https://nurhin.soydivision.berlin nurhin Wed, 01 Apr 2020 07:38:05 +0000 https://nurhin.soydivision.berlin en http://nurhin.soydivision.berlin/KEMBALI Wed, 01 Apr 2020 07:38:05 +0000 nurhin 361387 <img width="3264" height="3264" width_o="3264" height_o="3264" src_o="https://cortex.persona.co/t/original/i/9c91825ad9ac1557eb2c303bba23f66e0e3157e834452de14a4d9084092a43fa/Export.png" data-mid="889614" border="0" data-scale="20"/> 31.01.2020 Studio dB&nbsp; All picture by Irma FSSupport her splendid works here Recalibration <img width="1280" height="1920" width_o="1280" height_o="1920" src_o="https://cortex.persona.co/t/original/i/bbd6656600b3c06154f5ba41d84cfac9c42dfaf43f28c6c67c18d48dd5333add/IMG_0180.jpg" data-mid="889150" border="0" /> The final act of a Wayang performance is called the Manyura part. Some associate this word with agrarian activity: to harvest. What does one harvest in this closing act? After the heroes experienced both a birth and a death in the previous act, they met a wise sage or found guidance from the gods. Out of a period of meditation and training, the heroes made sense of their circumstances. They harvest the fruit of this solitary experience: personal wisdom. The wise sages and the guiding gods are often giving their lesson indirectly. There are trials and riddles. The answers are never clear. The heroes pushed themselves to their mortal limit, repeating their mistakes, and trying to improve themselves. It is a process of recalibration, in which they measure themselves in a personal feedback loop until they reach their expected outcome. These teachers forge the heroes like a Gamelan maker forge the gongs. In the process of such calibration, very often, it is not the enemy who they encounter. It is instead an encounter with themselves. They trim nothing except the excess of the self; they sharpen nothing except their own intuition and thought. The feedback loop made them retrace their path, only to realize at the end that the answer lies where they start. However, it will not show itself until one recalibrate oneself and see whether the standard one uses still holds the challenge of the circumstances. When the fruit is ripe and the harvest is done, the heroes embark on their showdown. A standard and a measurement are required in the process of (re)calibration. In a Wayang story, the sages and the gods provide the rules. In our day to day experience, upon who should we rely? Especially in a fast-moving world, especially to those who find themselves in a foreign land where their tradition might not hold, and their value might be questionable. Life is a cycle, according to the Javanese, as to how their music reflects. They teach that one should meditate on the teaching of sangkan-paran, of origin and destination. "Where did I come from; where will I go?" Generations of them ask this question, and no one gives them verbal answers, for it is the same riddle that the gods in the old-time gave to the heroes in the Wayang. One answers them by their actions in life (laku). One clue to answering such a question is to answer a simple one: "Where am I now?" To survive this endless loop of personal journey, we should be brave enough for a recalibration of the self. In each iteration, we will return (kembali) to the point of measurement, finding out where we are at the moment and comparing it with our destination. It is the point where one rethinks one's own beliefs and values. One looks into the mirror to find the apparent changes one undergoes. One's world is changing; one's self is changing. The changes are recognizable when one involves memory: a tool to retrace the past. Thus by retracing the past and aware of the present, one may hope for the future. Probably our heroes find themselves walking on the streets