Carto-Elicitation: Improvised Performances/Narratives of Identity, Memory, and Sites of Fascination

Abstract

This paper describes the pedagogical roots of the work we do, both as teachers and as performers; and how our work reaches beyond the classroom and into community, eliciting narratives and weaving them through improvised dance and music collaborations, eventually onto the walls of an art museum. Our concept was to solicit stories that told of some event that happened in a particular place, and that left a memory that was tethered to that place. We collected stories, pooled our own stories, “pinned” stories to their geographic locations, and then transformed these stories through improvised movement and sound.

Ethno pedagogy and conservation practices of the erai-erai dance in the Lematang Malay Community, Lahat District, South Sumatra Indonesia

“…The erai-erai dance was originally introduced by Muara Enim artists to the people of Lahat Regency in 1950 during a wedding ceremony. The process of socializing the erai-erai dance is carried out when the wedding ceremony during the Lingku'an session (the name for the event for young people in Lahat) is accompanied by rhymes besaut (reciprocating rhymes) and simple movements that are characteristic of the erai-erai dance to invite young people in the past in art and united one area with another [12]. The erai-erai dance performance is used as a social dance for single girls (youth), as a means of communication to get a partner or friend, and as a binder of solidarity between communities.…”