Crisis [A trial performance art]
Yoyoyogasmana Performance Art

Background
Beginning from witnessing a sorrowful situation and condition in the country, competition of interests among one individual with another, among one community
group and another, group with government, among political elites, and even among the countries. This competition does not lead to a solution but it creates complicated upside down situation in all lines of human life. This kind of sorrow is called emergency for community life.
The country is absolutely in crisis, I would like to see this as catastrophic emergency that devastates societal life. The country which is this critical situation is close to
crimes everywhere which are very close to our reality of life. This is really a menacing fact to face by the societal members. In creating work of arts, I do not refer to situation of a certain country, I prefer to say that this kind of crisis might happen in any country in the world besides I would also put some emphasis to human figures who runs all life activities that lead to such kind condition. The person who is full of egoism to become the best one by way of exploiting other people who puts some individual business above societal business. This might happen to us, to me, to you, to our family, our neighbors, our environment, to us all, possibly without our awareness involved within.


Ideas
People seem to be always interested to view the bad sides of other people and they are not interested in their positive sides instead. It is also my firm belief that people have got ability to cheat, exploit and even hurt other people. On the other hand, people
have got conscience that lead them to goodness. Conscience categorizes our behavior of hurting and exploiting others as bad inappropriate behavior, as evil one. This kind of bargaining between these two sides (good and bad poles) has been a basic of people
relationship History has pointed out that there have been many momentums that
people proved to be releasing their evil side, their dark side. It is war. War is
organization of human capacity to hurt and destroy others. These fact implies that collectively people can create evil deeds and actually, at the same time, they can also create the opposite.




Performance Art as a Choice
Performance art as a work of art has opened some possibilities of actor involvement directly without any conventional media. This possibility is of course related to direct presentation format (on the spot presentation). Consequently, all humanitarian elements such as identity, feeling and emotions, and environment of togetherness can be created at that very occasion. In observing or appreciating works of conventional
(fine) art, the visitors (or on-lookers or guests) are not absolutely alone as individual, they are formulated by historical agreement. In the presentation of performance art, the on-lookers can become the participants by way of involving themselves into real situation at the given moment. At that moment historical agreement can be delayed and at the same time the participants cultural background can be involved further.
The arena or place of performance can become a form of inter human relation. In this performance arena all of guests, visitors are involved within the relationship: as on-lookers or those who are watched by, or a mixture of becoming on-lookers and the watched ones at the same time. This is also a kind of agreement. A single performance idea that can create involvement of the on-lookers, which are exhibited a couple of
times in different places and in front of different on-lookers can possibly examine what kind of agreement to emerge in each performances. And then this kind of heterogeneity can, in turn, become very interesting topic of discussion concerning cultural background and influences of situational atmosphere which happen during each performance.



Crisis
In this occasion, I would like to use rope as my major instrument in the performance. This rope can, first of all, be an invitation to the visitors. The second, this rope can actually create a real relation which has actually been created. And at last, I would make myself a knot of this kind of relationship. A number of rope piece are needed with one end is tightened to my body and the other is hold by individual participants. The more ropes, the more participants, the better. The participants? Ends,are distributed into multi directions, and the pattern of our relationship is: action contra reaction. I would like to become the first to offer the action although there will come a time for me to depend on the participants? agreement when they pull the ropes to many directions meaning I will become the massive bodily knot whose movements absolutely depend on the participants? directive pulls. The patterns and rhythms of movements being created would be very different and situational in every performance. For this reason I would take advantages of traditional elements such music as well as dresses. Why? First, these traditional elements will become the basic stance for pattern and rhythm and as emotional substitute. Secondly the traditional element can also be interpreted as self-identity that directly faces participants identity together with those involving people in the performance. Third, music and dresses can become special characters. From the beginning of the performance, the impression of hurting has existed. Could you imagine an individual who is tightened by ropes from multi
directional holders. It is really uncomfortable situation isn it? And when they are asked to pull the ropes ends they will do it unwillingly. An argument is needed and through music people are asked to collectively mange their movement and in full
spontaneity. People seems to be asked to dance. The urge to play and tendency to look for pleasure? which is inherent in every individual holders- are triggered to play its roles. The problem of identity is then meaningful to be put forward since the performer will face many kinds of identity with very different cultural background. Self
identity which is firmly declared will result in the contrast of performer identity with the participants? identity as a background. Heterogeneity is the problem of how differences can be made to meet one another. The image of traditionality and other elements which are created thereon can suggest us to problems such as ethnicity revitalization, in form of spontaneity to create choreography, or merely sensation to be watched and enjoyed. Good and comfortable things which tend to be nothing but pleasure. Back to the core: we all need to be critical to see how far and how long they are aware that beyond pleasure moment or activity? they have enjoyed there is a people who is hurt, or at least, is put oneself in a critical menacing situation
and in danger.

