April 1. 1991

ART CENTER BONA

I. ANNIVERARY

April 1. is our first birthday. What happened during this year? Oct 15, 89 We began to build

Nov 15 89

Ceremony to be able to live. Topeng Pa Sija

Dec 25. 89 Chrismas Ceremony. - Ardja performance (Karamas)

April 1.90 OPENING - Sanggar Paripurna performed DEWI UMA

in May 90 Built a small wing on the left side of the house.

in June 90 Created songs for a production of 'A day in Bali'

The production DEWI UMA, created by Pa Sija and his group grew to be a local success and was performed in many villages.

July 18.90 til Jan. 12. 91 our house closed.

Pa Sija and his group produced JALONARANG, BARIS and REJANG

During my stay in Japan (OCT. 90) we discussed what our place in Bona / Bali could become:

1.Our place in Bali could remain free of commercial business, could be a place where money is no issue. We would like to see our Center be alive. Our Center should be the Village Bona, our house only the headquarter.

2. We discussed, to find a few 'rich` sponsors, who privately (not through their companies) would donate up to $ 100.000 to complete the next houses for the purpose of allowing anthropologists and researcher, who want to do study in Bali to stay a little bit more comfortably. We need our constant small contributions.

3. We would like to inspire a yearly theatre festival in Bona by foreign artists, similar to other alternative places. These performance should be for visitors to Bali from all over the world. An infrastructure to supply audience exists.

4. The Center is free for guests. The Center cannot be bought nor can we sell things. People who stay must work / study. Not-for-profit principle should be applied, which means covering costs only. We received more donation. We still have something left to continue.

Jan. 91 We completed left wing.

Feb. 14 91 Ceremony for 'Welcome back`. Joged classic performance (Sukowati)

Feb. 22. 91 Ardja performance (Karamas)

So far we are able to produce traditional Balinese arts, supply individual artists facilities to eat, sleep and work, inspire collaborations and study with Balinese or foreign artists. We already welcomed many friends and started to work. What we can not do is house elderly people, researchers, supply them with media equipment and research help, and undertake a festival. We cannot really ask foundations for assistance.

Naito Minako send a letter (Oct 90) and writes, that 'the Art Center should be of public existence, not a private salon for me and my friends. I can only agree and hope that we have your support. I will try to answer her questions leading to a brochure and formulate how we can make our idea more public and useful. All of you have helped a `dream' start: we should think of continuing this Center as well as we can. We can continue to function the way it is now, silent and private or open up to more poeple. Please react, invite a friends whom you would like to visit your house in Bali and send some money to keep it in good condition.

I hope to hear from you.

JAPAN: Matsuoka Kazuko (writer), Nakajima Yukari (book editor), Kumamoto-san (writer), Ito Yazue (stage designer), Rick Emmert (musicologist), Naito Minako (theatre producer), Asakura Setzu (stage designer), Yoshiyuki Kazuko (actress)

GERMANY: Gunther Phillips (laywer, poet), Fred Maire (actor), Lotte and Danielle Lutgenhorst (dance teacher), Manuel Lutgenhorst (stage designer), June Card (opera singer), Doris Jensen (actress), Ariane Petri (mother)

AMERICA: Mike Peters (film producer), Angela Cermelli (sculptor), Beate Gordon (Asia Society), Richard Lanier (ACC), Lou Zeldig (artist),

KOREA: Sohn Jin-Chaek (theatre director), Kook Soo-Mo (choreographer), Park Bum Hoon (composer), Yoon Moon-Sik (actor), Yoo Duk Hyung (Dean Institute of Art), Greta Lee (costume designer)