of Berlin in the last third of the night. People said that a gate in heaven opens at such time. With this opening, the world of gods will be so near to the mortals. It might be the case that our heroes are getting lost, unconsciously, or not. As the cold wind between the buildings freeze their skin, they might mistakenly hear that the wind whisper, "Wohin?" Another voice, coming from the deepest of their heart, unknown even to them, honestly replied, "Nur hin." Bilawa Respati <img width="1920" height="1280" width_o="1920" height_o="1280" src_o="https://cortex.persona.co/t/original/i/a006446b237d25abb68ba3d12afac8743b5cadedba9eab3dddc4af5ff2ba2c12/IMG_0139.jpg" data-mid="889156" border="0" /><img width="853" height="1280" width_o="853" height_o="1280" src_o="https://cortex.persona.co/t/original/i/49d116f286ab7643ee9018683285187448b3e7baa474673b4600573b23363266/IMG_0075.jpg" data-mid="889149" border="0" /><img width="1920" height="1280" width_o="1920" height_o="1280" src_o="https://cortex.persona.co/t/original/i/93302c2cb6f61818ad7fe15ec746ccc35c33fac54bd4843901eafacbbc528b36/IMG_0149.jpg" data-mid="889146" border="0" /><img width="1920" height="1280" width_o="1920" height_o="1280" src_o="https://cortex.persona.co/t/original/i/898c9acf82306134ef28449a1f1af20e1e67d98a2def1f47be99ad136de5c43b/IMG_0086.jpg" data-mid="889147" border="0" /><img width="1920" height="1280" width_o="1920" height_o="1280" src_o="https://cortex.persona.co/t/original/i/82e74c6fafac50fc68ef4397d4f14273598bd091efa91f1acf2e5b964328530d/IMG_0096.jpg" data-mid="889148" border="0" /><img width="1280" height="1920" width_o="1280" height_o="1920" src_o="https://cortex.persona.co/t/original/i/c53886d60d8a6c2453966350bddc58401965cddbbdb5b36e0fd0abc3ba39043a/IMG_0060.jpg" data-mid="889157" border="0" /><img width="1280" height="1920" width_o="1280" height_o="1920" src_o="https://cortex.persona.co/t/original/i/54c1d4fabafe81fa1895968fb17ebcc64362d4ed6658b8b811a774d13bd32907/IMG_0176.jpg" data-mid="889159" border="0" /><img width="1920" height="1280" width_o="1920" height_o="1280" src_o="https://cortex.persona.co/t/original/i/544482aeb393b11f35daa25e0f5597495e9d2e7ecb68de38f6a23192b84fb84b/IMG_0146.jpg" data-mid="889160" border="0" />Production Concept Video on pt_01Field recording pt_01Script pt_01_02_03Live audio scoring pt_01Live audio scoring pt_02Live audio scoring pt_03Cast/Performer pt_01Cast/Performer pt_02Cast/Performer pt_03Stage Manager pt_01Lighting Design and Performance pt_01_02_03 : soydivision (2020) : Ariel Orah, Jan Thedja, Bilawa Respati, Nindya Nareswari, Rizki Rhesa Utama, Morgan Sully: Rizki Rhesa Utama: Bilawa Respati: Ariel Orah, Jan Thedja, Nindya Nareswari, , Morgan Sully: Ariel Orah: Morgan Sully: Morgan Sully &amp; Ariel Orah: Ariel Orah, Jan Thedja, Nindya Nareswari, Morgan Sully: Ariel Orah, Jan Thedja, Nindya Nareswari, , Morgan Sully: Ariel Orah, Jan Thedja, Bilawa Respati, Nindya Nareswari, Morgan SullyGhaliz Fikri HarisNindya Nareswari 31.01.2020 Studio dB&nbsp; All picture by Irma FSSupport her splendid works here Recalibration The final act of a Wayang performance is called the Manyura... http://nurhin.soydivision.berlin/TINGGAL Wed, 01 Apr 2020 07:37:55 +0000 nurhin 361386 <img width="3264" height="3264" width_o="3264" height_o="3264" src_o="https://cortex.persona.co/t/original/i/1555e474f4c2001b5cf70eead847e2303208d42f7b5da55af53fb3f6b8b91c68/Export.png" data-mid="889625" border="0" data-scale="20"/> 24.01.2020Motif Wein&nbsp; All picture by Irma FSSupport her splendid works here Tinggal <img width="5586" height="3724" width_o="5586" height_o="3724" src_o="https://cortex.persona.co/t/original/i/62dfe2f9102853cd47437f27c6dd806549d38ac2ca96b88b931330ffe3b6a2e9/IMG_0005.jpg" data-mid="889111" border="0" />When one hits the noble