This month, we are sharing a video of the research conducted in October for Farewell Future Welcome World. We are also sharing below a correspondence between composer Iwan Gunawan and Harijono following a recording of a run-through.
Iwan, the two Indonesian musicians, and the three Indonesian dancers will arrive in the Netherlands on December 17. In the meantime, we will continue working in the studio with half of the dancers and musicians from Black Pencil. At the same time, we are in regular contact with the Indonesian dancers about the ideas, movement generators, and material. What is special is that they have now come together (all three live elsewhere on Java) in a studio in Solo, Indonesia. Because we have known each other for so long, it is wonderful to feel that despite the geographical distance, the artistic dialogue continues and we inspire each other.
We can't wait to continue working on the performance together in the studio soon.
Andrea & Harijono
Ha Iwan,
Thanks for your remarks. That is how our conversations always went. Iwan: ‘you have a nice idea but let me think a moment and I will come up with something better’.
You are right: we are still struggling with some of the transitions and I am sure, that for example, the recurring song may benefit from musical development. Also the mysterious sounding polyphonics in the beginning should last longer and still have to be developed musically.
Also, the order of events may change. When we think dramaturgically (thinking/sensing what associations an event will evoke) or structurally we have to make changes, add or insert events. This still has to be a true dialogue between us all. I still hope that some of the ancient music can blend in gamelan sonority as well.
The Indonesian dancers are still developing material in Indonesia that we can and will include. By no means are we working on a finished product.
So I am looking forward to your arrival and to continue our journey together.
Meanwhile, it has been a rewarding experience to work with “the Pencils” and it can only get better.
Ciao Iwan, see you in a week.
Harijono
SOME COMMENTS ON THE PRACTICE RESULTS
Friday, December 5, 2025
First of all, I would like to congratulate you on your efforts. At least the ideas have been put together, so we can look at them from a distance to be more objective and then critique, revise, and modify everything that has been achieved.
Second, I will try to highlight the structure, especially from a musical perspective. For me, the structure is too predictable and ultimately seems compartmentalized. The transitions between sections are not smooth and even feel forced, so that the aspects of “tension” and “release” or causality in the context of sound are not taken into account. For that, we may need some additional musical ideas as transitions between sections, creating a “rise and hit” sounds, or reducing the existing musical material to make the changes more interesting. For example: The keroncong song played “on the radio” should be slightly manipulated in terms of sonority to give it an “old style” feel, and then the way the song starts and ends can be created using various techniques such as “slow down,” “reverse,” or gliss down to give it a sinking feel, or gliss up to give it a flying and disappearing feel. This creates a certain connection between the sound of the radio and Esra's no-vibrato viola. Similarly, the second time, it needs to be connected unexpectedly (subito) with a drone from an electronic sound (organic sound) to melt with the tenor recorder and Jorge's vocals.
Okay, all of that is just one of my ideas and imaginations in developing this material. Of course, this can be explained technically, but I think we can work on this aspect later after practicing together.
Third, there is still a misunderstanding about the “impro structure” material, but that's okay because we need complete players, especially gamelan players. We can fix it later when we practice together. In addition, I feel that the “New Nursalim” material is not yet clear, and I am not sure whether a cajon is really needed to emphasize the rhythm? Or maybe it would be better to just use wind instruments?
Fourth, I like the changes to the “viola concerto.” However, it may need a little more gamelan sound, but the “Giant” percussion as indicated in the score may not be necessary.
Fifth, I think we need to create several versions of the “Choirs” section so that the repetition is not boring.
Sixth, the music for “Frankenstein” needs to be recomposed more strictly for both the short and long versions.
Seventh, I think the basic rhythmin “Sketch 2” is not quite right. I will think of a solution later.
Eighth, for “Like Postlude,” it should only be for vibraphone and gender, so that Esra or the viola sound can rest.
That's all I can say for now, and this is only a preliminary and one-sided reaction. I hope we can discuss this further when we meet. Thank you.
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Iwan Gunawan
