Shadow play

Shadow play being developed during the residency.


If echoes are sounds audible even when the source of the sound is already silenced, then shadows are what is visible when the source of light is obstructed. Both are a consequence: what “comes after”. Echoes are born from reflection of sounds on surfaces, shadows are born from the inability of light to penetrate a surface. In the case of echoes, it requires time; in the case of shadow, it is cast instantly. The involves two different modalities: of hearing and of seeing.

Shadows/Echoes are becoming not only concepts, but also strategies. The strategy of shadow is to envelope: to surround oneself with all things and absorbs these syncretically. The strategy of the echo is to catch reflection: of experimenting and accumulating feedback.

Between 4 October – 2 December 2023, with the fund of the European Commission as part of their Artist Mobility program, I did my residency project as I stayed in Stockholm, Sweden. In Shadows/Echoes, I investigated the connection between movement, dramaturgy, and music in the context of a puppet theater performance, drawing inspirations from Swedish and Indonesian tradition. In addition, I learned the latest music technology in the subject, and about its ethical considerations.

As a musician and composer who uses Javanese Gamelan in contemporary and experimental context, my goal is to develop artistic strategies to compose with consideration to the mentioned elements. Traditions are used as starting points, while technology is a way to augment it. I will learn from and work with Lisa Björkström (puppeteer), Urban Wahlstedt (puppeteer), and André Holzapfel (associate professor in media technology, KTH Royal Institute of Technology).

Selected Documentation


Shadow puppet

Study of shadow puppetry developed during the residency.

I am grateful for the support of his excellency Kamapradipta Isnomo the Indonesian Ambassador and Gita Loka Murti of the Embassy of the Republic of Indonesia in Stockholm for their permission and support in regards to the Gamelan instrument.

This work was produced with the financial assistance of the European Union. The views expressed herein can in no way be taken to reflect the official opinion of the European Union.