2007/07/31 Tue
能の表現と能を取り巻く文化 再び雑誌掲載
2007年2月に実施した能のインドネシア公演＆ワークショップについて、再度雑誌に記事掲載されました。
月刊誌GONG 92/VIII/2007号 39ページ
「太鼓、日本の伝統楽器」
執筆Pincuk Surotoしばらく前に、日本人の芸術研究家である冨岡三智が、ISIスラカルタ校のプンドポで、日本の伝統演劇の上演を行った。この一行は人数は多くないのだが、ソロの芸術愛好家を対象に、能という演劇の鑑賞会を行った。公演では2演目を取り上げた。それは「羽衣」と「石橋」で、音楽は比較的小さい４つの楽器によって奏された。そのうちの１つが太鼓である。
もしいくつかの太鼓を見せられたとしたら、この十分強い音を出す楽器は、普通大きいものだという印象を持つ。一般的に言って、その形はブドゥッグ（イスラムで使う太鼓）やドラムやクンダン（インドネシアの太鼓）の類の大きな打楽器と大して変わらない。しかし、その大変効果の高い上演においては、この小さい太鼓が使われているのである。
公演前のワークショップでは、彼らの持ってきた太鼓（大きなドラム）のサイズは比較的小さく、直径約30cmで高さが20cmほどである。サイズ以外にもユニークなのは、これがノックダウン（すばやく解体・組み立てできる）方式であること。
解体できる部分は、円形枠に張られている牛皮あるいは馬皮でできた表面、丸太をくりぬいた形をした胴（一種の筒型）、これらを結わえ、締めを調節する紐、そして太鼓を置く台としての骨組みの木である。
太鼓は日本人にとってもう何百年もなじみ深いものである。この、2本のバチで叩いて演奏する楽器は、普通獣の皮から作られる。彼らが持ってきたこの小さい太鼓は馬の皮から作られている。
特殊な作法が必要上演の少し前に楽器の準備をする他の演奏家と違い、太鼓奏者は少なくとも1時間前から準備をして、太鼓の表面の皮を焙ったり炭に数分近づけたりしてある一定程度までやわらかくして、演奏に備える。
皮の表面の準備が整ってから、紐で部分、部分を通して１つにまとめる。この紐は補強するものであると同時に締め加減を調節するものである。これは音高の調節に必要で、この点はジャワの楽器クンダンと同様である。組み立てが終われば演奏準備が整う。
その叩き方は普通のブドゥッグの叩き方と違って、両方の腕を振って支えるというものである。この小さい太鼓奏法のシンプルさは、手首を柔らかく使うところにある。両方の手はまっすぐ前の上方に構えるが、次第に柔かくまた強くと、思うがままの音に合わせて、遅いリズムや早いリズムを演奏することを可能にする。
クンダンやブドゥッグやドラムと違い、太鼓の音を出す主要部である皮は、ずっと使用し続けることができない。このパーカッション楽器の表面にある皮は約10回使うと、新しいものに取り替えないといけない。これは、動物の皮でできた素材は繰り返しの熱に耐えられず、柔軟性を失ってしまうからである。
（以上、翻訳：冨岡三智）
「能の表現と能を取り巻く文化」については以下をご覧ください。2007年3月4日・活動内容について2007年3月11日・新聞掲載記事の翻訳2007年3月23日雑誌掲載記事の翻訳2007年4月9日・雑誌「観世」掲載のお知らせ
2007/07/27 Fri
ヌムリクラン公演
2007年7月26日芸術高校SMKN8（SMKI)にて
定期（毎月26日）公演
1, SMKI学生による演奏（スマランでのコンテスト用、試演）
2, SMKI学生によるgolek manis
3, Bp.Wahayu Santoso PrabowoによるTopeng Gunungsari, Bp Ngaliman作
4,
5,
2007/07/27 Fri
ワヤン、クレネガン
2007年7月25日
� �20:00−21:30
マンクヌガラン、Prangwedananにて
日本ワヤン協会・松本亮氏によるワヤン
「まぼろしの城をめざす / Menuju Istana Bayangan」
�◆�20:00−00:00？果てるまで
Kemlayanにて
フランス人留学生Sさんが主催した誕生祝いのクレネガン（演奏会）
ワヤン終了の後、駆けつける
2007/07/21 Sat
JCDN「踊りに行くぜ！！」アジアツアーのお知らせ
以下、API Fellowshipの先輩であるJCDNの水野さんから、コンテンポラリ舞踊アジアツアーのお知らせです。
日本語版/versi bahasa Jepang/Japanese versin
私が所属していますNPO法人 Japan Contemporary Dance Network の主催事業となります「踊りに行くぜ！！」は、日本各地を巡回して行なうダンス公演で、今年でvol.8となり、秋に国内21箇所での開催となります。新しい才能の発掘、各地のスペース間のネットワークつくりなどを目的に行なってきました。
来月8月から、「踊りに行くぜ！！」を”We're Gonna Go Dancing !!”として、初のアジアツアーを行います。昨年、私がAPIフェローとしてリサーチしましたマレーシア、インドネシア、タイに加え、フィリピンを含めた4カ国５都市で開催する運びになりました。
