Mother is Siti Aminah, a smalltime batik merchant. Father is Jakio Harjodinomo, a foreman in Mojo Sugar Factory.
Danarto – timeline
Posted: January 25th, 1901 ˑ Filled under: Proses adalah ketika kita. (Process is when we.) ˑ
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1940
1953
Elementary school.
1957
Junior high school.
1958
A vocational high school in Solo, majoring in Literature. He left after 28 days.
Continued his vocational high school and eventually his diploma, majoring in painting, at Indonesia Fine Art Academy, Yogyakarta, until 1961.
In his junior high school days, his very first short story was published in Si Kuntjung, children’s magazine. He then continued working as their illustrator until 1962.
1959
Joined Sanggarbambu (Bamboo Monastery) with Sunarto PR, Mulyadi W., Syahwil, Handogo, Wardoyo, on April 1st. In 1964, the studio separated into two parts: Sanggarbambu ’59 & Sanggarbambu.
1960
Danarto acted as artistic director for “Lahirnya Gatotkaca” (originally spelled as Lahirnja Gatotkatja, translated as the Birth of Gatotkaca), a film written and directed by D Djajakusuma as an adaptation of a wayang (shadow puppet) play.
The film is available online as public domain on https://youtu.be/mqJDdo4od-w
1961
Participated in a national arts and culture venture on a yacht that travels around the Pacific and Latin America.
Excerpted from Jennifer Lindsay, who was paraphrasing Edi Sedyowati (1961): The rehearsal periods were shorter and more streamlined as experienced artists shared their skills with new recruits. Yet the fact that the missions were now easier to send abroad does not in itself explain the volume of Indonesia’s official cultural missions at this time, or the imaginative scale of grandiose tours like the 1960-1961 Floating Fair. That took will.
1962
This work is often casually acknowledged as an early installation work, proceeding the electrifying Indonesia New Art movement, such as in this publication on Sanggarbambu‘s history.
Danarto designed both the costume and artistic set for their very first staging of at Gedung PPBI Yogyakarta (1962) and several re-stagings namely at Gedung Kesenian Pasar Baru (1963), Taman Ismail Marzuki (1969), Yogyakarta (1970), Aceh and Medan (1971) in Sigli, Langsa, Medan. Costumes and masks were still intact and well kept. Danarto only had to make sure. During the trip, he already had a camera, so he took the documentation of the performances. And, finally in Balai Sidang Jakarta (1987).
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