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P'l'Ie~fac:,e'

n'lll~ Fe.sl~val;If lndonesi In Ped'om1lance' pres {

,nb~d 320 hnjonesian arti!SLS, in the Unit.ed St:a es, The ,pro· 'In shalFingl

glfiillm rreJ!u'ie:5ilJinleidhe II:ar'9:~iil single pelil'orllT'll~rng '~ouring ilrnMtiilt1~e i~1'the lJInut.ed SL1l~Eosr!l.lrlllgi 19'1)<·91. t arb d

'lheilf arLinry and Ithirr hllJmanr~., these ,lIlilists h~d ~ dil'i&land powerful impact 'on ,AmMcan audiences" liley, in tum. wer-e deep~y ~trected by 'lhe expef~e'~(ie of perform i119in ~he Uni'~edl'SU1LeS" ,i1!:Ii1d many in
(~Sel.,

g,arned

,ill

deeper appr,ecia:·

lion of: ~heif own arts by \lirlue

iJ~' ~his

out:5:id'e<l'1fl'£ogllii~tlon. new rei ilionships, wtLh li!i'l~ema~ anal pMltnenhlps, ,e!',eated at many

Th~ 1~lltsliWlIor Indonesia In Perkurmancero:rged

11"~veI5.A dl,vei:S>egnJup '0'1 people" {'!!l)ong them ,ilIlFI.li$U and scholiHl frorn boU~ countrie.s" wer,~ invo'l~edin the dilf Icuh. proc.ess or cf,eaUng an ;overall 'l;i'n~iorn, 'the for
pfiO<girilm (I'lfldi

giving ~L!1I15lrucUJr;e. They !pai1Jkipal,ed bocalJse of their deep

enduringl GOmmilmen'L 'to In:donle:sia's peJ10rming arts. lhe In ,Petfom1lanci!' progrom was ,ii, s'trong beg,illlll1i'l1g 'l,o a proc,eSiS thall i5 IlO,~d willi mlltinue' af into, the future. There is, ilim ~'jwItrnordil"l(jry plethora is to oeiil'le new opporlunitie,
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or pe:rforming illra 'rorms tiI1at e·:<isl in, Ill'Ido.l1~'ilialoday. The' ci1allerng)(!'fm t1~e~riJIlurn'
OUf

and to el(pand

p'resenl'Uions of 11'1 'ollle-sipiFI pefil'orminQI ~rb in the Uni~ dI :5ltiUes .•

thel'l 'b~ blJlt:fdingla w,id r ap' mdaticm of their r! hness and divl'!fSlity.

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Ove rv I ew

The Festival of lndonesia's In Performance program presented twelve differen t performing arts tau rs, in twenty-four states and Washington DC. It encompassed some 153 public

reaching fifty different communities performances

and 75 cultural exchange and academic activities, attended

by over 90,000 people. Distinguished for their

artistry and authenticity, the groups' 320 members presented the broadest range of Indonesia's performing arts ever to be assembled outside the archipelago, found anywhere in the world. The In Performance program received substantial media coverage, including local and national television (CNN, NBC's "The Today Show," and ABC's "Good Morning America"), national and local radio, and national magazines and newspapers across the country; The New York Times, Wall Street Journal, the Washington Post, the San Francisco Examiner,
5

introducing American audiences and critics to one of the richest cultural mosaics

Dallas Morning News, Philadelphia Inquirer, Boston Herald, and Atlanta Journal, among many other others, published indepth profiles and press reviews. In a look at the the performing arts, events for 1991, the San Francisco Examiner named the Festival of Indonesia program as one of the most innovative of the year. Within the professional performance program was officially recognized for its outstanding achievements. community, the In Performance

The group Music and Dance of Sumatra received a excellence. The In Performance program was

1991 New York Dance and Performance 'Bessie' award for performance selected as a recipient of a 1991 Isadora Duncan Award for "deepening myriad dance forms of Indonesia, from Bali to Sumatra."

the [San FranCISCo]Bay area's awareness of the

Child...,.

D' ..

It

Idll, A:)'I! (;iillll~.~IIItUI 1I.i!IJJI1IJIDlIn'l:e,~

ChlidJm
(,aaper

or ,il\I7I1,

flw~o: Rlch·~1

In association with the Embassy of the Republic of Indonesia, the In Performance program produced

and managed

the

Festival's official opening gala at the John F. Kennedy Center for the Performing Arts. Featuring more than 150 artists, this two-hour concert in the nation's most visible and politically important performing arts center formally introduced the American public to the Festival. Working closely with performing arts presenters in major US cities, the In Performance program coordinated amounted to local Indonesian performing arts festivals throughout the country. what

Many cities hosted more than one D.C., Philadelphia, Boston, look at
7

performing arts group.

Los Angeles, New York City, the San Francisco Bay Area, Washington

Atlanta, Iowa City, Rochester (NY), and Madison (WI) were among those which offered the most comprehensive the performing arts of Indonesia. The program also scheduled performances to complement

other Festival events; for coincided with

example, in Dallas, Atlanta, New York, Washington Festival-sponsored visual arts exhibits.

D.C., San Francisco, and Cleveland, performances

The In Performance

program also sponsored a professional training program which brought Indonesian arts profes-

sionals in related fields to train in the United States. Two participants studied lighting design at New York University and University of California/Los Angeles. They also undertook short-term working internships at performing arts venues such as the Brooklyn Academy of Music Opera House and the Joyce Theater and worked with the In Performance program's Production Manager and lighting Designer, Stan Pressner. Another participant interned at the Smithsonian DC.

Institution's Folklife Festival in Washington,

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In~h~' US~ ~.e In IP~rf\Q:rm(jfil,ce program WilliS lrigorously

managed and producl'!d 10111 budge:~ of ~S,2rOOOltOOO'.. .50% of a
!tie' .remaining :Sl rCiOOtOOO' pali~ Iby pf\e.5ien'~er-s who

~nese:money;!; ~~.e gmnted by 'dle: :~ofd FOllJnIdJil~iorl!i and ARClO w.il:h
ho~l~d~h~In P~nrormiiln,e lpimgram Unrou:gin,out tle IJlIlftfldS:tates.

Artis:ticany~ oll'ig:~ni\l.atfo:nall.'Y~al1dnandalll,y.,lhe IjOilCOgram'.s muk~dsucQ!ss wasllhe::d~redI'i~u!t of unlqlU~' parl:n!l!f~ n ships dev<e~oped b~t\iV~~1ilea'r:tistic;, IPrlv,alte 1\o:undilliticm~oo:l1Jornte an d admin~:s:trative oommunitles of" Indonesia anci U~e

Unile~1,SltateS;' ~nmf,S: alll:istic,outlQoi~ IP!limning and mEirJrnods or~ im;p:re:m,enutioll,; iF,estlvaillof Indon:e5iai's ifII Perfo:lit'I1ance

pf'tog ram ,cJ~ea~ool a

fIIEW

,aml highly suocesdul mod1e~ ~Of c:ro5s..cultufa'l,e~changie in the perrorming ,~trts.
"

Artist I:c 'Q'b'Jei£t:h/'e:s,

hill 198 B,t,ll d ~tinguished group of Indon~i'aniillrl:lst:;s

and ,schoillus m!l, to '~irmu!alte the ,arili5~C

mo,~irvat!:o:n define areas of co.n(!etflforr' the In peliol'm!!Mll;OB lP~graM. Adv~!ionycommiuees al~ld
[Irildone]ia and Ame;rica. Out ·o.'f 'U"le3e}blVOfb:rmal

wer,e then formed hi

\¥Or~in:g commiUees welle orglilniz;ediil!ndi the UlSA coordinam:r:, ,Rau:hel

Cooper, was hir«il. Subsequent!y~ Amnill iKYsumo was ti!]recl ,alS .Msis~ill1~. lelifol'm~r:l:~1 r~ Cooil'dinaitor and Head .orFIth~ P A ~'I1!d'one5ian ProcluCil:ion [Boa~., ~~dc"esia(s .Ams~l~ .BOllrd w,a~ hea:dool by Ss!rdor'llQI W. Kusumo. aJmdiilndl!tdled ~Mid~ Bi!Jl1diem~ :Hastant'O.~ 1r;i!Jvatili Sri C1QlrlS!itrlted A!t'a!'!Feim~ehll~Kathy Foreyr Judith Mi~'Oma. Sail ,of

:SudiaJ~'O and INalnc Rllantiamg. llne USA work]ng' c-ommitllee

Murg~nitol

:Ra'~,p'i'nl :5amu~~~o.~~ Indo

Svandia.. R. A:nci'ersorll:Sl!JnOI1~iLnd Phulip "!(llIlmpolsky,
ongoing ~vfl:~ua~tonr ,illli'lldi

fheartis~c: 'goa~s and o!bJ:ecUve.s. of ~Iile'pmgl1Jm as: outlined Il}elow were determinedl r:aindy b:y these wort~ing
ClommiUees and ~hlli!'C:CU:II"("ii'l!1Iamrrs. [hrcu.!lgJh ci!!reh'\!il aCival'lC!eplannifl:S!. frequent oo'liisuna!tion,. Ga.reJtl!'ll impl\emeU1i:tllltiOf\ 1l1Le Qal~ del]nred by these 9 !fou,p,cs g wereSLu:ces~~u~~iylliChi~d.