各都市で、日本から3-4組のダンスアーティストが出演し、各都市で活躍している地元のアーティストが1組加わり公演を開催します。
また地元の振付家・ダンサーを対象にワークショップを行ったり、ダンスミーティングと称してダンス関係者が集まり、問題点を話し合うなど交流事業も開催する予定です。
下記が開催日程です。
Schedule and Artists
(1) Kuala Lumpur, Malaysia
Venue: The Actors Studio @ Bangsar Shopping Centre
Performances: August 10th at 8:30pm, 11th at 1pm
Japanese Artists:
Ko & Edge Co., 康本雅子、ほうほう堂、身体表現サークル
Local Artists: TBA
(2) Bangkok, Thailand
Venue: Patravadi Theatre
Performance: August 17th at 8 pm
Japanese Artists:
Ko & Edge Co., 康本雅子、ほうほう堂、身体表現サークル
Local Artists: Pichet Klunchun
(3) Manila, the Philippines
Venue: Cultural Center of the Philippines
Performances: August 24th, 25th at 8 pm
Japanese Artists:
Ko & Edge Co., ほうほう堂, 三浦宏之, ピンク
Local Artists: The winner of the WiFi-JF NeXtage Award (TBA)
(4) Solo, Indonesia
Venue: "Teater Kecil" Indonesian Institute of Arts, Solo
Performances: August 30th, 31st at 8 pm
Japanese Artists: Ko & Edge Co., 三浦宏之, 赤丸急上昇
Local Artists: Retno Sulistyorini, Danang Pamungkas
(5) Jakarta, Indonesia
Venue: Goehe Haus
Performance: September 5th at 8 pm
Japanese Artists: Ko & Edge Co., 三浦宏之, 赤丸急上昇
Local Artists: Andara Firman Moeis, Desy Isna Rizky
水野立子
NPO法人 Japan Contemporary Dance Network
TEL075-361-4685 FAX075-361-6225
http://www.jcdn.org
英語版/versi bahasa Inggris/English version
Hello Everyone,
I would like to let you know about a dance performance tour in Asia that my organization JCDN will hold in this summer. I am very happy to start this project based on my research last year in these countries. I am hoping to progress this project next year with your help. I will be at the theater (except in Manila), please find me and talk to me.
We're Gonna Go Dancing!! 2007 -JCDN Tour Project in Asia-
"We're Gonna Go Dancing!!" is one of the main projects of Japan Contemporary Dance Network (JCDN), a non-profit organization, and held every year in Japan. We have created a new exciting movement of contemporary dance.
This summer, we are launching "We're Gonna Go Dancing!! in Asia". We will tour to five cities in four countries - Kuala Lumpur (Malaysia), Bangkok (Thailand), Manila (the Philippines), Solo and Jakarta (Indonesia) - with seven groups of Japanese artists (three or four groups at each location) together with one or two local artist.
