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HALOO

HALOOOOOOOOOOO......

TRIWIKRAMA

TRIWIKRAMA

The idea of this choreography is from Mahabharata story more specific is Kresna Duta episode. It’s tell about Kresna who was disappointed by Kurawas. In that story Kresna as a personification of Pandawas to ask a part of Ngestina kingdom. The Kurawas does not give it to Pandawa. Kresna very angry because of that. Finally Kresna change himself to become a big giant, angry and make everything is broken.

The story above like in the reality. when the people are disappointed and disagree with decided of the government, they are angry and make everything is broken. It’s like when the government change the price of gasoline and so on…..

From that story I have an idea to make a choreography. It’s performed by solo dance and used a lot of leather puppet as symbol of people with various of characters.

DANCE

SENGKETA

The human always followed by two different powers that are, good power ( white ) and bad power
( black ). Two powers live and to be one in the human. This choreography is a imagination about that powers. The background of this choreography is from experiences of life, books of religion ( Islamic ) and about human. The movements are from exploration. The consept of this choreography comunicated by solo performance and use two masks as symbol of that characters.

Concept of Choreography
The tittle of this choreography is SENGKETA. It’s mean conflict or fighting. This tittle choosen because this choreography tell about conflict two powers that is good and bad.
Music
The concept of music is music as a ilustration. The instruments are from javanese gamelan and modern ( diatonis ).
Theme of Dance
The theme of this choreography is imagination conflict who inside of human.
Costume
The costume of this choreography use black under wear.
Property
Two masks.
Artistic Team
Choreographer : Sudiharto
Composer : Budi Pramono
Costume : Sudiharto
Dancer : Sudiharto

Hi

Hai haloo
lLama saya nggak aktif..
Mau aktif lagi ni...

ALL ABOUT ME

I am Sudiharto. I was born March 27, 1975 in Yogyakarta. I am a traditional/classical, contemporary dancer and a choreographer. I started to learn dance when I was fifteen years old at SMKI (high school of arts, department of dance) Yogyakarta for four years. In that school I learned traditional/ classical dance more specific was Classical Javanese Dance. At the same time I also learned with Romo Sasmito Mardowo, Yogyakarta’s Master of Classical Javanese Dance at Pamulangan Beksa Ngayogyakarta Foundation. I finished my high school in 1994. Later I studied in Indonesian Institute of The Arts Yogyakarta. In that Institute I learned traditional/classical, contemporary dance and choreography.
In 1996 I have ever learned choreography with Leyson Ponce from Venezuela and Maxine Heppner from Canada when I have got opportunity from Indonesian Institute of The Arts Yogyakarta to follow Indonesian Dance Festival workshop for ten days in Jakarta.
I have seriously learned contemporary dance with Miroto and since 1997 I started to join Miroto Dance Company and about 8 years active to support Miroto work in land and abroad at present. Knowledge about contemporary dance give me opportunity to collaborate with choreographers that are : EE. Chiang from Singapore (1998),Wendy McPhee from Australia (2000), Janis Brenner from America (2001), Angela Liong from Singapore (2002), Tony Yap from Australia (2005) and Veronique Delarche from France (2005), collaboration and tour with Veronique Delarche, Alex Grillo (France) and Sapto Rahardjo (Indonesia) in France and Indonesia (2006).
I was graduated from Indonesian Institute of The Arts Yogyakarta in 1999 and now I am still active as a traditional/classical dancer, contemporary dancer and also as a choreographer.


Personal Detail

Name : Sudiharto
Address : Sagan Wetan GK V / 1160 Yogyakarta 55223
Indonesia.
Date of birth : March 27, 1975.
Education : Bachelor of Arts (Dance), Indonesian Institute of
The Arts, Yogyakarta.
Home phone/Mobile : +62(0) 274 888465 / +62(0) 813 28 709015
E-mail : Udikku@Yahoo.com


Education

1999 Bachelor of Arts (Dance), Indonesian Institute of The Arts,
Yogyakarta.
1994 SMKI (high school of arts, department of dance) Yogyakarta.