Gong Ageng, it signifies at least three different events: (1) the start of a musical piece, (2) the end/start of a musical cycle, and (3) the end of a musical piece. The music of the Gamelan repeats its musical cycle. Its repetition is, however, not repetitive. It changes in each repetition, so subtle and soft: a moving stasis. When the Dalang (puppet master) listened that the Gong sounds after the end of the Ouverture to a Wayang (shadow puppet) performance, the Dalang would start reciting the stories, and the all-night ritual begins. The puppets are us, the stories are our own.&nbsp; We, the characters in such stories, embark on a certain journey. In many stories, we find ourselves staying in one place for a very long time or sometimes forever. Why do we do such things? We should listen closely to the storyteller. Sometimes it is a quest for a better future. In other times it is a story of exile. In between, there are also tales of love, conquest for glory, and pilgrimage of personal perfection. Some of the heroes, tragically, are simply looking for a place to die. In all of these stories they fight. Conflict comes when they face the challenge of climate and the environment of the new place. Those who came from the sea might have to face the fierce mountain. An honest villager would have to deal with complex city dwellers. And what about those foreign cultures, the local rulers, the people of the new land? They demand that the heroes take heed to their regulations and customs. Some of the heroes adapt, either willingly or not. Some of them stay hidden in the dark, in disguise. In every story such as these, we would listen also on how they survive. What drives them so? What is their strategy? Do they achieve what they seek? To their stories we dissolve ourselves until, finally, the Gong Ageng sounds for the last time, the Dalang stop the recitation, and we realize that a new cycle of the day begins. The ritual has ended but our life starts. The challenge of bureaucracy, personal adaptation to new cultures, conflicts arising from the clash of values, urbanization, and industrialization: are not these also the ones that the heroes in the Wayang also faced? In Tinggal (Moving Stasis), we invite the audience to have faith in the Dalang in telling their stories. While watching the “puppets” act, the music accompanies. The audience may reflect on themselves, on their own story. The Indonesian word “tinggal” has an interesting meaning. One meaning is that of “staying”. The other one is that of “leaving”. In the long tradition of “merantau” (voluntary journey or migration), one, indeed, left something behind during their stay in the foreign land. Bilawa Respati <img width="5517" height="3678" width_o="5517" height_o="3678" src_o="https://cortex.persona.co/t/original/i/d85c6c4c2074916e5ddc6989eda7f3113f76be2ac3d556fd86508f4cafe44580/IMG_0016.jpg" data-mid="889115" border="0" /><img width="3251" height="4876" width_o="3251" height_o="4876" src_o="https://cortex.persona.co/t/original/i/2fbff44b8c3da21108d2d1f93ed480c4e0e854765a98131e435600e7befb2768/IMG_0020.jpg" data-mid="889120" border="0" /><img width="5450" height="3633" width_o="5450" height_o="3633" src_o="https://cortex.persona.co/t/original/i/dfd7dab006ed05835d92ee89f58b9b9e16e117cf7e2a3f76de6797f7a8f781cb/IMG_0049.jpg" data-mid="889124" border="0" />Production Concept Video on pt_01Field recording pt_01Script pt_01_02_03Live audio scoring pt_01Live audio scoring pt_02Live audio scoring pt_03Cast/Performer pt_01Cast/Performer pt_02Cast/Performer pt_03Stage Manager pt_01Lighting Design and Performance pt_01_02_03 : soydivision (2020) : Ariel Orah, Jan Thedja, Bilawa Respati, Nindya Nareswari, Rizki Rhesa Utama, Morgan Sully: Rizki Rhesa Utama: Bilawa Respati: Ariel Orah, Jan