KARINDING

    adalah sebuah alat yang digunakan orang tua dulu sebagai alat untuk mengusir hama di sawah. sekarang disebutnya sebagai alat musik karena menghasilkan bunyi . dan alat ini konon sebagai alat yang telah digunakan orang tua (karuhun) sejak jaman sebelum ditemukannya Kacapi, yang usia kecapi itu sendiri sudah mencapai lebih dari lima ratus tahun yang lalu, diperkirakan alat ini sudah lebih tua dari 600 tahun .
    Jenis alat seperti Karinding ini adalah alat musik yang dimiliki oleh berbagai suku yang bukan hanya di tatar sunda, juga di daerah bahkan negara dan bangsa lain, seperti misal jenis ini di Jawa tengah disebutnya sebagai Rinding, dan di Bali dikenal sebagai Genggong. bahan dan suara yang dihasilkan hampir tidak ada bedanya,yang berbeda adalah cara memainkannya, ada yang di Trim (di getarkan dengan di sentir) dan di Tap ( dipukul).
    sedang alat sejenis di luar dikenal dengan istilah Zuesharp ( harpanya dewa Zues)
Material yang digunakan (di wilayah jawa barat) untuk membuat karinding ini ada dua jenis, pelepah kawung dan Bambu, sedang Zeusharp menggunakan material besi dan baja.
    Jenis bahan dan jenis disain bentuk karinding, itu menunjukan perbedaan usia, tempat dan sebagai perbedaan gender pemakai. Semisal bahan bambu yang lebih menyerupai susuk sanggul, ini untuk perempuan,karena konon ibu-ibu menyimpannya dengan di tancapkan disanggul. Sedang yang laki-laki menggunakan pelapah kawung dengan ukuran lebih pendek, karena biasa disimpan di tempat mereka menyimpan bako. tetapi juga sebagai perbedaan tempat dimana dibuatnya, seperti diwilayah priangan timur, karinding lebih banyak menggunakan bahan bambu karena bahan ini menjadi bagian dari kehidupannya.


Memainkan Karinding
    cukup mudah untuk siapa saja, dengan cara di pukul memperlakukan alat ini seperti alat musik perkusi, dengan menggunakan satu jari tangan, dan ketika kita sudah mampu menghasilkan getaran secara intens,dengan di tempelkan di mulut sebagai resonansi nya, dan lidah sebagai pengontrol bunyi yang kita inginkan.
Ada beberapa jenis suara yang dihasilkan, yaitu dengan mulut kosong tanpa napas dan dengan menggunakan napas,ini akan menghasilkan bunyi yang berbeda. Alat ini bisa menghasilkan suara yang khas dari tiap orang, sebutlah jenis melodi, rhytm dan bass nya bisa di hasilkan, atawa kendang, saron, goong nya kata orang sunda mah, bahkan menyanyikan lagu dengan karinding sekalipun, bukan dengan vokal kita, ini tergantung bagaimana kita bisa memainkan lidah dan napas.
    Yang menarik dari Karinding ini adalah, Pertama dengan cara di pukul ini mampu menghasilkan  bunyi yang variatif cukup banyak. Kedua, suara tiap orang yang memainkan akan berbeda dengan yang lainnya, walaupun memainkan jenis pukulan (Rahel) yang sama , ini berbeda karena tiap orang memilki konstruksi mulut yang berbeda.


Low desibel
kenapa Karinding mampu menghasilkan suara yang bisa mengusir hama?
Suara yang dihasilkan berupa getaran yang tidak begitu jelas terdengar oleh telinga kita, secara ilmu suara di kategorikan pada jenis low desibel, yang getaran ini cuma bisa didengar oleh jenis binatang jenis insect, konon inilah yang dikenal sekarang sebagai suara ultrasonik.

Dan alat ini, leluhur kita membuatnya sebagai alat pengusir hama (bagaimana mereka bisa mengitung samapi kesana?) dan supaya betah memainkan alat ini, maka di ciptakanlah alat yang sangat incredible ini, ya mengusir hama, ya bermain musik, ya asik!. dahsyat kan?

belakangan kita tahu microsoft mengeluarkan software anti nyamuk, pernah denger?, juga TV Media menjual sebuah alat ultrasonic yang di connect ke listrik. coba dengarkan apa yang diahsilkan oleh alat ini semua? sebuah getaran!
    Ini lah bedanya ilmu leluhur, alat bukan cuma sekedar alat, tetapi ada perhitungan lain yang lebih dari itu, coba bayangkan hubungan ilmu leluhur kita antar satu dengan lainnya.
seperti Karinding ini, alat pengusir hama dengan bermain musik, bebas pestisida, dan binatang juga harus hidup untuk keseimbangan alam ini,jadi tidak perlu dibunuh.
Kenapa kita memainkan karinding denga  di pukul? marilah kita lihat alat musik sunda yang dasarnya sebagai alat perkusi, calung, angklung,kendang,goong,saron bonang mah sudah jelas, beberapa alat musik gesek pun ada yang memainkannya dengan dipukul di beberapa rhytme tertentu, tarawangsa misalnya.
Kecanggihan alat ini sebagai bukti bahwa karuhun urang sunda sebagai  "bangsa yang sudah memiliki kebudayaan, bahasa, tulisan bahkan hitungannya pun sudah sampai ke tingkat Matrix,itu pada tahun 122 Masehi" percaya?
pasti tidak, karena kita tidak pernah mendengar apa dan siapa Kisunda teh,



enjing pageto urang bakal  manggih lawang anu teu pernah urang engeuh!