Through the intersection between live performance new media, this zone serves as a stage, presenting a dynamic show that prevails from the heart of Betawi culture. The representation features prominent video mapping artist Eldwin Pradipta, in collaboration with dancers Oktaviani, Yusnaningrum Diana Puspitadewi, and Siti Fatimah.
A looping work by Eldwin Pradipta entitled Unmasking Cultural History (2019), interprets the object “mask” both artistically and philosophically. Visually speaking, the form of the masks that appear as part of the video mapping, is adapted from Betawi wooden masks that are frequently used in their traditional dances. At the same time, the mask is also a metaphor of the face of Jakarta today -- that is, one that was shaped by the acculturation between contemporary and traditional influences. Although Jakarta’s appearance in the eyes of the world might have altered almost entirely to a “modern” city, one could not deny the fact that behind its mask, still hides the true culture of Betawi people. Enfolded between the city’s skyscrapers, are narrow streets that give room for artists to continuously perform the lively “Tari Topeng” (Mask dance) or “Tari Ondel-Ondel (Puppet dance), amongst many other rich performances in Betawi traditional dance.
For the first time, these two dances are brought to an international platform in which it is presented in connection to a media work. Through this piece as a whole, one could grasp the sensation of being in Jakarta, in which at certain moments of the day, the city would take a break from the hustle bustle way of life that dominates it, offering a taste of culture for its multicultural inhabitants.