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Studio
5 and Bali Purnati Present: |
Odalan
Pasupati Ceremonial Dance
January 18, 2008
4pm to 11pm
Yayasan Bali Purnati Center for the Arts, Batuan, Bali Indonesia
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In honor of the annual cleansing of
Bali Purnati’s home temple in Batuan, Bali Indonesia,
Studio 5 will present mask dances by Ida Bagus Alit’s
dance troupe featuring a Topeng Keras (prime minister) dance
by Aole T. Miller accompanied by the famous gamelan orchestra
of Teges Kangin, who uses the same gamelan instruments that
were played for Antonin Artaud during the Balinese dance
tour to Paris in 1931. A Jauk masked dance will be performed
by village favorite I Wayan Pik, and following dinner, there
will be a Gambuh performance by the world renown dance troupe
Kakul headed by I Ketut Kantor and his son I Ketut Wirtawan.
The dances will accompany a spiritual charging
of Per Brahe’s new healing masks and 4 Keris swords
know in Bali for their magical powers, to send blessings
to Studio 5 and Purnati’s upcoming Annual Antonin
Artaud Fringe Festival, and the Bali Conservatory 2008.
Please join us for this exciting night of
dinner and dance! |
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| NOKIA
Asia Pacific CEO Summit 2007 Event |
of October 4, 2007 at The Bali
Purnati Center for the Arts |
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Multi-sensorial experience inspired by
the fusion of traditional Indonesian craft and values and
Modern aesthetics. Melding food, music and art, be taken
on an interactive dinner theatre production - conceptualized
and produced by Bali Purnati’s Artistic Director Rama
Soeprapto, in collaboration with Chef Chris Salans of Mozaic
Restaurant. |
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THE DINNER |
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CHEF CHRIS SALANS of the famed MOZAIC
group has been hailed as a creative chef whose innovative
fusion of Indonesian flavours and eastern cooking traditions
have garnered him international acclaim. Recognized by the
prestigious European association, tradition and quality
as a member of the "Les Grande Tables Du Monde",
Mozaic Restaurant has a strong following and has been voted
as one of 2 best restaurants in southeast Asia. This 3 star
Michelin trained maestro is the creative mind behind tonight's
innovative menu selection. Bringing together the best of
east and west, tonight's menu was carefully created by Chef
Salans and designed to weave in with the accents and theme
of the entertainment programme |
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THE PERFORMANCES |
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| Born to a Dutch father and Egyptian Mother, singer LAURA
FYGI celebrated her 15th anniversary last year as an internationally
recognized performer. She combined her love for the Great
American Songbook and Jazz evergreens with her beautiful voice
to create an evening of classic splendor. |
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DEWI SRI (Rice Paddies) and SOLO FIRE
DANCE choreographed by RAMA SOEPRAPTO |
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Number of Guests: 100. |
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Solo Fire Dance
and Dewi Sri Performances
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MADS LANGE BICENTENNIAL EVENT |
of September 17, 2007 at The Bali Purnati Center for the
Arts
Purnati hosted dinner for
110 guests from JOHOR BARU MALAYSIA and
the FAMILY OF MADS LANGE OF DANMARK with
a special performance created by Purnati in collaboration
with
I Made Sidia and members of Gunung
Jati Teges,
the world premiere and first draft of a work in progress
which is based on The Life and Times of the Danish adventurer
Mads Lange on the island of Bali during the years 1839 to
1856
Tuan Lange (A Topeng/Mask
Drama inSix Short Historical Scenes)
A Treatment/Scenario by Leonard Lueras
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Tuan Lange (A Topeng/Mask Drama inSix
Short Historical Scenes)
A Treatment/Scenario by
Leonard Lueras
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Scene
1: Departure and Arrival: Mads
Lange and his fellow sailors sail from Denmark to India
and then on to the island of Lombok where their ship is
greeted by Balinese in jukung canoes. The Lange sailing
ship is carried by Lange. Inside the sailing ship are other
bule sailors (small wayang-like figures that represent bule
sailors). The Balinese carry and dance with jukung canoes
and lead Lange to shore where they welcome Lange to Lombok
with offerings. After arriving Lange establishes a camp
on Lombok, starts to do business there with no problems.