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I'm \IIN,

AliI/USA

I'rrfnllunllli .11l",nll.t1I1I<1IIIUIl. IlltlWr\II~' III AtlWllD, '11<111"'11\'11hy Ilmwl\UY III M!lOlld. SIIpl IU, (1)'111 lour ul III UII: D~rrt !dIU SViti 211. It}ij(l Sandrut Bin hrwltl,
TQpen9 Dancer, In Topel19

1'41l1rdlllllwll'~dlnnJl~ .Illlvttil" und IItlillcr with M~AIt.lII·'\II1l'rllali L'hllllh'lI, !It'111 211. II)i~J 1.l'(lllIl'·lll\rnutl~lfiI"nl1 nil Ikrlln~ dnncv antlli<t,JJ.
"''''~~hllfl ~t IUl""lIl "'IIIi. mllJ Jll'l:rr,ll1llJ1 1"~I~ln mem, fll'" III Ih~lIelll!ullltUhlll. !Wpl 2lJ, ""Ill

CJrebon: Masked Dance of

Wesi Java,

Photo:

RBchel Cooper

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hy 'III
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Criteria
l , A commitment finest artistry; 2. A commitment to authenticity: to present work by its leading practitioners, fully produced; to avoid pastiche to bringing artists who represented the vigor and soul of Indonesia's performing arts in work of the

("greatest hits") programs linking disparate forms; 3. A commitment to maintaining the integrity of each form in individual programs while presenting work from as many as possible; and contemporary work, including work that reflected the influences
11

different cultures and ethnic backgrounds 4. A commitment

to bringing both traditional

from courts, villages, and urban centers; 5. A commitment to providing programs beyond the formal stage presentation of performances; to develop educational

programs and opportunities

for Indonesians and Americans to meet and exchange ideas and experiences.

Organization

In 1988, with funds provided by the Ford Foundation to underwrite administrative costs, Rachel

Cooper established an office in San Francisco to direct the program and manage what would become a budget of $2,000,000. It was this office that was responsible for ensuring that the goals and objectives of the program were

realized in the United States. In 1989 the San Francisco office hired staff members James Hogan as fiscal manager and Kate Beddall as administrative assistant. Ms. Cooper hired and directed the members of the American team and together with Ms. Amna Kusumo, created an overall plan and time lines for the entire project. They worked closely with the artistic board in Indonesia and the

Suncla: fro... Vlllag. to cal, lWl'l 12. (leI. 7 1~'HI 211111 1II11t'" Indull'"!! 1'1.11111 Sur~llIlJ. I\rIJ4l1c mft'(lllr: !lll'll Sllhi1!lriln~ SUIUT}'a, , ~1h"'X: Itll~h Hadltllah ~llLj Eul\ KonuuloIh. ~~lur~ 1 ,lnRCB; S:llnll!tl.1lm. Troupe 1.l'<'lIlcf
WA\IIINldON,

D.r..

II~rlllUlI""n' 3\ ~n tllthl' l1~la lIpt'nln" ell Ihr r~II\'il1 01 hldml~IQ, Stllll II" 1900 1st. dh(,\'C1. .... l'crfutnIJII1U: al JIlllrd Audltdrlum. Smllh'lOlIlan 1111Urlllillll. ~ptln'lOroo by limllh'lOIIIHIl ImtluuJull. M-p\. 18, 1990 .
•IIM·Hil

Po\.uc., MAli

UND

I'rr1l1rmllnC\' ~I TAWI'\ Rl't'llal H411. Ilnl~~I1i"Y 011 Mlrr)'lolUJ/tClIl418~ I'ark, ~PClIl'lOrrd by lJlllvmlly III
Mllrylumt/Culll'll e I'~r~. ~1'j11. 17. 1'.1941. Surlllrullun W<lj'IJIIX c,'u!(i ~ll!Jnl~crllty III Murylnnd/L(llit'llc I'ilrk. IDI ~llIIlIJnn antlllluulty.

~Pl 17. I(jI'J11.
RlIIlIUTFR, NFW VIlM~

l't>r'atnIlIllC~ 01 )WtJuUnt 111111, '.a~lmlll1 Sl!htKIIIJ' 1 Mu\h. ~llOn'lOlllll hV ~r.tmilll S!'hiluillf MU!lm

Stpl 19. 1990. All
Siludati Dance featuring Syekh Lah Genla In Music
and Dance of Sumlllfo; Acell and MlrmngkoblJU
AN1".

(iWII{jlo\

""rfll""anll~ "I "'lIdrmy 1J111'11cr,)1)Cm!l(lrqlllJ' Qwtnnmt 1'rlJlllKllom. Sc1pl 21. 199C)' 1\'rfmmunCl! .nd pre-pcrfonnallll' h.'C1UIl'. ill Cl'1ll~r lor I'u(lpl!u)' Arb. $p(lnsomi by ljJnt~' 10' 1'u~1l't' Am. Sept 12. 1990.
PUll AUtl.~mA. Pl.NN5YLVAHIA

at tho Joyce" Theater

In

New York. Photo: Racillli Cooper

l'I!rf[Jrm~nC1.' and P' pcrfnmwlI.1!
",lilt AIU O.'IIIl!t.

lecture. II 1'IIlnll.'ll ~puruomJ b)! I'alnWd llrltir

1\",

(.roM,

SIlpl. 23, 199(1

C. (vIIU,NO, 081
i'erfCImIIIIlCl! lit GlIlI'IWf AtldJIQ,IIIIl1. Cltwllll1d M.....-um nI Att. SJXII1SCII1!d by Ocwllnd MU1CUtl1 oJ Ar1, kpI ze, 19110. HAHOYI!II,NIW H" .. Pmontlllnl"e It SpauWln& Audllorium. nattmoulh lAlltxr. ~ by D.utmoulh (:t:IIIl'gl', SIlpt ZII, 1Y90, Wn,IotI\lfl1lfl SundoUll.'W musk II OArtmOlllh [.1111,* lOt nUltrnll lind hlclllly,li4!pl 28. tWO

,sm.

Nllw YIIIIlC, N w Y •
l't'l'formill~ ill )'fIlphony SpIer. ,pomort'd by WQ(idM~r 11\\111111 Sept. 10, 1m

lileaders Q~ 'uch gilfOlJIp ~o creal'e pr(l9'~'m5 tha~ wlllIJlld' be lru,e t:Ol UM! art, and P!\Oogalmm!1lIJi',allly wc:cessWul un 'me Unimd ~ St:at'e!5. Brued in Jaka~ Ms.!<iuS/uma alf!eil1ded to, tiIle fiI"Iy,riad details, in'llOll,!Ioo in p!'\t,paring tim!' ,groups to tour: seooi'ing mlhPANlJIIK: KIAS (jUlie &!!3iCI,illtive COmmittee
of F!!s!Uvalof ~ndlorn,Hra
jnJr'O:I'~

l!la~pGm and other tmve:11 documents,coordlnating

i,fI! l~nctolnes~a)~ amnge in'llematJjo:naJ uavel and fr'rilJg:lilt IProvi:ding' th~ ' million eneach of !:he glfOUllps, arf-anging pre.tclIJlf penor;m\(ln~fS!etc.

