Similarities Between Okinawan and Javanese Cultures are Garrett Kam’s Source of Inspiration
His name is Garrett Kam. Since his youth he has loved many froms of Asian arts. Born in Hawaii, Garrett plunged himself into the world of dancing in 1975. On thet year, he began to study Javanese classical dances intensively under the tutelage of dance maestros, such as KRT Sasmita Mardawa, Raden Sunatomo, and Bambang Pudjasworo.
Garrett began to study Okinawan dances in 1982. Okinawan dances were not easy to master, especially for foreigners. But garrett mastered the movements rather easily. It turned out that the basics of Javanese dances, which he had learned before, has helped him to learn okinawan dances.
“When I practiced Okinawan dances, I discovered many similaritiesm of movements with Javanes dances that I had previously learned. That’s what helped my training process.”
After some time studying the two dances, Garret began to think of creating a dance coreograghy that combines element from both. But he was only able to realize the idea in 2007. Okijawa Journey, that’s whay Garret celled as the main theme of his dances. The dance was being performed for the first time for Jakarta public on Agust 20th 2009, in the Hall of Japan foundation, Jakrta.
To give the audience clear picture about the combined elements in his dance, Garret divided that night’s performance into three parts. In the first part he performed Okinawan dances of Dakidun Bushi, Chunjun Nagari Bushi, and Medetai Bushi. On the second part he performed Javanese dances, such as Golek, Beksan Wanara, and Beskan Alus. Each dance was perfrom in short duration between one two minutes.
On the third part, Garrett then showed the combined elements of the two previous dances on his Okijawa Journeys pieces. Hi, sigh! Is the opening dance, and it combined the female dancer movements of Okinawa and Java. Eisaa – ruu, the second dance, combines monkey – like movements of Java and Okinawa. Fan-tasy, the third dance, combines the male movements of the two regions.
On those dances, in addition to combining movements, Garret also used musics, costumes, and dance accessories which combines elements of the two regions. In Hi, sigh! He used a Javanese dance scraf like Okinawan flower garland. The monkey movements in eisaa- ruu was emphasized by using bell anklets. And in fan-tasy. He used s fan as if it was a dance scarf in Javanese dances.
Garrett Kam said that he did not mind to teach his dance. But the student has to study it from him in at least a year. “That’s the minimum time needed to cultivate the righ feeling for his dance which represent two regions,” he added.
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