Scene 2:
Confrontation and a War on Lombok: All
is happy on Lombok until the two Rajahs and two Bule traders
there begin to argue and then go to war. A big fight/battle
starts and finally Lange leaves the big fight on his white
horse and escapes from Lombok to Bali on his sailing ship
the Venus. He arrives on the Venus at Kuta in Bali and there
he is greeted by Kuta Balinese people who are very happy
that he has come to Bali from Lombok. Lange thanks God that
he is in a new and friendly place where he can build a new
headquarters and start a new life.
Scene 3:
Mads Lange Meets The Rajah of Kesiman:
In Bali Mads Lange sets up an office and sits down and wonders
what to do on the island. One day he receives a lontar which
is an invitation/undangan for him to meet the then powerful
Rajah of Kesiman. He goes to Kesiman on his white horse
to meet the Rajah. He is greeted at Kesiman by a royal retinue.
Lange and the Rajah talk and have drinks and food with each
other and at the end of their meeting the Rajah grants Lange
permission to set up a trading post and home in Bali under
his protection and sponsorship.
Scene 4: The Good
Life In Kuta and Bali: Life and business are good
for Lange in Bali. He has beautiful dalmatian dogs, two
beautiful wives, he does good business on Bali, and he gives
big parties where he plays violin for people, serves good
wines and entertains both important Balinese leaders and
visiting European people. He is so successful and important
that he is made the Bali officer-representative for the
Dutch colonial government in Batavia. He even creates a
currency system in Bali which uses kepeng Chinese coins
as the official currency on the island of Bali. He pays
the Balinese this way for their goods and services and they
are happy.
Scene 5:
Mads Lange As A Peacemaker: The Dutch,
however, want more than just North Bali which they have
already captured and Lange finds out that they are threatening
to invade and take South Bali too. Lange convinces the Dutch
to do otherwise and instead sits down the Dutch and Balinese
at a negotiating table and the final result of his mediation
is a peace treaty that avoids war and gives the South Balinese
another fifty years plus of freedom. After this treaty is
signed everybody is happy and Mads Lange becomes a hero
of the Balinese people in their fight against the Dutch
colonial administrators. They toast his success in this
effort.
Scene 6: Mads Lange’s
Last Days: All is fine in Bali and Mads Lange and
his friends and family are happy, but one day a jealous
person, nobody knows who, puts poison into a drink that
Mads Lange has been served. Lange whirls around in a crazy
state, looks to the sky in desperation, and finally falls
and dies an agonizing death. As his body lies on a bed sad
Balinese friends and family members cover him in tributes,
chant prayers and say goodby and thank you to this remarkable
Danish man who came from his faraway homeland to the island
of Bali.
End of Topeng
“Tuan Lange” Drama |
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A
Brief Biographical Introduction to Mads Lange |
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MADS LANGE
(1807-1856) was a remarkable Danish sailor and
merchant who went to sea from his home town of Rudkobing
in Denmark at the age of 18 and later became the most distinguished
foreign resident of the island of Bali in the 19th century.
He is often referred to in historical texts as “The
White Raja of Bali”.
Lange’s life on Bali
followed a series of youthful adventures at sea and about
six years of work and residence on the neighboring Indonesian
island of Lombok where he established a trading post in
1833. Eventually, due to financial difficulties and often
violent political intrigues, Lange was forced to flee Lombok
for his life so in 1839 he sailed away from Lombok and later
appeared off the coast of Kuta Beach in his armed bark,
the Venus. After being granted an audience with the Raja
Gusti Ngurah Gede of Kesiman in nearby Badung-Denpasar he
rode to that Raja’s palace where he successfully secured
permission from the Raja to build a fortified trading post
in Kuta.
Thus began one of the mid-19th
century’s most fascinating stories of a western man
in the exotic East. During Lange’s 19 years of life
on the island of Bali, he lived a life that most men can
only dream about.
Lange was an unpretentious and practical man who knew how
to take advantage of opportunities in the East without offending
the “savage” princes his livelihood depended
upon. At first viewed with suspicion by both the locals
and the Dutch he eventually won the trust and friendship
of both. His Kuta home-fortress-trading post became a well-known
social salon and within its environs Lange hosted several
notable scholars and other visiting dignitaries who enjoyed
his extended hospitality while studying Bali and even pursuing
seminal early studies of the island. Most were referred
to him by Wolter Robert Baron van Hoëvell, a Dutch
colonialist who like Sir Stamford Raffles had a great admiration
for the Balinese. Among Lange’s guests in Kuta were
the brilliant German linguist R. H. Friederich (who studied
Kawi and Sanskrit) and the naturalist Z. H. Zollinger. Their
reports developed under Lange’s patronage were among
the first positive eye-witness accounts of Bali to appear
in the two centuries since Dutch colonialists first appeared
in Indonesia.
