Indonesia - Sweden Lab

D_LAP #1



D_LAP dance laboratory project is a research and development project that seeks to explore intercultural understanding, philosophical perceptions, technical and methodical approaches in choreography, dance and performance arts through stimulating critical discussions and practical exchange. D_LAP affords participating artists a rare opportunity to explore and expand ideas, as well as questioning and understanding the influence of cultural and artistic diversities.
Establishing a transnational network between Sweden and Indonesia supporting self-sufficient artists is a main goal, with the long term intention of creating greater understanding, tolerance and space for emerging cutting edge artistic work. D_LAP invites artists from different cultural backgrounds and regions, however it does not focus on cultural or national representativeness. All together the project seeks to promote and stimulate critical discussion about the arts while bringing attention to DIY-methods, artistic strategies and cultural persistence.

D_LAP is an art project enacted by the setting up of a working space where differentiated parties can engage in the (at)tensions activated by the crossings of each other’s art practices, politics, ethics, cultures and daily life. A project therefore conceived as an ethical encounter, by the dwelling of a relational landscape, where differentiated motives, working strategies, tools and conditions may be examined, exchanged, and jointly developed.

D_LAP invites participants from various artistic and scientific fields of practice to reflect upon some of the crucial issues around which we build the conditions for living together, whether in art or daily life. These issues will be addressed and challenged in both bodily and intellectual terms, by the enactment of each other’s choreographic and performance practice, and a continuous exchange of thoughts and concerns.

The project which is held from August 2012 – February 2013 is initiated by choreographer Cristina Caprioli/ccap, artist Tina Eriksson Fredriksson/ccap, Sweden, and artist Melati Suryodarmo/Padepokan Lemah Putih, Indonesia. With the support from the Swedish Arts Council and SIDA through actor driven corporation.

Laboratory concept
The laboratory will run under a working frame, which is prepared by the facilitators. The facilitators will provide a basic concept and focus named spoon proposal. The facilitators arrange and put the program together. Facilitators will arrive earlier in order to develop structure and schedule together with the organizer.
Concept and focus is proposed by the facilitators. Laboratory participants are invited/expected to flexibly respond to these within the laboratory. All participants are welcome to give a kind of presentation, performative open lecture, based on their practices, experiences, thoughts and concerns.

Laboratory Activities
Philosophical and Methodical encounters
Physical practices
Informal seminars and open discussions
Choreographic interventions and collaborations
On site realization and open public activitiesPractical Application
1. Introduction and leading process
The facilitators are responsible to introduce the program, based on the concept. They are also expected to lead all schedules, arrangements, timetables, logistics and technicallities.
2. Sessions
The sessions provided can include that artists may offer a specific technique, exercise, interest and concern, or work of art to explore and develop with the group. It should be discussed and planned beforehand with the group. Choreographic interactions and site-specific interventions, also to be planned in advance.Main characteristic of the applied practices – low-tech and back to basic
The laboratory is basically deriving the most basic capacity of facilitation. It is meant to remain simple in terms of its practical structure and the use of means. Electronic devises, laptops, projectors, speakers, or other devises should be used only when absolutely needed and can not be provided by the lab. This means that anyone who wants to use such devises should be able provide and solve the situation by her/himself. All sessions will be documented by the documentation teamin order to provide archival needs and further research on the laboratory itself. If there will be need to exchange written information and video documentation, we can put all documentation materials at the library desk.


Wasi Bantolo is a dancer, choreographer whose works are strongly based on the traditional Javanese dance. He is also lecturer at the dance departement of Institut Seni Indonesia Surakarta (ISI).
Wasi Bantolo has been creating pieces which are mostly related to traditional epics and present the work as dance theatre and opera. Among his many creations, his recent successful piece was Kayungyun – the topeng opera.