Thedja, Nindya Nareswari, , Morgan Sully: Ariel Orah: Morgan Sully: Morgan Sully &amp; Ariel Orah: Ariel Orah, Jan Thedja, Nindya Nareswari, Morgan Sully: Ariel Orah, Jan Thedja, Nindya Nareswari, , Morgan Sully: Ariel Orah, Jan Thedja, Bilawa Respati, Nindya Nareswari, Morgan SullyGhaliz Fikri HarisNindya Nareswari <img width="5450" height="3633" width_o="5450" height_o="3633" src_o="https://cortex.persona.co/t/original/i/dfd7dab006ed05835d92ee89f58b9b9e16e117cf7e2a3f76de6797f7a8f781cb/IMG_0049.jpg" data-mid="889124" border="0" /> 24.01.2020Motif Wein&nbsp; All picture by Irma FSSupport her splendid works here Tinggal When one hits the noble Gong Ageng, it signifies at least three... http://nurhin.soydivision.berlin/TIBA Wed, 22 Jan 2020 23:01:02 +0000 nurhin 354237 <img width="3264" height="3264" width_o="3264" height_o="3264" src_o="https://cortex.persona.co/t/original/i/973811abd9fb238fd76a4b38c9ebba27828237cbac44201b757990490b6fffaa/Export.png" data-mid="889627" border="0" data-scale="20"/> 17.01.2020Acud Theather Berlinduring Vorspiel by Transmediale&amp;CTM Opening NightAll picture by Irma FSSupport her splendid works here Tiba <img width="1920" height="1280" width_o="1920" height_o="1280" src_o="https://cortex.persona.co/t/original/i/8ccc1dcf4bc9f6d97cf1f4dc8dd8faa034dbace62b3ee21b2b1c3cdce95b1595/IMG_0254.jpg" data-mid="852472" border="0" /> <img width="5341" height="3561" width_o="5341" height_o="3561" src_o="https://cortex.persona.co/t/original/i/c49ee1d362f327bb9d037cc3bae8b48a36208e637ade059acb2e064fb0cb0c43/IMG_0122.jpg" data-mid="852456" border="0" />In "Nur Hin," the ritual of rice cooking invites both the performer and the audience to a meditation. It is a meditation in appreciating and reminding oneself about the meaning of a grain of rice. For the migrated people whose story told in "Nur Hin," cooking the rice is their connection with their motherland (Ibu Pertiwi). The grain circle drawn is their safe spiritual space in which they reconnect with their inner value, in the face of new values and life phenomenon. The process of preparing the rice, cooking and waiting, and finally serving it, is a daily life parallel of the work of a farmer: to plant (Nem), to tend the field (Sanga), and finally to harvest (Manyura). These stages, in the Javanese culture, also symbolizes the progression of the human psyche from infant to maturity. In the Wayang performance (shadow puppet play), it serves as the dramatic structure (Pathet Nem, Sanga, and Manyura). It shows how it is so essential to the symbolic life of the people. Sharing the grain of rice between the audience is our way to reminding, that we face scarcities in the face of food industrialization. By sharing it, we also would like to promote intercultural understanding and empathies. Regardless of nationality and cultural backgrounds, is it not that we all enjoy good food shared with good company? Bilawa Respati <img width="5437" height="3625" width_o="5437" height_o="3625" src_o="https://cortex.persona.co/t/original/i/ef7478ca25d76d36911078b2b08f41d4dc95cda298459e1e9e7dd40a3a942cbd/IMG_0094.jpg" data-mid="852452" border="0" /><img width="5700" height="3800" width_o="5700" height_o="3800" src_o="https://cortex.persona.co/t/original/i/58ff9534fab16ae997ead45b1ab749f381b4cf7aead2b4f4ede89c60f29e47ba/IMG_0014.jpg" data-mid="852453" border="0" /><img width="5760" height="3840" width_o="5760" height_o="3840" src_o="https://cortex.persona.co/t/original/i/9b0ac34fd1686694b72d2ae963ac6c75592e9186489db22517f832d915a4ac5a/IMG_0085.jpg" data-mid="852454" border="0" /><img width="3492" height="5238" width_o="3492" height_o="5238" src_o="https://cortex.persona.co/t/original/i/14bb1107355b77509481657c850025323f7ce57b85c63f1cb601feee86a03384/IMG_0102.jpg" data-mid="852455" border="0" /><img