American

team wjri:.h pernonne~ ,aJl1d ffEilg'ln

Il'n1989' ~h,~NI€W'V:o.rk-biiltsedam managiemen:l,Iitrt"!1, US~ IBooth MaM'agif!m.en~ ILBtMl.was hiI'm ~~o help with 'gene~al ffiiilmli1'lgemel1ll i!iln:c! schedliJ~e ro:ur5 of se~ec~m gw,oups. latiE!r Unwty.ear Ms. Boo~h anid her a:s.rociit:e Delrdlr'l! Valen.

;etaompoo,f:ed

MSi.

Coo;per to ~~ ~ e work first-h:and.
~11i1 11'9510as

:S!t'a!rllllP'fe.-ssnerwa~ hir,ed

'the l~roduiClI1:0:n Ml'iln!ilger

K),

owrSH! ~he: s:t'a,glini9 and lighting of eadl,

IPE!'!OOJmam:~fwaf:1It ~:m the IPreJi!nte~,s'~chf'!!h::a1 s,ta'ft aSiS~$tn Mur st~mng'.j!HlIdi ooorilini:lite i

'~reight Hec. 'lOa, U'av,ete.dl

'to Ilndiol1l€skll wU;h Ms. Cooper't!o see 'the WClll~ :~om!!!f!!,t wi~h glr,oulp5 and 'h,itJ1ooUC.1E! 'Ulem to the 'pmc~ital (:oruJdemltions. of :staged pelifiormaJlilCti in ~h!!!:USA_,and lp:wesel1libll~iOin$. ilihis ~taff ,prepa1red 8'n!d OWtJi~W me details: of lll:'!Jel)' pt,rfom1!aru:e U'te 12 g:roUips 'toUJredfiQ:~ thf!e,e~~o fo!l.!r weeks
j

to OOg:iil1

Itt! 'wo.l'k

witlh !ndonesiaLnJartists,

w, f1:lfmulite ideiiliS :F'Owtaged s

lex.~htlll1lgea!l!lMty, mel'll and hetel nay. IEa:ch oj

ov,er the ,efgi!1iiLeen·month pe..uod.

IP'r,Q,lIIult:I,D'1iI

Carefuil anE!n~ilQ:n t~) ar,~etiiing wa:s c:ri'[i(all"O,a;ssembling ,IiI!I1dp~omiOiting [he' l'Ours. Two uilps to m
o:lider oo,intradu~e

lllfilJdlonesi'i!Onl.~ 9.S,9i!Jl1ld 1'990') WE!l1eorg;animdln

memoo~ or the :press to sE!leded Indo11lG'shlrl

I~tfnllll,,"re 41 Sll'W~r1 IIan AlldUtltlum, !iallli (JOIltl Stair 1J1llvt'I1l1y SIK1mnn'll hy SlUrlI (Jillul ~1i11~UI11Y~"11Y, )(1 2, IYllfI
em.UMAIIO SrllNlill, CUI.UK"'"l

S.. (

IUUII, MINNI\IITA

I'crlurrn,ln(('AI 1~4t·~dnll1~U,t:Olotbdl! C.l11I"!ll', 'llIJn!lOIet.l1Jy colurado CllIIL'II~. OCI 4. 19'10
SANH ( lilli, (".~I.lfIIl IA

l'l.'ffommnll~ ill l'ortl!1" Cnllt'Kc !llnlnR Hall, Ilnlvl't'llly III l.... lIIumla!S.ll1lj1 I :'U1, '1IOI1\Orl'tlllV Unlvl'nllyoJ IJl!UomlJl./SalUJl (.rtu Om b 19')(1 Xoll1ll1ur on SIlI1Ih1Il!N' am ~I I nlvmll 01 1;JlllllrIIlo/S.lIIla I nu, lur 'WcJ~nl ami I~~ull , tk1 '" 1'1')(1

Topen, Clrelton:

M•• ked D.nc. of Wu' I.".
Inn 2.1 II~h IS, IQlIl It. m~mlll'l'Ill1dLlIlIlIg ~1l1i1l1jfAr1a. I~;ldtlnnctlr. Kl1n Alia. luppottlllll ' IllIlIm; HI;JIIIl Muhammad YlIMJI, Tmupe 1"~ldt'f I'
UIIt.NA, ( AI,rOR. IA

.I111«~IIIo11II\,jtIIWlium. ( ...111.nll~ 1r1\IIlUIr of I echnuloKY. 'IJdltlW.lret.l bv ullfllrtlJJt 1n ,llIutt'lIf Il.'(hfll1lllllh 1411 _~. 19') 1 I','rlllllllllllll' Tlokorda Raka Tlsnu and Tiokorda ISITI Putra P·Admlnllrom HolI: (ok!

S",..., A (.VI.
i"riornllllllt

C.AIIHIRNIA

nl 1~1It1'tu.lllW'
(.till,

11111111g 11lI1i.Utll~mll
of

011 :alllnrnLllS.mlD

~tIUI'I'I!'" by UIIIVl'llIlY

and Legong. Photo:
Ra~hl!l Cooper

1.:tllr"rIll11l1iwllill nll •.III11, 21. I~I Wurl.:lhuf1 UII f'lIrbuncsc 1Ill1lkrtllllllll~ ~I IJnI1ll.'IJl1)' 01 UtlJll1ntJn/S;U11D i.nu, lUI:mufL~ll! and flll\,lty.JiIIl.26.II)I1I, StolTllnal UIII hdllm~ lIb 41 IJnl\~n'ty (II ( ...'lIull1iiJl!>arrtll (.nl1 lor \fUdl.'11l1l1ntl filClllty. Inn 27. 1'I'll
(;RI NU I. hlWA

1~lllll11jlnl ~I Rln-rt\ I1Wi1I1'I. Grinnell c:.oIlCKl!. sporuoml by Gnnnell CIIIlt'JIl' jan, 29, 1991.
MAIIL\lIN. Wls~mmN

'.... r1nrmilme~' III!nni.'bnhmAlldllanum. i!nlvcl"lily III WI!;wllllnlMadlson I{MIIIWll'll by lInll'et\II)' IIf Wl!lI:onllnlMndison Jan. JO. 1991 NII"rli DAlI11oCIlUTIJ, M"'SAt:IIUUTt:.. l~fl'ltm~ncr ~, Solllh!.'lI t ~ M~ $ou"hu\cln lIillvrnlly ""dllnrtulII. 'JIOIl\CII~d by Slluthr.'1Mtttil M_chllw\n Ihllvrl1l1v. ftob I. 1991

performing arts In their original context. They were provided advance background materials such as published books, theses and academic papers. These trips helped to establish the In Performance program as a newsworthy event, generating advance artides in, among others, Dance Magazine, the New York Times, Los Angeles Times, and Boston Globe. Marketing and press materials were developed to accurately provide an overall view of the In Performance program as well as provide an educational introduction to the performing arts of Indonesia. A brochure about the program and the individual tours was distributed to more than 2000 performing arts presenters within the USA. Materials specific to each group, including video tapes, color slides and black and white photos, along with specific descriptions of each group detailing the works they were to present, were written and distributed to American performing arts presenters and press. AReO funded the printing of color posters and fliers to promote specific engagements. American ethnomusicologist Marc Perlman was commissioned to write the detailed program notes for each group. These notes were distributed to audiences at each performance and included the specifk program presented, background information on the cultural context of the art, and short biographies of the artists. These notes were made available in advance to members of the press and contributed to the high level of coverage and accuracy. In some cases, they were also made available to ticket buyers in advance of the concert to better prepare them for the presentation. Though they were longer than most presenters were accustomed, these notes were generally printed in full. When presenters were unable to print the entire text the In Performance program did so. For all materials, accuracy was paramount in the program's effort to satisfy the needs of high quality promotion without pandering to overly slick or simplistic techniques. Allvideo, audio tapes and photographs tried to depict the
lS

NEW

YORK, NEW

YORK

IltrftlflllllOll" oil K.11hryn lI.lc:ht MIII!!r loralol,

Cununblll
!mlnutt'.

UnWlfBllY, '1IOnlK)~

by WOfld Maul<

11.'11. :11 1991
Nf.Yt

Rm.Itf.flY.M.

