ABSTRACT

This article examines how three dances featuring Indonesian artists and commissioned for Melbourne's 2020 Asia-Pacific Triennial of Performing Arts staged their method of creation in ways that make explicit core features of cultural production in inter-Asia contexts. In The Seen and Unseen, by Kamila Andini and Ida Ayu Wayan Satyani, a self-contained world is best understood as participating in a much longer process of creation. Lucy Guerin Inc and Ensemble Tikoro's Metal is distinctive for staging the processual, integrating the common intercultural trope of narrating the encounter between its collaborators inventively into its structure. Garin Nugroho's The Planet—A Lament is best understood processionally: an event that began before its participants enter the stage, and carries on after the curtain comes down. As such, the “method” of these dances sets local embodied knowledges to work on international stages, expresses the negotiation of domestic and international hierarchies, and gives new forms to trans-regional relations.

摘要

本文探讨了由印度尼西亚艺术家出演并受委托为墨尔本 2020 年亚太表演艺术三年展创作的三支舞蹈如何以在亚洲间背景下明确文化生产核心特征的方式展示他们的创作方法。在卡米拉·安迪尼 (Kamila Andini) 和艾达·阿尤·瓦扬·萨蒂亚尼 (Ida Ayu Wayan Satyani) 所著的《已见与未见》一书中，最好将自给自足的世界理解为参与更长的创造过程。Lucy Guerin Inc 和 Ensemble Tikoro 的Metal以展示过程而与众不同，将共同的跨文化比喻创造性地叙述其合作者之间的相遇融入其结构。Garin Nugroho 的星球——哀歌最好从游行的角度来理解：在参与者进入舞台之前开始的活动，并在幕布落下后继续进行。如此一来，这些舞蹈的“方法”将本土化的知识在国际舞台上发挥作用，表达了国内和国际等级制度的协商，并为跨区域关系赋予了新的形式。