JCDN starts "We're Gonna Go Dancing!! in Asia" with aims of creating:
1. A sustainable dance network in Asia.
2. A new way of communication between artists, organizers, and artists and organizers.
3. An opportunity to Asian dance artists to stimulate each other.
4. An opportunity for audience to meet new Asian contemporary dance.
5. A new cultural exchange beyond political or cultural barriers with contemporary dance, the new performing art form that doesn't require language.
This time, being the first time in Asia, the exchange will be between Japan and the visiting country. We are hoping to develop this project into larger scale, tour Asian countries with artists from those countries. Also we are planning to operate this project every year.
Not only with the influence from the western world, contemporary dance is growing in their own style in each Asian country. Although the importance of creating new dance form is much talked about in this modern age, artists and countries are often working in isolation.
Through "We're Gonna Go Dancing!! in Asia", we encourage dance related people in Asia to get together, cooperate and develop a fruitful dance network. We are planning to hold workshops and dance meetings at each location as well. We strongly believe that influencing each other will make the field of dance in our own countries more active in a positive way.
Schedule is below.
Schedule and Artists
(1) Kuala Lumpur, Malaysia
Venue: The Actors Studio @ Bangsar Shopping Centre
Performances: August 10th at 8:30pm, 11th at 3pm
Japanese Artists: Ko & Edge Co., Masako Yasumoto, Ho Ho-Do, Shintai Hyogen
Circle
Local Artists: TBA
(2) Bangkok, Thailand
Venue: Patravadi Theatre
Performance: August 17th at 8 pm
Japanese Artists: Ko & Edge Co., Masako Yasumoto, Ho Ho-Do, Shintai Hyogen Circle
Local Artists: Pichet Klunchun
(3) Manila, the Philippines
Venue: Cultural Center of the Philippines
Performances: August 24th, 25th at 8 pm
Japanese Artists: Ko & Edge Co., Ho Ho-Do, Hiroyuki Miura, Pink
Local Artists: The winner of the WiFi-JF NeXtage Award (TBA)
(4) Solo, Indonesia
Venue: "Teater Kecil" Indonesian Institute of Arts, Solo
Performances: August 30th, 31st at 8 pm
Japanese Artists: Ko & Edge Co., Hiroyuki Miura, Akamarukyuujyousyou
Local Artists: Retno Sulistyorini, Danang Pamungkas
(5) Jakarta, Indonesia
Venue: Goehe Haus
Performance: September 5th at 8 pm
Japanese Artists: Ko & Edge Co., Hiroyuki Miura, Akamarukyuujyousyou
Local Artists: Andara Firman Moeis, Desy Isna Rizky
NOTE: In each location, workshops and dance discussion will be organized as well.
Ritsuko Mizuno
NPO Japan Contemporary Dance Network
http://www.jcdn.org
2007/07/15 Sun
公演 Iwan Tirta "Tanding Gendhing"
イワン・ティルタのバティック研究の成果が、ジャワ舞踊劇の形で提示されます。
この公演は
2006年12月7日にジャカルタで初演されました。
PERSEMBAHAN UNTUK INDONESIA - RETROPEKSI -
IWAN TIRTA
"Tanding Gendhing"(A Battle of Wits)Sebuah retropeksi terhadap batik klasik yang dipersembahkan melalui Opera Klasik Jawa.
