Eager Fans Snap Up Copies of New ‘Fifty Shades of Grey’ Novel

Two fans read their copies of E.L James's new book "Grey: Fifty Shades of Grey as Told by Christian." (AFP Photo/Jewel Samad)

New York. Fans of British author E.L. James’ “Fifty Shades of Grey” erotic trilogy clamored on Thursday to get the first copies of her new book “Grey,” a version of the first novel told through the eyes of her famous male character.

At Barnes & Noble bookstore in Manhattan, where James was appearing at a book signing, the line stretched around the block.

“Grey” was the highest Kindle pre-order book of the year on Amazon.com when it was released as an ebook at midnight and was expected to be an instant bestseller.

Shakespeare’s ‘Othello Tower,’ Victim of Cyprus’s Division, to Reopen After Facelift

A general view of the 14th-century Othello Tower in Famagusta, Cyprus. (Reuters Photo/Yiannis Kourtoglou)

 

Famagusta, Cyprus. The 14th-century Cypriot tower that is the fictional setting of Shakespeare’s play “Othello” reopens next month after undergoing renovation following decades of decay on the internationally isolated Turkish side of the ethnically divided island.

Yogyakarta Terracotta Biennale Celebrates Ancient Artistic Roots

(JG Photo/Richard Horstman)

Yogyakarta. Indonesia has a rich and diverse tradition of terracotta culture dating back many centuries, and the opening on June 7 of the Terracotta Biennale 2015 Art On The River in Bantul, Yogyakarta, was a landmark occasion. Featuring sculptures and installations made from clay by 70 artists from Indonesia, Spain, Sweden, Germany, Italy, Serbia, Slovakia, Hungary, Japan and England, the event has the distinction of being the world’s first international terracotta biennial.

So Sad... Christopher Lee, Evil Count of Cinema, Dies Aged 93

 

The British actor Christopher Lee and his Danish wife Birgit Kroncke in Marrakesh in 2008. Lee, best known for his seminal portrayal of Count Dracula in the 1958 screen classic before enjoying a late-career renaissance as the evil wizard Saruman in the ‘Lord of the Rings’ trilogy, died on Sunday at age 93. (Reuters Photo/Jean Blondin)

London. Master of the macabre Christopher Lee, who portrayed Dracula in outrageous Hammer Films horror classics but became known to later generations for roles in “Star Wars” and as the wizard Saruman in the “Lord of the Rings,” has died aged 93.

Lee died last Sunday in hospital, where he had been undergoing treatment for respiratory problems, a copy of his death certificate posted online showed. Lee’s agent, in an e-mailed statement, said his family “wishes to make no comment.”

Indonesia as Resurgent Explorer at World Show

The monolith and artist Heri Dono, whose work is pictured above, will both represent Indonesia at the 2015 Venice Biennale. (The Peak Photos/Gugun Angguni Suminarto)

The statue of the animal overshadowed visitors who filled the Lawangwangi Creative Art Space gallery in Bandung, West Java, for a recent sneak preview.

Known as “Trokomod,” an aura of age-old myth surrounded the structure which was precisely the effect its creator, Indonesian artist Heri Dono intended.

Art to the Rescue of Jakarta’s Kota Tua

The Kota Tua Creative Festival is part

of  a wider ongoing effort to  restore

Jakarta’s Old Town quarter and help it 

gain World Heritage status.(JG Photos/

Tunggul Wirajuda)

Jakarta’s Kota Tua, or Old Town district, is a riot of colors, as more than 10,000 kites fill the skies. Bright primary colors can be seen as far as the eye can see. Blue kites aligned toward the Kota train station, while red ones fly over the sidewalk. Last but not least, a sea of yellow kites hovers over Fatahillah Square, the center of the festivities.

Titled “Clouds of Thoughts,” it’s all too easy to assume that the fiber film installation piece is party bunting to celebrate Jakarta’s 487th anniversary. But its creators — Office for Metropolitan Architecture (OMA) architect Diana Ang, SHAU Architecture and Urbanism founder Daliana Suryawinata, and Indonesian contemporary art denizen and Dia.lo.gue Artspace gallery co-founder Windi Salomo — intended the work to have more meaning.

The three of them conceived the Creative Public Spaces Program to establish temporary and permanent urban public places in the Old Town, and they believe public spaces are places where people can coexist and express themselves. A collection of these voices are collected in the “Cloud of Thoughts,” a canopy composed of messages of hope from Jakarta’s citizens.

Dey Irfan Adianto: The Artist As a Bright Work in Progress

Dey Irfan Adianto’s thoughtful artworks continue 

to evolve as he matures as an artist.

(Photos courtesy of Dey Irfan Adianto)

Jakarta-born artist Dey Irfan Adianto creates soothing pieces that encapsulates his humane and nature-driven sensibilities.

Often utilizing a mixture of embroidery, acrylic, water color and graphite, the 25-year-old alternately works on media such as wood, fabric, and paper. His visuals range from subtle to unsubtle symbolism, off-kilter absurdity, with a collage-style execution that befits its minimalist overtone. Though in past works the artist tended to avoid overt saturation, his more recent pieces have slowly introduced more colors, adding to a less pensive, more welcoming feel.

