Rikma Mukswa 2
Choreographer : Oky Bima Reza Afrita
Dancer : Oky Bima Reza Afrita
Wildan Alief Kanu
Hana Nur Azhari
Nilam Ayu Wulansari
Dhalang (puppeter) : Elia Yehosyua C. Agapetus
Keparak : Devi Eka Aryani
Dinar Kurnia Kumara Dewi
Musician : Jefry Sasongko
Make up : Arma Dwipa Setya Dharma
Hair do : Dheny Listyan
Documentation : Ayu Wijaya Darma Jati
Technician : Cahyo & MATA TILAS
Rikma Mukswa works presented in the form of choreography environment, reveals about the inner conflict of the fight choreographer for treating hair to long term. The conflict is composed of two factors, namely the problems of the environment / people around and of themselves. Then the choreographer found the solution of these problems through "ruwatan" ceremony. In a ceremonial procession procession ruwatan there are five that are considered essential, namely sungkeman, kirab, kidungan, tigas rikma, and the last siraman. Sungkeman interpreted by the choreographer as demand blessing to parents / elder person. Kirab by choreographer, interpreted as one's journey in life to take, including the struggle for someone to achieve something. Then choreographers interpret kidungan contained in puppet with the play Murwakala as prayers were being said to God Almighty to enhance human struggle to achieve something. Fourth, Tigas rikma interpreted by the choreographer as a way to honor his struggle to care for long hair, because by cutting his hair through this procession, choreographer believes that the struggle is carried out not in vain. One final procession, siraman is interpreted as an effort of self-purification of water as one of the elements of nature that have utility cleans.
Through the choreography Rikma Mukswa, choreographer wanted to convey that to live a life in this world would require a struggle. Every struggle must have its own storyline. For example, the fight choreographer for treating hair to long term. There are so many twists and turns of the inner conflict faced by the choreographer to lengthen hair. According to the choreographer, the struggle must not be forgotten, either uphill battle and the struggle of light. Any light the struggle waged by someone, there must be a proportionate result. The choreographer also like to invite the public to appreciate the struggle of small and light as any. In addition, the hair is interpreted as the crown also needs attention. As expensive and as beautiful as any we have had if the crown cause soiling / unfortunate for us, then the crown will not be the crown that was appreciated by the people.
To realize the artworks Rikma Mukswa, choreographed using three methods. First, methods of spatial physical and spiritual, that recognize the physical space (five senses) and spiritual (psychotherapy). Second, methods of conscience, which is looking for comfort fit dots conscience of each. The conscience is believed by the choreographer is in the middle of the chest. The latter method is improvisation, exploration, composition, and evaluation. Using the three methods, the work Rikma Mukswa was be staged in a natural environment. Rikma Mukswa was disclosed by the pattern of work on group choreography that contain elements of dramatic and has a clear structure.
Enjoy my Choreography.
Oky Bima Reza Afrita