!'t!llurn)llll~l' ~I f.uhMn Mbsl~. l·~h.5, IfIIIl. WAlilIINtHOlol,

Vll"1i ·111t'4tcr. f.Mlnum5dfOOl

ul

D.C. I'"rfmman ., II.:rlnJA\.!lJlmlllm, SmllhKlnlilll 1IIIIIIIIIIon, ~11I1I1"'i1.'dlIy '111C SIIUltUonW1
IIIJlllllllon. k!h. 7. 1991.
VIKIIINIA

CII"IUl't'tESVIlII',

l'eTformance antl jllC·fIt!rlumlaltt k... 111Jl'. Charllllj~vUlf '.... tormlnlt ArtS uttlet, ~morrd r Ity IInlvrnlly 01 Vlrlllnin. Ileb. K. 'WI t".!idlool~IJerfnrm~IIL'~ al Charh:ltll,!!.vllle J'vtfurmltlllllJts C~I1~. r-eb.II, 1'191.
SA-Ii ANTIlNIII, I'l'lflll'lIIalll't' TJ:X AS

l.ultllTilII enter, \(lOm!IIl'd by Can't'f COn1mUlllly Cultural {'.I!nlcr
l'ell Ill. 191)1.

al t.aIVl'f Cummunlty

Kanlel Pepatl, a KenyDh
Dance, from Dayok of Emt Music and

l>tN'mN. 1't
fll!tfonllllnt

A~

' al MaIKo fonc~ 'Illl!aler. 'h:XiU

WQm"n'S O"iwn.lIy. WUIIWlrt'li hy Unlvmlly
NQrill T(,~i1~.Feb. 11, 1991.

of

Kaflrnanlcm;

Donee of the RolllforeJI. Photo: Sal Murgiyanto

l.oI1C1ulc·l'k!mllnstmllon OIl l:trobrml!5c nwkl-d
dal'(~ al Unll'l'nUy 111~orth ·,'.... ,1I,for 'IIUllenll iltill ~ latlIIly. 1Jtob. 12. 19'11

Aco ....d Mlnng"''''11

Music .nd Dane. ofSum.'rll! I;~h.24 MlIrrh 261 1991 41 ntemben ln~luillll& <lU\mllll Sui", I\lUIUt fJltt.'Ctot. ("In'II/I1I1g !ill1ft MinullJlk"/tII,, /lUlICl' c;am/llm)'l S)'th l.ah lil.'1111l1 ArtilUc Illr""illl. S,"'I t.ult limlu or .\{"II; AlII U5nt11t1.ArtIStit OIll'Clor. ROllpllr AI,uIt 01 o\J;dl;
~lIb ~lllrdlllru" l~

u'lld~f1Notftlln 1)~lId. 1>IIt'('IorIII Ihe Act'lt Irullpi!$.
rvrlonnllnce 11\IMInI nl~all.'f sponsored by SIlo

S~N flNANI ISC:II, CUlI'tlRNIA

1;liIlIli!(:o ''ertormll"~M, Fall. 26, I"" 1
AJllf.N~, nlHu

llerlomllnre ~l Mrmorlo11 AudlluriUIII, Oltlil Ulllllcf1lly. spucuun.-d by (lInG UnlVIlIJlIy,

Man:b 2.1<J<J1.

,iI rlEsis

as they wol.il1f,dappeaJf in d'II!' USA. Wri~tefll ma'~E!rialsw,eH dense ~ th 'fa,cts whlile I~iemalifilr~)gl sLy~i5t&ciillly II'rrvely.liIte

allm was, to, prsent the pewel, ~nltegrlity and 'el«:l®emenn o,f ~1Ilil!: WOl'k in

dnCf~ptivetermt wiMlout disoortion.

Plrele'R'tal:I,o,n

Given ~he' real diH'ell'ences, beLwee~ American and Indonesjan perfOl'iiI'Ii1ill:ll>1:::e prac:ti~s and pUI'Jl0se~I'

the ,ovemtJrngl oonoem was the' ,approl::II'ial'te IpresentatlOIil of the work. PhilosO,phical slll1d pracUCilil c,onS'idela~tbns were botilll wei:g:h:ed heaYily. Wh.ite die work could be diescrlbedl and IPiJ~ ~n[o c,ontext on the wrilt!elliillpage; the 'task before the'

p:WO'5JMmas w

to

help the wor'k come aliye on ,ill Stage, (al n~

i1f11dtlemnt "on text for many) an,d g,aimiUll~~ly :rthin lihe' d w

~·,rhour pelii::lrm~liJ,ce rp~liod'to whiclh Jl!imencan ariJdjenc~ are ilccuS'~omed.
l'd!entify,in1l91the appropriate' penormance J:l:selr~while tl1lrg,e:tting111, geographically envi~l1imentror

eachgrcup, was guided by the ~eq!.Jirieme!l1'I:S, Itll~ art of
SI@I1IJ'(h and 'Jor

dlver5e awy of audienc:es.lh@

contracting \ll/hl'! the lITlost desilca:bl1e

venue '~l)r ,each Ipei1cumanc:e'1 while' maiintaining 'task. The d'versity ,of ~h~ groups in~~ed

a fea!SilJl'eItravel SlCh,edul'eand staying wUhin budigle!;, was, ,an enormous

was, milltetled by the varne'l)' at veru.!es in WIilich 'they 'were ,presented.

The perfcmmaru::es, by GOIiR AI1 of jC'fII(J' ,from Ule' Km'l'on of rogy.amn(;!1 wereseen hl an outdoor ~Ita:g,'e tluilt Sipecifh:a!~¥

'rtliIT,them by ~he lo& AliIg:eles festhr',a~ the los An,g,~J:es, bore~lUm i!!n:d lI,e IBfiOOl<liyliliAcadiemy of M~!Si"s ,grand 'Opem at N House, The 'exq!.!l~ite,!'Iil~ked danoe Fcl:erf,g,rmanC;,e5i maS!ler ,r,OPM9 daneer SUjilfii'ii: A~a accompanced Iby '9iiH'i'i:e~illl by
Cil100.o:n we4ie exl~rieneed ln m,Of~ intimate' 3~lO·:50DJl'i!ai IEhea~eB. The oeremoniaill Toba IgroUPS 'rea~uf\ed in the ,Bowie: of North Sumotro program (okl oll'id legan,'
WiIS IPresenlted

mu~T:c of the Kar-o,.Mandailingand halb. Bali:

was most ,elilective:fry pn!sell't,ed fin medi,um-sized

in

t.II'H

outdoor seWngs.: Unive,rsity of Haw~ii''Ii giiudef'l' amIP:h~thea'terr Spo!etQ's briekljJjjd 'Yo~~ 'Ci~s hamor.

,oourty,a~d,f and CUJ'l:sidethe New Vo.~kF,hil,ancflalC,enbn wl·th al backdrop o,f til,e Stat~le ,of !liberty iln N~

1.,'11111' It I

In, IIlm.lllon on 'UIIIIIIH4..IIIUII ~II" ,\l:t'illll"l' d,rnr~ ~I (lhll, I 'nlwl'llh flu 11I1I,'II'\ dml wully. lvllllch 2 l'lgJ

11111' I 'I'

crn,

lillI' \

I'erlnrnhlll~"f' .11Hnncnur \UOllLlrilllll.

Ii ,,~,I 'I~" 1\ol11~IJhI Unll "I~llV 111"'l''''' M.ll'd, ~.III'11

1IIIIvur~t)·

1.11'1 111 N, NMM-IJ1tA l'I'rIQllfhlfl(l' ,II I MJ I "IIIl'1 '1)1 111" I'Ct(tll'1111I1g ,\ItJ" 1l111",,~.Il\ III NI'III.I~k.l, ~r!OII!lfIlI~1by Ul1lvI'I"\Uy 111 N~hrol\ I, lilliit'll S. 111'11 f),\I.',M,
1'1",-\,\

I \~I) pl'I'llImnm'CI .11 M~I'd11111 '\('llhmltlm. \rHlIIWIl1 ~/!'I1I1111I~1 II1Iv,'r~IIV 'I'IJIl~1J~ll h~III,' 1 1111 ertlOil Tnlli11 11ll:md,;Jl 'tIl' SlI\I~I~' rl'!nsl.
M~~ll 81< q I 'loll

jI,1I1NIlUU", 1~1.I'i~'\ \ ASI" I
1~lIl1mllnlCl'

~l ~knUlH~1AUlilll!rllllll, I',dlnbmo

IhlWenlly, '1'Ito'~"'Ht~1y hUulJ<'rn 1I11!\l',"'y, h
Milldl 11, 1"'11
:\11 INIA. (iIOH(oIA .11\ymphlllw

"diIltIllIlJIU'

l!lljlllltHII

"ro.1l1~'~UI",MUllfl Ill, 1'191

""'1. ~(lfIn'lIln'<l !Iv

Renowned

dalBl1g

Anam In the

NFI\ V"R~, NEW YIIII~
\h l~rfl1mttllll ,it ~I '1131'JCl\'L'l' '111',11\'1, I'XJll\o11~1 by 1

Surnto lealured

Wllyt1ng Klllit: Shudow
PI/Ilpe! Thea

tllr

or /0 VO.

