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Element#2 BAHASA KOREOGRAFI The Process of ‘Bahasa Koreografi’ by Ayu Permata Sari The concept of my dangdut work was articulated through the term ‘in-between space’. After hearing my explanation, Amin shared with me the concept of ‘liminality’, and ever since then I have been researching more on the term and its applications to my process. The work that I eventually presented was entitled ‘TubuhDang TubuhDut’ (DangBody DutBody), which had been presented at the Jejak tabi Festival in Yogyakarta in early July 2018. I tried to describe the structure and the staging of my work. In the beginning I used a video as a form of introduction, but many questions were raised, such as how important the video really was. Helly and Alfian emphasised the importance of the demographics of the audience that would be watching ‘TubuhDang TubuhDut’, the extent to which they could access dangdut as a form of shared cultural knowledge, and I was asked again my intention in creating the piece. On the 21-22 September I made my Dance Nucleus presentation; it was not just 4 of us who presented our works, but other artists as well. The presentation of ‘TubuhDang TubuhDut’ had the second slot on the schedule of 21 September 2018. It was a different experience from my initial showing in Yogyakarta. In Yogyakarta, around 90% of the audience was familiar with dangdut, such that the atmosphere was relaxed and people knew the context that was being addressed. In Singapore, the audience was less familiar with the dangdut form, so it was difficult to absorb the energy from the audience, even though there was at least someone who was swaying unselfconsciously to the music. The experience of the audience during the Dance Nucleus presentation was that they interpreted me as claiming my own personal space in my enjoyment of music and they were concerned about interrupting this world-abnegating self-absorption. Even though some of them did feel like joining in my interpretation of a state of ‘obliviousness’ to my surroundings. Daniel Kok felt that an important task of the work was to give the audience some context that I was exploring embodiment and mimicry, rather than merely presenting a ‘show’ for the audience. I had a week to prepare for the presentation on 21 to 22 September. From the 15-20 September the participants were left on their own to conduct independent research. In the beginning I used the studio for my rehearsals, but on the final day of our meeting, I decided to change my rehearsal space from the studio to public spaces such as the MRT, shopping malls, outdoor shopping areas such as the one at Bugis, on pedestrian walkways or intersections such as traffic light areas. Even though it was difficult to seek permission to dance in public from local security officers. At times I would dance without obtaining permission or in other words “play by ear”. But I would always survey the area beforehand, assessing whether it was safe for me to dance, as I was worried that I would be arrested by the police if they assumed that I was a lunatic. I eventually trained my confidence in dancing in public areas. The movements of dangdut audiences, often seen as embarrassing, often make me feel less confident, so I had to build up this confidence in public spaces. In addition to receiving great input for my work ‘TubuhDang TubuhDut’, I also also gained a lot of experience watching diverse presentations during this Dance Nucleus Residency. There were many forms of works which I had not seen before, and I enjoyed new experiences as both an audience member and as someone who is getting acquainted with the culture of art and dance-making in Singapore. Refer to page 36 for diagram 39 40
Element#2 BAHASA KOREOGRAFI The Process of ‘Bahasa Koreografi’ by Ayu Permata Sari About AYU PERMATA SARI From the Pepadun muslim tribe, born in Lampung (Sumatra), Ayu Permata Sari is the second child of Suherman and Zilhayah, with 3 other brothers. Ayu Permata Sari fell in loved with dance in primary school and joined in Cangget Budaya studio in North Lampung from 2000 until now. Between 2010 and 2014, Ayu moved to Yogyakarta to deepen her dance training at the Indonesian Art Institute of Yogyakarta Faculty of Performing Arts, Department of Dance Creation. She then continued with the Masters in Dance Creation programme in the same school from 2014-2016. In 2016, she founded the Ayu Permata Dance Company in Yogyakarta establishing her own dance community in order to spur her creative drive. In 2017, Ayu was invited to an artist residency in Leuven (Belgium) for the Monsoon program in the Europhalia Festival. One of her works received the Bakti Service Charter Award at the Asia Technology Festival in Johor, Malaysia 2018. 41 42
Page 1 and 2: FUSE # 2 Produced by Dance Nucleus
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