Choreography Performing Susasrita Lora Vianti:

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Three Women's Narrative

By Nasrul Azwar

The show's choreography is long gone, and this paper has also long in the Main Theatre stage Culture Park West Sumatra, some time ago, glowing lights dim and looks worn, swept the middle of stage space. The light soaking a pair of body-shimmy shimmy firmly in motion silek tiger (one of the elements silek tradition in Minangkabau), seem to "speak" with fasihnya about the order and system that prohibits Minangkabau customary tribal marriage. Clearly, the language of choreography Susasrita Lora Vianti on that night showed resistance to the customary system and the Minangkabau matrilineal kinship, which is taboo to marry a fellow tribe (sepersukuan). In a matrilineal kinship system adopted for the Minangkabau culture accommodates only lineage by cord blood of women (mothers). Kinship system and the matrilineal Minangkabau adat was not the first to be "inspiration" for the creators. However, at least, to West Sumatra last five years, this was the first utterance of creativity of a rebellion against the system of matrilineal kinship, Minangkabau staged.

Not so many properties on the stage, just bring a plate of fruit 30 Markowitz line in the middle of the stage with a circumference of each plate mounted candle burning. Acceptance and appearance in a semiotically circle represents customs and norms in the tradition of the Minangkabau culture: he was a bookmark in the system. Meanwhile, a pair panari, depicted as two human beings who love each other and plans to continue to pursue marriage-in motion silek-powered, flexible working through the circle (custom) it. At some point, the girls managed to break through the ring of fire, while the boy remained outside the circle. Alternating them lunged into the traditional circle, but when they perform together, it appears very difficult to pass "territory" which was customary fenced.

Dynamism and strength of spirit the tradition of the tiger as menyungesti silek composition and behavior of dancers on stage, which indeed, looked very impressive. The story flowed from the bodies of two dancers was, of course, other properties that were presented on stage. There is a story that communicative enough in it, and not so difficult to understand. However, from a series of stories spread, very regrettably, the choreography is built on the theme of human existence in the system sued the customs and traditions of the Minangkabau not ended with an amazing ending. It means that customs problems constructed since the beginning, do not open the "domino effect" is impressive as a lawsuit against custom and tradition itself, as well as the human position in the eyes of the "law" customary. The story concludes with the defeat of man who is described that they had to separate the name of respect for the indigenous.

Thus the impression that diresepsi from staging choreography works Lora Susasrita Vianti of Space Exploration Motion Group (REG) Padangpanjang titled "Picking the Fire" some time ago, at the Cultural Park Theatre Closed West Sumatra.

That night, there are three works of choreography that was delivered. In addition to "Picking the Fire, also carried by" Tables, chairs, and glass of juice which spilled "and" Women in the Kaba. " Two of the latter title, in writing so it does not find in depth, but he will still be used as "ingredients" for comparison. Because, for me, "Picking the Fire" is more problematic than the two titles mentioned above. Why did it as a comparison of two numbers? The reason is, thematically and problems to be conveyed, the third work of Lora Vianti Susasrita it, tied a piece of "red thread", ie Questioning the existence of women in various aspects of life, especially in social and cultural system of the Minangkabau. Third dance sekaitan spoke with the problem.

Motion, behavior, space and time dimensions, properties, music is integrated with the body of a dancer, the lighting, the representation of a dancer's body who were present on stage, and cultivated the theme-which was not a new theme in the creative arts-dance scene "Picking the Fire" impressed stutter translating and actualize the issues raised. As a central theme of behavior, seemed to lose control and balance. Space of imagination, imagery, symbols are crammed on the body, and property, which has been constructed with intact since the beginning, immediately, "stopped abruptly" and "destroyed", when the music is integrated on a dancer's body can not successfully merge with the totality of the Combination of movement and elements other supporters. These conditions are felt as both a dancer and go through the circle of fire that was right in the middle of the stage. Of course, the other will result if the music is removed from the body of a dancer, and the effects will be different achieve, perhaps.

Position of Women and the Absurd

"Picking the Fire" is a bit of difference dance "Tables, chairs, and" A glass of juice which spilled ", and" Women in the Kaba, "both concepts concern, the motion, the supporting elements (music, costumes, lighting) as well as the visual effect is achieved. However, thematic, the three dances that are at the same time frame: the existence of women in Minangkabau matrilineal kinship system.

On stage, women rebuild their history. Women's history is interpreted at the mercy patriaki, apparently trying to reach the position and existence that suggests shackled by traditional systems. At that time, interpreted as a narrative stage along the historicity marginalized women. Didekontruksi cultural codes in response to cultural domination and hegemony patriaki that marginalize women's representation.

Dance "Women in the Kaba", one example, started from a woman named Gondan Gondoriah moans that customarily engaged with a man who was not her choice. Dance inspired by oral tradition bakaba Anggun Nan Tungga in Minangkabau, in the hands of experienced choreographers demitifikasi process very different from the story that has been familiar in the middle of Minangkabau society. There deconstruction of cultural codes in it. Gondan Gondoriah choose lacquers stance against the domination of men and customs. Options are very unpopular in the eyes of a boy or custom itself.

In the world of art, the selection of themes similar plots have been done, however, the perspectives of women, because of course be very different. Quoting Jacques Lacan, one of the French philosopher, said, in the field of culture and performing arts, feminists began to dekontruksi codes in order to strengthen the cultural domination of women's sexual description in the system of representation. All images appeared on epistemologisnya perception, pronunciation, dialogue becomes more natural conversations, and forms of representation is determined by the dominance of the culture as a broad philosophy of the system.

On this side, Lora Susasrita Vianti who have poor-cross in world koregrafi Indonesia and also one of his teachers at the STSI Padangpanjang-like greeting Lacan, has conducted dekontruksi dominance of cultural codes, although the effects appear not open the perspective as a "movement" significant at the level of practice. On a practical limit, customs and traditions of Minangkabau until now still creating history: married fellow tribes are still heavily restricted in the customary system.

Deconstruction cultural events have taken place on stage. Three dance numbers presented already said narration-narrative: the existence and dominance of women in patriaki repositioning. However, it seems, koroegrafis night event also marked with a "victory" and indigenous cultural construction itself. Because the stage has been closed, the audience had gone home (perhaps already forgotten the testimony of the events on stage), while outside the "text" stage, which challenged traditional system since the stage-menderang dark to light again, moving to strengthen its position and dominance. While a work of art (dance) has been completed that night. Is not it absurd? ***