“Museum II: Ridden” is a reflection/performance that presents a vocabulary of motion centered on the exploration of mutation and the sense of alertness in the body. The exploration presents bodies that have experienced disasters: the three dancers on stage are ridden with rhythmic movements, filled with fragrance and mantra.
The creation of “Dance Offering” is inspired by the Thai traditional performance called Rum-Kea-Bon, a semi-ritual dance often carried out as a negotiation method. Through this dance, Kornkarn perceives the human not only as a subject who begs to a greater deity but as a being capable of exchange for getting their wishes granted.
By treating the body like an active archive, Sherli wants to re-narrate the tale tradition that has become a part of her. Her form is now an open door, allowing us to see and read Kerinci, not only as an actual physical site but also as an active cultural space that forms the identity of the people living within it.
Body exploration is highly important, acting as the basics of cultivating potential in the body, as a pre-dance class. This practice is synergized with movement exploration, to produce the ability to synchronise imagination and body capacity to illustrate ideas, may it be one or many.
In this workshop, Eyi Lesar will invite participants to play games such as the traditional childhood game, Gobak Sodor. Participants will explore integrating choreography, games and sports, while considering intentions and the impact on one's body's motor response within a space.
Departing from the regeneration process that is being carried out by IDF and several other art organizations in Indonesia in the last few years, the four speakers presented will provide readings and meanings of regeneration from their own experience.
This performance takes inspiration from a grain of rice, a traditional measurement unit in a shared agrarian heritage of Southeast Asia. It was this common measurement unit that made commerce in the region possible. However, measurements also serve other purposes beyond commerce.
By clashing artifacts and works, objects and performativity, conceptual and historical, Mella Jaarsma confronts us with situations that are out of the ordinary for the body and what we cover it with, presenting experiences that are between that of the real and the imaginary.
The Indonesian Dance Festival in collaboration with ROH holds an artist talk program to explore more in terms of performativity in Mella Jaarsma's artistic practice.
“Dance Dance Emoji” is a performance that is based on Tik Tok dance tutorials that use emojis to describe movement. At the same time, it reflects the use of social media in Philippine context.
Through the choreography work in "Pesona", Eka experiments with exchanging various perspectives and rereading the characteristic elements that also influence the visual sense of pictures taken of the Gong Dayak Kenyah dance.
“No. 60” is a treatise on Pichet Klunchun’s research over two decades on the language of Thai traditional Khon dance. Stripping the classical form of its face-mask and sequined costume, Pichet scrutinizes the 59 poses and movements in the Theppanom canon which all Thai classical dancers acquire by rote-learning.
IDF 2022 concludes its festival programs with a deep gratitude and appreciation towards all involved practitioners – on stage and behind the scenes. The 16th edition of South East Asia’s longest-running festival marks the regeneration of the festival team, from IDF co-founders who have now taken the roles in the Steering Committee, to the young working team led by Ratri Anindyajati as Director.
Indonesian Dance Festival © 2022. All Right Reserved.