Dance Training

1997 - at present Join with Miroto Dance Company.
2007 Workshop with Lin Hwai Min (Taiwan),Solo.
2005 Workshop with Veronique Delarche (France), Yogyakarta.
2005 Workshop with Tony Yap (Australia), Yogyakarta.
2003 Workshop with Introdans (Holland), Yogyakarta.
2002 Workshop with Angela Liong (Singapore), Yogyakarta.
2001 Workshop with Janis Brenner (America), Yogyakarta.
2000 Workshop with Wendy McPhee (Australia), Yogyakarta.
1994 - 1999 Study at Indonesian Institute of The Arts Yogyakarta.
1996 Workshop Indonesian Dance Festival, Jakarta.
1990 - 1994 Study at SMKI (high school of arts, department of dance),
Yogyakarta.
1990 - 1993 Join with Romo Sasmito Mardowo at Pamulangan Beksa
Ngayogyakarta Foundation.

Professional Experience (as a dancer)

2007 Panji Penumbra, choreography by Miroto, Holland.
2006 Collaboration and tour with Veronique Delarche, Allex Grillo
(France) and Sapto Rahardjo (Indonesia) in France and Indonesia.
2005 Panji Penumbra, choreography by Miroto, Holland and Belgium.
2005 Requiem From Java, a film to celebrate 250 th Mozart, Directed by
Garin Nugroho, Produced by Peter Sellars,choreography by Miroto.
2005 Vrille, choreography by Veronique Delarche, Yogyakarta.
2005 Pulse, choreography by Tony Yap, Yogyakarta.
2005 Kala Akil Balik, choreography by Miroto, Surabaya Arts Festival.
2004 Shadow puppets and Ramayana, choreography by Miroto, Jerman.
2004 Saidjah and Adinda by S. karjono, Subono, Miroto, Susilo, Wereld
Muziek Theater Festival, Holland and Belgium.
2003 Salam, choreography by Miroto, Yogyakarta Arts Festival.
2002 Dancing Shadows, Wereld Muziek Theater Festival, choreography by
Miroto, Holland and Belgium.
2002 Borrow Scenery, choreography by Angela Liong (Singapore),
Yogyakarta Arts Festival.
2001 Commond Ground, choreography by Janis Brenner (USA), Jak-Arts,
Jakarta.
2000 First Layer, choreography by Wendy McPhee (Australia), Indonesian
Institute of The Arts,Yogyakarta.
2000 Semar Ruwat Semar Rawat, anniversary of Yogyakarta Palace,
choreography by Miroto, Yogyakarta.
2000 Bedah Madiun, choreography by Rury Nostalgia, Jakarta.
1999 Kidung Kunthi, choreography by Miroto, Jakarta.
1999 Compromise, choreography by Miroto, Yogyakarta.
1998 Brush, choreography by E.E. Chiang (Singapore), Interaction
Programme, Yogyakarta.
1997 Duo, choreography by Miroto, Yogyakarta.
1997 Topeng Benang Merah, choreography by Miroto, Lampung,
west Indonesia.
1996 Bhayangkara Emas, choreography by Bagong Kussudiardja, Jakarta.
1992 Hari Koperasi, choreography by Bagong Kussudiardja, Jakarta.
1992 Hari Raya Idul Fitri, choreography by Bagong Kussudiardja,
Yogyakarta.

Award

1991 Art Award from Yogyakarta government.

Choreography

2006 Alon(e) Alon(e), collaboration with Veronique Delarche, Alex
Grillo (France) and Sapto Rahardjo (Indonesia), France and
Indonesia.
2005 Kontrang – Kantring Kubur , collaboration with Riyanto, Yogyakarta
Arts Festival.
2004 Microcosmos, The Next Wave Program, Jakarta.
2003 Welcome Dance, Indonesia’s BCA Meeting, Yogyakarta.
2001 Dewa Ruci, The Favourite Prized of Dance Drama Festival,
Yogyakarta.
2000 Dua Satu, Young Choreographer’s Event, Yogyakarta.
1999 Sengketa, Resital at Indonesian Institute of The Arts,
Yogyakarta.
1998 Kedhok, Yogyakarta Arts Festival.
1997 Bumerang, Indonesian Institute of The Arts, Yogyakarta.
1997 Dua Dalam Satu, Indonesian Institute of The Arts, Yogyakarta.
1996 Napi, Yogyakarta Arts Festival.

RATU KIDUL AND THE SULTANS OF MATARAM

Not much is left of Taman Sari, the ancient watercastle comprising ornamental buildings, artificial lakes and tropical gardens built by the First Sultan of Jogjakarta, Hamengku Buwana I, in mid-eighteen century. Yet the ruins are still attracting a host of visitors and tourists. It is said that an invisible underground tunnel connects this castle with the Southern Sea.