After more then two decades of continuously innovative work, Cristina has gained the indisputable position as one of Sweden’s foremost choreographers. Her choreography is marked by clarity, stringency, and precision, but also by its complexity and strong physicality. Cristina’s interest lies in structure and disorder. She works with units and links, task and restrictions, rules, games, logic, counter-logics, and hypothetical strategies: to resist habit and unfold potentiality, to induce form and unleash other meaning, to construct and question, examine and respond. Cristina’s choreography acts as critical discourse and therefore demands, but also generates attention, and participation.
Cristina’s interest for theory and mediality marks all of her work, on stage and beyond. To practice, investigate and develop these interests she has produced the festivals Talking Dancing (1997) and Movement is a Woman (2002), the research projects t.lab (2004) and after cover (2009-2011) as well as edited and published the dance anthology Choreographies (2008). Cristina works also with film, such as BODY-interrupted (2001), a commission by Tate Modern, and the worldwide acclaimed in-(site)sight and 2soon(2005), as well as with digital technologies, such as in the productions on point(s)only(2007) and decover (2008). Currently embarking a longterm investigation of text, firstly by the upcoming production textduo.

Since 2008 professor of Choreography at the university of Dance and Circus in Stockholm, where she 2009-2011 run research project after cover and current Weaving Labour of Politics with the support of the Swedish Research Council and in coproduction with ccap. In 2012 resulting in the international symposium WEAVING POLITICS


Tina Eriksson Fredriksson has collaborated with ccap in cloth (under cover), 72 solos, cover11, cover22/1, cover22/2 (2011), cover22/3, cover22/4 (2012), and TREES (2011 and 2012), WEAVING POLITICS, DAY WATCH, NIGHT WATCH, Kant (2012). She continues to collaborate with Cristina and ccap in ongoing and upcoming projects during 2013. Tina is educated at Academie of Fine Arts in Umeå 1988 – 1995. Project manager for The National Arts Council 1997 – 2005, initiator and later manager for the visula arts space VITA KUBEN at the NorrlandsOpera in Umeå, artistic director for the MADE festival in Umeå 2006-2011, currently working as curator for the inaguration of the Culture Capitol 2014 in Umeå parallel with the ccap activities.


Halim is an independent writer, performing arts critic, cultural networker and curator fro performing arts festivals. Since the early 1970’s he has been continuously  writing reviews, criticism, essays on theatre and other arts on Indonesian media. Besides his career as editor of various arts journal and publishing house,  Halim HD has been tirelessly contributing and devoting himself to organizing countless discussions on a wide variety of topics to do with arts, culture and society in Indonesia, as well as organizer of ground breaking festivals and conferences. Among them included the Sarasehan Satra Kontekstual – a debate on the nature of Indonesia Literature (1984); Nur Gora Rupa – art and performance festival in Solo (1994); National Theatre Festival (1994); Makasar Art Forum (1999), Palu arts festival (1999); and since 2009 he created the Mimbar Teater Indonesia – Indonesian teater festival in Solo. Halim HD has spent also his time for teaching and giving workshops and lectures abroad, included in the USA, Australia, the Philipines, Thailand and Japan.


Emelie Johansson has collaborated with ccap in cut-outs & trees (2010), cover2, cloth (under cover), cover11, cover22/1, cover22/2 (2011), cover22/3, cover22/4 (2012), and TREES (2011 and 2012). She will continue working with ccap in 2012 in ongoing and upcoming projects, as well as contrinuite to office work.

Emelie is educated at Balettakademien Stockholm, DOCH and academic studies at the Stockholm University a.o. She has performed in works by Swedish choreographers Rasmus Ölme, Anna Koch, Malin Hellkvist Sellén and german artist Tino Sehgal. Emelis has also performed in musicals at the Royal Dramatic Theatre and choreographed/produced/performed with the constellation Ratatapang.


Love Källman is now in the first collaboration with Cristina Caprioli/ccap. Educated at the Royal Swedish Ballet School, and later trained in the “wind witches technique” by Eva Lundkvist and “Gaga” developed by Ohad Naharin. Love has performed in works by choreographers such as: Björn Elisson, Eva Lundkvist, Xavier Le Roy, Virpi Pahkinen, Malin Elgan as well as an extensive movement collaboration with Sebastian Lingserius. Love is a cultural and political activist; organizing festivals, arranging seminars and holding lectures in schools and other social spaces.


