Ismar, Madia Patra and Pratiwi, Rahayu (2020) ARTISTIC GAZE OF TWO PAPUAN CHOREOGRAPHERS:VISUAL PERSPECTIVES ROOTED INTHE ORAL TRADITIONS OF THE KAMORO AND ASMAT TRIBE. International Review of Humanities Studies, 5 (1). pp. 289-302. ISSN e-ISSN: 2477-6866, p-ISSN: 2527-9416

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	Archive (International Review of Humanities Studies www.irhs.ui.ac.id, e-ISSN: 2477-6866, p-ISSN: 2527-9416 Vol. 5, No. 1 , May 2020 (Special Issue), pp. 289-302) ARTISTIC_GAZE_OF_TWO_PAPUAN_CHOREOGRAPHERS_VISUAL_PERSPECTIVES_ROOTED_IN_THE_ORAL_TRADITIONS_OF_THE_KAMORO_AND_ASMAT_TRIBE - Published Version Download (49kB)

Abstract

This article is based on the artistic practice of two Papuan choreographers trained in theJakarta Institute of the Arts Dance Study Program. Both based their choreographies on theirtraditional roots which were presented as site specific performances in their respective villages.The choice of visuals and dramatic bodily expressions created by them, though a new dance design,was based on their deeply ingrained roots as indigenous Papuans. The roots called upon to be re-interpreted as choreography were based on the oral traditions they grew up with as part of theiridentity. The focus in this article is on the work by Martinus Akai from the Asmat tribe performedin 2013, and the work by Alfo Smith from the Kamoro Tribe performed in 2018. The purpose ofthis study is to understand the way Papuan choreographers ingrained in their cultural heritage re-imagine the traditions passed down from ancient times through their ancestors. The research doneby the choreographers was in the context of revisiting the rituals and ancestral narratives andinterpreting for a contemporary expression. The research done for this paper was based ondiscussions had with both the choreographers during the process of creating their individual work.Among the methods for collecting data by the choreographers for creating their work was fieldresearch, observations, interviews and personal memories experiencing their cultural heritage. Theobservations by the writers for this article were during the creating process in the studio and onsite and viewing the end results both as presentations and site specific performances. 1 .

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