Plioto: Marvin Inouye

I'll JIlVft' I h~IlL't, M'Ut'h I"·l~ 19111. III ~ IIIKl' l'l!ti<1l11lnll'u imi.l 'IMIIlII\lr~Utul un i1cdl1ll::W UlillLl' III l11t' "lY'" Il'\'~l\·r. MUll'll 211, 1'1'11
'",S!'III)CIII'cdtllll!.lUtC Mdnh Mid tl~lholl~IMltlll

,m

Mlllallllk..lh,llI tlltl" I' "I I ht, Illy~I'Ill~.l'rt.

:!I.

19'11

l'tl'lI·llhlhlllll.sIll'l· tlIlMIIIJII'olnd·A,,,wl·r, Hit lo}'\r Ih~"'lrl, Mllrl'h !!l, 19'11

"'II~ C.kl.nd Legong M~y zg Jun~ 14, 19')1 45 IDlmlbm mdm.llng
I),. I M~~t' IJumllllll, Alll.!;lIt Dlrettu,; 1 Nylllllilll

11'11111, I ,'dtl~~, "mJir pI
11111'0111111II, !lAwAIi

mIlL

I"·tlI11I1IJ1Jlfr WId 1II'\!'I~I'unn"lIt,{,

Imlill',

~I

'\IIIIIIIWI UUltlllUl

Illr,1tcr, 1l1l1~cNty

1:11lI.w,ul/

M!lr""', YIK'II""t\IIW 1I"1~"",II~ II.1WIIII1M4nn.1, III M,IY \I I'lqj)

On You r

As much as the mission of the In Performance preqra m was to introduce Americans to Indonesia, it was

also intended to introduce the partic.ipating Indonesians to America. The American team dedicated a great deal ot planning for the artists' physical, emotional and intellectual well-being while in the USA. Orientation packets in the Indonesian language were prepared for all members of each group and contained descriptions of thecities to be visited, explanations of American customs, the tour's full schedule, etc. Ms. Cooper traveled on each tour, overseeing 2-3 American staff members who had participated in orientation sessions. On each tour there was always a staff member fluent in Indonesian, who had lived in Indonesia and was sensitive to cultural differences. Technical staff were briefed on thel/dos" and "don'ts" ofgamelan handling, the making of offerings and other cultural needs. Every Indonesian was covered by full health insurance; instruments, set pieces, and props were covered by generalliabiHty insurance. When possible hotel rooms were reserved so that group members would be near one another; catered Indonesian or Chinese meals, which took into consideration individual dietary requirements and choices were provided. Hospitality suites stocked with Indonesian coffee, tea and snacks at each hotel served as gathering places for the groups, Sight-seeing excursions to Disneyland, the Statue 01 liberty, the Metropolitan Museum of Art, and Universal Studios were among the places visited. Croups attended performances of jazz, blues, modern dance, the Ringling Brothers and Barnum and BaileyCircus. And, of course, there were many shopping trips for souvenirs.

Smrtll C"IOLINA II Thl' Cblt'fTI, .fill. 01 CII41dt:sIOWII.'IlO"KIR'd by Spoll!ltJ I"","val USA; Ju~S 8,1991
"ARI u1aN,

ftlUr pniomlAnm

NI,w

YUJII,

N

W VUIII

iwo pt'Ifllnm~ nilillllt'l)' l'irk I'lata. tI!l PA" 01 NC!W Vork 1IIII!r!lJIliorlAi Fntlval. Spon.lorro by fllYll'lPIo lc Ynrk Arl' & I!VOfIIS julll' II It 12, l~ I III Scllll(ll, d~t1l1n1Inlllon 1m! 1I\IIl,II.\hop 1111 IIIIlIn~ dAnt4.'.1 rubll( hUllI 2IH III III1!Rrnllll. 101elem~nl~r \d1()(11chlldrl'n. jllll(, 12, 1991 D., •• of East Kalimantan: MusIc .nd
Dance of the "'nforut· lUIit' 19 Itll~ 14, 1991 11.11IIt't1lbl'D; SIll MllfJllfilnru, Coordlnalor ullndon~llm l'r08Il1OU. Smllh5l1lll.ln I'nl~U(r l~u\'II; Ilerwa\llnu SllL'lIlIlo,110u~ IUtlI~t

N~w

VUMKI

N~w VtlM~

81 nl~ 1I10nx I.AXJ II! PIIrt 01 Ill<! f.lhnolmlnny COnfrll'lICe 'JXIl1lmrd by 111i! NL'W Vutk IkIllIlllcal G~rt.lI!tI, JUlldl & 22, IIP,II. !WII ~flormlllll:>l5

hllAlA, Ntw Von 1't!l(rnml1llcl! III (.omell UnJvmlty, sporuo.red by Suulh E;ul AsIIIII IIl11rnl't Sludtn hl\tlIulr UifA\.~II, JUIII' 25, 1991

• , lit /"./'rtfiNmIlna """,,,m Jf1M.ft1ftIll~ ptr(tIr numas II)' lIlt INi;'Uk Uf f.ILJlIMlmsullallln mrr/rllldllJll
A preductlon of 'Yel' wjlh 1111'1,pnrtltJ(Jllt/rnr 1/1 lilt 5mItIIJIII!lU/, IllJlJIullrl//

by Teater Mandir! at
University of Washington, Seiltlle. Photo; Rachel Cooper

FIIIAllfr f't!'l/lmi /I1lVmllln8ll1f!. I).C.,/lItIt Z8 • Jill)' I lind /uly of 1 11191. 1t1lUt: Shad_ ....... ' TIIHter of ..... Jul 14 Jul U.19iJl 2Omt'lllbmAnomSllmlo, 1>a1lln8:1'11I1dnm (,urllno, TlOUpIllndtr
of Indonl'!lla, for Invlled 1!IInb, IpOlUOred by Ih~ AmllWlldor 01 Indllnrsla. My 18, I~I Wa",,,,,·MlklnH Ol'l11llmlnrllon II t111~ fI.nlbau)' of Indonelll, July 18, 1991 WASlflWOTO , D••• l'ertonnllllCl' III ~ IiIn~y

w.,....

Lu,

M.uUClltJlliTfS

1'I!rforrnllm 01Jamb's f1l11uw. Jpnruoml by JaCllh'~ "Uow l>ance !'esIl\'II,luly 20. 1991. Wa,'1111goMllkll1gllt!lllonstmlClfl. J-cob's Pillow, lilly 20, 1991

F iln a lI1i,ee's; The In P,e;nfOl1mance pr,OQram was, made lPo~l ble b)l it financial pa i1lI1ership invol~il'ig lOOilh Amel1inrn~ and
Indonesiilllfu rl1l which ,~c:h sIde p~rticipaled 'equally and 'fully-

For li'l1Ido:nesia, this pi! nticip",V,o,n included: ,paying for neomil ny rehears!:!11eJ!l~nses<~ s~~allies. the com of production
'etements 'Ql'Islnunelfn~i C05~umes~sets), I1Id Worround ~rip interna'lJonal, airfafies 'for each of the 320 Indol1le:!ii!ill1~ who

tr:-aveled 1:.0 the lISA~a~ wen a~ pac1king and intemiltional

shippIng eests for more tJhan 1 (I tons orrreight.

