Darmasiswa scholarship brought me to Java in 2010. The daily challenges from my physical training in dance and theatre, such as precarious balance, movement fragmentation, and energy contention, were finally put to the test at the Institut Seni Indonesia (ISI) Yogyakarta, where I immersed myself in Indonesian traditional performing arts for the next few years. Besides introducing me to Balinese dance and theatre, it also connected me with Javanese gamelan and dance, sindhen vocal techniques, and other art forms from a variety of regions. Fascination with peoples across the archipelago and their performing arts had just begun...
LEARNING
Balinese Dance
During my studies at ISI Yogyakarta, I frequently escaped to Bali, where I delved into legong and other Balinese dances. This took place over the following years (from 2012 to 2015) at Sanggar Seni Satriya Lelana in Batuan, Bali. Endowed with movements of strange beauty, unreal in its mechanics, the highly codified language of Balinese dance is unique in its aesthetics. Secular in nature, Legong Keraton is among the most popular dramatic pieces, inspired by the chronicles of the 19th-century Balinese court and the Ramayana. In the first part, a maid (the condong), performs an intricate choreography using two fans, which are presented in a second part to the masters (the Legong).
With Komang Rai Sariadi at Sanggar Seni Satriya Lelana, Batuan (Bali)
Balinese dance courses for actors and scene directors
TEACHING
In Bali, dance, like other forms of performing arts, is integral to daily Hindu ceremonies, often serving as a form of worship or even the offering itself. Extracted from its cultural context, Balinese dance represents an extraordinary psycho-physical training: beginning with inherently unnatural body positions that require constant opposition of forces for balance, it focuses on isolating and fragmenting both micro and macro movements. This demands continuous control and containment of physical energy to achieve precision and subtlety in every detail.
Real Escuela Superior de Arte Dramático (RESAD), Madrid.
Considered a fundamental reference by Theatre Anthropology scholars like E. Barba and others since the end of XIX century, Balinese dance has served as a wellspring of inspiration for Western actors and dancers seeking ideas to build choreographies and corporealities of characters. These movements, attitudes and energies—far removed from everyday life—not only awaken body awareness and expressiveness, but also contribute a strong stage presence and a well-defined embodiment.
Escuela Superior de Arte Dramático (ESAD), Valencia.
PERFORMING
Topeng Losari (Masked Dance)
With Nur Anani Topeng Losari at Sanggar Purwa Kencana, Cirebon (Java)
Spending time learning and performing Topeng Losari with Mbak Nani has been one of the most amazing experiences ever. Topeng Losari is one among many traditions in Indonesia where mysticism predominates over religion. Sacred masks, lacking eye holes, are worshipped before performers take the stage, believed to transmit their energy to the dancer. The dancer, in turn, does not need sight, as the essence lies in connecting three dimensions: god, body, and earth. Whether there are spectators is of minimal relevance. The makeup, entirely out of place.
Tari Bali
