In the Indonesian language, “rasa” can denote various layers of experience ranging from physical, sensory, psychological, spiritual, and inner feelings. In the Indian context, “rasa” is at the core of the Natyashastra written by Bharat Muni. In Natyashastra, “rasa” means aesthetic content and aesthetic pleasure that arises from the combination of stimulants (Vaibhav), physical consequences (Anubhav), and temporary emotional states (Vyabhichari Bhav). In the Indonesian archipelago, “rasa” lies in unwritten and written texts. “Rasa” here does have historical shading with the Indian (Hindu) tradition, but even so, the concept of “rasa” in Indonesia is different from India.

Rasa” in the Indonesian archipelago developed through paradigm negotiations (local, Austronesian, Hinduism, Buddhism, Islam, Modernism). The concept of “rasa” is not centered on Indian and Javanese traditions only. The classic Minangkabau philosophy of “raso dibaok naiak dan pareso dibaok turun” emphasizes that there is no gender hierarchy in reason and “rasa.” “Reason” and “rasa” are both tools that we use to understand the world, in which reason will show a side that can’t be touched by “rasa” and “rasa” will show an aspect that can’t be reached by reason. From a contemporary and cosmopolitan perspective, we can interpret “rasa” as a heightened experience of perception, a process of cognition that includes self-cognition to expand the limitations of our habitual reference frameworks. Rasa hence is an essential potential of contemporary dance.

Using such reflections as a starting point, we are able to understand the vast extent of Rasa. Rasa as a part of humanity contains all of our passions, including conflicts of power (science, aesthetic, ideology, etc.) that shape individuals into a choreographed dance of their interests. With that in mind, this year’s theme, “RASA: Beyond Bodies,” has been chosen to guide the IDF in expressing and celebrating the diversity of “rasa” within the range of artistic and socio-cultural practices. In this festival, “rasa” from different cultural experiences, both from within and beyond Indonesia, will engage and interact, exchanging and even creating new “rasa.” Refreshing and enriching our experiential knowledge in looking at the world, “RASA: Beyond Bodies” is positioned to be a source of humanity and culture.