Theater festival explores gender-sensitive themes<\/p>\n
I Wayan Juniartha, The Jakarta Post, Denpasar<\/p>\n
The All-Bali Theater Festival at the island's arts center in late
\nApril promises to provoke thought on the roles that women play in
\na traditionally patriarchal society, which is insensitive toward
\ngender issues.<\/p>\n
Organized by the Kelompok Tulus Ngayah, a Denpasar-based
\ntheater company founded by accomplished writer, actress and
\nactivist Cok Sawitri, and the island's Werddhi Budaya Arts Center
\nthe festival will feature six plays, a book launching, an
\nexhibition of photographs and discussions.<\/p>\n
\"It will be a joyous moment for the island's theater
\ncommunity, a moment to be together and to learn from each other's
\nexperiences,\" Sawitri said.<\/p>\n
\"Most importantly, it is a moment of celebration, of embracing
\nthe birth of the island's new generation of playwrights and
\nactresses,\" she added.<\/p>\n
She was referring to the six participating theater groups --
\nKomunitas Pena Patah, Kelompok Raka Rai, Komunitas Boekoe, Teater
\nSeribu Jendela and Kelompok Adorasi Kiaq Miten -- which are run
\nand staffed mostly by young theater workers.<\/p>\n
Moreover, the six dramas were written by the island's young
\nplaywrights: Frans Wisnu Murti, Ni Ketut Ayu Puspita Dewi, I
\nGusti Komang Ayu Willyani, Maliana and Kadek Sonia Piscayanti.<\/p>\n
Most of them were born in the early 80s whereas the majority
\nof the island's established dramatists and actors were born in
\nthe early 50s or mid-60s. This generation gap of some 20 years is
\napparent in the comparison of their work.<\/p>\n
\"My general impression is that they have a straightforward
\nattitude in dealing with reality. They substitute their
\npredecessors' poetic power of symbolic narratives with the
\nemotional immediacy of their true-to-life characters. Metaphoric
\nallusions are replaced with poignant, down-to-earth words,\" noted
\nplaywright Mas Ruscitadewi said.<\/p>\n
Furthermore, these young writers are more preoccupied with
\nsocial injustice than the psychological journeys of individuals.
\nFor instance, the struggle of women against the oppression of a
\nmale-dominated society takes center stage, whereas the trials and
\ntribulations of female protagonists linger as a supporting
\nbackdrop.<\/p>\n
\"They possess a heightened social sensitivity compared to
\ntheir seniors. Their ages apparently play a pivotal role in
\ndetermining how strongly they voice their awareness and stances
\non social issues, such as gender inequality,\" Sawitri pointed
\nout.<\/p>\n
Gender inequality is undoubtedly the main theme of the
\nfestival as seen at an advance performance of the plays attended
\nby The Jakarta Post.<\/p>\n
Sonia Piscayanti's Negeri Perempuan (Country of Women)
\nportrays a bloodless revolution led by a prostitute who succeeds
\nin overthrowing an oppressive, male-controlled regime. By
\nlaunching a massive strike, which involves no work, no cooking
\nand no sexual intercourse, the country's women reclaim
\ntheir long-lost freedom.<\/p>\n
Meanwhile, Puspita Dewi's Aib (Disgrace) explores the life of
\na Balinese girl. Raped and impregnated by her father, she must
\ndeal with personal loss, sorrow and humiliation inflicted by a
\nprejudiced community.<\/p>\n
The desperate girl eventually resorts to violence, murdering
\nher father before taking her own life.<\/p>\n
Arik Sariadi's Nyunnyan...Nyunyen is undoubtedly the
\nmost solid script among the six. It narrates the journey of an
\nintelligent, strong-willed girl who refuses to fit the mold.
\nOvercoming her personal weakness and embarrassing past, the girl
\nmanages to elude a forced marriage, a violent boyfriend and a
\nmanipulating father without discarding her loving, trusting
\nnature.<\/p>\n
Surprisingly, the 21-year-old Sariadi managed to weave the
\nancient legend of Ki Barak Panji Sakti -- a mighty warrior and
\nfounder of the Buleleng Kingdom, who spent his childhood without
\nthe presence of both his parents -- and the Hindu myth of the
\nBirth of Kala, which portrays the justified infidelity of Goddess
\nUma and the wrath of her insensible husband Lord Siwa, into the
\nmain story.<\/p>\n
The two sub-plots give the script a haunting, dramatic
\nintensity and maturity.<\/p>\n
The festival is the culmination of Tulus Ngayah's
\nsix-month-long effort to build a strong, gender-sensitive
\ntheatrical community on the island.<\/p>\n
In October 2004, Tulus Ngayah organized a theater skills
\nworkshop for the island's actresses and female theater workers
\nthat focused on production. It included sessions on writing,
\ndirecting, lighting and setting, production management and
\nliterary appreciation.<\/p>\n
The workshop was soon followed by a script-writing competition
\nat the end of 2004.<\/p>\n
\"Twenty-three scripts were submitted from all over the island.
\nIn January 2005, the judges picked six scripts, which were later
\nproduced for the festival. We have also published them in a book
\ntitled Nyunnyan...Nyunnyen,\" Sawitri said.<\/p>\n
All-Bali Theater Festival<\/p>\n
April 21 until 27, performances start on 7 p.m. at the Werddhi<\/p>\n
Budaya Art Center, Jl. Nusa Indah, Denpasar.<\/p>\n
For further information: Kelompok Tulus Ngayah,<\/p>\n
+62-361-7426289, ktulus_ngayah@yahoo.com<\/p>", "url": "https:\/\/jawawa.id\/newsitem\/theater-festival-explores-gender-sensitive-themes-1447893297", "image": "" }, "sponsor": "Okusi Associates", "sponsor_url": "https:\/\/okusiassociates.com" }