Empat Koreografer Tari Kontemporer Indonesia Periode 1990-2008

Abstract

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

Makna Tari Kontemporer Barangan Karya Otniel Tasman: Suatu Tinjauan Semiotika Tari

“…Salah satu hal menarik yang layak diperhatikan dari tari-tari tradisional di Indonesia dewasa ini adalah pemanfaatan atau proses transformasinya menjadi tari kontemporer. Suatu fenomena, yang membuktikan pandangan Sal Murgiyanto tentang perbedaan utama tari kontemporer Indonesia dengan tari kontemporer di Eropa dan Amerika (Murgiyanto, 2015;Supriyanto et al, 2016). Seiring waktu, berbagai tarian tradisional mengalami pemberdayaan atau revitalisasi melalui proses penciptaan karya tari oleh para koreografer masa kini.…”

Re-Reading the History of Body in Meniti Jejak Tubuh by Sherli Novalinda

“…Hartati (Muliati et al, 2019;Supriyanto et al, 2016). Di tengah lingkaran, laki-laki tadi bertansformasi menjadi sosok yang feminim dengan liukan tangan dan tubuh yang bergerak lembut dan pelan, namun di saat lain tubuh itu berubah maskulin, bergerak dengan tajam dan menusuk.…”

The Concept of Dance Composition East-West Meeting

“…2) Eko Supriyanto (2015): Eko Supriyanto's dissertation entitled Development of Ideas and Changes in Forms and Creativity of Indonesian Contemporary Dance (1990-2008 at Gadjah Mada University discusses the development of contemporary dance in Indonesia [11]. As for the study of the development and changes in the form and creativity of contemporary dance in Indonesia, looks at, observes, and focuses on five contemporary Indonesian choreographers: Martinus Miroto (Yogyakarta), Mugiyono Kasido (Surakarta), Hartati (Jakarta / Padang), Jecko Siompo (Jakarta) / Papua), and Eko Supriyanto (Surakarta / writer).…”

“…However, by sticking to the original elements, people will still recognize the origin of this novelty art. The phases of dance creation by Eko Supriyanto are of course not dance creation intended for educational needs, but rather artistry [11]. However, there are several phases that are suitable for the children's dance creation phase for this research, namely the re-visiting, requestioning and re-interpreting phases.…”