In 2008, Dey began studying at Singapore’s Nanyang Academy of Fine Arts before graduating in 2011 with a fine arts diploma in sculptures. He is currently studying at Singapore’s Lasalle College of the Arts.

He has displayed his art in various exhibits, mostly in Singapore, including at The Arts House and the DYMK bar & cafe. Most recently, Dey presented a piece at Singapore’s Hong Lim Park, inspired by a Pink Dot gay rights event for his fine arts diploma graduation show at NAFA.

Having grown up around a family with no interest in artistic endeavors, Dey had to move to another city by himself to discover his artistic sensibilities.

 “I never really had any influence in the arts growing up. My dad is an engineer and my mom is an accountant, so art never really ran in the family. It wasn’t until I moved to Bandung in 2004 when I was exposed to the art scene. That was when I started getting into fine arts and started drawing,” he says.

In Bandung, Dey discovered a hotbed of left-field artists and a scene that supported it. He began making acquaintances with many of them, feeding off their creativity and slowly growing his own voice and visual style.

“In Bandung I got to know the heavyweights like R.E. Hartanto, Sir Dandy and Sunaryo. They were the ones who built my confidence in practicing art,” he says.

Like most younger artists, Dey experimented with a variety of styles, but he responded particularly to one that reflected his interest between balancing the traditional with modern artificiality.

“Style-wise, vaporwave was a big inspiration to me,” he says, referring to the 1980s corporate culture satirizing the electronic music genre, epitomized by works that display a fittingly ironic aesthetic of vibrantly cheesy pictures.

“It’s a movement that started on the Internet, using Photoshop to produce a collage of cultural run-offs. It can be very satirical, and the feel is very ‘plastic’ and artificial. That aspect of artificiality can be really interesting when you juxtapose it with ‘traditional’ imagery like a realistic portrait of a landscape, for example.”

Dey says he ended up with his current style through “trial and error.”

“I don’t sketch that much, so often I would just start a piece with an idea and I just added on to it until it get right.”

Dey’s artistic process involves little preparation. Instead, he prefers to spontaneously let whatever initial spark he has in his head take its own natural route.

“I usually start with an idea but often I don’t make any initial sketch of it. I just picture it in my head until I start to put it down on the canvas,” he says before continuing that he does not “really have a set idea of what it will look like in the end, so it’s very open to improvisation.”

Still, one look at Dey’s artworks makes it clear that they exude the same melancholy, thoughtful mood. This is not an accident.

“I do set the mood, and the theme of the piece. Those two keep the piece in track. I don’t like it if a piece looks too random, there should be limit to what I can or can’t do with it,” the artist says.

Though his art may not qualify as being necessarily “abstract,” it is often vague enough to warrant a deep look. 

“I think all [my] pieces take a while to get, because then you add up your own interpretations, which can be fun. But I always try to work on certain guidelines so the viewers can get a general idea of the piece. I don’t like it if the interpretations are too open, because then I wouldn’t be able to relate to it,” he says.

This is why he often works on a number of related pieces under one common theme. Some examples in his “Series” include the self-explanatory “Natura” series that involves many nature-related subjects; “Animalia,” which takes animals as the main subjects; the somber and depressive themes under “Dark Room”; and the fantastical works of the “Transcendence” series.

Dey’s latest passion is utilizing landscapes as subjects for his art. This, he admits, is a result of never having really lived in countries where beautiful landscapes are common.

“When I was studying in Singapore you don’t get to see much open landscape, so I developed a series revolving around landscapes and I’ve been continuing with that,” he says.

Dey says he knows his increasing confidence and artistic growth shows through his increasingly vibrant pieces. Under a reflective mood, Dey says it may all have to do with his love for cartoons as a child.

“I watched cartoons a lot when I was little and I still do today, so I’m sure that influenced the overall tone. When I started doing art, I used to be very low-key when it comes to colors, but lately I’ve gone all out,” he says.

Colors are also Dey’s way of building a more direct connection with his audience. He explains: “I realized that I’ve always liked my paintings to be somewhat colorful. I make sure that I’m excited over the piece first before I show it to other people, and one way to do so is to go all out on the tone.”

To see more of Dey Irfan Adianto’s work, visit cargocollective.com/wonderfield.

By Marcel Thee on 05:19 pm Jul 02, 2014

A Tahitian Dance Date With an Enterprising Young Jakarta

Ishan Odelia, right, studied TAhitian dance in Taiwan with Leolani Gallardo. (Photo courtesy of Ishan Odelia)

To the dance community in Jakarta, Ishan Odelia is best known as the champion of hula dance. After all, it was she who first introduced Hawaiian hula to the capital a few years ago, by offering classes, putting on performances and making Indonesians understand that hula is rooted in a deep tradition that goes beyond just grass skirts and coconut bikini tops.

While Ishan’s hula dance classes have been fairly successful — Ishan herself mastered the art of hula while living in Japan — she felt the need for a new challenge. Still staying in the familiar field of hula, Ishan decided to learn more about Tahitian dance, which bears some similarities to hula but is nonetheless regarded as a dance form all its own.

“In Hawaii, most of the hula dancers also learn Tahitian dance,” Ishan explains, adding that many people confuse the two dances. “This is a misconception, also among people here in Jakarta. This is mainly because some of the movements look very similar, as both dances originate in Polynesia.”