Thl e f'espOI'l sibili~ 'fo'r liIi'illVcl,illl'ld fmig I'n't ,costs 11'1 e U SA (from point of .I1'hy to' point 'o'f dep rture), leehnical iIInd 'th i'nS:Ul"a1108 e)lpenses~, visa and customs clharg;~ hOIJS~nlgl, diem" liil,undry, efllterti1!inment. stafif;. admiI1lTt5[1~,tio!1, per and prod'l.!ction 'ex:penses were' ,covered by tile American side. With this partnel'Sll'li,p of shared costs. and wi~h subsidies pw,ovided by ,ARCO and tne Ford Foulldal:iol1l, manee program lin the USA ~ the 1111 rl\or~ h

a'b'ie to oUe,r American presenters p~normaru:;:es for fees compi!lirable to, wha~ they would

pa,l" for American compan les on tour.

The program Mked American presenters to ttust tha~ 'Lhe work was of the fine:sl qual'ily. 'LhiillL promo'tiol'lal maltefials

thl.\Nnr. NIW JIRlf.\' I~'lfnrmnlll't' ,\1 Ilarlt.,11 V.II~ C...mmlllllly (.UIlL'IIt. ~JluljllJrc" IIlIrllall t JlIllmunll~ cl1nl'g~ ,lfltl h~ IlUl).'tln l)nlVl'rllly,lult v., I'J'l1. W".'II\t·M~~11I1I ~1clllllnlltilltlll), 11j1l1l~11Yal1l') , nrnmUlllly ('ollego,)lIly 22, I'IUI
NOHIII AAlluM, MII,III1.AN l'crlorm~II(~ .n IlIIf~hnm AmllturlunJ, lInlv('r)tty MlddR~II. \IMm·.on!d by Ihllvrl1oU)' III Michigan

MN

III

luly 2.~,1'191
IV,",III,(·Mak!t11! IIl!nuJl~\'ra""n. lllllvenity MI~lllKllU, Jldy 25. 19'11 Lilli ANCiU t • CAl 1111. IA III

1'~rf()nrtan(1'and

prl"p4!"llllJIUflU'

Il't'lIJrc ~t

UIIIV""lly "I (.Jlllnmill/I.d!o ,\nKcll"o 1III1r Mts l.uIUlclillml'hllh~J1lrf, "pclIllOn'll by !l1111't'nltyof I.;IUlmnl~IJ.Olo '\nJl1lIL~' Wnlh.l Arh and ( UIIUfl!S J'llJgr~III,lillt 'l1, JiI<)1 \II<lyUl\~'MWtlnllllctllllll~tr~Uun, UlllvUhlty ,II 1:.tllfllmlnll,M AtlRCI~, Jllly '!.7, II)IJ I • 111t,KM~ 1''''.'11I1,~ K.. ", (,roup. II ,""t/ltT rrollpr lIi1iJ Composer/rnusldan S'Jnil,dl playing newly constructed
Willer

flute

1111' IIl11lr ",rfi'rtfll'r.\. I ""dllt "11 ., ~rtlM 0/ mll/l'Ilrln WlmJluJ 111Ihe III Pt,/tJm.1II1U I'tvx",m •.. t Ullh't1~III' II! f/llII'UillMumlllruul Wr.lIl')lIIl IJnJlmltt' '" ( "",'mlnt! (hlrrl/'lIIr21'My 'of, 1991 ,hlll'il~ ',"/IlIh'JJit'rf11t·
of IIUIWJII/Mu"".. WtllrJ'U1I 11,,11"""1', life! Il0:l1'111 MIMIJI/I flf fill( mrJ lI.t /ofl'lnlpt,IItUII M~u", of ,I" III Nrw Yark Cltr, III w/llj", Amrrlwn iIf.ulmtl I!f /IIIIIInar mu.I'/r purl'tlpulrJ I" tlrr
m~ncl'l "' U"lImit)'

as part or New MuJir
Ifidorl~51(J. PhoLo:

"If.:I.

Rachel

Cooper

pn[r/1fllU/ltt'!l

Tut ... Mandl": Pub WI,.,. Sl'pl.21, nt1 la, 1"91 10 nltlllbm IIlc!utllnlll'lIIU
Wljllyll, DIr«IOI
Tt'ill'f Mlamllrl. CUNN .,;m.Ul

M 11)1)1, mWN.

I'mormana;ll IIw l't!rformtnll Am Thl5ltnl Wl.,'l')'an Unlvrnlty. """,,,1m( by W~II,..lII UnlYmily. Sepl 28.1991

NEW You,
Two
pt'rfOtlTtilflt

NkW YnM
cs al TIlt' 1 npl~~nK'.;iler, 5]'I01I'IOrt!il III N..w \'utk

hI' J II~ Trlt11u ~MJJ ']1,. Ulllwrtily

1lL',4Id,I'l!l1 W",k: Ih1111)11nllllll'ffl ImJlln~IQII thrulN 1111 ,lud",11 ,11111 !ikuH' Nt'W Vor" 111I1~'f\ItYI I)U I 1'1')1

would be of a very high caliber, and that the Festival itself would generate a huge amount of interest in the arts of a country about which many Americans were generally unfamiliar. This financial partnership made-the groups financially viable to presenters, the In Performance program was able to secure $' ,000,000 in booking fees from presenters. The financial environment created by the Ford Foundation, AReo and the presenters was crucial to the proqram and perhaps the overriding reason that all 12 groups were able to tour successfully.

Su m ma.ry

In their extraordinary richness and diversity, the In Performance program's 12 tours astonished the
23

American public, The consistently high quality of presentation and performance was greeted with seriousness and enthusiasm from audiences and the media. Allof the artists who represented Indonesia were masters: the living representatives of traditions generations old and the voices of contemporary innovation. This excellence transcended the art forms' foreignness. It has also stimulated a strong interest in having more work from Indonesia tour in the U.S.A.:work of equal vitality, beauty, and integrity. The unique partnerships developed on every level between Americans and lndonesians - organizationally, administratively, financially - made this program possible. But it was the artists and the profound artistry they shared with American audiences, that made this program significant

V AU NI '1\, '.III1ItN'" l'I'rllIfllmtlu' ,II 1'I11·.lrr 'WI!, ( 1I1')ml~ 11U11l11l~II I UII o\rl~. '11I1II\lm'tJ 11')' C.lUlllrnl~ In\lltul~ ulth~ All$. 0(1 I. I '}<I I Wurksl'lll1 un nll*l~ifl IrlljlJm'll~n Ihl'.'~I. fur ,'\jllull'~ aTllI tru:ulJy (.allftllT1l.t IU\UIUW 111Ih~ ,'d!, llel I, 11)41
S'''TTI~, W"~lIINhlJl

l'uf(lrnlulI(~ ,II lIuldliMlIl 11.111, JnlVenll)' l'1t l WlUllingtol1. spnlUlm'tl by lInlYI'rnty 01 WA hllllllllfl, Oct 12, 19111 TW£I \/I rll\hufl\ 1111mQdt'rn Imllln\'Slan U1W11~1. lUI nutlrlll~ 01011I.l'UItV ul 'hll Ilmmll ~11U1I1, Unlvl'UUY til W.uhrnglon. 0(1 to Ie II. 1991

N_ ~dc
wp1,2{,

,,,donut.

()o::l I~I 18 ml'l11hi!nlndlldlng llahuyu Supan_"h. Arnnlc DIRnor,

n.

Toba

rnuslrtans Siagial1,

Rlzaldl

Sarlkawan Manlngar Cultom

Sltoi'lang, Sltorus and Osner

playing Sabangunan

In the Condang ensemble as

BUN lH. C"WIlRNIA r~rlorrm1nce and pre-pertormance Icdull! at IiOnl llro::ltal Hall, Unlvmlly DI C,ll1lorllt,,/llIl,ktlc),. won§IJrl!d by C..AL Pt!rfnrmanres, SclpL 1.11, 1991. Conlerence ~nlllli.'l,l ·"1I,1unc~llIJl Ml.I\lt I ~ttUeth Century Innnwllt:J11 ;mtJ ,.lJIIIltlon· ml I1nlYllr5itv of :.allfomla/lll',kljlllY, s.~p" 27 he 2.11,

part of Barak of NorUl Sumo'ra. Photo; Ra~hel Cooper

I9IJ1
~I lInlvmlty

Il'Ctlln:·!lI!mumttllUolI by Nl'W MU!Jt InUonl:$l~ Lll (.alllomLn/lll!rlk!ll'YJ IJf1Iln to canfelt'lIet' JlIIrlltirlllll~, iluLlrnt\ and facility.

