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VINCENT MANTSOE

Vincent Mantsoe this weekend!!
SAT. FEB 5, 8 PM
SUN. FEB. 6, 3 PM
CFA THEATER

AND
Masterclass: Saturday, Feb. 5 at 11:00 AM in Schonberg. The sign-up is outside of the Dance Dept. office bulletin board!!

Vincent Mantsoe is known for his singular and virtuosic movement vocabulary that fuses South African traditional and ritual dance with contemporary street dance forms from around the world. He will present a new work exploring the journey and spirit of South Africas Khoi-San people as they have been forced to retreat from open land. This Paris-based company of five dancers, with a soundscape of poetry by Rumi and Iranian music played on traditional Persian instruments, will present a mesmerizing work that is at once trance-like, visceral and uplifting. Made possible by a grant from the National Dance Project of the New England Foundation for the Arts. Co-sponsored by the Office of Diversity and Institutional Partnerships. The Breaking Ground Dance Series is presented by the Dance Department and the Center for the Arts, and is made possible by grants from the National Endowment for the Arts and the Connecticut Commission on Culture and Tourism.
Location: CFA Theater
Admission: $21 General Admission; $18 Seniors, Wesleyan Faculty & Staff; $8 Wesleyan Students
Sponsor: Center for the Arts and Dance Department

Contact: boxoffice@wesleyan.edu, 860-685-3355

LIZ LERMAN DANCE EXCHANGELermanaudition

MONDAY ANNOUNCEMENTS

Dear Majors and Faculty,

Here are important Monday Announcements for the week ahead and dates to know!

Friday Artist Studio Showing, this Friday, November 12, 4:00 PM at Schonberg with Rachel Bernsen and guest collaboration/musician Taylor Ho Bynum (see attached for details!!).. Don’t miss it…
PLANNING PERIOD FOR SPRING 2011 COURSES – NOW THROUGH NOV. 16TH. MAJORS….PLEASE GO SEE YOUR ADVISORS A.S.A.P. AND…PRE-REGISTRATION: NOVEMBER 18 – 23
DANCE DEPARTMENT OPEN HOUSE!!!!!

There will be a meeting for anyone interested in the Dance Department and Dance Major
Thursday, November 11, 11:45-12:45 (lunch)
Schonberg Studio Lobby (on Pine Street)
We will have pizza for you, or you can bring and eat a lunch.

Find out about opportunities, offerings, curriculum.
If you have a time conflict, please feel free to join us a few minutes late and/or stay as long as you can. If you have more questions, please contact prospective major advisor, Katja Kolcio, at kkolcio@wesleyan.edu or at x3329.

COME SEE FALL SENIOR THESIS DANCE CONCERT AT ’92 THEATER AND SITE-SPECIFIC WORKS ON THURS, FRI, SAT BEGINNIG AT 6:00 pm – 10/28, 10/29, 10/30.

Our first Faculty Highlight: URIP SRI MAENY, Artist in Residence
TRANSCRIBER: ANTONIO REIS (’11), DANCE MAJOR
I recently sat down with Artists–in-Residence Hari Krishnan and Urip Sri Maeny to discuss Maeny’s work in the world of dance. Maeny practices in the Javanese tradition – a style demanding grace and aplomb in order to excel. Her name means, “You can do anything,” and surely, her past proves that she has lived up to her namesake. Maeny has performed across the globe: in Indonesian palaces, an Australian governor’s residence, and an Oxford University library, to name but a few. The following provides a brief glimpse into her remarkable career.

Krishnan: Maeny can you tell me about your early childhood, where you were born?

Maeny: I was born in Pekalongan, in Central Java.

Krishnan: Were you born into an artistic family, of dancers or musicians?

Maeny: My great grandfather was a gamelan player. My mother always told me about visiting her grandfather while he played the gamelan.

Krishnan: How did you begin dancing?

Maeny: In the very beginning, my father asked me to join a small dance class.

I was 5 years old. I only went twice, because the daughter of the teacher was so mean. She asked me for candy whenever I went, and I never had any, so I stopped going!

Krishnan: What kind of dancing was this?

Maeny: Javanese dancing.

In fifth grade I started again

Krishnan: With a new teacher?

Maeny: Yes with a new teacher. I went to my sister’s dance teacher from the palace in Surakarta.

In the beginning, the music attracted me more than the dance. I would practice in the backyard, by myself, under the trees so nobody could see me.

