JP\/xx\/FESTIVAL<\/p>\n
hi, I have bolded a few things... mostly can you just check
\nchanges.. but think Aceh needs reference to festival\/event
\nname ...<\/p>\n
Performing Arts 2003:
\nFestivals overshadow the talents of emerging artists<\/p>\n
Yusuf Susilo Hartono
\nContributor
\nJakarta<\/p>\n
For Jakarta and the rest of the country, the year 2003 was one
\nof festivals and other public art events, although not all such
\ngatherings were celebratory in nature. Protesters enlisted street
\nartists to encourage post-Bali-bombing solidarity or reject the
\nU.S.-British led war in Iraq.<\/p>\n
But with so much emphasis on group participation, the works of
\nindividual artists were overshadowed.<\/p>\n
The Erau cultural festival in Kutai Kertanegara regency,
\nTenggarong, East Kalimantan, was an attempt to affirm the
\nregency's Dayak characteristics, through the performance of
\nvarious regional dances, songs, custom-based ceremonies and
\ntraditional sports.<\/p>\n
In Pangkal Pinang, Riau, participants from nations of the same
\nlanguage family attended the Islamic Malay Festival to promote
\nthe Malay culture amid world communities. The 25th Bali Arts
\nFestival in June, which was opened by President Megawati
\nSoekarnoputri, involved 8,000 local and foreign artists. They
\nsought to restore Bali's image as it struggled to recover from
\nthe bombing tragedy.<\/p>\n
The third JakArt@2003 Festival, also in June, marked Jakarta's
\nanniversary with world-class shows at the city's playhouse, as
\nwell as other venues in the capital.<\/p>\n
Apart from international festivals, there were many other art
\nevents across the country, from venues on West Java's north
\ncoast, to Bojonegro in East Java and Palu, Central Sulawesi.<\/p>\n
Events promoting democracy, while at the same time opposing
\nthe war in Iraq, showcased the talents of, among other
\nperformers, legendary country-style singer Iwan Fals and his
\ngroup at the Kemayoran Square. Initiated by cultural analyst
\nGoenawan Mohamad and legal practitioner Todung Mulya Lubis, the
\nprogram covered music, fine arts, performing arts and orations on
\ndemocracy\/humanity, with extensive local and foreign press
\ncoverage.<\/p>\n
In an attempt to restore the international image of Indonesia
\nfollowing the terrorist attack in Bali, a number of diverse
\nevents were organized involving prominent figures including State
\nMinister of State Enterprises Laksamana Sukardi and Taufik
\nKiemas, husband of President Megawati.<\/p>\n
Costing billions of rupiah, the events were highly lucrative
\nfor artists well-liked by the authorities. Peace was the general
\ntheme of the programs, such as the World Peace Music Awards,
\nwhich was broadcast worldwide from Garuda Wisnu Kencana, Bali.
\nPop stars from 25 countries joined the concert, including INXS
\n(Australia), Emma Shappin (France), Love Psychedelico (Japan),
\nGloria Gaynor, Maxi Priest (the U.S.) and Krisdayanti, Slank
\n(Indonesia).<\/p>\n
With the greater freedom of expression of the reform period,
\ndemonstrations have become commonplace. Demanding the attention
\nof both the public and press, demonstrators not only carry
\nposters and pictures but stage street performances. Their players
\nrange from art students to laymen, who wear heavy make-up and
\ncostumes, despite the scorching sun.<\/p>\n
The massive rally at Merdeka Palace, with businesspeople,
\nstudents and factory workers demonstrating against the fuel price
\nhike, was one such occasion. Other places popular for public
\ndisplays of dissatisfaction (or art) were the Hotel Indonesia
\ntraffic circle and the gate of the House building.<\/p>\n
Choreographer Boi G. Sakti, said that the popularity of art
\nfestivals had emerged several years ago, although this year the
\ntrend was even more prevalent.<\/p>\n
According to Taufik Rahzen, a cultural observer involved with
\nthe management of dozens of festivals in the country, there has
\nbeen an obvious shift toward the promotion of cultural and local
\nidentities.<\/p>\n
The reform era marked a new awareness for the country,
\nincluding the courage to identify with a group, in both a
\ncultural and community-based context.<\/p>\n
Festivals serve as a means of identity declaration,
\nparticularly cultural identity, and performing arts are known to
\nbe effective in conveying messages in a peaceful manner -- and in
\na more palatable form than lengthy speeches.<\/p>\n
The positive side of this trend is the revival of mutual
\nassistance within communities. This had previously slackened with
\nthe influence of western culture, which promoted the idea of
\nindividualism in daily life.<\/p>\n
However, in the context of artistic expression, Taufik deemed
\nit necessary to pull the individuals "drowned" in groups to the
\nsurface. He added that although attempts have been made toward
\nthis end, but their outcome is not yet adequate.
\n On their own initiative and promoted by art institutes,
\nindividual works were exhibited or performed at Taman Ismail
\nMarzuki, the Jakarta Playhouse, Teater Utan Kayu, Bentara Budaya
\nand foreign cultural centers.<\/p>\n
Boi G. Sakti may be right in his observation that young
\nartists are not ready to make radical breakthroughs, as they
\nstill create within the confines of theory or established
\ncommunity traditions, preventing them from revealing their own
\nidentities.<\/p>\n
For example, at the Forum of Indonesian Choreography at Taman
\nIsmail Marzuki -- from Dec. 18 through Dec. 20, -- 15 young and
\ngifted choreographers participated from Jakarta, Bandung,
\nSurabaya, Solo, Batam, Aceh, Padang, Lombok and Yogyakarta. Many
\nof the dances were promising, but glimpses of real talent were
\nlost amid second-rate staging.<\/p>\n
Next year, these young talents will hopefully have the
\nconfidence and support to grow even further, and to come into
\ntheir own amid the group-festival atmosphere, that has thus far
\noverwhelmed them.<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/jpxxfestival-1447899208",
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