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
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!

.....
NOKIA Asia Pacific CEO Summit 2007 Event 
of October 4, 2007 at The Bali Purnati Center for the Arts
 

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.

 
THE DINNER
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
 
THE PERFORMANCES
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.
 
DEWI SRI (Rice Paddies) and SOLO FIRE DANCE choreographed by RAMA SOEPRAPTO
 
Number of Guests: 100.

Solo Fire Dance and Dewi Sri Performances

 
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

 

Tuan Lange (A Topeng/Mask Drama inSix Short Historical Scenes)
A Treatment/Scenario by Leonard Lueras

 
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

 
A Brief Biographical Introduction to Mads Lange
 
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.

 
 

SPECIAL EVENT FOR THE ASIA SOCIETY PHILIPPINES FOUNDATION
 
AT THE BALI PURNATI CENTER FOR THE ARTS
 
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

 

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.

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.

 

 
Jalan Gunung Abang. Br. Penataran. Negara Batuan. Sukawati. Gianyar. Bali. Indonesia. Phone + 62.361.294590 Fax + 62.361.294591