JP\/19\/NOVAN<\/p>\n
Cultural diplomacy makes a bid in Bangkok<\/p>\n
Novan Iman Santosa
\nThe Jakarta Post\/Bangkok<\/p>\n
We, Indonesians, may have taken for granted the fact that we have
\nvery diverse cultural backgrounds, nonetheless \"outsiders\" tend
\nto consider us as a single, monolithic cultural group.<\/p>\n
There is perhaps nothing better to demonstrate Indonesia's
\ncultural diversity than to stage a cultural show. And that's
\nexactly what the Indonesian Embassy here in Bangkok did to
\ncommemorate the 60th anniversary of Indonesian independence.<\/p>\n
The embassy staged an episode of the Ramayana epic as part of
\na cultural show last week on Aug. 19 and Aug. 20, featuring the
\nPadepokan Seni Bagong Kussudiardja troupe.<\/p>\n
The first show took place at the prestigious Chulalongkorn
\nUniversity, Thailand's first university. Thai Foreign Minister
\nKantathi Suphamongkhon attended the first show along with the
\nuniversity's president Khunying Suchada Kiranandana.<\/p>\n
The second show was held at Srinakharinwirot University.<\/p>\n
The show opened with the Smiling Indonesia dance, a medley of
\nseveral Indonesian dances performed by 10 dancers. It starts with
\nMalay steps, then moves on to the Acehnese Saman dance with its
\ncomplicated linear configuration.<\/p>\n
It then moved to the island of Java with movements and
\ncompositions from Betawi, Javanese and Balinese dances. Dayak and
\nMakassar cultures then followed with the Angin Mamiri song, and
\nthen a tribal dance from Papua. At the end of the first
\ncomposition was a Sundanese dance using the music Manuk Dadali.<\/p>\n
Unfortunately, the 10 dancers all came in together and wore
\neclectic uniforms combining all kinds of traditional costumes
\nmaking it difficult to know who came from where.<\/p>\n
I wished the dancers had rather came out in pairs for each
\ndance and wore different costumes to make our diversity mire
\napparent.<\/p>\n
But a friend, Aditya, said that perhaps it would have been
\nmore expensive to match each costume with each dance and more
\ncrowded visually. Maybe he's got a point.<\/p>\n
Another example of Indonesian diversity was in the second
\nnumber when the traditional musicians, led by Djaduk Ferianto,
\nperformed a medley of Indonesian compositions.<\/p>\n
With Djaduk on board, one might expect that it would not be
\nclassical traditional compositions but rather something
\ncontemporary instead.<\/p>\n
A traditional ensemble does not usually have keyboards,
\nviolins, Western cymbals and chimes as part of its lineup.<\/p>\n
\"Well, that's Djaduk's signature style with Kua Etnika group.
\nBesides, we also want to give a different flavor of Indonesian
\ntraditional musical compositions,\" troupe leader Butet
\nKartaredjasa told The Jakarta Post.<\/p>\n
The group did a great job delivering those compositions,
\nwhether you are a purist or a contemporary.<\/p>\n
The next numbers, Klana Topeng and Wira Pertiwi, were
\nclassical Javanese dances in the Yogyakarta style.<\/p>\n
Klana Topeng mask dance symbolized Prabu Klana Surawasesa of
\nthe Bantar Angin kingdom who was fell in love with Dewi Sekartaji
\nof the Jenggala kingdom in Kediri, East Java.<\/p>\n
Meanwhile, the Wira Pertiwi told the story of Bhayangkari
\nfemale soldiers in the ancient Majapahit Kingdom exercising their
\nsharp-shooting skills with bows and arrows.<\/p>\n
The second musical composition had rich humorous nuances led
\nby Djaduk at his kendang (a small drum covered with leather at
\neach end) while other musicians played rebana (a tambourine-like
\ninstrument) trying to follow Djaduk's beat.<\/p>\n
As the act became funnier, suddenly they were surrounded by a
\nnumber of mask-wearing dancers -- albeit flashing machetes --
\nready for the next number, Reyog.<\/p>\n
No, it was not that colossal Reog Ponorogo performance where a
\ndancer wears a tiger mask decorated with a peacock feather fan as
\nheavy as 50 kilograms.<\/p>\n
\"It's not the Reog Ponorogo show although the dance number was
\ninspired by the Reog performance,\" said Butet grinning.<\/p>\n
\"Here we want to describe villagers' happiness during harvest
\ntime.\"<\/p>\n
The third musical composition included a catchy tune for the
\nThais as they played Tom Yam Kung, a composition written by Her
\nRoyal Highness Crown Princess Maha Chakri Sirindorn.<\/p>\n
It prepared the audience for the grand finale, the Ramayana
\nBallet. In Thailand this Indian epic is known as Ramakien.<\/p>\n
The ballet was created in 1961 and is typically divided into
\nfour acts: Hilangnya Dewi Shinta (The Abduction of Shinta),
\nAnoman Sang Duta (Anoman the Envoy), Gugurnya Sang Patriot (The
\nDeath of a Patriot) and Api Suci Dewi Shinta (Holy Fire of Dewi
\nShinta).<\/p>\n
This time the group focused on the second act -- also called
\nAnoman Obong (Anoman on Fire) -- although of course it started
\nfrom the beginning when Ramawijaya and Dewi Sinta went hunting
\nand were lured by a kijang (deer).<\/p>\n
It also showed the fight between Rahwana of Alengkadiraja --
\nwho abducted Dewi Sinta -- with Jatayu, a mythical Garuda bird
\nwho tried to save Sinta.<\/p>\n
\"The fight is so realistic compared to the Thai style. We only
\nuse symbolism. But I enjoyed it,\" said Kavi Chongkittavorn, The
\nNation's assistant group editor who watched the show at
\nSrinakharinwirot University.<\/p>\n
\"Another difference was the dancers lifted their feet quite
\nhigh while in Thailand dancers would never do so. We believe feet
\nare unclean,\" he added.<\/p>\n
Kavi said the Indonesian Embassy should stage more cultural
\nshows to Thai public, saying the students loved the show,
\nespecially the humorous parts.<\/p>\n
The foreign minister agreed, hailing the cultural show as part
\nof people-to-people relations which would strengthen diplomatic
\nrelations as a whole.<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/jp19novan-1447899208",
"image": ""
},
"sponsor": "Okusi Associates",
"sponsor_url": "https:\/\/okusiassociates.com"
}