Solo : 3 Agustus 2007 Teater Kecil ISI, 20.00 wib
VVIP Rp 100.000,-
VIP Rp 50.000,-
Mahasiswa Rp 25.000,-
Surabaya : 8 Agustus 2007Balai Pemuda, 20.00 wib
HTM Rp 150.000,-
Yogyakarta : 11 Agustus 2007Benteng Vredenberg, 20.00 wib
VVIP Rp 100.000,-
VIP Rp 50.000,-
Jakarta : 21 & 22 Agustus 2007Graha Bhakti Budaya ? TIM, 20.00 wib
VVIP Rp 250.000,-
VIP 1 Rp 150.000,-
VIP 1 Rp 100.000,-
Balkon Rp 75.000,-
Cirebon : 25 Agustus 2007Hotel Prima, 20.00 wib
HTM Rp 150.000,-
(TIKET MULAI DIJUAL MINGGU KE-2 JULI)
Untuk pemesanan undangan di Solo harap hubungi:
FAFA 08122627611,
DETA 081329272000,
WULAN 081931696389,
DEWA 085647007997
(mohon sebutkan nama, alamat, no. telpon, dan jumlah undangan)
2007/07/15 Sun
フェスティバル・バティック・ヌサンタラのお知らせ
Badan Pelestarian Pusaka Indonesia/BPPI (Indonesian Heritage Trust) dan Pemkot Surakarta menyelenggarakan:
FESTIVAL BATIK NUSANTARA
28-29 JULI 2007
Seminar Batik Nusantara, Pameran Apresiasi Batik Nusantara & Bursa Batik, Kontes 1000 Anak Membatik, Jelajah Batik,
AGENDA ACARA:
Sabtu, 28 Juli 2007
Pendahpi Gede, Balaikota Surakarta
Jl. Jend. Sudirman No.2 Solo
SEMINAR BATIK NUSANTARA
Sesi I
pk. 10.00 -11.00
Moderator: Drs. Soedarmono, SU.
Pembicara I: Prof. Abdul Bari Azed
Topik :Sosialisasi Hak kekayaan Intelektual Perlindungan Hak Cipta bagi Pembatik
Pembicara II: Dr. Dharsono
Topik :Makna Filosofis dan Penggalian dari Berbagai Daerah dan Masa Sejarahnya.
pk. 11.00 -12.00
Moderator: Dra. S.Rum Handayani, M.Si.
Pembicara I: Ir. Sri Soedewi Samsi
Topik :Motif, Proses dan Teknik Pembantikan
Pembicara II: Dr. Nazir Tamara
Topik :Pengaruh Islam pada Batik Nusantara
pk.12 - 13.00 wib
ISHOMA(istirahat,sholat,makan)
Sesi II
pk. 13.00 -14.00
Moderator: Sujiwo Tejo
Pembicara I: H. Santosa Doellah
Topik :Batik dari Industri Rumah Menjadi Industri Besar, sebagai Pengalaman Pribadi
Pembicara II: Dr. Widigdo Sukarman
Topik :Batik dari Industri Rumah Menjadi Industri Besar, dari Segi Pendanaan Perbankan
pk. 14.00-14.15
Coffee Break
pk. 14.15 -15.15
Moderator: Ray Sahetapi
Pembicara : Carmanita
Topik :Batik sebagai Bahan Busana Modern
MC: Iga Mawarni
Biaya seminar: Umum Rp 100.000,- dan Mahasiswa/Pelajar Rp 25.000,-
Minggu, 29 Juli 2007
di Halaman Balaikota Surakarta
08.00 wib - 12.00 wib
Kontes 1000 Pembatik Anak-anak Usia 5-12 Tahun
09.00 wib - 16.00 wib
Jelajah Batik: ke Kampung Batik Laweyan, Museum Batik Danar Hadi, Kampung Batik Kauman
Contact Person:
Heru Mataya 0816675 808, 0271-7501242, 0271-717571
2007/07/13 Fri
私の公演評 by Alex Crowe
友人のAlex Croweが新聞に投稿すべく私の公演評を書いてくれました。残念ながら原稿は採用となりませんでしたが、ここに掲載します。
Rebirth of an Ancient Dance
This week saw the first full length public performance since at least the 1970s of the Bedhaya Pangkur, a sacred ritual dance of the Surakarta royal palace. But the dance’s revival has been led not by the palace or by Surakarta’s illustrious arts institute, but by a Japanese researcher – for whom this performance is a dream come true.
