1995 marks revival of Indonesian music community

1995 marks revival of Indonesian music community

By Rita A. Widiadana

JAKARTA (JP): Many Indonesians will remember l995 as a year of
revival for the Indonesian music community, with many memorable
performances taking place. Even orchestral music enjoyed an
unforgettable boost.

Some people cynically linked this musical renewal with the
celebrations of Indonesia's 50th independence anniversary since
many of the music performances were sponsored by the government,
rather than an earnest effort from the local music community.

The government has indeed taken a number of important steps to
bridge the gap between the government and local artists.

It was the first time that the government organized major
cultural events involving hundreds of artists, many of whom were
previously considered "government enemies".

Is it a sign of reconciliation? Hopefully, yes, although the
euphoria was marred by a theater ban.

These government-sponsored arts performances included Kenduri
Nasional (Thanksgiving Party) and Pesta Rakyat (People's Party).
Both events enabled local musicians to regain a strong foothold
on the domestic music scene. The concerts were also aimed at
helping local musicians cope with the deluge of visiting foreign
artists.

Holding a music performance requires quite a lot of funding,
which many local artists lack. The condition is worsened because
only a few music impresarios want to risk their money sponsoring
local music concerts. They prefer to organize concerts by
internationally-recognized artists, who are more commercially
viable. This discouraging attitude among impresarios is one of
the factors that has hampered the development of the Indonesian
music industry.

The government's willingness to sponsor concerts should
actually be considered as a green light for local musicians to
spread their wings. It remains to be seen, though, whether the
government will be consistent in supporting the development of
the country's cultural activities once the golden year is over.

'Kenduri Nasional'

One of 1995's most outstanding cultural events was Kenduri
Nasional in August. This rare and historic occasion held in Monas
Park, and led by President Soeharto, was attended by over a
million people. About 200 performers, including Leo Kristy, Iwan
Fals, poet W.S. Rendra and the late Benjamin S., as well as
artists from all musical backgrounds took part in the spectacular
show.

It was a special occasion for many as the head of state
mingled with the crowd during the party.

The organizing committee distributed 56,000 invitations, but
when the party started at 4 p.m., the crowd had reached over half
a million people. Among the crowd were groups invited from the
city's 265 subdistricts, each bringing a tumpeng (rice cone).
Each subdistrict sent 200 people, all dressed in the traditional
Betawi costume of a white collarless shirt for the men and a red
kebaya (traditional blouses) for the women.

A total of 5,500 officials, including members of the Armed
Forces, were deployed to safeguard the event.

Another important event was Pesta Rakyat, held in the east
parking lot of Senayan, South Jakarta. Also held in August, it
gathered people from many different walks of life.

The show, opened by Minister/State Secretary Moerdiono, began
with a fascinating colored laser display witnessed by more than a
half a million spectators. It was party time, with 100
performers, singers and musicians and 600 dancers taking turns on
the 20 meters wide by 40 meters long stage, decorated with lights
totaling 160,000 watts of power, to delight the crowd.

The singers, accompanied by the Purwacaraka Orchestra,
presented their biggest hit songs. The singers included rapper
Iwa K, Ebiet G. Ade, Ita Purnamasari and Yuni Shara.

King of dangdut (Indonesian music with Arabic beat) Rhoma
Irama created a spectacular sight when he came onto the stage on
a white horse. Clad in a white outfit with a long red shawl, he
reminded the audience of his role in the movie Satria Bergitar.
The government had previously banned Rhoma from performing before
his loyal audience for political reasons.

Other singers, including rockers Nicky Astria and Achmad
Albar, as well as Gito Rollies, Doel Sumbang and the group Gong
2000, who rarely give public performances because of lack of
sponsorship, joined the party.

'Dangdut'

Also in August, to celebrate Indonesia's golden anniversary,
Rhoma Irama held a free concert at the former Ancol circuit in
North Jakarta.

Thirty singers, including Camelia Malik, Itje Trisnawati, Elvi
Sukaesih, Pepy Vera, Fahmi Syahab and Mega Mustika -- all noted
dangdut singers -- took part in this concert, one of the largest
dangdut events ever held in Indonesia.

The show, which drew about 200,000 spectators, was also proof
that despite the deluge of foreign music, dangdut still holds an
important place in the hearts of many Indonesians.

Also spectacular was a performance by the Twilight Orchestra.
Led by conductor Addie M.S., the performance at the Bogor Palace
was more than just a series of repertoires. Called Simponi
Kemerdekaan (Independence Symphony), the event unveiled for the
first time the correct version of the national anthem Indonesia
Raya. It was only appropriate that the Twilight Orchestra
presented Indonesia Raya at the concert on Sept. 9, which was
held as part of the celebrations of the country's anniversary.

"Maybe this is the first time Indonesia Raya has been fully
orchestrated in a proper and correct way," Addie M.S said.

Art Summit

In addition to music performances, the Ministry of Education
and Culture made a surprisingly unusual move by organizing an
international festival and seminar on contemporary music called
Art Summit Indonesia 1995, which was held from Sept. 23 to Oct.
12.

The festival, the first of its kind, was also part of the
commemoration of Indonesia's anniversary and served as a salute
to Indonesia's artistic achievements, which have received
international attention and acclaim.

It aimed at bringing together performances from around the
world, within the context of multiculturalism that represented
the summit of contemporary music and dance.

Apart from music and dance performances, the festival also
held a two-day seminar entitled Frontiers for Composers and
Choreographers: The Problem of Multiculturalism.

Foreign performers included the Banjar Gruppe Berlin from
Germany, headed by Yogyakarta-born Paul Gutama Soegijo, dancer
Kazuo Ohno from Japan, Urban Sax from France and the Richard
Alston dance troupe from Britain.