Sap' llJ, ) (II)! •
K~H4IN, PlNNnlll"'NI ... t'eliornulncc al Williams Ccnl~r lor the Am, l.llJVl'ltr t Olil'KI'. II IL'o!III,'jI by l.tI,lycllc OIlI~Ile,
OLi I. l!jql

M~'j:I·lhl'MII~1 ,",minI al 1.III,W~"c 'lll~, IlIr ( \Iua!l'nh .mll fa'1tlty. Supt, iO. 19111 I.llcmrl~t>I!JDOmnilllon by NIlW MlBrc lm!onl'5la al l<1lilyclic c.;rJU~!lr. Inr SIoljllllll hlldwII Illtl ~nll~lIe· l~v~1 ~lllIlImh dllll hICUIIV. Uti. I. IIJIJ I NI\\' BIClN~WII'~, N1W JIR~IV l't'lfotrmitlu' ,'II1L1rc,pcI(IJIDlIIUCC p IMurl', ~l Nt~hulil\ MUil,' I.enter, IIIIIlIen IJntvl'lllty. \11I)1I\('rL'IIh~ lIulKUI\ Unlvtlrslly, IkL 1. I9!lJ 1"''ftllll~·Ilt:momtrallon ~nllUcd "The s...UI1d,'\ dnd Mtl.lk M,lk~n "r hll~lIll~I~' ,II IIIiJ~1'\ Urilvmlt ,1m srud~lUuDd liIClJltV.Oct 2, 1'JIII

A.,c k d,a,. I,edglmlents

M OLilr 'iIIVQ'rk of over 'fio'IiJryea~ comes ~o a dose; ~ wo~'lidl m;:,e ltaike 'this, opportunity It,o

to

thInk aU,af' 'those who helped maike 'this pr-o~ecta suoces,s:. First al1id~Orllm1l,C1S'tis; ,Ill heletfle!U, ~hank ,OIiJ 00' ~In tih'~ilJrtisil:s, ' of:
wliLo made L'he' Festival

m ~J'!Jd!o'JI16ra In P'enorman,c:e

IpmgMi"IiiI a re'aUly.

IIIam 'gra'teful' to haw' had the opportunity

to woi1k.wiith lIllany people who \¥lillie both oolleagues and friends. ,Fi~lit~
Her d'ediGa'l:ion and w~ro'om were
iii soul'\ce

Amna IKiUSlJmo;,who coomimllted the In Pelfofiman!Qe IIl~ogram in Indon6f!l!.
(I,f

'great fnspiratf;o;n. lin the United' Sti!'l'es. Usa Booth ,ind IDeirdre V:ilJen'~e(I~ Usa Booth Managemi!mt
,M director

booked ,mind
all 'of tile technical

,g:enEf,a:I·manag~edl I[n Ii'e,jf;omlance prog,ram. S~an Plr\euner dle
,iliSpecll:5 e,~tqe~ t'CurSl in,~~d InI.gl'lThe lighting desIgn. JTm IHog~.1I'I1 & 'the fIliKal manager w

,of IPJfodu,c:_,ti,an,,coordfnakid

Marc P,'e~llma!1 ~ig,O<l"DuiS~ !"ie5earnhed ,ill rid 'Wootle ~'e: p:r'CiOglram notes .. 1

and I<a;~eIBeddj,!!1I as progf,arm assodat.e. Thij, ~i)m wo~ked 'Ur,@lessl), nd 1Jh!i!' proi,ett w a

could nOit ha,ve happened YIIi~h:OiUt them,
From tne'very beginning, ,pJ1an F~inS:tein. p"il9imm 'O:mOln 'from tlhe Ford Il'oyndaliion" bfOu:glht a deep Icommlment to the project, and his suppo~ adv\ioe and friendshili> were ,cruciilll e'l;llf,!},flep 'of ~lie waIY. Worf,ting c,ommi:ttee I(UiSA_)com prised of IPihl1 Yampo!sky, ~p
AhM1I1 fe,t~ntein and

I' am 'v,elY g rnteful 'to the' P,eri'orm'ingl.A!ru

Sal Murgityan~o:.

Judy Miklmlil'r Elndo,S~:anda, Amu:;j:y SI.llI~OIi1, Ka,'thy :FoJiey,
,and adviliS!e! througihm.!tthe

Ralph Sa,n"lu,elson", who were wining to, hellPI

IP·roject I'd like~to, tilnank ~e MI.stic IBoa,n'din Indor:leSi~.a,~ dhaired by Samol1:o, KlJIsl:Ilmo,with

members lOr. I Made, Bandem; D,r.. Sri H,II!S:tanto, Nano,l!l!!antiamo

and Il1CIwUSoedialiSO.

The' Festival 'of ~ndonesia was the inspira,'l:ion of Dr,. Modhtar KUlsum.a:-A~milia, who. alongl with the Yafsan NWint~ra

layall initiated and org!tlnimd frle Festival O'f II'ndollesia. I am pal1:iCllJlill~l!y Igrn~,amul to ~he KIAS :staff, partic.ularly

WOIkdlf'l'l'lIllllt'll ·CAlll1ctnllOrillY G;III,dlUl MII~i{':An AIII~flCanfhlll"lIl"lIIn ~chllngr' R.. IKef' 111l1\'t'/~lIy. lUI ,tuUI.'Il" .1I1t114rulty. uCLI.I9'/1

gj

1.l":lIl1c "IIIUII'1l IIUIiUrnl'11l "11111111111.od 11)1hnltllll>\· ~I RUIII~" Unlvc/illt, Inr ~Iulk'nl~ arul Inrul!\, UtI I. lY91.
"IIIL\UU rillA, PtN1\ISHVANh\

1'I'l1nlmdl1CI.' al tlurr1\nn Audl,arillm. Unlw''f!IUy ur Jl~IIJ1!)'I\·4nID. ,pansorro hV Iltt. nn~nt!et8 (:eI1It~r and Relilthc, Un i. 1'.1'11

11Iw" Cllt,
1'1.11111111,"1(1.'

IUWA

dll!lnllplIl'\llall-fllll, Unlvmlty 01 111wa, 'lklj'M)'~'iI by LJIII~crnly 1"11 lowi. Od 7. 19q I
MAIIISUN, WISIIINW';

I'crfommncr III MIIII umwI II~II, Unlvenlly III Wl~on~ItIIMadlJ\lO. ~TllIII!,Qrc..llly LInllleQlIy 01 WIKllO\lnIM~IlI'll1l1, Oct II, 1991.

V~Nlllllvr~,

RRITIMI CI1LIIMftIA,

C:~N""A

l'cclotnuUln' and 1'n.~llI!tf(lnnalltl.' 11'l..'lUI'I!0'11Sinian f!il~f VOh'\!rilty Theal!!r. \JlUosaml hy :;Imon
FIiiIWI Ott

UJilwr

II'

ami

NI'W MUlII

ViIJl~UUVI",

12,11)111

(left) and Ikr;m~g;m'

Bablt of North SUmatra
Nov 7, IlV 27. 11.1'11 l!!l members UldudlOK lliullli Sl~glun. ArtlMlt 1.lII!.'I.'lol' IIl1dllll SI.ltI~~Il. 1 tnll(l!' 1~~llrl

In lhe:

Tearer Kill/II

perfo rman ce of "The
Boltomlc55 Well" In M~dI5arl, Wisconsin,

Lu,

ANM.I n, C"'II~III1""IA l'crtnrmsnu' lind rrc'fWrflJ""~nq:

Photo: Rachel Cooper

Wlld,l!\' ~II ter, \ptI'll;IIl1.'d hy Vnl~M1I!V of Ojlll"rnlu'ln~ Angcll... Worlll Art! ~ml Culllln~ l'rogmm. !IV 11. 1991
NlW YUKll, NI \\' YUIIk

n't'..

leeture, al

l'crft.l1llunc·dt kitlhmlli.1rhc MIIII!J,(.l1lumhlll IInlvcnUy, 'IKln\(lIl'dlj World Mush Inullul,'.
Nnv. Iii, 19'11.
MOJlRI~lll",S,

Nrw

Jt1I~V

hl'n jX'fIol11W~ dll1lr~fnnl n"'lih,'T, Mmrt~ MUK'um, '1IfHlI01\'IJ h~'1111 Morrl\ MuwulII. N!Jt,' I~, IIJIlI 1'1111AIIII.PIII .... I'INN~U V"NI'" Jll!IIurmnnct' and pte-penonuanr« 11!Cturc, at I'."flled Urld,· 1111\ Lenlet '1~lIl1Qrt'd by l'jlll1l~1 !lrlde Arb l~lIll!1. Nuv 17, IQIJI. Itctorded lur 11rtliltll'il~1h~'.dlll;'.o1l1onnlIV f 1·IWIll~. Urcxrl

Hen, Rahm:ad Aden!'! ~~ SY;»Q:!fUJ' Hadisudjatm,Q, Ojoko Soejemo"

R:a~1

Soemillrdi.

