Artists comment on Taman Ismail Marzuki arts center

JAKARTA (JP): If you hope to come across senior or popular artists hanging out at the Taman Ismail Marzuki (TIM) arts center these days, you might be disappointed, said the manager of Teater Koma, Ratna Riantiarno.

She said that 20 years ago, it was quite common to see artists like Affandi, H.B. Yassin and Sutan Takdir Alisyahbahna involved in a serious discussion in a corner of TIM. Under a shady tree, the late Arifin. C. Noor could be seen training his theater group, while in a gallery, some sculptors and painters worked hard to prepare their joint exhibition.

"That 'romantic' period is over," said Ratna, also a member of the Jakarta Arts Council, "but their spirits remain at TIM."

In conjunction with TIM's 30th anniversary, which fell on Nov. 10, a number of senior artists shared their thoughts.

Music composer Sukahardjana, 58: For me, TIM no longer possesses a significant role in voicing artists' aspirations or in shaping the development of the arts.

When TIM was established in 1968, former Jakarta governor Ali Sadikin gave full authority to local artists in designing and planning all programs as well as managing the arts center. This was carried on until 1978.

In the early 1980s, TIM's condition began to deteriorate when there was serious intervention from bureaucrats of the New Order regime and other parties.

TIM was then controlled by a number of government officials whose knowledge and concern of the arts were questionable.

If we talk about TIM, we have to define the roles of the Jakarta Arts Council, TIM's management, the Jakarta Arts Academy and later, the Jakarta Arts Foundation, four bodies that support artistic activities held at TIM.

The Jakarta Arts Academy comprises highly-esteemed artists whose task it is to appoint members of the Jakarta Arts Council (DKJ), a body which outlines art programs at TIM.

TIM's management is the executor of the programs, while the Jakarta Arts Foundation is responsible for searching for funds and to provide financial assistance for TIM's activities.

In the past, DKJ members consisted of senior and reputable artists in the fields of film, dance, theater, music, fine arts and literature.

Presently, any artist can easily become a member of DKJ regardless their achievements. In my opinion, this council's dignity and reputation is reflected in all its policy and program selections.

For example, this year's Festival November, to commemorate TIM's anniversary, is only a party. I don't see any activities, such as seminars, workshops or other programs, that can widen the horizons of artists and the people in general.

TIM has lost its grassroots supporters, the artists, and it would be very hard to revive its reputation as an oasis for freedom of artistic expression if the current reform movement doesn't touch the management and all those related parties involved in the operation of this art center.

Dance Choreographer Gusmiati Suid, 56: The 30th anniversary of TIM is meaningful to me even though many people say that TIM's stature is fading now.

It is not only TIM that is losing its energy but also the arts themselves. There is no spirit or enthusiasm to create art for arts sake.

The period of the 1970s had gone. At that time, the environment was very conducive. All artists were hand-in-hand, supporting each other's activity. If we wanted to stage our work, it was very easy to ask dancers, stage people to support our performance without thinking of making money.

Times change. Art is always associated with the entertainment industry, which generates more money. We cannot deny that we need money to support our lives but this has seriously affected the way people view the arts.

Many artists are reluctant to create and to perform their work if it doesn't produce money. Serious art will drown in the deep of the ocean, unless help comes to hand.

In every part of the world, art activities receive a lot of subsidies from governments as well as private sectors.

It is impossible for an artist now to work by himself or herself. This is based on my own experience. I am now afraid to create a work because I don't know how to search for funds, how to pay my dancers and other workers because they have to eat. Unfortunately, I don't have enough money to do so.

I hope TIM can play a stronger role in supporting the artists in the future.

Film director Slamet Rahardjo Djarot, 49: Physically, TIM is like a sick person. There are only a few facilities that can still accommodate art activities, such as Graha Bhakti Budaya for staging performing arts and Galeri Cipta I and II to display artworks. The rest of the buildings, including Teater Tertutup (close-door theater), Teater Arena and Wisma Seni, are being renovated.

The temporary closure of art facilities has certainly hampered activities at TIM. Many theaters or other kinds of artistic performances attract only small audiences, and these were usually performed at Teater Arena or Teater Tertutup.

But, I always view TIM as one facility that can be used by artists to display their works. The most important thing is whether the artists are still producing their best works.

It is true that in the past, TIM was regarded as the center of artistic par excellence. But, we have to realize that for the past two decades, cultural and art activities were often abandoned and marginalized by the New Order regime. How can we expect TIM to flourish when our cultural life was curtailed?

I agree with Mas Amien (Amien Rais, chairman of the National Mandate Party) who insists on improving our cultural life, which has been tarnished by the Soeharto regime. In his speech he said if we want to nurture democracy, we have to first restore our cultural life.

Playwright Putu Wijaya, 54: I have heard so many acid comments concerning the present situation at TIM. I go in the opposite direction.

I am grateful to see that TIM has been around for 30 years. I feel like I'm watching a baby growing into a mature person. The way TIM has survived for three decades deserves commendation from any artist despite its shortcomings.

I am also happy that TIM has not changed into a business center or a hotel like other sites in Jakarta because of its strategic location.

I was there when TIM was in its golden days in the l970s. But, we cannot keep looking back. That is part of the history of our artistic development. The atmosphere of TIM is, of course, different now, from the previous years.

The rapid growth of the entertainment industry in Jakarta has made TIM the last option on people's to-visit list. TIM is less glittering than other entertainment centers, like Ancol Dreamland.

But, such a situation should not discourage TIM's management in maintaining its role as a reputable art center. TIM must upgrade itself to compete with the growing entertainment industry.

The programs must be excellent because there are still many people eager to watch quality art performances. For me, the facilities at TIM before the renovation project were adequate.

The planned construction of the Grand Theater and other projects to refurbish TIM are important but, we have to be realistic because we don't have enough money and management skills to operate such sophisticated facilities.

What we need now is the renovation of the existing facilities at TIM, like Teater Arena and Teater Tertutup. These places are very historical. Why don't they build the Grand Theater at another site?

TIM has been managed in a "primitive" way. On the other hand, the artists are hard to "manage". In the modern era, artists must have proper management skills. They have to be able to create their work and to "sell" them to the audience. It doesn't mean that we compromise the market but we educate the audience by presenting quality works.

How can we present our works at an international standard art building when we don't have any capabilities to produce quality works or to attract audiences to our shows? Both TIM's management and the country's artists must now be open-minded to fast-growing art development. (raw)