Peretas Berkumpul 01
Open Call | Peretas Berkumpul 01: Pakaroso!
Peretas Berkumpul 01
21 – 25 Maret 2019
Dodoha Mosintuwu, Poso
Batas waktu pengiriman lamaran: 18 Januari 2019
Pengumuman kandidat terpilih: 10 Februari 2019
Peretas adalah organisasi perempuan lintas batas yang mengupayakan sistem pendukung bagi jaringan kerja, ruang produksi, reproduksi dan distribusi pengetahuan perempuan di ranah seni dan budaya.
Peretas Berkumpul adalah ruang pertemuan bagi para perempuan pekerja seni budaya dengan keragaman gagasan dan ekspresinya untuk mendiskusikan pengetahuan dan praktik seni budayanya secara kritis. Peretas Berkumpul 01 akan berlangsung di Poso, lokus para pemilik seruan “Pakaroso!” – ajakan untuk saling menguatkan dalam Bahasa Pamona.
Bekerja sama dengan Institut Mosintuwu yang dikenal sebagai gerakan perempuan akar rumput untuk perdamaian dan keadilan dengan jalan kebudayaan, Peretas Berkumpul 01 Pakaroso! mengajak para perempuan menentukan strategi kerja seni budaya dalam jaringan perempuan yang lintas batas, yang membangun, memperkaya dan memperkuat kerja perempuan secara kolektif.
50 kandidat terpilih dari seluruh Indonesia akan dibiayai untuk terlibat aktif selama lima hari dalam Peretas Berkumpul 01 Pakaroso! di Dodoha Mosintuwu, Poso, 21-25 Maret 2019. Lengkapi dan kirim formulir lamaran di https://bit.ly/2EsmgOO sebelum 18 Januari 2019! Jika kesulitan mengakses tautan tersebut, SMS/WA 081293877210 atau kirim email ke firstname.lastname@example.org.
Ajakan ini berlaku bagi siapa saja yang mendefinisikan diri perempuan, WNI berusia di atas 18 tahun (pada Februari 2019), pencipta (penulis, aktor, perupa, penari, pemusik, pesuara, perupa gerabah, perupa kain, peramu masakan, dsb), cendekia, kurator, kritikus atau pelaku kegiatan lain yang bersifat memperkaya dan memajukan ekspresi kebudayaan perempuan, bersedia terlibat secara penuh di dalam kegiatan Peretas Berkumpul 01 Pakaroso! Para perempuan pekerja seni yang sangat terbatas aksesnya (terancam ekspresi gendernya, penyandang disabilitas, ibu dengan anak yang masih menyusu atau lainnya) jangan ragu untuk melamar.
Theater | Say No More
In Say No More, Tutti Arts brings 26 women artists from Malaysia, Indonesia and Australia together to share truths, debunk myths and expose the lies that we tell ourselves about being women.
Audiences will experience films, music and art installations which unravel intimate stories of struggle, defeat, triumph, and survival within a highly unusual nuptial setting, and performances which reveal how marriage shapes the social and cultural circumstances of women.
Say No More had its world premiere at the George Town Festival (10 – 12 August 2018) and Australian premiere at the OzAsia Festival (7 – 10 November 2018).
Theater | Goyang Penasaran
The Play, the Political Context, and the Staging
Goyang Penasaran (The Obsessive Twist) is a play about Salimah, a female dangdut* singer from a small town, who has been admired, immortalized, and shunned by men. Set in the late 1990s, at the beginning of the Islamic resurgence in Indonesia, the story revolves around Salimah and her undying love for her old time religious teacher who now condemns her, and Solihin, who would do anything to have her after she humiliates him by refusing his proposal to take her as a second wife.
Goyang Penasaran (The Obsessive Twist) is a commentary on both the euphoria and the crisis of visibility after the downfall of Suharto’s authoritarian regime. After a long suppression by the regime, celebrations of sexuality as well as various expressions of Muslim public piety are now inseparable from the democratization package. On the bleaker side, the public sphere is now crowded with some groups who, in the name of religion, conduct violence against symbols of moral decadence, from dangdut shows to LGBT conferences and festivals.
Public policies ranging from the fatwas, the shariah laws, to the controversial Pornography Law testify for the anxieties around visibility that produce the question of what is allowed to be seen and what not.“Seeing,” thus, is a central motif in the play. Goyang Penasaran (The Obsessive Twist) poses a question on the economy of seeing/being seen within the intricate relationship between the sexuality discourse, politics, religion, and violence.
Exploring the possibilities in which the spectator could critically challenge their gaze on the condemned and eroticized body of a dangdut singer, the play experiments with an old tradition in theater: the cross-dressing practice. The performance deploys four male actors to play Solihin, Haji Ahmad the religious teacher, the thugs, and Salimah herself. Stylistically, it is an homage to classic Indonesian horror films and the heyday of dangdut music from the 1970s-1980s.