Lange’s and Kuta’s
importance increased rapidly during the two decades that
Lange lived and worked there. Indeed, by 1845 the once sleepy
fishing village of Kuta had become the hub of a commercial
empire owned and operated by the enterprising and diplomatic
Lange. With a fleet of fifteen ships he was doing several
million guilders a year business in trade with Java, Singapore
and China. Lange engaged in the import and export of various
and sundry items including Chinese brass coins (kepeng)
that were the currency of the island, weapons for the princes’
soldiers, tobacco, produce, rice and opium, as well as fine
wines and liquors for everyone’s enjoyment. As his
influence grew his services as a mediator were repeatedly
enlisted by both the Dutch and the Balinese during a series
of violent conflicts. And even though he was Danish, in
1844 he was appointed as the official agent in Bali of the
Dutch East Indies Government. Certainly the most prestigious
event in his life and in Kuta in the 19th century was an
important peace conference he proudly hosted between Balinese
and Dutch colonial dignitaries in 1849. The treaty that
resulted from that conference put an end to mid-19th century
hostilities between the Dutch and Balinese and secured the
south side of Bali an additional half century of independence.
Lange was not only an able
businessman but also a dedicated bon vivant who enjoyed
life to its fullest and also shared his bounty with friends
and guests with generous grace. His home and factory which
housed more than one hundred people was replete with a well-stocked
wine cellar, a billiards room and a special pavilion for
evening musical performances by a band in which he played
violin. He was certainly the first expatriate to live like
a king on the island of the gods, mixing and matching the
best that Bali and the West had to offer. In the Oriental
fashion he would take two beautiful wives, one a Balinese,
another Chinese. A patron of the arts, he sent a number
of beautiful krises, palm leaf manuscripts (lontar) and
Balinese carvings to the King of Denmark and the National
Museum in Copenhagen where they are still housed. Unfortunately
his bounty and health declined soon after the peace conference
and he would pass away in 1856 (some sources say he was
poisoned by a jealous prince) before fulfilling a dream
to visit Denmark one last time. His grave (marked by a white
obelisk) can still be seen in Kuta in a Chinese cemetery
where it is maintained by funds paid by the Danish government.
The few remains of his factory and fortified trading post
(which stood until a few years ago) have been completely
demolished, but near the Kuta night market you can still
see a small street which is identified as Jalan Tuan Langga. |
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| SPECIAL
EVENT FOR THE ASIA SOCIETY PHILIPPINES FOUNDATION
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AT THE BALI PURNATI
CENTER FOR THE ARTS |
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1. WELCOME music is played
for the arriving guests from Jalan Gunung Abang to the Purnati.
2. In the entrance area a white “wall” of fabric is
a stage for a PUPPET SHADOW SHOW and puppet performers with attractions
involving about10 children-actors.
3. Single BARIS Dance by a12 years old performer is followed by
six KAKANG-KAKANG dancers coming down the stairs and dancing at
the entrance area while guests enjoy a welcome drink
4. After finishing Kakang-Kakang the dancers are guiding the guests
up the stairs followed by KODOK, twenty FROG DANCERS (wearing frog
masks), guiding everyone through the gardens to the pool side for
a cocktail party
5. The cocktail party is accompanied by a KERONCONG singer. The
guests are then slowly lead by the pavilion to hear instrumental
music similar to that composed for I La Galigo
6. Flute music for PAKARENA dance from Makassar and Pencak Silat
(of South Sulawesi) is then coming from the amphitheatre, accompanied
by traditional drums with new composition for this famous, traditional
female dance with fans
7. A male traditional fire dance from Makassar, TUTU-PEPEKA RI MAKKAH
is then performing on the wooden covers over the small river as
guests are coming down from the amphitheater followed by a procession
of musicians
8. Balinese BARONG dance is staged atop a small hill next to the
pavilion
9. Barong is followed by BARIS GEDE Dance of ten male dancers at
the amphitheater and the show is continued with a grand finale,
a contemporary new dance that includes all the PAKARENA dancers
10. After the performances guests are welcomed up to the Pavilion
for dinner accompanied by live, soft music
11. After dinner there is once more a PUPPET SHADOW SHOW being performed
at the entrance area as guests are leaving Purnati
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PAKARENA is an ancient traditional
dance originating in the Bugis and Makassar areas of south Sulawesi.