When still in Japan, Ishan had already taken some Tahitian dance classes, but her focus remained on hula. Remembering how much fun she had, though, she recently signed up for more classes and workshops, to be able to start teaching Tahitian dance herself.

“I started to look online and found out that there are two Tahitian dance teachers in Singapore, where it is already quite big, whereas in Jakarta there is none,” she says. “I contacted them and told them I would like to bring Tahitian dance to Indonesia but wanted to learn about it more first.”

After meeting up with the two Tahitian ladies and taking a workshop, Ishan was hooked.

“I felt like my love of dancing had come back,” the 27-year-old says. “It was something new and different. For the longest time I have been giving [through teaching hula classes], but here I was receiving new information, and it just made me really happy. At the same time, for Tahitian dance you are using different muscles, so your body is also going through something new.”

Ishan was convinced to fully pursue Tahitian dance. Getting behind the computer again, she then found out that Leolani Gallardo, a Tahitian dancer born and raised in Los Angeles, was heading to Taiwan to train other Tahitian dancers to enter a solo competition in Japan.

“Her training would show them how to become a solo dancer,” Ishan says.

She didn’t think twice and jumped at the opportunity to learn Tahitian dance from a respected teacher, not least because it seemed like a perfect fit: Gallardo also was a hula dancer first, before joining a Tahitian dance troupe in Anaheim, California, at the age of 14 — and has won many solo and group competitions  since.

“It was tough, but so much fun at the same time,” says Ishan, who during the workshop had to dance and learn choreographies for up to eight hours a day.

Despite the dance’s similarities to hula — which helped her learn the movements and steps relatively quickly — getting into Tahitian dance was quite a challenge.

“Because I’m a dancer, I could adapt,” she says. “But it was hard to keep up, and there was quite a lot of pressure. That feeling was quite new to me, because in Indonesia, usually I’m the teacher. It was like being thrown into a whole new world.”

Ishan could feel her muscles becoming stronger, yet she also experienced aches and pains during the workshop.

Tahitian dance compared to hula, Ishan explains, is not so traditional and strict, and one is able to add more modern movements into a choreography. In hula, the dancers tell a story through certain hand and body movements, which usually represent aspects of nature. Tahitian dance is also a way of telling a story, yet here the hip movements are much faster than in hula, while the shoulders and arms should remain in a steady posture.

“It’s much more upbeat than hula, and that’s why many people also take up Tahitian as an alternative way for fitness and working out,” Ishan says. “It will definitely make you sweat!”

It is also this added benefit that makes Ishan hopeful to be able to raise some interest among Indonesians in Tahitian dance. After she returned from Taiwan a few weeks ago, she started to organize trial classes for potential students. The response, she says, was very good, and she is looking to officially conduct classes starting by the end of this month.

“It was important for me to do some trial classes first to get some feedback,” she says. “I also needed to find my own style first, before I could start teaching.”

The classes will start off with the basics of Tahitian dance before moving on to more complicated choreographies. Ishan says she will also explain to her students the origins of the dance.

“Of course, if some of them are taking the class to work out, that’s OK too,” she says. “But at least they should know what they are doing and why.”

Ishan anticipates that she will conduct Tahitian dance classes twice a week, depending on the level of interest.

“I don’t want the classes to be too big because then I can’t really work with the students individually. But for some of my trial classes I had over 30 people showing up. I just want to take it slow and introduce Tahitian to Indonesia step by step.”

Tahitian dance also includes colorful costumes and accessories — and when Ishan was in Taiwan on the lookout to acquire the skirts, headbands and hip bands, she realized that many of these were actually made in Indonesia. So in addition to learning a new dance, she also — incidentally — became the Indonesian go-to person for dance schools in Taiwan looking for costumes. She is also learning how to make some of the accessories by herself.

“My trip to Taiwan has been very fruitful,” Ishan says with a laugh. “I didn’t expect everything to turn out like this.”

Despite her newfound passion for Tahitian dance, Ishan will still continue to teach hula.

“I still love hula, of course,” she says, adding that at the moment she has her hands full planning her annual hula recital. “With hula, I am already at a very mature stage, whereas in Tahitian, I am just starting out. This way, I can have the best of both worlds.”

By Katrin Figge on 11:23 am Jun 18, 2014

The Unheralded Life of George Boleyn

‘George Bolyen: Tudor Poet, Courtier & Diplomat’ by Clare Cherry & Claire Ridgway. (Photo courtesy of MadeGlobal Publishing)

The Tudor dynasty, and the reign of Henry VIII in particular, has never ceased to amaze scholars and historians who have researched the period for many years, and also made its way into popular culture. Due to the popular TV series “The Tudors,” which aired between 2007 and 2010, there has been a renewed interest in the monarch and his many wives. Add to that the award-winning novels of Hilary Mantel, and it is easy to understand why so many people remain obsessed with all things Tudor.

Novels and TV series, however, tend to take the liberty of changing historical facts in favor of added drama and suspense; in return, readers and viewers hastily believe the picture painted of certain characters to be true — while often the images conveyed couldn’t be more wrong.

When we think about the Tudors, the first thing that likely comes to mind is the tyrannical King Henry VIII and his six wives, two of whom he divorced, while another two he had executed for treason. 

