ABSTRACT This research will elaborate four Indonesian contemporary choreographers, which lead to open the significant of embodiment process on Indonesian dancers. With a focus on four choreographers, Mar- tinus Miroto, Mugiyono Kasido, Hartati, and Jecko Siompo. A case study of body of those four choreo- graphers has reached its “institutional” level, so choosing those four characters, as a representation of Indonesian dancer is the right thing to do. With the complexity discipline and body work training, the four dancers and choreographer strengthening on how procession to achieve and advancing body work is located in some important process: exercise, training, and performance. This is different from the pro- cess of body works quality and the achievement of most dancers and choreographer outside of Indonesia. Usually the dancers outside of Indonesia only stress on two things: Training and performance. The four dancers in the work have had a typical body works each of them, but it is undeniable that there is a role in the respective Sardono as the maestro. Sardono’s strong influence thus again took place in forming a model to the body or body-dance attitude of dancers who then the outcome was, in fact, different from Sardono’s works. Keywords: contemporary, embodied, training, rehearsal, performance  ABSTRAK Penelitian ini membahas empat koreografer, dalam membuka wacana proses ketubuhan penari di Indonesia. Empat koreografer tersebut, Martinus Miroto, Mugiyono Kasido, Hartati, dan Jecko Siompo, memperlihatkan betapa kompleksitas proses ketubuhan mereka berbeda dengan penari dan koreografer pada umumnya, terutama dari luar Indonesia. Mereka mem- berikan pengalaman yang detail tentang pendisiplinan tubuh mereka untuk mencapai sebuah capaian dan keunggulan. Dengan kompleksitas disiplin dan training ketubuhan, keempat penari dan koreografer ini menggukuhkan betapa proses pencapaian dan kemuktahiran tubuh terletak pada beberapa proses penting: Training, Latihan, dan Pementasan. Jika ditilik secara ke- seluruhan, keempat penari ini mempunyai pengalaman belajar, atau setidaknya pernah men- galami proses menari bersama Sardono W. Kusumo. Ketubuhan yang yang dieksplorasi adalah ciri khas dari Sardono yang dikenal dengan laku dalam bahasa Jawa. Walaupun belajar dari Sar- dono, keempat koreografer tersebut mengembangkan tarian yang berbeda dengan Sardono. Kata kunci: kontemporer, ketubuhan, training, latihan, pementasan

The practice of the body in contemporary dance is always marked by novelty and invention. For Indonesian choreographers, contemporary dance is a practice of negotiation that brings the infl uence of tradition from the past into contemporary body. This paper is intended to reveal the practice of body negotiation in Wajah ( 2013), a dance work of Hartati, an Indonesian choreographer of Minangkabau descent who is known for her progressive dance works. It is one of Hartati's dance work which refl ect her background as a choreographer embodied two different traditions, namely the Minangkabau tradition and the urban Jakarta. The non-linear experience of the body became the foundation of Hartati's creativity in the creation of his contemporary works. Therefore, Wajah is an experimental dance, a result of negotiation which bring together the infl uence of Minangkabau dance tradition based on silat with another infl uences like balet and daily movements into contemporary bodies. By applying the perspective of embodiment, this paper analysed the performative text as well as the negotiation practice in the making process of dance. This practice has resulted an extra daily technique with moment making orientation.

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This study is intended to explain the process of dramaturgy which bridges the transformation from the literary text of the Syair Lampung Karam to the theater performance text of Under The Volcano. The approach used is a qualitative approach with descriptive analysis method. The source of the data is direct observation of the performance, observations of the process of creation, documentation of performances, records of processes and results of interviews. Based on these data, an analysis of acts of dramaturgy and dramaturgical thinking was carried out which underlies the creation of Under The Volcano theater performance text, which is seen as a series of the process of dramaturgy. The results of the study show that the theater performance text of the Under the Volcano is a form of expression of the experience of people living in the volcanic environment, which was built by taking abstractions from the experience of natural disasters of the eruption of Mount Krakatau which was told in Syair Lampung Karam.

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