When I was 15, I moved to Surakarta to go to the Kokar Conservatory, to study music and dance.

Krishnan: Tell me about your training at Kokar.

Maeny: I learned everything. At that time, no one majored in dance because there was no dance major. You learned music, language, puppetry, dance … everything.

There are many kinds of dance in Java. I was attached to Surakarta, and our style was slightly different from the style from the palace in Yogyakarta. But there was a teacher from Yogyakarta teaching at my school, so I learned their style.

Krishnan: Did you travel much with your contingent?

Maeny: Yes. I performed in Hong Kong, at the Mandarin Hotel. Then in Australia, from Sydney to Canberra. Then back to Indonesia. One week here, one week there, always going back and forth.

Krishnan: What was the group called?

Maeny: The Governor’s Group. A famous governor was looking for students who could dance the three types of Indonesian dance: Javanese, Balinese, and Sundanese.

Krishnan: And so you specialized in all three?

Maeny: Yes.

Krishnan: So you were always working in a community environment. Has that team playing influenced your teaching at Wesleyan?

Maeny: I think so. In school, it was always females teaching females, males teaching males. When I left Jakarta, I was asked to make teach a general’s son. He was to learn the style of male strong character. So I had to play a male character!

Krishnan: So you were easily adapting your art to different contexts?

Maeny: Yes.

Krishnan: When did you meet Sumarsam (Wesleyan Professor of Music)?

Maeny: I met him at school; he was a teacher at the conservatory in Surakarta.

Krishnan: When did you marry?

Maeny: We married in 1969.

Krishnan: Then what happened?

Maeny: After that, I went to teach at the President’s House in Jakarta. He was teaching in Surakarta.

At the President’s House, I taught during the day and performed for celebrations at night — Christmas, the New Year. We were always performing, even for children in hospitals.

In the 1970s, Sumarsam came back from Japan and I moved in with him. In 1971, I had a child at Surakarta, so I stopped working. Six months later, he went to Australia to work and teach gamelan at the embassy.

When I helped him move to Canberra, someone asked me to perform in the backyard of the governor’s house. That was in 1972.

Krishnan: From Australia you came to the US. Tell me about that.

Maeny: Sumarsam got a call from a student here named Martin Hatch, now a professor at Cornell University. He had been to Indonesia and seen Sumarsam perform at the Conservatory.

It was in 1972, and he said, “Please come to Wesleyan to teach.” I came too, and helped him teach the Gamelan, which was where the Schonberg studio is now. I spent two years over there helping Sumarsam. I would also dance with the Gamelan performances.

In 1974, they built World Music Hall, and we moved there.

Krishnan: Then you began teaching dancing?

Maeny: I was also teaching dance while helping Sumarsam, but I wasn’t in the Dance department yet. So I invited some of the dance teachers, like Susan Lourie, to dinner. This was around 1984.

I said we should have the students perform at the end of the semester to make things more exciting. They said, “Ok,” and this become the Worlds of Dance Concert.

The first concert was in World Music Hall. It was packed!

Krishnan: When did you movie into the Dance department?

Maeny: Around late 1980s I entered Dance department.

Krishnan: Would you say, Maeny, in terms of your dance training, you were one of the few people trained in this dance tradition?

Maeny: Yes. Especially for palace performances of a special dance, the Bedoyo, which is performed every year. It’s an all female court dance, for nine dancers.

Krishnan: What’s special about this dance?

Maeny: It is the traditional narrative of the king. Three of us were included, who lived around the palace.

Krishnan: It’s a very rare opportunity, no? You were one of the few people outside the court family, a non-hereditary dancer, who performed the Bedoyo.

Maeny: Yes

Krishnan: Do you teach the Bedoyo at Wesleyan?

Maeny: Oh no, it’s a very sacred dance, performed only once a year in the palace.

Krishnan: What are some challenges in teaching Javanese dance?

Maeny: Javanese dance is about a peaceful center, and listening to what I have to say. No chewing gum, or getting mad when I adjust you — I have to do that. The students who don’t want me to fix their errors, they don’t do well.

I always say, “Try, calm down, and listen.”

Krishnan: I need to ask you a very important question? Tell me about your name

Maeny: It’s Javanese. Urip means Life. Sri means a god of rice. Maeny means you can do anything.

Be sure to attend the Fall Faculty Dance Concert on October 21 and 22. Maeny and Shoko Yamamuro will perform a duet in the lineup.

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