The air pefumed with incense, the floor scattered with rose petals, we are in the realm of ritual and meditation. The slow processional entrance of the nine female dancers, immaculately costumed, sets the ceremonial tone, and the full choir of male and female voices gives a sense of grandeur. The rhythmic chime of the kamenak, floating above the sparse gamelan configuration used for this kind of dance, gradually becomes hypnotic. As the others kneel, a single dancer moves alone, her eyes cast down, her focus inward, her face glowing with an expression of quiet bliss in her absorption. Soon the whole group joins her, the small, slow, delicate movements of their hands and arms weaving a continual flow of inscrutable meanings. Their geometric positions in the space, periodically dissolving and reconstellating, seem to reflect something essential of the arrangement of the cosmos. Yet sublime as it is, by the end of an hour they are sweating visibly at such a feat of minute physical control and unbroken mental concetration.
This is not the natural environment for the dance. We are in a theatre, complete with a full lighting rig, and packed with spectators – a gathering including many leading lights of the Solo arts community, along with a smattering of grey haired Western enthusiasts. A couple of heavy duty video cameras hint at the historical importance of the event. The dancers themselves are not denizens of the royal palace, the Kraton. And the soloist, Michi Tomioka, who is also the director and producer of the whole event, is not Javanese, but Japanese.
For it is the Kraton where this dance, the Bedhaya Pangkur, has its true home. The palace dances, like the Bedhaya, are not entertainment, but sacred rituals, as well as repositories of ancient tradition, training practices in courtly refinement, and assertions of the legitimate authority of the ruler. The most sacred of them all, the Bedhaya Ketawang, is performed just once a year to commemorate the coronation of the current Susuhanan (sultan), and it is laden with traditions and taboos. It may only be performed in the presence of the Susuhanan; the dancers must fast, wear bridal dress and cover themselves in tumeric. Its origins, according to one of many legends, is the love dance of the goddess Ratu Kidul, Queen of the South Seas, for the great Sultan Agung in the 17th century. The practice of this greatest of Bedhaya has been supported through the dancing of several subsidiary forms, of which Bedhaya Pangkur, dating from around 1800, is one.
Something so sacred, so esoteric, must also be protected, and until recently, it was forbidden for anyone outside the Kraton to learn the dance. But ironically, the result has been that much Bedhaya material has, over the years, been lost. There are musical scores in the Kraton for Bedhaya for which the movements are now irrecoverably forgotten. The survival of the Bedhaya Pangkur, as with other court dances, owes much to a project, initiated by the Soeharto regime in the 1970s, to preserve traditional art forms in Indonesia. At that time, the Kraton was persuaded allow a number of professional dancers to study with its master teachers, and through them, knowledge of Bedhaya and Srimpi (another court dance) has passed into what is now ISI Solo, the city’s arts institute.
But the preservation of the dances also led to their corruption. According to Michi, who is currently completing doctoral research on the subject, the versions that are currently practised at ISI are shorter than the traditional Kraton versions, and at a faster tempo. There is also a new emphasis on exact synchronisation of all the dancers’ movements. Originally, there was more room for individual expression. Indeed, dancers in the Kraton were known to try to catch the Sultan’s eye, not least by using the movement judiciously to reveal a little bare flesh here and there.
Michi attributes the changes in the dance both to the individuals involved in teaching back in the 1970s, to general changes in Indonesian society towards a faster paced life, and to the influx of ideas from modern Western art. So while the Kraton is always revered as the great source of Javanese art and culture this can, she feels, be lip service. While she is glad that the dances are alive and developing – and they have evolved somewhat even with in the Kraton – there have also been losses: losses of details, of a sense of the integrity of the music and the dance, and the insertion of “many strange things”. Michi’s goal, then, is to revive and document the pre-1970s court dances.
But how did a Japanese woman come to take on the revival of so Javanese a tradition? It is a story of chance, perseverance, and, perhaps, of a dream come true. Michi was always fascinated by dance she saw on television as a child, but there was no opportunity to learn in her small town. She studied traditional Japanese dance at Osaka University, but as an academic, not a practitioner. Her first real contact with Javanese arts was when she joined a gamelan group – because it was free, and mistakenly thinking it was Balinese. This became the inspiration for a month in Java after graduating, during which she learned her first Javanese dance, albeit a popular dance, not from the court. After that, all she wanted to do was to return, and, by dint of hard work and hard saving, and repeated applications to funding bodies, return she did - repeatedly, eventually in stays of several years each. During those visits, she she studied in the Kraton with a former student of the old masters who were teaching the court dances before the 1970s.