The legend of Ratu Kidul, the queen of the Southern Sea and the Sultans of Mataram is still alive in Jogjakarta and Surakarta. It is immortalized in the venerated ancient Bedaya Dance performed only at very special court festivities such as at the commemoration of the throne or at royal weddings. This legend says that once when Sultan Agung, the mighty Sultan of Mataram was at the southern shore of his realm, he met the beautiful Ratu Kidul who was inspecting the boundaries of her kingdom. They were attracted to each other and the young Sultan then followed the queen to her palace at the bottom of the sea.

They lived together until the arrival of the holy Sunan Kalijaga who advised the Sultan that his bride actually was not an ordinary human being, for her eternal beauty was like the moon, culminating at full moon as a young maiden and declining afterwards as an old woman. There was a full moon when Ratu Kidul met the young Sultan and stole his heart. Sunan Kalijaga also pointed out to the Sultan his duty towards his people and kingdom which he had been neglecting. So Sultan Agung left Ratu Kidul with and his descendant anytime the Mataram kingdom was in danger.

This curious story has been immortalized by the Jogja Sultan Hamengku Buwana II in the Bedaya Semang, created at the end of the eighteen century. It is danced by nine virgins costumed in gorgeous royal bridal attire. Up to this day this sacred dance has never been performed outside the Jogja Kraton walls, while the last performance was many years ago. Very elaborate sajens, sacral offerings, have to made before and during the performance. Although one or two of the nine dancers collapse during the dance, due to the lenghty dress preparation and performance, yet it is said that the number of dancers seems always to be the same. For Ratu Kidul attends the dancing and her retinue make the necessary replacements. This so called Bedaya Semang is accompanied by the Gendhing Semang, a very complicated gendhing-gedhe or big melody.

This story is a legend, but the fact that it is used as a theme in the court dance suggests that it is in the official chronicles of the Babad Kraton Mataram.

The Surakarta Kraton too boasts a similar sacred Bedaya, the Bedaya Ketawang, more ancient even than the Bedaya Semang. For it is said to have been created by the great Sultan Agung himself. This dance has been staged most recently in the Surakarta Kraton at the commemoration of the throne of the Sunan Paku Buwana XII in 1966. Unlike ordinary Bedaya Dances this particular one is accompanied by an incomplete gamelan orchestra. Only some rhythmic instruments as the kendang, kethuk, kenong, kemanak and gong and a monotonous chanting of the female pesinden choir enlive this dance.

The nine dancers are costumed like royal brides, clothed in Dodot Banguntulak Alas-Alasan, a giant sized plaid kain-cloth with blue background and patterns of animals, mountains and sea-figures. As befits the theme of the dance, movements depicting the sea and its waves are clearly seen.

There are several versions of the story. Most works of Western scholars as Van Lelyveld in "De Javaanse Danskunst" and Jaap Kunst in "Music in Java" mention that the meeting of Ratu Kidul was with Sultan Agung. This is based on information obtained from Kraton circles. However, according to recent sources of the Surakarta Kraton the Bedaya Ketawang composed by Sultan Agung depicted the meeting of Ratu Kidul with Panembahan Senopati, his ancestor and the founder of the Mataram dynasty. This is actually not confusing, since according to legend the Sunans of Surakarta. The yearly Labuhan ceremony is still observed in which offering of the Sultan are thrown into the southern sea. This way recently held on June 21, 1971, on the 61th birthday of Sultan Hamengku Buwana IX.

Besides the name Ratu Kidul, the name Nyai Roro Kidul is also well known. These are considered by some to be two names for the same person. However according to the Jogja court sources, these are actually different names. Her Majesty Kanjeng Ratu Kidul, or Ratu Kidul for short, is the queen, a former princess of one of the kingdoms in Java. Nyai Roro Kidul on the other hand is the patih or prime minister who was the former nymph Nawangwulan, the ex-wife of Jaka Tarub who, after getting back her stolen nymph-attire from under the rice paddies flew back to the nymph realm but was refused admittance. The pitiful nymph was then taken under the protection of Ratu Kidul who made her patih later on. Interesting to note that Jaka Tarub and his nymph wife Nawangwulan are also ancestors of the Sultan of Mataram.