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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
スポンサーサイト
クレネガン
2007年7月30日(月)20:00-
ガムラン演奏会Klenengan "Pujangga Laras"
SMKI Solo, Auditoriumにて

会場の手違いで21:00頃開始、23:00頃に帰る
TV取材
2007年7月30日(月)朝の7:00-9:00

MetroTVのソロ駐在レポーターによる取材
自宅にて
ジャワ舞踊に魅かれたきっかけ、ブドヨやスリンピの公演をソロで行うに至るまでのこと、ジャワの人々の反応などについて話す

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,

ワヤン、クレネガン
2007年7月25日 

① 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」

② 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
Eko Supriyantoの公演のお知らせ
pentas eko pece

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





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 2007
Balai Pemuda, 20.00 wib
HTM Rp 150.000,-

Yogyakarta : 11 Agustus 2007
Benteng Vredenberg, 20.00 wib
VVIP Rp 100.000,-
VIP Rp 50.000,-

Jakarta : 21 & 22 Agustus 2007
Graha 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 2007
Hotel 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)
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,

ブドヨ公演評 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
by Alex Crowe

Review on the Javanese Court dance performance titled "Bedhaya Pangkur" in full length produced by Michi Tomioka


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)


dancer and choreographer bsed in London. 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。
上記広告は1ヶ月以上更新のないブログに表示されています。新しい記事を書くことで広告を消せます。