Indonesian artists performing in the festival included Slamet
Abdul Syukur, Rahayu Supanggah, Sardono W. Kusumo and Bagong
Kussudiardjo.

For local artists, Art Summit l995 was important because the
government has come to realize that contemporary arts, once
considered as secondary importance in the Indonesian art world,
needs its full support.

Another gathering by the Ministry of Education and Culture was
the First National Arts Congress, which involved 500
intellectuals, scholars, artists and government officials from
Indonesia's 27 provinces.

The five-day congress, held from Dec. 3 through Dec. 7, was
intended to provide a forum for participants to share ideas,
experiences and bridge the disparity among them to encourage
local arts ventures.

The congress came resulted in a number of conclusions but it
did not specifically discuss permits for cultural performances,
which are considered vital in the development of Indonesian arts.

The permit requirements, which are also rigid and
inconsistent, have been hampering artistic creativity for the
last decade.

The congress, however, disappointed many artists who called it
a bureaucrat meeting.

Song Festival

The year 1995 also marked the beginning of efforts by the
local music community to make its way to the global stage by
organizing the first Indonesia International Song Festival last
month.

This International Song Festival followed the Pacific Music
Rainbow Songwriters Convention held in Bali in October.

Occurring simultaneously with the International Song Festival
was a seminar on copyrights, also headed by Minister Moerdiono.
Attended by international and local recording industry
executives, the seminar called for the end of music piracy, so
that Indonesia's music industry can improve its reach and image
here and overseas.

The festival was a key promotional tool towards this goal.

Local artists should again thank Indonesia's 50th anniversary
for these opportunities. In this jubilee year, home industries
have benefited from the projects of the Committee for the 50th
Anniversary Celebrations, which was headed by Moerdiono.

Sponsorship from the Medco Group of Companies, the TPI
television station, Garuda Indonesia, and various other companies
have facilitated Indonesia's first foray into the music festival
circuit.

Most of the contestants in this year's festival were alumni of
other festivals, such as Rumania's Golden Stag Festival,
Finland's Midnight Sun Song Festival, and the infamous Eurovision
Song Contest.

It was encouraging that the Indonesian teenage singers,
popularly known as AB-Three, walked away with both the Best
Interpretation of an Indonesian Song prize and the overall Grand
Prix prize, while American Kenny James won second prize.
Established Indonesian artist Trie Utami also secured a prominent
place, winning the runner-up prize for Best Interpretation of an
Indonesian Song, as well as third place for the Grand Prix.

Jazz Festival

Another international-level music event was the Fifth Jakarta
International Jazz Festival 1995, or Jak Jazz 95.

Keeping up with the spirit of Indonesia's 50th anniversary
celebrations, this year's festival, from Dec. 7 to Dec. 10, was
an attempt to showcase the many talents from the Indonesian jazz
world.

Jak Jazz is now functioning as a barometer for jazz
development in Indonesia and recording the experimental ventures
of local jazz musicians.

This year, Jak Jazz featured musicians from the classical, as
well as contemporary music world, including Jadug Ferianto, Ben
Pasaribu, I Wayan Sadra, Inisiari, Harry Roesli and Yazeed
Djamin.

Jak Jazz 95 also welcomed Krakatau, Sketsa and Karimata, as
well as individual performances by Indra Lesmana, Idang Razidi,
Gilang Ramadhan, Luluk Purwanto, Tam Deseng, Taman Husein and
Elfa Secoria. Embong Rahardjo, Nick Mamahit, Jeffrey Tahalele
Trio, PIG, Pelita Harapan Jazz Band, Bill Saragih, Kibaud Maulana
Blues Band, Margie Segers, B-Soul, Simak Dialog, Johan Untung and
Ireng Maulana All Stars also highlighted the jazz festive.

Jak Jazz also boasted an impressive roster of foreign
musicians: Earl Klugh, Arturo Sandoval, Takeshi Ito, Benko
Dixieland Band, Carol Kidd and Surface. The festival also
featured the talents of Sandy Evans, Igor Brill, Illouz, Nippy
Noya, Jeremy Monteiro, Bruno De Fillipi, Drei von Rheim and
O'Donel Levy.

When the jazz fest was over, one question remained: Can the
Jak Jazz festival survive after its main sponsor A Mild ended its
five-year contract this year? The Jak Jazz organizing committee,
which always faces financial constraints, must now look for other
sponsors to be able to continue its endeavors.

Theater

Unlike the local music community, which enjoyed a boost this
year, the local theater world is still haunted by government
bans. In May, the authorities banned a performance by the Teater
Buruh, the Indonesian Labor Theater, called Sad Song from behind
the Walls. The government claimed that the drama could disrupt
national stability. The case was also sent to the National
Commission on Human Rights, which failed to prevent the
government from executing the ban.

There were only a few performances that delighted theater
lovers. Among the rare performances was Semar Gugat (Semar
Protests), held by the controversial Teater Koma. The play was
written and directed by N. Riantiarno, leader of one of
Indonesia's most prolific theater groups. The play was staged at
Graha Bhakti Budaya in the Taman Ismail Marzuki Arts Center,
Central Jakarta.

Another achievement in the theater world was made by
Teater Mandiri, which closed l995's theater performances with its
latest work Bor, staged at Taman Ismail Marzuki Arts Center early
this month.

The group, led by Putu Wijaya, gave hope to many local
theaters. The group's performance at the Fourth ASEAN Theater
Festival in Bandar Seri Begawan, Brunei Darussalam in August has
proven that Indonesian theater is accepted in the international
world. Putu presented Yel and Aum at the festival. Yel has also
been performed in the United States.