Site specific Performance on Abandoned Houses
Site specific Installation of Dust
The performance explores the uncanny side of domestic house. One common case in Indonesia is to stigmatized the colonials building (especially houses) due to colonial wounds. The social imagination recalled the trauma by lending a representation of local narratives such as superstitious, myth or urban legends to counter a traumatic memory of colonialization.
The video, narrated by locals who tell a story of building’s past, and how they perceive it. While the performer collects dust, the appearance of her doppelganger shows the uncanny situation all over the spaces. The performers also choose to interfere with odd spaces to see the spaces in unconventional. She re-appears, enters from the window, crouch on the ceiling, her gesture seems overly react. She reaches the dust in the oddest space, tries to get intimate, with every blank, leftover curve of the body house. As she seeks a secret, a clue in the very odd, avoidable, ignored corner of the house, every scene also re-enacts the narrator’s story. These actions represent a gesture on digging the memory repressed as juxtaposed over the narrators, the house and the performances. Every odd corner of the houses, echoes the unwanted memory, the shadow, the dark side of architecture. The house, the act of dustings, seems familiar, yet in one way, it evokes the strange situation once occurs there. The house chosen provides a context of colonialization, yet it now abandoned, ruin as a by-product of current social fictions.
Later, after the performances, the dust will be relocated to other spaces to re-contextualized itself within the present time. The dust will be installed through long durational performances, to create the dust installation, in the form of previous house decor. The uncanny, the disturbance of something that is not a presence, create uncanny poetry, so does the existence of long durational performance who interfere with the occupants daily life quietly. The reconstruction of the previous house interior has become a passage to remember the uncanny memory within the domestic space, which hid a secret projected by current society. It is like creating a room within a room, as an attempt to replacing the memory of colonial wounds and seeks other space to neutralized. Ghost stories, myth, and spiritual belief have become the last defense of our culture, to give a counter-narrative of failed rationality
The site-specific performance, located on these abandoned houses:
1. Merapi House
All villages in the mount of Merapi has been vanished by the eruption. The house left in ruin and locals stigmatized as sacred places, where the mythology are alive. Now, no one lives there, and the villagers move away from the mountain. The village turns into ruin, among the forest, and abandoned through time.
2. Cepu House
This house has been long abandoned because it locates next to the cemetery. No one wants to rent these properties, because of the location and superstitious beliefs. The house built in a dutch neighborhood on a small city called Cepu. Many ambtenaar (civil worker) used to live there as a worker in the oil and forestry department. The neighborhood still alive, but some houses are turning into tragic transformation or left behind as a ruin too.
Long durational performances on
dust installation in Garasi Theatre House, Yogyakarta
(the dust taken from Cepu and Merapi abandoned house, from previous performances