SERIES 1: DANCE AS CULTURAL DIPLOMACY AND PROMOTION
The series of cultural missions carried out by the Soekarno government during the early days of Indonesian independence to a number of countries, both affiliated with the West and East Bloc, indicate the important role of arts, especially dance, in the political agenda of cultural diplomacy. Looking at the wider map, the dynamics of Indonesian dance following the country’s independence cannot be separated from the situation of post-World War II global politics. Soekarno, with his concept of Indonesian nationalism and a “free and active” foreign policy, developed a dynamic cross-cultural interaction through a series of cultural missions to several nations in affiliation with the two Blocs.
Long after that, Daisuke Muto, described the IDF in internationalism and global dynamics discourse in the 2010 IDF: Powering the Future program catalogue. Daisuke mentioned the emergence of the IDF, which was not long after the fall of the Soviet Union, as being in line with the fast movement of globalization, following the end of the Cold War between the world powers. The world has significantly changed in the last two decades. The dissolution of the world economy has revitalized the mobilization of people and goods, supported with the development of the internet and information technology.
In today’s decentralized world, the social and cultural diversity in the jungle of plurality is exposed to us. Dance is no exception. Now we exchange information through emails and tell our friends to check out videos on Youtube. We can even invite dance companies from other countries. Those things are currently so common that it makes it hard for us to remember that nobody ever imagined this drastic development before 1992.
At the same time, the development of communication technology and changes in cultural strategy during Soeharto’s presidency had inspired the emergence of non-governmental arts agencies to take part in the Indonesian cultural diplomacy programs. Artists, non-governmental arts organizations, producers, curators, and art managers, serve as a dominant power to drive the development of Indonesian contemporary arts in the global art scene. They directly establish working relationships and are involved in various international dance events as the representations of Indonesian art.Such working network patterns are continuously reproduced today in various forms.
In this session we will discuss the position of Indonesian dance on the global map, as a means of diplomacy and cultural promotion. By observing history and today’s context, we will elaborate on changes in dance aesthetics, distribution of capital, structure of agency in the Indonesian dance landscape and their relationship to the global discourse scene. Collectively, we will once again examine the depth and breadth of our thinking in looking at the history of dance in order to build a critical awareness based on the collective memory and inherited dance aesthetics.
Keynote Speaker: Jennifer Lindsay (Australia, Researcher)
Speakers: Jeannie Park (Indonesia, Executive Director of Padepokan Seni Bagong Kussudiardja (PSBK) and Sekar Putri Handayani (Indonesia, Independent Art Worker), Putu Fajar Arcana (Indonesia, Jurnalis, Budayawan)
Moderator: Linda Mayasari (Indonesia, the Director of Cemeti and Member of Curatorial Team of the IDF)
Date / Time : Monday, November 2, 2020 (4 pm – 6 pm (GMT +7))