Agung Gunawan, together with the co-producer of this workshop, Takashi Takiguchi, offers a 9 day workshop residency program at the studio in the rural village in Pelem in East Java, Indonesia.
In this residency, Agung will share his personal understanding and expertise on how to perceive the sense of spirituality at the local landscape.
Participants are guided to channel such phenomenal forces into their body movements, in order to create an 'improvised' performance with vocals and movements.
Agung also offers an opportunity to all participants, to explore and investigate the boundaries and crossing points of classical and contemporary art forms, utilising his classical Javanese court dance techniques and years of past experience in directing and choreographing contemporary dance works with many international artists. touches the true nature of humanity.
☞ 5 day intensive training ☞ 2 day development ☞ 1 day showing ☞ One-on-one consultation with AG ☞ Technical support ☞ Community led ☞ Work with young local artists ☞ Annually held (usually June)
STUDIO (SACPA - Sampang Agung Centre for Performing Arts)
The residency offers various platform to practice and experiment, such as forests, rivers, oceans, caves and rice fields. At the workshop, international and local Javanese artists are invited to exchange their philosophies, perspectives, multi-disciplinary artistic expressions and accumulated wisdom and experiences during the program.
Agung uses the analogy of water to illustrate this: the water of our backyards, rivers, lakes, oceans are all unique and different, yet essentially it is the same water. Likewise, we human beings are essentially the same, despite of where we live, what we eat and what we believe in. What are the differences between traditional and contemporary ways of living and thinking, between one culture, religion, belief, daily practice and another, between socially accepted states of consciousness and altered states of consciousness? What exists in these 'betweens' or are they something 'beyond' our normal understanding? How do these questions directly or indirectly affect and cultivate artistic practice?