Nli!ni W:Oerjil!ni~arlld IErman 50eh'fllrdjo.
[lili.,

II am also glra~ful to' Itle Minf:Sb'lr of Foreign ,Alia]." Dr. ,Alri AJitas,im.di Minis~er 'of IEdu!cati'on ,and clunure~ and ttle' Oirectora'me Ceneralof CuhU!~ [lrs" 'G13,PH Ptlger far th:eir su,p,poli1:of tile proglli,aITil.

Fuad ~lI!SaJfl

lied M,G, Tanen,tae .American (ioo:n;linaltor

of: the ,Fest~al,ofi ~]ldbnesia., a!'!d As~i'sL\1rnlt CoofCiinatot'i Ma,g:glie Thwin wa;s a

WeinlJau'b pFovided mnvah.ilIilIb!I~.support a ncl ,en~olll1mgemel1llt. ,I),ub1kProg~ ms, OX~lJidinaltori Mi!:lllllmlAuI'IQ
~l'i!Je'partJ1Eir ,imd her prog;rl!!m__s, ,complemen~ed M'n!eperlcrmingam Iprogram

throu:gih 'the ~ublisffilin9 of a senie-'Sof' book-

~'e,ts Ind'ol'!tiiilir1! C!uUum:i! nd llie SJ,p::!mo~in,gl a ser;i:e:sof pU!Ii:illh:: leclI:U! en of res. ~I~d al~o Ilike to flank Anthom)! F. i(i,ranu~dj' IPt~ide!'lt of the 1~e5I:i\!\l;l11 f l!i'ldo!'liQ5!al f,(l'undation wno prQw'~ed E!f!~n1i.!l'ias,tit SiI.!pport o
,iUiI:d

'eiW p~!rnm. (he
l

I~jdrunhef like: ro,

~h:all'!kNild I~i'll'~p:s, U${!I lL«k'e:, Anne Saxol1!~.~oon sa~ds,

Cecilia Levin.
NiUnall.1l :Krinchl, lany Reed.

I'd 'like 'to, extend a spedal ~nanks; ~D.~!ack:0Il11dl !Lin{ji!1 Vartoogllialilr Mary Ziur'oy(helll, lPii(:hard i(ullTl!I1"Ricl1llKennedy~ FA,~lki R_.ade!1llR:iza~d~S!iagfan. 'Rl'lod!aClrnuE!r, 1 .sie!lJai~ {iil.'/ Mom~
Aifilln1l

Phil AfriliJulll,. Mamu:hIEl' ,A!iin'ton :Si:l(Qt!\ Mi!lrcial

:$axolll,. j!Od:y Dii!!n''I,o~d, Mt~e. "!f:i!I'kiarnd [lorn Q. Wasl1itng~:o,1i1at nile Aimemican EmoiiliScSy, Sukal

Hal~j~rn:a'!!IIfI!dred A1~~n. IF A hlearthl~ ~hail1ksto alillof' the
~~tlUrlili'U~
~'Oin'TIili1gil:1ts

presen®m wina, worked Vllliilh IUS, pilesent Ulese programs across MI
l "

S:t;aites. To all
Icd

~~l,OiSe W,~o~e: fl!iamfS

apj:u.!illr here as well as ~he many whose names ha,dll~o tu;· s~cdfh::;ed du:~
iBJi::PlfeSS 01Ji ~sinC!eif€! g;Ii'aIUilu:d~efor (l1I'oi

ro ~he limililltions

sPaJc.~.we: would I~~ke' to

your !help,. Racil1el Coope,r Perlio!imin:!jJ1 Am, Coordinator

MI

"l!fIormdnce.' nll~ 1'ab!o1Theatett, SIlOIl)olCIl b)' UnlvnttlY 01 Wllaln\'n/MUwauktt, Nov Z2. 1991
BtIUUV, l AI tlll.Nt l'rrfonllalll.~ al Jl.llln Morgan Th1!ll1~r SPOIUllIl'tJ by

WA

IlU,

WI. C C1N.~1

fll)' l:"lclJmtllln, Nav 24 IQIJI Slmllu I1.'Cflldln!l1e5\lol1 ill Bay R«onls, Nov 211.
191/1

Teater

I~IL 26 • ftlb. III. I!)IJl. I mmnbm; MUD NQI!f 1111K1nl, Teal~' !CellI!; Iklilnaplil, (',o.I)IIl'L1or 1nd r ItiUpr leader

".'111

M"I"~UN, W',,,"'I IN
l~dolman[r at Mitchell Mtealett. Unl\1l!l:llt)'01 WI~n'ln/MadllOfll ,JIIlIIIOn.'d by Unll'el'lJl)' elf WIiCnlUlrl/Mllil~ l'III1~1 dl~'orr

11lQ. 30, 11J92. 1111 mud~m Imhmmnn lh('llter Unlvmlty 01 WISI.'Olliln/M;tdlloOn,or itudl!lltt and l lilcuhy Jan 31 1992
• 01110

fO/J leli: Member~ of
Teoler Keljll on a $lg"lCOLUMIU

sCl!lng LOUf at the Colden Cale Bridge

In

San Francisco rap rlglll: Sri Sultan Harnengkubuwono d lscusses the staging
X

Two pctfatmllllces .nd pcm·~rfmmllnl:l! JlIocl dbalsslons, II Thurb« Thraler, Thl! Ohio Slale UDlvmIt)t, ,p!IIlIOml by MIdwest nJV\!ISI11es 50Itillm 'Of Inlm1ltlanlll AcUvlt11'5 IMUClI\" 1'dL" a- 5. 1992SANTA C.UI, C.wI'OINIA

II

or

the Calif I Art of Java
from the KrolOn of Yogyokarlo

wlth los

Two perlorm.11m .. Tht! Bam T1Iah!f, Unlmslty 01 CallfomllllSlnta Cruz, IJICIllSOICd by Univmlty of CIIlfomll/Slnll CnI&, I'i!b 7 It 8, 1992. PanrJ discuulan on modI!m imlDnalan Uleoter, rar wllerlls lind faculty. Porter Collegr, Unlmslly 01 ClllJromlllSanla 0Uz, feb. ., 1992H Nlli UL , HAWAII

Angeles festival Director Peter Sellars at the Los Angele:s Arboretum, Photo:

Three prrfDtllWlUS IIMld·1'adIk IlUtltUle, SJ1OfUUft'd by SA Theater CoIllJlllllY lInlvenlty

.w

Rachel Cooper
8o/lIJm: Chlldre/! of

01 Hllmll ThelIU DI.~t. Feb. 13-15, 1992. rant'l dlJclwlon on modrrn Irrdom!sI&ntbeatllr. 11)1' lilQjlty IIId st1lduDts. East·west Center,

UIIIIII.,,"Y oIll11W1ll1Mol1Ol.

Boll glvl ng a hecok workshop In Montclair., New lersey

8011: <ahland ill the end

LegOllg

or their

performance In New York, where due to raln, the outdoor performance h. d to be completed Imide the New Yark Finandal Center, Photo: Jack Vilrtooglan

tnun

('II\'I't,

W.I\[lI'1: \l'v~rSJlo,

WOII)l tlurlCt'fS

~UILMYIi '1I1i1 \1111,UJIIUl
(''''1/

lrt.m

III

'I//,J\'II [IIIIIII!),-

Allllr1ll4l[ \"W)I.kllrl".

1'I1OILI liJd1~1 nII111\'r I""'SH LW'//I'v,lm 11'111
(,1101 N"W~'IJl1 IJ~S"):II

rl/f!L'! I/III/W'III/J,t'

111I1In~1 l.lthu