width="5544" height="3696" width_o="5544" height_o="3696" src_o="https://cortex.persona.co/t/original/i/8f084c396a27a7a515be051ac99afed559f25b68f4a30018ebae9532637e750c/IMG_0197.jpg" data-mid="852465" border="0" /><img width="3840" height="5760" width_o="3840" height_o="5760" src_o="https://cortex.persona.co/t/original/i/77e57315d73409d7fb51580b863caaa1d019b84cb53c9e5dadda945f97171f38/IMG_0104.jpg" data-mid="852461" border="0" /><img width="3505" height="5257" width_o="3505" height_o="5257" src_o="https://cortex.persona.co/t/original/i/a5cbb4d8d63ea4e21123d6d1e891cb458622b6d6a1f00fd637bccac18c8eb239/IMG_0140.jpg" data-mid="852462" border="0" /><img width="3840" height="5760" width_o="3840" height_o="5760" src_o="https://cortex.persona.co/t/original/i/d4266506b4c2e818aa4c47f3cbaa708d8ee69c9488b64de4cc275cd425d9d285/IMG_0156.jpg" data-mid="852460" border="0" /><img width="5123" height="3415" width_o="5123" height_o="3415" src_o="https://cortex.persona.co/t/original/i/929336fb924d7c2a5a0604def17aded5c6632c91023336fc7006170d29835f99/IMG_0048.jpg" data-mid="852457" border="0" /><img width="3800" height="5700" width_o="3800" height_o="5700" src_o="https://cortex.persona.co/t/original/i/9048331eab0c98f50471ec704e4c33c873f1bb2b10c0fac91df74ca4edb545f1/IMG_0154.jpg" data-mid="852458" border="0" /><img width="5123" height="3415" width_o="5123" height_o="3415" src_o="https://cortex.persona.co/t/original/i/929336fb924d7c2a5a0604def17aded5c6632c91023336fc7006170d29835f99/IMG_0048.jpg" data-mid="852457" border="0" />Production Concept Video on pt_01Field recording pt_01Script pt_01_02_03Live audio scoring pt_01Live audio scoring pt_02Live audio scoring pt_03Cast/Performer pt_01Cast/Performer pt_02Cast/Performer pt_03Stage Manager pt_01Lighting Design and Performance pt_01_02_03 : soydivision (2020) : Ariel Orah, Jan Thedja, Bilawa Respati, Nindya Nareswari, Rizki Rhesa Utama, Morgan Sully: Rizki Rhesa Utama: Bilawa Respati: Ariel Orah, Jan Thedja, Nindya Nareswari, , Morgan Sully: Ariel Orah: Morgan Sully: Morgan Sully &amp; Ariel Orah: Ariel Orah, Jan Thedja, Nindya Nareswari, Morgan Sully: Ariel Orah, Jan Thedja, Nindya Nareswari, , Morgan Sully: Ariel Orah, Jan Thedja, Bilawa Respati, Nindya Nareswari, Morgan SullyGhaliz Fikri HarisNindya Nareswari <img width="1920" height="1280" width_o="1920" height_o="1280" src_o="https://cortex.persona.co/t/original/i/4cea28d25cb06dc493f4aa001b3cf848cf20f86f6e4223f6ef98aab1efc9fe14/IMG_0171.jpg" data-mid="852474" border="0" /> 17.01.2020Acud Theather Berlinduring Vorspiel by Transmediale&amp;CTM Opening NightAll picture by Irma FSSupport her splendid works here Tiba In "Nur... http://nurhin.soydivision.berlin/Home-Page Mon, 17 Aug 2015 23:34:03 +0000 nurhin 347889 <img width="4096" height="4096" width_o="4096" height_o="4096" src_o="https://cortex.persona.co/t/original/i/ed6617c953d17f263a78e5c9f88cc86171e277fcb2db618f48153dca995f7f12/assembly-1.png" data-mid="852442" border="0" data-scale="85"/> <img width="3264" height="3264" width_o="3264" height_o="3264" src_o="https://cortex.persona.co/t/original/i/2ad48a59c54332320fb9b570946b8112187aa591cd9f1eb81a484d6a82dfd4a1/IMG_8856.PNG" data-mid="852447" border="0" data-scale="85"/> “NUR-HIN” by soydivision PT #1&nbsp; &nbsp; : TIBA PT #2&nbsp; &nbsp; : TINGGAL PT #3&nbsp; &nbsp; : KEMBALI Any type of struggle is familiar to those who decide to leave their country. One form of such a struggle is the struggle with one’s identity and values. As soon as one steps into the new country, one’s identity and values are confronted with those who are not of one’s own. Not surprisingly, this leads to personal disorientation. Values and identities are&nbsp; influencing each other. Disorientation in values leads to the disorientation of identity and