This week’s performance is a culmination of her work, although she also plans further performances in Jakarta and elsewhere. It has taken a long time to gain recognition, and, as an outsider, it hasn’t always been easy. It was actually in Sumatra that her knowledge of Javanese arts first began to be publicly valued. Although she doesn’t mention it, it seems she has had to steer her way through a certain amount of politics from time to time. There are those in the Kraton who still disapprove of public knowledge and public performance of the palace dances. And Michi’s dancers include some of the most senior and respected dancers in Solo, steeped in the Institute’s version of the traditions. Perhaps, she says, as a Japanese, her starting point is different from that of her Javanese colleagues – but if there are many routes to the top of a mountain, they still all meet at the summit.
Pagelaran Tari Bedhaya Pangkur took place at Taman Budaya Jawa Tengah, Surakarta, on 28 June 2007.
Alex Crowe
29/7/07
Alex Croweのプロフィール
(2007年7月12日Taman Budaya Jawa Tengahでの公演リーフレットより）
ロンドン在住。英国、ヨーロッパ、米国、そして現在はインドネシアにて公演多数。その作品には彼が学んだクラシックやモダンの技法（ロンドン大学にてディプロマ取得）、Skiner Releasing Technique（アメリカで開発された創造的な動きのための技法、指導教員資格取得）、Action Theatre（身体に基づくインプロビゼーション演劇技法の一種）の影響が見られる。
2007/07/12 Thu
私の公演の記事
その後、以下の新聞にも私のブドヨ公演記事、インタビュー記事が掲載されました。
2007年7月5日、Solopos紙、Kridha D面（ジャワ語）、記事＋写真
"Bedhaya Pangkur Kababar ing TBS"
2007年7月12日、Solopos紙、Kridha D面（ジャワ語）、記事＋写真
"Michi Tomioka asli Jepang wasis mbeksa"
http://www.solopos.net/soft/index_detail.asp?id=17883引用-------------------------------------------------------------
[Kridha] Edisi : Kamis, 12 Juli 2007 , Hal.D
Michi Tomioka
Asli Jepang wasis mbeksa
Kacihna jejere asli wong Jepang, pranyata Michi Tomioka wasis mbeksa bedhaya apadene beksan tradhisi Jawa liyane. Miturut pratelane Michi sawetara dina kapungkur, dheweke pancen wis sawetara wektu nyinau lan gladhen beksan-beksan tradhisi Jawa kang pepunjer saka Karaton Kasunanan Surakarta.
Ing babaran beksan bedhaya pangkur cakepan asli Karaton, sawetara dina kapungkur, Michi maragani pambeksa utama. Pasuryane minangka wong Jepang pancen ora bisa ngapusi atusan wong kang mindeng babaran beksan sasuwene sakjam iku.
Kacihna ngrasuk busana dodot, bathik cakrik parang lan asesoris busana tradhisi Jawa liyane, nanging pasuryane tetep nuduhake yen Michi iku dudu wong Jawa. Ananging nalika mbeksa, pranyata ora kalah luwes kalawan pambeksa liyane kang asli wong Solo.
Michi kang klairan Jepang taun 1966, ing taun 1996-1998 lan taun 2000-2003 sinau seni tradhisi Jawa ing Sekolah Tinggi Seni Indonesia (STSI) Solo (saiki Institut Seni Indonesia utawa ISI Solo-red). Michi sinau beksan srimpi lan bedhaya ing Karaton Surakarta Hadiningrat. Dwija utamane swargi Sri Sutjiati Djoko Soehardjio lan Sulistyo Tirtokusumo.