Until quite recently, only the royal family could perform this dance,
which arrived with Tu Manurung (the first Queen of Gowa). This sacred
dance demands skill, concentration, calmness and full passion. Through
the movements women dancers express religious faith, value of family
and their own personal strength.
KODOK is a traditional frog dance. It tells a story of a prince
of Jenggala who was fond of catching dragonflies and disappeared
in a dense forest near an erupting volcano. A few years later a
frog emerged which was believed to be the reincarnation of the lost
prince. One day the prince-frog encountered a beautiful princess
of Daha, fell in love with her and wanted to marry her. Unable to
fulfill this dream the frog committed itself to ascetic life, but
by the great God Wisnu was turned into a handsome young man, resembling
the lost prince of Jenggala.
KAKANG-KAKANG dance is performed as a welcome to most important
guests.
Young girls dressed in traditional Balinese costumes, each holding
a silver bowl filled with fragrant flowers, perform this dance.
BARIS is a warrior dance. It depicts a hero departing for a battlefield.
Striking movements illustrate actions and acute alertness of a noble
warrior. He detects signs of hidden enemy and steps into the unknown
world of a horrible battle. Precision, speed and strength are required
of the dancer.
BARONG dance illustrates a contest between opposing forces of Chaos
and Destruction (Rangda) and order (Barong). The story teaches of
positive and negative forces necessary to create balance in everyday
life..
KERONCONG music originated in Portugal and Spain and later evolved
in Indonesia using traditional instruments accompanied by voices.
The songs ate typically local.
TUTU-PEPEKA RI MAKKAH is a classic yet unknown fire dance from
Bugis Makassar. The dance playfully shows how a sarong fabric can
be touched with fire without being burned.
This dance teaches the importance of unity between men and fire
This special evening of performances was organized
by Restu Imansari Kusumaningrum, Creative Director of The Bali Purnati
Center for the Arts.
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RESTU IMANSARI KUSUMANINGRUM
has an extensive background in her life-long
fields of study – dance, theatre and landscape architecture
– both in Indonesia and abroad. Purnati’s gardens
and grounds incorporated into staging today’s performances
are of her design.
In 1981 Restu Imansari Kusumaningrum left Jakarta to study Balinese
Dance with the Tirtasari Group in Peliatan, Ubud and has continued
to study the dances of many part of Indonesia including Cirebon,
West Java; Central Java; South Sulawesi and Sumatra. She participated
in motion and studied the ecstatic shamanistic tradition of South
Korea. From 1984-1987 she was a visiting artist/student in the
Dance Department of the Jakarta Arts Institute. Since beginning
of her career as a professional dancer, she has toured and performed
throughout Indonesia and internationally at festivals in Mexico,
Moscow, Spain, Portugal, New York, Germany, Australia, Korea,
and Japan. She has collaborated with artists from many different
disciplines, including the musicians I Wayan Sadra, Tony Prabowo
and Jodi Diamond; the choreographers Sardono W Kusumo, Sulistyo
Titokusumo, I Ketut Rina, and Kang Manhong; the writers Afrizal
Malna, Goenawan Mohamad and Cok Savitri. She also performed in
major productions by Robert Wilson, I Gusti Kompyang Raka, Chen
Shi-Zeng and Guruh Soekarno Putra. She headed the Swara Mardika
performance group for 10 years. Her repertory includes both traditionally
and contemporary styles. She has offered classes in Indonesian
dance internationally, most recently a special seminar on Asian
Women’s Body Movement as seen in dance and theatre, at a
conference in Taiwan in 2002.
Simultaneous with her career as a performing artist, Restu Kusumaningrum
pursued a degree from the Landscape and Environmental Technology
School of Trisakti University, Jakarta. In addition to running
her own landscape architect and consulting firm, she was involved
in the Indonesia Network for Heritage conservation and living
culture programmed. Today, she is the Creative Director of the
Bali Purnati Center of the Arts and publishes a journal on architecture
in Indonesia.
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