by Alexander GB. The movements of Joged Amerta are always intended as a way of greeting others; therefore, movement serves as embodied communication or dialogue. One of the fundamental conditions of dialogue is the recognition and acceptance of the existence of other subjects. In other words, communication can only take place when subjects engage as equals—subject to subject, rather than subject to object.
by Yuliana Meneses Orduño. Amerta Movement creates an impact on the way bodies perceive their spaces, their history, their “natureculture” environment and relationships with other bodies.
by Riwanto Tirtosudarmo. I present five poems as my tribute to him. I wrote these five poems in different places and times, whenever I was remembering or thinking about him.
by Martha Hesty Susilowati. Amerta Movement offers a holistic approach that enables women to reclaim their bodies, emotions, and identities from societal constraints. This article explores the synergy between Amerta Movement and women’s empowerment, emphasizing it psychological significance and transformative potential.
by Dody Eskha Aquinas. In its practice, Amerta Movement also fosters self-awareness of natural elements such as earth, fire, wind, water, and metal. Additionally, when combined with prayer or mantra, a spiritual atmosphere emerges that makes humans aware of their connection with the Creator.
by Deny Hermawan. The goal of this movement meditation is to cultivate full awareness of the body, space, and surroundings. Through the process, practitioners learn to listen to their bodies, feel the flow of energy, and connect with nature.
by Bobby Steven Octavianus Timmerman. Joged Amerta and Ragawidya share a common philosophical foundation, both exploring embodiment (kebertubuhan) as a pathway to the Divine.
by Theresia Alit. Beyond responding to space and surroundings, a dancer practicing Joget Amerta must also become aware of and liberate the body from all forms of attachment. With its fluid, unstructured movements, Joget Amerta emphasizes the process over the outcome—its value is not measured by the number of spectators. Ultimately, it manifests as living awareness in motion, guiding practitioners to rediscover themselves and cultivate sensitivity.
by Sephia Putri Fatima. Throughout his life, Mbah Prapto worked with students and colleagues from all walks of life, including renowned artists, performers, practitioners, and internationally recognized teachers—whom he simply regarded as "friends." He encouraged these "friends" to share and spread their understanding of his work.
by Diane Butler. This brief essay stems from the idea that one of Prapto’s processes since the early-1970s was to discuss about his movement concepts, to peel ideas, and then try to ‘under stand’ via the experience of movement practice. Not for grasping onto an identity or category of work; rather for ‘re-cognizing’ that one’s understanding and awareness of movement arts and life will always be changing according to the environment and journey of time.