The most famous of these is arguably Anne Boleyn — it was her a lovestruck Henry pursued for many years, and it was partly for her the king ultimately broke away from the Roman Catholic church and asserted supremacy over the Church of England. 

But Anne Boleyn will also always be remembered as the Queen who was (wrongly) accused of adultery, and worse, of incest with her own brother, George Boleyn.

While there have been numerous attempts to portray Anne Boleyn and Henry VIII in fiction, non-fiction and in film, the interest in Anne’s brother George has remained moderate. Often dismissed as a courtier who only rose to fame because of his obvious connection to the throne, the image of George — mostly shaped by so-called biographers who wrote about the Boleyn family after their downfall and therefore had their own interest at heart — is anything but flattering: an arrogant and pompous womanizer who mistreated his wife and making his way up to the king’s inner circle by clinging to Anne’s coattails.

In a new book titled “George Boleyn: Tudor Poet, Courtier & Diplomat,” authors Clare Cherry and Claire Ridgway attempt to shed some light on the young man whose life was unjustly cut short n his early 30s.

Both women are passionate about the Tudors, and offer their own explanations on why this particular part of English history has been such a great matter of interest throughout the centuries.

“The Tudors had all that’s needed to make a good soap opera: marriages, divorces, murders, intrigue, plots, torture… the list goes on and on,” says Cherry. “The truth beats fiction any day!”

Ridgway concurs: “I think Henry VIII’s reign, in particular, appeals to people because he’s a larger than life character who went from being a romantic, chivalrous prince to a man people see as a monster and tyrant. People want to know how he became what he did, and they feel sorry for his ‘victims.’”

Clare Cherry and Claire Ridgway paint a riveting picture of George Boleyn. (Photo courtesy of MadeGlobal Publishing)

Cherry who works as a solicitor in Dorset, began researching the life of George Boleyn in late 2006.

“I had never really thought much of the men accused with Anne,” she says. “It’s her who is, rightly, thought about and given sympathy due to the unfairness of the trials and executions. I only knew of George as the brother who she was accused of incest with. 

“Then I read a fictional account in which his character was expanded on, and I became interested in finding out more about him and whether the fictional portrayal of him was accurate. I found out very quickly that there was more to him than that, and the book grew from there.”

Cherry first met best-selling author Ridgway through the latter’s website, The Anne Boleyn Files. When her research on George grew more extensive and eventually became a book-length manuscript, she sent it to Ridgway. 

“Clare had put an immense amount of work into her manuscript, it was so detailed and was fully referenced, but it needed more work,” Ridgway recalls. “There were various parts of the book where I had expertise because of the research I had done, so we decided to carry out more research, then weave [our findings together] and rewrite the book.”

The result is an intriguing portrait of a man who was often overshadowed by his sisters Anne and Mary (Mary was the king’s mistress before Anne even entered the picture). It reveals lesser known sides of the courtier; he was a gifted poet, a successful diplomat, a talented sportsman and very committed to religious reform. 

Though the book is heavy on facts, it is a fascinating read, given the nature and backstory of the Boleyn family. When the authors lack proof, they admit to speculating instead of leading readers on with misconceptions, giving them freedom to form their own opinions.

While they both think George was a mesmerizing character in his own right  and not merely by association, the authors don’t shy away from highlighting his lesser character traits, resulting in a well-rounded profile. 

During her research, Cherry was surprised to find a number of letters written by George that had survived the years. 

“[They are] wonderful to read,” she says. “His character comes across in his letters, sometimes serious and sometimes jovial and sometimes a mixture of the two. I also hadn’t known he was Lord Warden of the Cinque Ports and Governor of Dover Castle, or how influential he was in the Reformation Parliament.”

It is indeed this facet to George that is often overlooked: that he was a skilled and influential diplomat. Some might argue that he only received this honor for being the brother of the queen, yet Henry VIII must have respected him a great deal, or he would never have trusted him with delicate jobs and missions.

“George acted as a courier for Henry’s love letters to Anne Boleyn, he was sent to persuade Convocation of the scriptural case for royal supremacy and he was sent on important embassies to France to negotiate with Francis I,” Ridgway explains. “What I found most fascinating about him was his incredible career and his faith. 

“Both aspects of his life are sadly missing from most fictional depictions of him.”

In this regard, the authors do right by George Boleyn by sharing with the world there was more to the courtier than meets the eye. Maybe his biggest accomplishment was that of being a loving and kind brother, though the affection the siblings shared would eventually cost them their lives.

By Katrin Figge on 01:02 pm Jun 16, 2014

Ayushita, at Center Stage and Lapping Up All the Limelight

Ayushita Nugraha has found success and satisfaction in both the acting and music worlds, and she says she is determined to continue immersing herself in both. (Photo courtesy of Ayushita Nugraha)

The emcee enlivens the audience and keeps them fixated on the jewelry collection in an auction at the Namaaz fine dining restaurant in South Jakarta’s Senopati area. She deftly highlights the pieces’ aesthetic qualities and spiritual energy, an element made tangible by the various motifs of the chakras that represent the individual’s well-being. Most emcees would only skim the surface and not take on the intricacies and complexities of the designs. But this one, Indonesian actress and singer Ayushita Nugraha, is at ease taking them on. For the 24-year-old, the gig epitomizes how all the world is a stage that she’s deftly a part of.

