By Rita A. Widiadana<\/p>\n
JAKARTA (JP): Expressions of agony, anger and disappointment
\nimbued the themes of most performing art works staged throughout
\nl998.<\/p>\n
The fall of the New Order regime, with former president
\nSoeharto's stepping down in May after 32 years in power, should
\nhave been reason enough for the local art community to rejoice.<\/p>\n
His authoritarian regime was notoriously fond of suppressing
\nartistic creativity and banning art performances which, it
\nbelieved, \"could disrupt public order and national stability\".<\/p>\n
Ironically, the collapse of Soeharto brought about an even
\nmore chaotic situation. The prolonged economic crisis coupled
\nwith the reform movement has created serious social and political
\ndiscontent.<\/p>\n
People witnessed a series of heartbreaking events such as the
\nshooting of student demonstrators, mob violence and rioting, all
\nof which practically became the order of the day.<\/p>\n
But these dismal events inspired local artists to create
\nquality performing art works in the field of music, theater and
\ndance.<\/p>\n
Playwright Putu Wijaya tried to express his anxiety in his
\nplay titled Ngeh (Understand), staged at Graha Bhakti Budaya,
\nTaman Ismail Marzuki arts center, Jakarta, during the Second Art
\nSummit Indonesia in October.<\/p>\n
Through Ngeh, Putu and his Teater Mandiri members tried to
\nvisually depict the condition of present-day Indonesia, a country
\nchoked with suspicion, hatred and turmoil.<\/p>\n
\"I was so shocked to see how people lost their hearts when
\nthey burned and robbed other people's belongings during the May
\ntragedy,\" recalled Putu.<\/p>\n
Putu wondered whether Indonesians, renowned for their
\ntolerance and friendliness, had turned violent and ruthless.<\/p>\n
The play offered some points of views that may have helped
\npeople in the audience expand their understanding of humanity.<\/p>\n
\"For more than 30 years, the New Order government contributed
\nto imprisoning people's consciences through its iron fist and
\neconomic and political hegemony,\" Putu said.<\/p>\n
Nano Riantiarno, leader of Teater Koma, believes theater can
\nserve as the most effective medium to act as the conscience of
\npeople as well as the authorities.<\/p>\n
\"Theater works are mostly loaded with social criticism
\nintending to show people that something wrong is happening in
\nsociety,\" said Nano.<\/p>\n
This year, Nano staged Opera Sembelit (Constipation Opera).
\nThe play symbolically tells us how a repressive government always
\ndenies people their rights, including their rights to freedom of
\nspeech and expression.<\/p>\n
Sick society<\/p>\n
\"The violations of people's basic rights have created a sick
\nsociety like the one portrayed in my play,\" commented Nano. He
\nanalogized the play with the situation of Indonesia during the
\nNew Order period and in the current reform era.<\/p>\n
Influential playwright W.S. Rendra staged one of his famous
\nworks, Perjuangan Suku Naga (Struggle of the Dragon Tribe), at
\nGraha Bhakti Budaya, Taman Ismail Marzuki, last September.<\/p>\n
Perjuangan Suku Naga deals with the struggle of people to
\nregain their economic rights as well as their lost dignity which
\nhave been stolen by their unscrupulous leaders.<\/p>\n
\"Soeharto's New Order regime of economic expansion resulted in
\nsocial, political and cultural imbalances,\" commented Rendra.<\/p>\n
\"Today, our lives seem so dry and so meaningless because
\npeople value money above everything else,\" he noted.<\/p>\n
Social criticism also emerged in several dance works,
\nincluding Gusmiati Suid's insightful Api Dalam Sekam (Tinderbox)
\nwhich was performed at the opening of the Art Summit festival in
\nSeptember.<\/p>\n
In her latest choreography, Gusmiati tells people that they
\nhave lost their trust in others. Social and moral values have
\nbeen degraded.<\/p>\n
\"Such a situation is very dangerous to the lives of the people
\nand the nation. It can tear the country apart, and this is going
\nto happen if we do not mend society,\" she said.<\/p>\n
For the 54-year-old grandmother, Api Dalam Sekam is her
\ninterpretation of the current misfortunes besieging her beloved
\ncountry.<\/p>\n
Yogyakarta-based choreographer Miroto delineated his
\napprehension through his creation Kembang Sampah (Garbage
