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.