Flaming Wombs, 2018
Flaming Wombs, 2018
Flaming Wombs, 2018
Flaming Wombs, 2018
Flaming Wombs, 2018
Flaming Wombs, 2018
Flaming Wombs, 2018
Flaming Wombs, 2018
Flaming Wombs, 2018
Flaming Wombs, 2018
Flaming Wombs, 2018
Flaming Wombs, 2018
Flaming Wombs, 2018
Flaming Wombs, 2018
Flaming Wombs, 2018

Flaming Wombs

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The on-going topics about gender equality and the roles of female have inspired Rummana as a woman artist. While acknowledging natural distinctions between man and woman, Rummana specifically questions the persistent belief that female is less capable than male. Through her performance and installation, The Flaming Womb, she invites us to revisit a lore which dates back to a few centuries ago in this archipelago, where females encompass exceptionally vast roles which, in addition to catching up with the “feminine” ideals such as managing households, cooking, and dancing, often include mastering and advising the “masculine” arts such as governing or taking up arms.

Selecting three records as her case study, namely: Prajurit Keparak Estri, Gayatri Rajapatni, and Ken Dedes; Rummana highlights women’s pivotal role in building the deeply-rooted and culturally rich civilization we inherit today. She then raises the question of why such roles are not upheld nor practiced in a nation that claims to have strong cultural beliefs.

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Durational Performance

Mixed media; wood, clay

Flaming Wombs is part of Dia.Lo.Gue exi(s)t Program 2018

Dia.Lo.Gue, Jakarta

Msitake

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Msitake is a piece that coveys an idea about a revelation of becoming something. 
Resiliency and perseverance plays a big role in achieving target. Dopamine’s association in going through a process opens the door in maintaining perseverance. Dopamine is a “feel good hormone” works inside the body produced by the neurotransmitter. That “ding-ding-ding” feeling when you achieve something. Working and making efforts is linking more towards struggle and unpleasant feeling. But our imagination in order to create that “feel-good” effect is a major role to keep that spirit burns regardless mistakes during the process.

About the performance:

Msitake is divided into 2 sites

"Yang ada di Benak" is the artist's fragments of thoughts and natural response to Bach's Air on the G String. It also tells the artist's relationship to the song, a nostalgic background. 

"Tengah Latihan" is the main installation. It is an analogy of the process of achieving target. The artist chose to learn and study the piece of Bach’s Orchestral Suite No. 3 ‘Air on a G String’ for at least 3 months until the performance day. The practice session is recorded into 3 parts, showing the progression every month. On the performance day, the artist portrayed that the song was still a work in progress. It has not reached perfection yet. 

 

Performed at Sepersepuluh Jakarta, 2018

Documentation by Kelvin Atmadibrata and Aziz Amri
 

performance art visual fire
performance art visual fire
performance art visual fire
Ideal-I
performance art visual fire
performance art visual fire
performance art visual fire
performance art visual fire
performance art visual fire
performance art visual fire
performance art visual fire

Ideal-I

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Mirror stage is a psychoanalytic theory coined by Jacques Lacan. An occasion whereby the discovery of the ‘self-image’ and ‘self-identification’ has taken place in one’s consciousness. As early as 11 months of age, we have developed a capacity to construct an image or form and also to identify with them. A child’s competence to build an ‘ideal’ representation of themselves is conveyed from within his own self- This is a realm of formulating and recognizing a narcissistic behavior, it is also where you start to acknowledge the presence of Ego.

 

About the performance: 
One of the water’s nature is to reflect one’s image. The exploration on the ‘self’ and to cultivate the existential being of one self is communicated through the medium of water. The projections of an ideal self is epitomised through series of potraits and replicas of multiple objects. Though, in reality, the desire of becoming the ideal is often conflicting and unattainable.

This is a self-devised piece. Performed in 2018 at Sepersepuluh Jakarta.

CRITERION A

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The piece is an interpretation of how 3-8 percent of women struggle with a Pre- Menstrual Dysphoric Disorder. A recurrence of fighting with both physical and emotional symptoms; depression, mood instability, hollow, and the feeling of losing control.  The reality about menstrual cycle is powerful, unfortunately a lot of women choose to slip it under the rug. The visual interpretation follows a sequence of the luteal phase in woman’s cycle who suffers with PMDD.

 

Performed in 2017 for Melaka Arts and Performance Festival

This is a self-devised piece

LOCKER ROOM

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Locker Room illustrates for a responds to the commonly perceived dogma: The parameter of ‘freedom’ is considerably greater in mankind, yet far more inhibited for womankind. An exploration of the insignificant limitation between 2 males and a female individual.

 

Performed in 2017 for the Melaka Arts and Performance Festival with fellow performers Kelvin Atmadibrata and Aziz Amri 

MEMBANGUN TANPA PAKU

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Inspired by Shibari, a discipline of Japanese rope craft- often associated with BDSM, the durational performance looked into the context of rope outside erotica. By citing a classical Javanese narratives “Serat Gathaloco” and modern historical references, the presentation starts with 4 solos performed simultaneously followed by riddles posed as a monologue. Performed in a loop every 15 minutes of physical movement, throughout the duration of 5 hours in attempt to achieve fatigue that dwells intimacy into both submission and dominance. 

 

Performed in 2017 at the Taman Ismail Marzuki Jakarta with Yuzuru Maeda, Kelvin Atmadibrata, Aziz Amri

This piece is devised by the four of us.

Qahwah Ep.3
Qahwah Ep.3
Qahwah Ep.3
Qahwah Ep.3
Qahwah Ep.3
Qahwah Ep.2
Qahwah Ep.2
Qahwah Ep.1
Qahwah Ep.1
Qahwah Ep.1
Qahwah Ep.1
Qahwah Ep.1
Qahwah Ep.1

QAHWAH

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Qahwah is a triptych performance on the theme of coffee- in particular its mythology, historical (and fictional) geography as well as its position/s in modern society. 

The three parts durational performances carry developing themes and anecdotes. Paying references to formal techniques of story-telling- also a rather romanticised approach towards past, present and future, Qahwah  presents two performing bodies within a site-specific installation created for Kopi Kalyan.

After each performances and during several days intermissions, remnants and photographic documentation is added into the Rumah Seniman section of Kopi Kalyan.

Performed in 2017 at Kopi Kalyan Jakarta

This piece is devised by Rummana Yamanie and Kelvin Atmadibrata