choreography

The dance piece “Luka Pulih” (Healing Wounds) is a contemporary dance work that explores the emotional experiences of individuals who have been bullied and subjected to social pressure from their surroundings. This work was created as an effort to visualize the psychological process of a person when facing adversity until they are able to rise again through inner strength. The purpose of this work is to convey the message about the impact of bullying on mental health and to describe the healing process as a form of courage and determination in living life. The creative method in this work includes the stages of idea gathering, movement exploration, concept formation, composition, and evaluation. The movements were developed from observations of human body expressions under emotional pressure, which were then processed into contemporary movements with varying dynamics. The accompanying music, makeup, and costumes were designed to reinforce the emotional character in each part of the work. The results of the creation show that the processing of movement, tempo dynamics, and changes in spatial composition are able to present a representation of the character's emotional transition from a phase of despair and indecision to a phase of awakening. Through the work “Luka Pulih”, the choreographer hopes that the audience can understand that the healing process from the experience of bullying requires time, acceptance, and determination. Keywords: Wound Healing, Bullying, Empirical Experience, Langon Method

Benang Merah Bertaut Paku is a dance choreography that addresses psychological violence within the family as one of the main causes of anxiety disorder in children. Psychological violence often leaves no visible physical wounds, yet it has long-term effects on children’s mental health, such as fear, anxiety, pressure, and social isolation. Through the medium of dance, this work seeks to give voice to emotional wounds that are often hidden and rarely discussed openly. The creative process of this work employs dance creation methods consisting of exploration, improvisation, composition, evaluation, and revision. Exploration was conducted to discover movement qualities that represent inner pressure, such as restrained, repetitive, and withdrawn movements. Guided improvisation was used to explore the emotions of children who are ignored and yelled at by their parents. Supporting elements such as tin plates as a symbol of verbal outbursts, white cloth as a symbol of emotional bondage, minimalist music, and dim lighting were used to strengthen the psychological atmosphere of the work. The result of this choreography shows that dance can function not only as entertainment and aesthetic expression, but also as a critical and empathetic language toward social realities. The dancer’s body becomes a medium to convey silence, inner tension, and a child’s fundamental need for love and acceptance from the family. It is hoped that this work will raise public awareness of the importance of children’s mental health and the harmful impact of psychological violence within the family environment

«بنـگ مـرح بـرتـاوت پاکـو» یک رقص‌آرایی است که به خشونت روانی در خانواده به‌عنوان یکی از علل اصلی اختلال اضطراب در کودکان می‌پردازد. خشونت روانی اغلب هیچ زخم فیزیکی قابل مشاهده‌ای بر جای نمی‌گذارد، اما تأثیرات بلندمدتی بر سلامت روان کودکان دارد، از جمله ترس، اضطراب، فشار و انزوای اجتماعی. این اثر از طریق زبان رقص تلاش می‌کند به زخم‌های عاطفی‌ای که اغلب پنهان مانده و به‌ندرت به‌صورت آشکار مورد بحث قرار می‌گیرند، صدا ببخشد. فرآیند خلاقانه این اثر با بهره‌گیری از روش‌های خلق رقص شامل اکتشاف، بداهه‌پردازی، ترکیب، ارزیابی و بازنگری انجام شده است. اکتشاف به‌منظور یافتن کیفیت‌های حرکتی که فشار درونی را نمایان می‌کند، مانند حرکات مهار شده، تکراری و کناره‌گیرانه، صورت گرفته است. بداهه‌پردازی هدایت‌شده برای واکاوی احساسات کودکانی که توسط والدین نادیده گرفته شده و مورد فریاد قرار می‌گیرند، به کار رفته است. عناصری همچون بشقاب‌های حلبی به‌عنوان نماد فوران‌های کلامی، پارچه سفید به‌عنوان نماد اسارت عاطفی، موسیقی مینیمال و نورپردازی کم‌سو برای تقویت فضای روان‌شناختی اثر مورد استفاده قرار گرفته‌اند. نتیجه این رقص‌آرایی نشان می‌دهد که رقص می‌تواند نه‌تنها به‌عنوان سرگرمی و بیان زیبایی‌شناختی، بلکه به‌عنوان زبانی انتقادی و همدلانه نسبت به واقعیت‌های اجتماعی ایفای نقش کند. بدن رقصنده به رسانه‌ای برای انتقال سکوت، تنش درونی و نیاز اساسی کودک به عشق و پذیرش از سوی خانواده تبدیل می‌شود. امید است این اثر آگاهی عمومی نسبت به اهمیت سلامت روان کودکان و پیامدهای زیان‌بار خشونت روانی در محیط خانواده را افزایش دهد.