Madeleine Lindh has collaborated with ccap in cut-outs & trees (2010), cover2 and cover11 (2011), cover22/1 & cover22/2 (2011), cover22/3 & cover 22/4 (2012) and TREES (2011 and 2012). The collaboration with ccap continues! During 2012 she will, beside tipping, tilting and twisting, be in charge of editing of ccap video documentation.

Madeleine is educated at The Royal Swedish Ballet School. She has danced with Europa Dance Youth Company where she performed in pieces by among others Mats Ek, Hans van Manen and Thierry Malandin. She then joined D.A.N.C.E (Dance Apprentice Network aCross Europe), and worked with and performed in pieces by William Forsythe, Wayne McGregor, Angelin Preljocaj and Frédéric Flamand. Since returning to Sweden she has mainly worked with choreographer Björn Säfsten and Cristina Caprioli. Madeleine has initiated the dance film project BodyMap together with the interdisciplinary dance film group Rhododdendron.


Wahyu Santoso Prabowo
 is considered as the master of javanese classical dance who also teaches at the Institut Seni Indonesia Surakarta (ISI).

As choreographer and dancer, he has been collaborating creating dance works since the 70’s. Among the works are: Dramatari Martoloyo (1976), Rudrah (1979),Harya Penangsang Gugur (karya bersama,1980), Langendriyan Ranggalawe Gugur (Karya bersama, 1981), Bagawadgita (1984), Bromastro (1984), Duryudana Gugur (1986), Priyambada Mustakaweni (1987), Bangun Taman Maerakaca (1989), Condhobirowo (1989),Karya Dramatari Sang Budha Gautama (1990), Kiblat Papat Lima Pancer (1992),penata tari drama tari topeng Panji Asmara utk peresmian Kansai Air Port Osaka (1993), drama tari topeng Angreni (1994). Dramatari Kolosal Gatra Mahakarya Indonesia (1996), Karya tari Topeng Polah Tingkah (1997), Dramatari Mimi Mintuna (1997), Adeging Kraton Surakarta (1998), Dramatari Sawiji (1998),Umbul Donga (2001), Luluh Ngrengkuh Penggayuh (2003), Wrahatnala (2003), Satria Purusa Tama (2005), Mintaraga (2006),Koreografer Wayang Budha (2006), Pucang Kanginan (2006),Tim Kreatif dan Artistic Director Maha Karya Borobudhur (2006), Sang Bhima (2007), wayang wong alternatif Risang Wrahatnala (2009), Bathik Kumandhang (2010), dan masih banyak lagi karya karyanya.

He also composed and arrange the music for dance pieces, among them are Tari Srimpi Topeng Sumunar choreographed by Irawati, Oncat choreographed by Irawati, Bedhaya Candrakirana choreographed by Nora KD, tari Sesaji choreographed by Nora KD dan Hadawiyah, and Tari Bedhaya Diradhameta MN.


Born in 1978, lives and works in Jogjakarta.  Fitri Setyaningsih is a dancer, and choreographer. She studied at the Indonesian Art Institute (STSI) Surakarta.  Fitri Setyaningsih has participated in many dance performances as a dancer as well as a choreographer and director.  Her works are mostly involved with her observation of social phenomenon.  Over the past few years, Fitri Setyaningsih’s works have been crossing the border between performing art and performance in a visual art context. Among her works are Hampir Plastik, Datang dari Bawah, Bintang Hening.


Melati Suryodarmo’s performances have been dealing with the relationship between a human body, a culture in which it belongs to and a constellation where it lives. Through the presence, she compiles, extracts, conceptualized and translates some phenomenon or subjects into movement, actions, and gestures that are specified to her performance. Melati Suryodarmo´s performances concern with cultural, social and political aspects, in which she articulates through her psychological and physical body. Her performances feature elements of physical presence and visual art to talk about identity, energy, politics and relationships between the body and the environments surrounding it.