Babaran beksan bedhaya pangkur sawetara dina kapungkur ora liya asile panalitene Michi kang disengkuyung dening API Fellowship saka Nippon Foundation kang tembayatan kalawan ISI Solo lan Lembaga Ilmu Pengetahuan Indonesia (LIPI). Asile panaliten iku kaanggit dadi karya ilmiah asesirah Revaluing Javanese Court Dance (Srimpi and Bedhaya) in the Recent Social and Cultural Contexts. ::pra::
-----------------------------------------------------------------
※この情報はブログ「私の公演の写真／記事」(07/01)の欄にも追加しました。
2007/07/01 Sun
私の公演の写真／記事
●2007年6月28日Teatre Arena,Taman Budaya di Surakartaでの公演は、約300名の方々にご来場いただき、無事終了いたしました。
Photo by Heru Santoso（3枚とも）
●私の公演の記事・写真が以下の通り報道されました。
2007年6月29日、Wawasan紙（夕刊）、12面、記事＋写真
"-Pertunjukan 'tari Bedhaya Pangkur' di TBS semalam- Merekonstruksi kembali karya PB IV dan PB VIII"
2007年6月30日、KOMPAS紙、JAWA TENGAH版A面、写真のみ
"Tari Bedhaya Pangkur"
2007年6月30日、SOLOPOS紙、PERGELARAN12面、記事＋写真
"Saat keaslian Bedhaya Pangkur kembali hadir"
2007年6月30日、SUARA MERDEKA紙、MANAHAN P面、記事＋写真
"Sukses, Pentas Bedhaya Pangkur"
2007年6月30日、Media Indonesia紙 Humaniora 8面、写真のみ
”Tari 'Bedhaya Pangkur' ”
NEW!2007年7月5日、Solopos紙、Kridha D面（ジャワ語）、記事＋写真
"Bedhaya Pangkur Kababar ing TBS"
NEW!NEW!2007年7月12日、Solopos紙、Kridha D面（ジャワ語）、記事＋写真
"Michi Tomioka asli Jepang wasis mbeksa"
http://www.solopos.net/soft/index_detail.asp?id=17883
2007/07/01 Sun
私の公演情報
私の公演情報が以下の通り報道されました。
インターネットTourismindonesia"Pagelaran Bedhaya Pangkur di Taman Budaya Surakarta"
mediacare"Pagelaran Bedhaya Pangkur di Taman Budaya Surakarta"
banyumili networks"Pergelaran Tari Bedhaya Pangkur di Solo"
Negeriku, Kompas Cyber Media 2007年6月26日"Mahasiswi Jepang Gelar Tari Bedhaya Pangkur"
ラジオ2007年6月26日 07:00-07:10am Ria FM "Selamat Pagi Surakarta"
※スラカルタでのさまざまなイベント情報を紹介するコーナー
新聞2007年6月26日、KOMPAS紙、JAWA TENGAH版SURAKARTA I面
"Pergelaran Tari Bedhaya Pangkur"
2007年6月26日、SOLOPOS紙、PERGELARAN12面
"Tari Bedhaya Pangkur akan disuguhkan dengan kosep asli"
2007年6月26日、じゃかるた新聞、8面、＋ポスター写真
「日本の舞踊家冨岡三智さん 古き宮廷舞踊再現 28日にソロで公演」
2007年6月27日、SUARA MERDEKA紙、MANAHAN P面、＋写真
"Bahasa Kagok Penari Jawa Itu"
2007年6月27日、Jawa Pos紙、RADAR SOLO版1面＋7面
"-Michi Tomioka, Tertantang Padukan Tari Jepang-Indonesia- Karakter Jepang Serba Cepat, Solo Sangat Lambat"
http://www.jawapos.com/index.php?act=detail_radar&id=165442&c=1082007年6月28日、KOMPAS紙、JAWA TENGAH版A面＋D面、＋写真
"-Kesenian- Ketika Penari Asal Jepang Berlatih Menari... "
http://www.kompas.com/kompas-cetak/0706/28/jateng/55492.htm2007年6月28日、KORAN TEMPO紙、Seni C3面
"Tari Keraton Solo Dikonservasikan"