vice versa. In such a situation, one finds oneself in the state in between. As such, one finds oneself in a liminal state. Should one move to the new values, new identities? Should one grasp the old values, old identities? Delays in answering such questions leave one prolonged in the liminal state. We find ourselves often delay our answers, making sure that the decision we take is the right one. By making a decision---and the absence of it, as yet another type of decision---one shapes one’s identity, one’s value. What would become of such a person? Would then a new identity, new values emerge? Or one keeps delaying one’s answer and embraces instead the state in between for indefinite time? In this (series) of work(s), we would like to contemplate and investigate this state in between, taking the point of view of emigrants as a symbolic embodiment of the theme. With this work, we invite the public to contemplate, empathize, and think about these issues in relation to their own personal experience. “nur hin” comes from the contemplation that when one left one’s country, the return ticket is not bought. It is a one-way ticket and one does not know when one will be back. Even if one finally decides to go back,&nbsp; this is not a decision made in the beginning but rather shaped by times and the process which takes place in it. “nur hin” is then further divided into three chapters: Tiba (Arrival), Tinggal (Stay), and Kembali (Return). These three chapters symbolize the growth of consciousness that one experiences during one’s journey. In each of these states, one always faces the state in between. Even that state Kembali signifies not only an actual returning to one’s country but also to one’s identity, to one’s values, while at the same time not necessarily the same as the beginning identity and values one has at the start of the journey. Each of the chapters is an independent work in itself but share the same grand thematic scheme with the other chapters. The actual execution may different in each performance, making the theme as the main identification feature of the work. The work forms a total work, a result of collaboration, consists of performance, music, video and light installations, as well as offering culinary experience made by various artists-friends who share the same feeling of traveling “nur hin”. In each of the theme, using one’s medium of choice, the artist represents his or her experience/impression/interpretation on the theme at hand. The result expected is a series of works that are personal but global at the same time, for most of us would feel this state in between in different sensual forms yet sharing the same essence.   PT #1&nbsp; &nbsp; : TIBA PT #2&nbsp; &nbsp; : TINGGAL PT #3&nbsp; &nbsp; : KEMBALI  All picture by Irma FSSupport her spledid works here  Credits : Production Concept Video on pt_01Field recording pt_01 Script pt_01_02_03 Live audio scoring pt_01Live audio scoring pt_02 Live audio scoring pt_03 Cast/Performer pt_01Cast/Performer pt_02 Cast/Performer pt_03 Stage Manager pt_01 Lighting Design and Performance pt_01_02_03 :&nbsp;soydivision (2020) : Ariel Orah, Jan Thedja, Bilawa Respati, Nindya Nareswari, Rizki Rhesa Utama, Morgan Sully : Rizki Rhesa Utama : Bilawa Respati :&nbsp;Ariel Orah, Jan Thedja, Nindya Nareswari, , Morgan Sully : Ariel Orah : Morgan Sully : Morgan Sully &amp; Ariel Orah :&nbsp;Ariel Orah, Jan Thedja, Nindya Nareswari, Morgan Sully :&nbsp;Ariel Orah, Jan Thedja, Nindya Nareswari, , Morgan Sully :&nbsp;Ariel Orah, Jan Thedja, Bilawa Respati, Nindya Nareswari, Morgan SullyGhaliz Fikri Haris Nindya Nareswari &nbsp; &nbsp;&nbsp; &nbsp; “NUR-HIN” by soydivision PT #1&nbsp; &nbsp; : TIBA PT #2&nbsp; &nbsp; : TINGGAL PT #3&nbsp; &nbsp; : KEMBALI Any type of struggle is...