Sinta Obong: An Interpretation

Tuesday, October 11, 2005

ACCEPTING the invitation from the organizing committee of the 250th Anniversary of Mozart in Vienna, director Garin Nugroho will screen his Javanese musical-drama film Sinta Obong (Sinta on Fire). The shooting has begun in Yogyakarta and Solo, involving renowned Indonesian dancers and artists. Garins interpretation of Sinta differs from what is usually found in the traditional Ramayana. Sinta is featured as a woman tossed in her desire, between the possessive Rama and the aggressive Rahwana. It is interesting to observe the interaction of choreography and installation art in translating this interpretation. Read Tempos report on the shooting of the film.

. tempo : 173166045069.

GARIN Nugroho has made an open interpretation of Sinta. As the story has it, during a downpour, Rahwana slips into Ramas bedroom to flirt with Sinta. Rama returns and Rahwana hides himself inside Sintas sarong. The scene depicting these three charactersRama (played by Miroto), Sinta (Artika) and Rahwana (Eko Supriyanto)turns into a very sensual setting. Miroto dances, fondling Artika from the top of her head down to her breasts, while Eko is seet

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