JP\/19\/GALIGO<\/p>\n
'I La Galigo' springs new, young artists<\/p>\n
Carla Bianpoen
\nContributor\/Amsterdam, The Netherlands<\/p>\n
Three days of prolonged standing ovations and commending reviews
\nfrom the Dutch media are making I La Galigo's first European stop
\nin the prestigious Het Muziek Theater in Amsterdam worth the
\n200,000 euro (US ) that the Muziek Theater spent to get the
\nGaligo on their stage.<\/p>\n
In fact, as guest director, Pieter Hofman revealed that the
\noverall investment was 320,000 euro. The public was mesmerized.<\/p>\n
\"I have never seen such theater\" was the general comment of
\nmany who watched this theatrical version of the ancient Bugis
\nmyth. For three hours they sat motionless, overwhelmed by a
\nfeeling of being between the real and the surreal.<\/p>\n
A longtime lecturer at the University of Indonesia, Professor
\nAart van Zoest, said,\"Its a homage to Indonesia's rich culture.\"<\/p>\n
It was a wonderful and refreshing experience, so metaphysical,
\nand yet so human, he added.<\/p>\n
Meanwhile, Patrick Praaning, an organizer of cultural events,
\nsaid he urged all his friends to experience the play. \"What
\nstruck me particularly was the blend of the \"Wilsonian\" with the
\nIndonesian,\" Praaning said.<\/p>\n
\"Whether you know Indonesia or not, this strikes a chord, the
\nevidence of real art,\" said artist Chris de Bueger.<\/p>\n
\"I just love it,\" exclaimed Camille Mortagne, a lecturer of
\nFrench literature in Amsterdam.<\/p>\n
Het Muziek Theater with a stage measuring 14 x 26 meters, has
\nbeen, since 1986, the preeminent theater for the performing arts
\nin Amsterdam. This is the place where the Netherlands' Opera and
\nNational Ballet perform.<\/p>\n
Each year we have two co-commissions. I La Galigo is one of
\nthese, said Hofman.<\/p>\n
It is clear the ancient epic that was on the brink of falling
\ninto virtual oblivion has been assured new life, thanks to Robert
\nWilson and his all-Indonesian cast -- a blend of experienced and
\nnot-so-experienced artists who have been able to lift themselves
\nup to an international standard.<\/p>\n
One need only think of 27-year-old Zamratul Fitria, a member
\nof Sanggar Batara Gowa, whose exceptionally beautiful voice added
\na haunting element to the production.<\/p>\n
The success of the on-stage I La Galigo signals the rise of a
\nnew generation of Indonesian artists and technical experts, and
\nthose who have acquired the discipline of managing their artistic
\ntalents and skills with professional expertise.<\/p>\n
This momentous breakthrough in the stagnant art condition was
\ninitiated by 39-year-old Restu Imansari Kusumaningrum, the
\ncreative director of Bali Purnati Center for the Arts, who
\npartners with Change Performing Arts to produce the Galigo.<\/p>\n
As it turns out, this paved the way for the young and unknown
\nto emerge as world-class performers.<\/p>\n
Working with Wilson has been a unique experience for all.<\/p>\n
\"(I La Galigo's success) is not because it's high-tech,\" says
\nToto Arto, assistant stage manager. \"In Indonesia we tend to
\nthink that foreign productions are successful because they are
\nhigh-tech ... What matters in I La Galigo is creativity and
\nprecision. In fact, it's not too difficult to achieve, but to be
\ncreative with simple things is an art.\"<\/p>\n
\"Just look at the one piece of cloth that was used to suggest
\nthe seven sarongs that the Princess of China (one of the
\ncharacters) wrapped herself in. The same cloth was transformed
\ninto the belly of the expectant We Cudaiq, and became the newborn
\nbaby, or -- inspired by children's games -- the sarong was used
\nas a rowing boat. Low-tech, but so innovative.\" Toto said, adding
\nthat he now realizes he never really knew what it was to be a
\nstage manager.<\/p>\n
As a stage manager for years his responsibility was confined
\nto the cast and the props. Now, as the Galigo's assistant stage
\nmanager he has learned the importance of attention to detail. The
\nrapid lighting sequences must coincide with the action on stage
\nand the tone of the music, for example.<\/p>\n
\"If you're not precise in your movement you could end up
\noutside the very spotlight that is intended to highlight your
\nperformance,\" noted artist I Ketut Rina, who plays Batara Guru in
\nthe performance.<\/p>\n
\"I've worked with various other foreign companies, but never
\nwas the discipline so encompassing, which was quite tough in the
\nbeginning,\"she said.<\/p>\n
Didi Hasyim from Jakarta said his involvement in the Galigo
\nopened his eyes to what theater really was, while dancer Tenri
\nfrom Luwuq called the project a rare chance to perfect her
\nskills.<\/p>\n
For Rama Soeprapto, the Galigo was a real turning point.
\nWorking alongside Robert Wilson, \"the master of detail\", changed
\nthe direction of his life. Since his selection as Wilson's
\nassistant, Rama was driven by a passion that he had never before
\nexperienced.<\/p>\n
\"Before, I lacked courage and felt pessimistic about my
\nabilities, he said.<\/p>\n
When he thought about his new responsibility in the Galigo he
\nbecame very nervous, he revealed.<\/p>\n
Rama has danced since he was 12. He graduated in marketing and
\ntheater from the Towson State University in Baltimore, Maryland,
\nand studied film and video at the University of California, but
\nwas aware that he needed more experience.<\/p>\n
In preparation for the Galigo, he worked fervently to
\nproduce the Opera Bawang Merah Bawang Putih -- with sponsors
\ncommitting to the project just three weeks before the production
\nopened -- produced video clips and other smaller projects. \"I
\nneeded a clue of what was awaiting me,\" he said.<\/p>\n
\"I know now that success is about focus,\" said Rama. \"I have
\nlearned that once we focus on what we wish to achieve, we can do
\nit. But we have to be persistent.\"<\/p>\n
This new-found wisdom took him successfully through the many
\nphases of his responsibility as assistant director. Not only does
\nhe translate Wilson's wishes and instructions for the troupe,
\nwhich comprises players of various ethnicities, but he must also
\ncommunicate with sensitivity to bridge the gap between director,
\ncast and crew.<\/p>\n
In the process, Rama is required to replace the director in
\nhis times of absence, displaying the same careful attention to
\ndetail.<\/p>\n
Rama is a tangible example of the impact of the I La Galigo.
\nInvited to join Wilson's Watermill Center, which supports an
\ninter-disciplinary approach to the arts, Rama has also been
\noffered a position as project director at Change Performing
\nArts\/Milan.<\/p>\n
As I La Galigo proceeds to Barcelona, Madrid, Lyon and
\nRavenna, it is bound to stir the hearts of thousands of Europeans
\nand evoke a renewed interest in ancient cultures. Left in its
\nwake, and of equal importance, is the rejuvenation of Indonesian
\nart and artists.<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/jp19galigo-1447899208",
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"sponsor": "Okusi Associates",
"sponsor_url": "https:\/\/okusiassociates.com"
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