*Dangdut is a genre of Indonesian popular music that combines Malay, Arabic, Indian, Western, and Latin musical elements. Throughout the history it has been associated with the underclass, commodified, and politicized. In the past decade erotic dangdut dance has been part of the debates of national morality and religion.
The Team and the History
Goyang Penasaran (The Obsessive Twist) was first written as a short story by Intan Paramaditha, published in an anthology Kumpulan Budak Setan/ The Devil Slaves Club (Jakarta: Gramedia Pustaka Utama, 2010). She and theater director Naomi Srikandi were involved in a discussion forum on gender and sexuality in the Symposium on Performance in Indonesia (Yogyakarta 2009). The forum participants discussed how the long list of discriminations against women and LGBT groups in the public sphere reveals that sexuality is a crucial site that reflects contemporary realities in Indonesia: the tension between civil society, frictions within the ideas of nationhood, and the pervasive sense of disbelief that characterizes the relationship between the citizens and the state.
Intan and Naomi decided to respond to these issues by committing themselves in the collaborative project Goyang Penasaran (The Obsessive Twist). They adapted Intan’s short story into a play, which would then be directed by Naomi. The complete team of Goyang Penasaran (1st production) consists of Agung Kurniawan (art director), Ari Dwianto (actor), Ignatius Sugiarto (lighting and technical director), Intan Paramaditha (author of the original story, playwright), Irfanuddien Ghozali (actor), MN Qomaruddin (actor), Naomi Srikandi (playwright, director), Rifqi Mansur Maya (stage manager), Risky Summerbee (soundscape composer), Theodorus Christanto (actor, assistant director), Vidyahana Sinaga (costume and makeup artist), with production management by Ratri Kartika Sari and Teater Garasi.
Theater | Medea Media
Medea Media is a theater work based on a contemporary reading of the Greek classic Euripides' Medea which has been taken further to the relevant Indonesia's social context. It was written by Naomi Srikandi (who produced and directed the play in Yogyakarta, 2010) as she and her fellow artist Erythrina Baskoro initiated an interdisciplinary collaboration process among 10 artists sharing their concern about women and violence in now days Indonesian society. The idea of this theater work was to bring an experimental television show on stage, raising the discourse of horrid relationship between media and society through the depiction of gender based violence in a television show. Satirical infotainment, musical and talk show are crafted along the performance. The brutal commodification of human's scandalous behavior by the media along with the reality of Indonesian socio-culture was adapted in the style and structure of the performance: nonlinear, layered, fragmented, yet entertaining – in debatable meanings. Medea Media can be performed in an actual TV studio or a simulated one. Either way, a pre-set act was meant to be conducted to give the audience a physical sense of attending a live television show.
Summary of fragments in Medea Media:
In the first fragment, an infotainment presenter turns out to be Medea's nurse opens the show by suggesting that Medea is both suffering woman – witch, abandoned wife, outsider – and actor, introducing the idea that every life is invented and performed. The second fragment is to bring a snap-shot, a sudden flash back to the Greek classic version when the King ordered Medea to leave his kingdom because he was frightened that she would take revenge for having been betrayed by her husband for his marriage with the king's daughter. The third fragment is when a silly variety show guy acts as Medea's husband Jason breaks the heavy mood of the previous fragment by forcing Medea to sing a long and dance to forget her grief. This musical nuance continues to the forth fragment with a gothic scenery where Medea multiplies into three persons out of her anger, singing herself out as powerful femme fatale condemning the injustice against her. The fifth fragment is the talk show discussing the shocking deaths of the king and the princess. Medea is suspected as the murderer. A police who investigates the case, a women's right activist, and Medea's husband are invited to the talk show. The talk show leaves nothing but a horrid entertainment. The display of violence on TV is taken further into a surrealistic scene in the sixth fragment inspired by Heiner Mueller's medeamaterial ended by a funeral speech which was copied from the speech in a famous American movie Synecdoche, New York.
Naomi Srikandi (director, writer), Erythrina Baskoro (actor), B. Verry Handayani (actor), Jamaluddin Latif (actor), MN Qomaruddin (actor), Ozzy Fauziah (actor), Risky Summerbee (music director), Ignatius Sugiarto (lighting designer), Novi Christinawati (scenographer), Wok The Rock (multi media artist), Febrian Eko Mulyono (stage manager).
Presented by Naomi Srikandi and Teater Garasi supported by Empowering Women Artists - Kelola, Hivos, Ford Foundation, and Biyan; performed at Jogja National Museum, Yogyakarta, October 2010
Medea Media is shortlisted for Women Playwrights International Conference and was performed as a dramatic reading by Swedish actors in Södra Teatern, Stockholm in 2012.
Theater | Shakuntala
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