Melati Suryodarmo is an Indonesian born visual artist who lives and works since 1994 in Germany. She was graduated at the Universitas Padjadjaran Bandung in Socio and politics sciences, and Hochschule für Bildende Künste Braunschweig, Germany, focused in performance art and Raum Konzept. Suryodarmo has created over fourtys works of performance art, photogaphy, and videos, among them are “Exergie-butter dance”, “lullaby for the ancestors”, “The Black Ball”, “Ale Lino”, “Perception of Patterns in timeless influence”, “Conversation with the Black”, “Passionate Pilgrim” and recently “I’m a gjost in my own house”. She has presented her works in various international festivals and exhibitions since 1996, including the 50th Venice Biennale 2003, Marking the territory, IMMA Dublin. e.t.c. In 2005, Melati Suryodarmo has performed at the Van Gogh Museum Amsterdam, during the Exhibition of the Life of Egon Schiele in 2005; Videobrasil Sao Paolo (2005), Haus der Kulturen der Welt Berlin, 52nd Venice Biennale dance Festival (2007), KIASMA Helsinki (2007), Manifesta7, in Bolzano, Italy (2008),International women Biennale, Incheon Korea (2009),In Transit festival, HKW Berlin (2009), Jogja Biennal XI (2011), Alcantara Festival (2010), and Luminato Festival of the Arts, Toronto, 2012, etc.

For the Padepokan Lemah Putih Solo Indonesia, she has been organizing an annual Performance Art Laboratory Project and “undisclosed territory” performance art event in Solo Indonesia.

Time Table

August 2012
A four day research trip to Indonesia. Cristina Caprioli and Tina Eriksson Fredriksson meet up with Melati Suroydarmo and Indonesian artists in Solo to connect with potential partners.

December 2012
Melati Suryodarmo and five artists from Indonesia visit Stockholm to meet up with ccap crew and studio. Final planning for D-LAP choreographic lab is set together by the whole group and works as a starting point for the common project. The meeting coincides with and links itself to the International symposium Weaving Politics initiated by Cristina Caprioli and ccap.

January 2013
D-LAP, a seven day long choreographic laboratory project. Daily discussions, informal seminars, and choreographic interventions are shared and created throughout the whole process. All carried out as practical and philosophical encounters. Parts of the lab are made available to the local community in a number of open activities.

The lab is carried out over seven days. We suggest the schedule as follows:

Sunday, 27.01.2013
09:00 – 10:00 Introduction
10:00 – 12:00 Session 1
12: 00 – 13:00 Lunch break
13:00 – 14:00 Session 2
14:00 – 14:30 Coffee Break
14:30 – 16:30 Session 3
16:30 – 18:00 Extraction (?)
18:00 – 19:00 Dinner
Monday, 28.01.2013
09:00 – 10:00 Introduction
10:00 – 12:00 Session 4
12: 00 – 13:00 Lunch break
13:00 – 14:00 Session 5
14:00 – 14:30 Coffee Break
14:30 – 16:30 Session 6
16:30 – 18:00 Extraction (?)
18:00 – 19:00 Dinner
Tuesday, 29.01.2013
09:00 – 10:00 Introduction
10:00 – 12:00 Session 7
12: 00 – 13:00 Lunch break
13:00 – 14:00 Session 8
14:00 – 14:30 Coffee Break
14:30 – 16:30 Session 9
16:30 – 18:00 Extraction (?)
18:00 – 19:00 Dinner

09:00 – 12:00 Session 10
12: 00 – 13:00 Lunch break
13:00 – 14:00 Session 11
14:00 – 14:30 Coffee Break
14:30 – 16:30 Session 12
16:30 – 18:00 Extraction (?)
18:00 – 19:00 Dinner
Thursday, 31.01.2013 Trip
06:00 – 08:00 travel
08:00 – 10:00 arrival
10:00 – 12:00 Session 13
12: 00 – 13:00 Lunch break
13:00 – 14:00 Session 14
14:00 – 14:30 Coffee Break
14:30 – 16:30 Session 15
16:30 – 18:00 Extraction (?)
18:00 – 19:00 Dinner
Friday, 01.02.2013 Trip
09:00 – 12:00 Session 16
12: 00 – 13:00 Lunch break
13:00 – 14:00 Session 17
14:00 – 14:30 Coffee Break
14:30 – 16:30 Session 18
16:30 – 18:00 Extraction (?)
18:00 – 19:00 Dinner

Saturday, 02.02.2013 final gatherings and preparation for a possible public activity
Sunday, 03.02.2013
Public showing from 14:00 – 18:00 PM

D_LAP is supported by