Starting out in show business

“I’ve been working in show business since I was 3 years old, when I was featured on the cover of Ayah Bunda [Father and Mother] Magazine. Even then, my parents noted that I was at ease and happy on set,” Ayushita says. “But then again, when you’re little the job is more of a hobby.”

TV appearances followed not long after, and she was featured in commercials for instant noodles and pharmaceutical products. But it wasn’t until middle school that she tried her hand in acting.

“I was inspired to try acting after I saw the movie ‘Petualangan Sherina’ [‘Sherina’s Adventure’] in 2000. I was raised on Disney cartoons, so this movie expanded my outlook, as it showed me how much potential there was in live-action movies,” Ayushita says. “It also showed me that a career in acting was quite viable, as Indonesian filmmakers were capable of quality films.”

It didn’t take long for Ayushita to get back into the limelight, courtesy of the folks who made “Petualangan Sherina.”

“I went to a casting call in 2002 by Miles Productions, the production house of local filmmaker Mira Lesmana. They were looking for people for their TV movie ‘Bekisar Merah’ [‘Red Hen’], and I got the part. It was a pretty tall order, because it wasn’t just my movie debut, it was also for the female lead,” Ayushita recalls of the film, based on novelist Ahmad Tohari’s tragic love story. “I was part of an ensemble cast that featured Ria Irawan, Cornelia Agatha and Enno Lerian. Working with them was an unforgettable experience, as was the thorough, serious approach that marked the film and my role in it.”

Ayushita did more than hold her own. Her turn in “Bekisar Merah” earned her the award for best newcomer at the Festival Film Indonesia, or FFI, the local equivalent of the Emmy Awards, as well as a nomination for best actress.

Developing acting skills

Since then, Ayushita has gone on to higher-profile and more commercial projects, including 2005’s “Me vs High Heels,” which followed a tomboy hiding a painful secret, and “Bukan Bintang Biasa” (“No Ordinary Star”), a film and recording project two years later. The musical “Langit Biru” (“Blue Skies”) followed in 2011, following a four-year hiatus to finish high school and attend the London School of Public Relations to major in film and performing arts. However, this relatively slow period was still a constructive one.

Ayushita starred in the 2008 soap opera “Zahra” and contributed to the soundtrack of the movie “Ketika Cinta Bertasbih” (“Prayer Beads of Love”) a year later. She also honed her acting skills, notably at actor Slamet Raharjo’s Teater Populer troupe.

That time was invaluable in preparing her for her most challenging role to date, in 2013’s “What They Don’t Talk About When They Talk About Love.” A commercial success and critically acclaimed  love story between a blind girl and a deaf man, the movie broke new ground by becoming the first Indonesian film to be featured at the Sundance Film Festival. Playing alongside arthouse heartthrob Nicholas Saputra, Ayushita explains that her role as Fitri, whose blindness proved no bar in reaching out to and falling in love with Nicholas’s deaf character, Edo, opened her eyes to the challenges faced by her character.

“The preparations for my role included learning Braille and spending over three months at a school and dormitory for the blind to observe them firsthand. Like many people, my first impulse was to pity them because of their limitations,” she says.

“But I grew to respect their determination and independence, as well as their resourcefulness and ability to transcend their limitations by improving other senses,” Ayushita adds.

“My turn as Fitri also epitomizes the approach I take with my roles. I try to know her and other characters I’ve played in the past, just like one would get to know another person. But while others might just make their acquaintanceship, I have to go further and be the person. What makes acting unique is that a character’s interpretation differs from one person to another. The character is also a parable for life, in that they can highlight what makes us similar and different as individuals. Playing different roles also makes me receptive to playing various characters, learning new things, and embracing new possibilities.”

Crossing over to music

Aside from movies, Ayushita has also made a name for herself as a recording artist. Like her acting career, she started out with small steps, namely by performing at school shows. Since then, she jointly recorded the album for “Bukan Bintang Biasa” with fellow actor Raffi Ahmad and the brains behind the project, Indonesian singer-songwriter Melly Goeslaw. She also recorded the single “Tuhan Beri Aku Cinta” (“God Give Me Love”) for the soundtrack of the movie “Ketika Cinta Bertasbih,” alongside Melly and Indonesian diva Kris Dayanti, among others.

Not content to rest on her laurels, Ayushita took her music career a step further by recording her first solo album “Morning Sugar.” 

“I released ‘Morning Sugar’ in 2013, following a concept that I worked out with my older siblings and ‘White Shoes and the Couples Company’ bassist Richard Virgana. We opted for the indie pop genre, as it features a distinctive sound,” Ayushita says of the album, which she also executive produced. “The sound is also influenced by input from American recording executive Jim Powers, as well as other musicians like former Sore Band keyboardist Ramondo Gascaro and Indra Pradana. The process of making the album was akin to that of movies, as we had to find the common ground that would tie the songs together, despite the different sounds of the various songwriters behind the album.”

Featuring singles like “Fufu Fafa” and  the eponymous “Morning Sugar,” the songs are highlighted by a salsa-like sound that is as fast-paced as it is eclectic. Ayushita adds that making music and making movies might have different challenges, but they are all similar in the way that they all highlight the performance arts.