\nFlowers) performed at Gedung Kesenian Jakarta in October.<\/p>\n
Miroto explored the theme of garbage to represent neglected
\npeople. Kembang Sampah clearly illustrates the memory of the May
\nriots and other recent human rights abuses in the country.<\/p>\n
\"People were burned and left behind as if they were nothing
\nbut garbage. This is a terrifying moment in my life,\" Miroto
\nsaid.<\/p>\n
It is interesting to note the reemergence of poetry recitals
\nand short-story readings in the form of intriguing and
\nentertaining performing arts.<\/p>\n
Common people have not tasted such forms of art for quite some
\ntime. In the closing of the November Festival to mark the 30th
\nanniversary of Taman Ismail Marzuki, a number of poets like
\nDanarto, Hamsad Rangkuti, Gerson Poyk and Putu Wijaya showed the
\naudience how to artistically compound theater, dance and literary
\nand visual elements.<\/p>\n
Poet Danarto recited his short story titled Waktu Yang Alpa
\n(The Neglected Time).<\/p>\n
Elaborate and sophisticated Javanese classical dance Bedaya
\nEla..Ela, an elaboration of Srimpi Ela..Ela, performed by senior
\ndancers like Nungki Kusumastuti, Menul Sularto and Maria Hoetomo,
\nopened the recital.<\/p>\n
Danarto read the story, The price of a shallot is much more
\nexpensive than a man's life. Violence becomes a daily language
\nfor us.<\/p>\n
A number of dancers wearing ninja costumes then attacked the
\nartist who was still reading his work. The ninja dancers chopped
\noff the artist's head with a long sword.<\/p>\n
A new trend in the performing arts injected fresh air into the
\nartistic activities in the country.<\/p>\n
Serious performing arts like contemporary music, theater and
\ndance tried to flap their wings outside art and culture centers.<\/p>\n
A number of memorable performances took place in typically
\nurban venues like cafes, commercial galleries and even at
\nMcDonald's family restaurant.<\/p>\n
New rising star Butet Kertaredjasa captured the hearts of
\nJakarta's yuppies with his irreverent monolog. Accompanied by his
\nbrother, contemporary musician Djaduk Ferianto who provided
\nenthralling music background, Butet touched the young urbanists
\ngroup with his acting talents, especially in making fun of
\nSoeharto, President B.J. Habibie and other bureaucrats.<\/p>\n
The two brothers, sons of famous choreographer Bagong
\nKusudiardjo, recently performed at The Expose Cafe presenting
\nRaja Rimba Jadi Pawang (King of the Jungle Becomes Tamer).<\/p>\n
The story was inspired by a number of Yogyakarta students who
\nlodged complaints against conditions at Gembira Loka zoological
\npark.<\/p>\n
A large number of artists were previously skeptical that they
\ncould produce and stage their works in a period when millions of
\nIndonesians are suffering because of the protracted economic,
\nsocial and political crises.<\/p>\n
Time has proven different. The arts have flourished despite
\nthe obstacles. The artists are prolific and creative as well.<\/p>\n
There were numerous cultural events held throughout l998. The
\nSecond Art Summit Indonesia, a month-long international festival
\non the performing arts, provided local art lovers with a taste of
\noutstanding, world-class performances.<\/p>\n
This year's Festival November, an annual art event to
\ncelebrate Taman Ismail Marzuki, featured both senior and junior
\nartists to provide the audience with contemplative art works.<\/p>\n
Inspiring theater, music and dance performances were also held
\nin various places outside Taman Ismail Marzuki and Gedung
\nKesenian Jakarta, once considered the only quality art centers.<\/p>\n
Various venues, such as Teater Utan Kayu and Galeri Cemara,
\nhave become popular art venues in the capital.<\/p>\n
A number of significant cultural activities were also held in
\nYogyakarta; Central Java's Surakarta and Semarang; West Java's
\nBandung; East Java's Surabaya; the islands of Bali, Sumatra and
\nSulawesi.<\/p>\n
All in all, l998 witnessed ample unforgettable works in the
\nperforming arts which recorded part of the nation's historic
\nmoments.<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/by-rita-a-widiadana-1447893297",
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"sponsor_url": "https:\/\/okusiassociates.com"
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