SurakartaCourt)Costume: Dodot AlitHair Style: Bangun TulakMusic Director: Suraji (ISI Surakarta)Musicians: “Maju Mawas” and “Mijil Laras” from the GarasiSeni Benowo, BenowoLighting/Sound: The production team of “PentasNemlikuran”Video Works: Esha, Chris (Studio 19, ISI Surakarta)Photographer: Heru Santoso (Studio 19, ISI Surakarta)Asian Transformations in ActionThe Work of the 2006/2007 API Fellows
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iiiCONTENTSAbout the BookAcknowledg
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V. APPENDICESCultivation of Transfo
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The Regional Project, entitled “C
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ixTHE CONTRIBUTORS(in alphabetical
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MYFEL JOSEPH PALUGA is a faculty me
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xiiiare common to nations around th
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xviiIt is reasonable and necessary,
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xixOVERVIEWCzarina Saloma-Akpedonu,
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xxiiiABOUT THE WORKSHOPThe 6 th API
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2CIRCLES OF POWER AND COUNTERBALANC
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188 COLLAGES OF BETTERMENTThe repor
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233Day 3, Tuesday, 27 November 2007
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JOSIE M. FERNANDEZExecutive Council
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237MARY RACELISProfessorial Lecture
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239NAPAT TANGAPIWUTInstitute of Asi
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Persistent problems, promising solu
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