For now, Ayushita says she intends to re-engineer “Morning Sugar” and release it to a wider  market. She also recently wrapped up filming the comedy “Gila Jiwa” (“Crazy Soul”). The movie, which marks comedian Aming’s directorial debut, is set to be released later this year. But whichever field Ayushita opts to move in, it’s not too much to say that the sky seems to be the limit for this rising star.

By Tunggul Wirajuda on 12:01 pm Jun 16, 2014

Democracy Moves Forward With Creative Campaigners Ahead of Election

A design inspired by Belgian Cartoonist Herge’s Tintin comics showing presidential candidate Joko Widodo on an impromptu visit to Papua. (Photo courtesy of Berakar Komunikasi)

Jakarta. It may be too soon to say that this year’s presidential election is an improvement on last time, but if there is anything different from five years ago, it is the level of enthusiasm among voters.

Soon after the candidates were officially announced, a surge of support and criticism for both parties appeared in conventional and social media. Some with more faith even volunteered to take part in the respective campaigns.

Yoga Adhitrisna, the founder and executive creative director of Jakarta-based advertising agency Berakar Komunikasi, said that compared to the previous presidential election, it is a lot easier now to find information about candidates. When a friend at Jokowi Mania — a group of volunteers who support Joko Widodo — asked him for help to create a fun campaign, Yoga volunteered himself.

“Basically, we want to see campaign materials that makes people smarter, more than just political jargon and a giant image of the politician,” he said. “So I wanted to give my take and do the campaign pro bono.”  

He brainstormed with his colleagues and decided to take inspiration from Tintin comics by Belgian cartoonist Herge. Hari Prast, creative director at Berakar who created images for Jokowi Mania, said that he sees similar traits between Tintin and Joko. Tintin travels to many countries to cover stories and solve mysteries, whilst Joko is known for his impromptu visits (blusukan) to many parts of Indonesia. 

“Even people who don’t know about Tintin will be able to relate, because this is how we see the future if Jokowi wins the election,” he said. 

In these images, Joko is drawn wearing a pair of black trousers and a white shirt with both sleeves rolled to give the impression that he is ready to work. Joko’s adventures in these posters are inspired by his visits, to North Sumatra, Yogyakarta, Makassar and Papua. There is also a logo, Gulungkan Baju (roll your sleeves, which acts as both a reminder and encouragement for supporters. 

Prabowo supporters dancing to Pharrell William’s song ‘Happy’ in a video uploaded on YouTube. (Photo courtesy of Sahabat Prabowo)

Hatriyo Wibowo, strategic planner at Berakar, said Joko has a few likable traits, such as honesty, not being associated with New Order tyranny, and a closeness with the people. But above all, Hatriyo and friends say his most valuable quality is that he has a good reputation as a leader who is willing to work. 

“People who vote for Jokowi are people who are action-oriented,” he said. 

In the last several weeks, Yoga, Hari and friends, as well as Jokowi Mania, have been spreading these cartoon images on the Internet. High-resolution images of these cartoons can be downloaded for free from kenapajokowi.com. Feedback is coming in quickly and Yoga hopes people will create merchandize based on these images. These days, Yoga feels people are more politically aware and people want to be seen supporting their favorite candidate. He is currently considering many requests to turn these posters into comics. Jokowi Mania is accepting other artwork that can be used to boost the popularity of their candidate. 

Volunteers for Prabowo Subianto at Sahabat Prabowo (Prabowo’s friends) are also creating fun campaign materials. Sahabat Prabowo chairman Yudha Permana said they were involved in organizing the flash mob at the Hotel Indonesia Roundabout to support Joko Widodo when he was running for Jakarta governor last year. 

“But we always knew that we wanted Prabowo Subianto as our president, and we only did that because Prabowo supported Jokowi as governor,” he said. 

Yudha, who is a property consultant, said he has been spending his spare time to organize campaigns that will appeal to young voters. Many volunteers in Sahabat Prabowo are students who find it easy to come up with fun concepts. They recently released a video remake of “Happy” by Pharrell Williams, which features Prabowo’s young supporters dancing and
clapping to the hit song. 

“We want to show the other side of Prabowo that is not widely exposed,” he said. (It should be noted that the video does not feature Prabowo in person.) 

“People think that he is a very stern personality, a human rights violator, but if you meet him in person, he likes to joke around, he loves books and animals, he enjoys Star Wars and also Korean movies,” he said. “Most of all, he likes comedy and he loves watching stand up comedians.” 

Yudha is currently producing more materials to be released in coming weeks. 

To balance the online strategy, Yudha said Sabahat Prabowo also show up at many offline events, from Car-Free Day at Sudirman, Jakarta, to door-to-door campaigning. They also invite people to come to their headquarters for food. 

Like Yoga, Yudha also feels that this election is different in terms of supporters. 

He sees that many people are willing to get involved in campaigns, especially compared with five years ago. 

“It’s definitely more colorful,” he said. “Both candidates have a strong base, so now it’s both a matter of branding and campaigning to help spread their vision and mission.” 

By Lisa Siregar on 11:10 am Jun 15, 2014

Understated Aesthetics of Japan’s Gifu Come to Town

(JG Photo)

The finely cut pieces adorn the ceiling, looking like tapestries made of clouds. While the delicately cut cats, spiders and beetles command the viewers’ attention, a closer look shows that the devil is in the details.

The fine, wispy texture makes delicate cuts seem unlikely. But the paper lends itself well to the job at hand, as its seemingly fragile, delicate texture belies a little-known, understated strength and versatility.

Known as washi paper, the material highlights Gifu Design Week, the first of its kind to be showcased in Indonesia. Held at Dia.lo.gue Artspace in Kemang, South Jakarta, the papers wonders from Japan’s Gifu prefecture are highlighted by the region’s governor, Hajime Furuta, and eminent Indonesian designer Harry Darsono.

“Washi paper is versatile enough to be made into overcoats, hats and other garments. It can also be made in thin and thick layers,” says Harry, who sported a pair of socks and a wide-brimmed hat from the same material. “Its strength and versatility also make it ideal for all climates. It can also be interwoven with other cloths like nylon and Dacron to tailor it for cold and warm climates, respectively.”

Ieda Manabu, the head of Gifu’s craftmanship association, backs this up.

“Washi paper is delicate but strong, so it’s no wonder that they cost 10,227 Japanese yen or Rp 1.176 million [nearly $100] per sheet. For instance, snowflake Christmas decorations from the material can be reused up to 30 times and retain their quality,” he says, pointing to a number of washi snowflakes that look almost as fine as the real thing. “In traditional Japanese paper lamps such as those made by Isamu Noguchi, their delicately translucent qualities make them shine brighter and have less distortion than their paper counterparts.”

It doesn’t take long to see what Manabu means. Made with a delicate yet durable touch, as well as the aesthetic sense and craftmanship that are trademarks of Japanese workmanship, the lamps range from the ubiquitous round or oval patterns, to futuristic polka-dot and cylindrical shapes. The lamps draw the viewers’ curiosity due to their ergonomic light weight and portability, as well as their unique shapes.

Harry attributes the high price of washi paper to a number of factors.

“Washi is more expensive than silk. While silk can be made anywhere, washi paper is confined to Gifu because it’s made from the leaves of the washi plant that is endemic to the area. It is also largely unknown outside of Japan because of a lack of promotion and marketing, which perhaps stems from the Japanese people’s wish to keep the material a secret,” says Harry, who only heard of washi paper when he went to Japan in 2012. “But I did my bit in spreading the word about washi paper by marketing it in Brunei and Saudi Arabia. I have yet to sell it in Indonesia until I can find a niche market in the country for the product.”

The washi paper isn’t the only star of the show; an array of wooden furniture and ceramic utensils inspired by Gifu’s natural beauty is also a highlight.

In one corner, a so called Step Step stool catches the eye with what looks like a tail. However, the tail turns out to be a shoehorn.

On the other hand, wooden plates shaped like lotus petals appeal to the senses with their aesthetics and ultra light weight. Made of cedar, the plates are simply made by slicing wood from the tree, which is abundant in Gifu.

“The items are inspired by age old traditional designs from Gifu,” Manabu says.

“They are marked for their improvisation, which comes from a tradition of making do with the materials at hand. This sense of innovation makes many of the designs open to influence by foreign designs. For instance, some of the items are influenced by Egyptian jewelry, while some of the animal motifs in the washi tapestry are made by German and Russian artisans.”

The spirit of improvisation also extends to Japanese artist Naruse Kiroshi, who since 1998 has been exploring the potential of paper made from banana leaves.

“Banana paper and washi paper have much in common, namely in that they can be made thick or thin. Like washi, this quality enables it to be made into clothes,” says Kiroshi, who has been living in Bali since 1995.

“One of the differences is that banana leaves are perhaps longer and wider than washi leaves. But since they are similarly versatile, this makes their differences superficial.”

Gifu Design Week

Through June 15

Dia.lo.gue Artspace

Jl. Kemang Selatan No. 99

A,South Jakarta

Tel. 021 719 9671

dialogue-artspace.com

In Cavalia, a Kingdom for a Horse (and a Huge Tent)

(Photo courtesy of Cavalia)

When he was still a child, Normand Latourelle’s idol was Walt Disney.

“Every time there was a Disney movie on TV, I had to watch it,” the French-Canadian recalls. This magical feeling of entering a whole new universe was something Latourelle wanted to recreate on stage later in life. He did so as co-founder of the famous Cirque du Soleil, and is now enchanting audiences anew by creating the spectacular Cavalia and Odysseo, two shows that emphasize the relationship between horses and humans.

“After moving on from Cirque du Soleil, I did a couple of other shows, and one of them required one horse as an extra,” Latourelle says when asked how Cavalia first came into being. “Every time the horse was coming on stage, it was stealing the focus from the performers. That really got my attention. This show — this was back in Canada — went down for many years, and I started to have more horses. I also called some of my friends who were acrobats and said, ‘let’s see what we can do with horses,’ and the idea for Cavalia slowly grew.”

But even though Latourelle already had a vision, it took him quite some time to finally make the decision of putting on a show with animals. The last thing he wanted was for audiences to encounter a circus-like feeling.

“I am still against using wild animals in a show, but I realized throughout the years that horses are like dogs; they are domesticated animals, and they like to be with humans if you treat them well,” he explains. “I wasn’t a horse person to begin with, but the more and more I learned about them, the more I was inspired by the history of horses [and the connection to humans].

“I didn’t want to do a circus, because I understand that horses need space,” he goes on. “I didn’t want to have a small ring where the horses only go around in circles.”

To guarantee that the horses have enough room to move freely, Latourelle created the stage first — 50 meters in length, allowing the horses to run, roll in the sand, and simply enjoy themselves. The sheer size, however, created a new problem.

“With a stage that big, I couldn’t find a tent that would fit that stage plus 2000 seats,” Latourelle says, laughing. “So I had to create a tent as well.”

The Cavalia “village” consists of nine different tents, with the White Big Top housing the stage; according to Latourelle it is the biggest touring tent in the world. It peaks at 35 meters — the height is needed for the acrobats who swing and fly through the air.

“I wanted the audience to feel that they are going into a dream world when they see these tents,” Latourelle says. “I don’t like to create just a show, but a world of new experiences.

“It’s a very sophisticated theater. Cavalia is a touring show, but I wanted to reach the quality of a permanent show, like in Macau or Las Vegas,” he adds. “So we have pushed the limits of what a touring show can do, including the water effects.”

In Cavalia, which later spawned the second production Odysseo and will come to Singapore in August after a stint in Brussels, more than 40 performers — riders, aerialists, acrobats, dancers and musicians — interact with dozens of stunning horses, telling the story of a relationship that has lasted for centuries. In front of a digital background, which is projected onto a 60-meter screen and constantly changes throughout the show, the performance is spectacular and enchanting at the same time.

“The story tells the history of the relationship between humans and horses — it’s a story without words, so everybody can make up their own [version],” Latourelle explains.

Since its 2003 debut, the show has attracted more than four million spectators and undergone significant changes. According to Latourelle, 80 percent of the original show has been modified or completely changed.

“To celebrate the 10th anniversary of Cavalia, I wanted to integrate some landscape. So it’s like a journey through many continents, and the landscape images reflect the places we have visited in the past,” he says.

Cavalia features 11 different horse breeds from all over the world with each having their own characteristics; the pure Spanish breeds make up the largest group among them.

“I like white horses, because they are very shiny on stage,” Latourelle says. “[The pure Spanish breeds] do dressage and they are very agile, and look beautiful with their long manes.”

There are also quite a few American quarter horses, which are extremely fast and can go up to 35 kilometers per hour, whereas the Arabian horses tend to be very joyful and like to play.

“For half of the show, the horses roam around freely. There is a lot of improvisation; sometimes we don’t really know what the horses are going to do, so we just have to follow them,” Latourelle says. “In any other show, like Cirque du Soleil for example, or a musical, it’s a clock that runs the show. Here, everything is run by the stage manager who gives all the cues manually because we are following the horses. That’s also why the timing of the show varies.”

It is extremely important to Latourelle that the animals are treated well.

“We have decided to let the horses be horses — we don’t want them to feel that they have to do something, but instead, when they come on stage, we try to make it into their playground,” he says.

The length of training for the horses depends on what they are doing in the show: the main task for the quarter horses is to run fast during the trick riding sequence, so that’s relatively easy to do, whereas horses that do dressage need years of training.

“We have a place in the south of France where we train our horses, and we also do some training at our farm in Canada,” Latourelle says. “They get basic training before they come on tour, and then we complete the training here. They not only have to know how to perform and interact with the riders and the trainers, but they also have to deal with the lights, the sounds, the applause — so they have to be in an environment that is not natural to them. We have to adapt them slowly. Sometimes it doesn’t work out because the horses are too nervous — they are, after all, animals with a strong instinct. We don’t ask the horses to be human in this show. It may not be perfect — but I like it this way.”

Latourelle also makes sure that the horses get plenty of rest between shows, Since the show moves five times a year, it is important for the animals to go out to pasture at the farm in Canada, to have a good time, graze in peace and meet old friends from Cavalia, the horses that have already retired from the show.

“The company owns around 200 horses, and 65 retired horses are at the farm in Canada which has been bought for this purpose,” Latourelle says.

Traveling with so many horses isn’t always easy, he admits, but can be done.

“We charter a Boeing 747 when we move, and all the horses go into one plane,” Latourelle says. “The horses tend to be calmer in an airplane compared to a truck or a trailer because a plane around moves a lot less. They can get a little bit nervous during take off and landing, but other than that, they take it very well. They always travel with grooms, technicians and a veterinarian. Once in a while we need to sedate the horses that are too excited, but that happens very rarely.”

Looking ahead to August, when Cavalia will come to Singapore, Latourelle says he is excited about exploring the Southeast Asian market — and the timing seems better than ever.

“We have been touring for 10 years, and for me, coming to Asia was a must,” he says. “Opening in Singapore and getting there during the Year of the Horse, that’s fantastic.”

Latourelle says that looking back at the last decade, he is still amazed at what Cavalia has achieved.

“I never envisioned owning a horse — now I have 200,” he says. “It changed my life totally. I really fell in love with horses.”

By Katrin Figge on 01:58 pm Jun 13, 2014