By Rita A. Widiadana
JAKARTA (JP): Expressions of agony, anger and disappointment imbued the themes of most performing art works staged throughout l998.
The fall of the New Order regime, with former president Soeharto's stepping down in May after 32 years in power, should have been reason enough for the local art community to rejoice.
His authoritarian regime was notoriously fond of suppressing artistic creativity and banning art performances which, it believed, "could disrupt public order and national stability".
Ironically, the collapse of Soeharto brought about an even more chaotic situation. The prolonged economic crisis coupled with the reform movement has created serious social and political discontent.
People witnessed a series of heartbreaking events such as the shooting of student demonstrators, mob violence and rioting, all of which practically became the order of the day.
But these dismal events inspired local artists to create quality performing art works in the field of music, theater and dance.
Playwright Putu Wijaya tried to express his anxiety in his play titled Ngeh (Understand), staged at Graha Bhakti Budaya, Taman Ismail Marzuki arts center, Jakarta, during the Second Art Summit Indonesia in October.
Through Ngeh, Putu and his Teater Mandiri members tried to visually depict the condition of present-day Indonesia, a country choked with suspicion, hatred and turmoil.
"I was so shocked to see how people lost their hearts when they burned and robbed other people's belongings during the May tragedy," recalled Putu.
Putu wondered whether Indonesians, renowned for their tolerance and friendliness, had turned violent and ruthless.
The play offered some points of views that may have helped people in the audience expand their understanding of humanity.
"For more than 30 years, the New Order government contributed to imprisoning people's consciences through its iron fist and economic and political hegemony," Putu said.
Nano Riantiarno, leader of Teater Koma, believes theater can serve as the most effective medium to act as the conscience of people as well as the authorities.
"Theater works are mostly loaded with social criticism intending to show people that something wrong is happening in society," said Nano.
This year, Nano staged Opera Sembelit (Constipation Opera). The play symbolically tells us how a repressive government always denies people their rights, including their rights to freedom of speech and expression.
Sick society
"The violations of people's basic rights have created a sick society like the one portrayed in my play," commented Nano. He analogized the play with the situation of Indonesia during the New Order period and in the current reform era.
Influential playwright W.S. Rendra staged one of his famous works, Perjuangan Suku Naga (Struggle of the Dragon Tribe), at Graha Bhakti Budaya, Taman Ismail Marzuki, last September.
Perjuangan Suku Naga deals with the struggle of people to regain their economic rights as well as their lost dignity which have been stolen by their unscrupulous leaders.
"Soeharto's New Order regime of economic expansion resulted in social, political and cultural imbalances," commented Rendra.
"Today, our lives seem so dry and so meaningless because people value money above everything else," he noted.
Social criticism also emerged in several dance works, including Gusmiati Suid's insightful Api Dalam Sekam (Tinderbox) which was performed at the opening of the Art Summit festival in September.
In her latest choreography, Gusmiati tells people that they have lost their trust in others. Social and moral values have been degraded.
"Such a situation is very dangerous to the lives of the people and the nation. It can tear the country apart, and this is going to happen if we do not mend society," she said.
For the 54-year-old grandmother, Api Dalam Sekam is her interpretation of the current misfortunes besieging her beloved country.
Yogyakarta-based choreographer Miroto delineated his apprehension through his creation Kembang Sampah (Garbage Flowers) performed at Gedung Kesenian Jakarta in October.
Miroto explored the theme of garbage to represent neglected people. Kembang Sampah clearly illustrates the memory of the May riots and other recent human rights abuses in the country.
"People were burned and left behind as if they were nothing but garbage. This is a terrifying moment in my life," Miroto said.
It is interesting to note the reemergence of poetry recitals and short-story readings in the form of intriguing and entertaining performing arts.
Common people have not tasted such forms of art for quite some time. In the closing of the November Festival to mark the 30th anniversary of Taman Ismail Marzuki, a number of poets like Danarto, Hamsad Rangkuti, Gerson Poyk and Putu Wijaya showed the audience how to artistically compound theater, dance and literary and visual elements.
Poet Danarto recited his short story titled Waktu Yang Alpa (The Neglected Time).
Elaborate and sophisticated Javanese classical dance Bedaya Ela..Ela, an elaboration of Srimpi Ela..Ela, performed by senior dancers like Nungki Kusumastuti, Menul Sularto and Maria Hoetomo, opened the recital.
Danarto read the story, The price of a shallot is much more expensive than a man's life. Violence becomes a daily language for us.
A number of dancers wearing ninja costumes then attacked the artist who was still reading his work. The ninja dancers chopped off the artist's head with a long sword.
A new trend in the performing arts injected fresh air into the artistic activities in the country.
Serious performing arts like contemporary music, theater and dance tried to flap their wings outside art and culture centers.
A number of memorable performances took place in typically urban venues like cafes, commercial galleries and even at McDonald's family restaurant.
New rising star Butet Kertaredjasa captured the hearts of Jakarta's yuppies with his irreverent monolog. Accompanied by his brother, contemporary musician Djaduk Ferianto who provided enthralling music background, Butet touched the young urbanists group with his acting talents, especially in making fun of Soeharto, President B.J. Habibie and other bureaucrats.
The two brothers, sons of famous choreographer Bagong Kusudiardjo, recently performed at The Expose Cafe presenting Raja Rimba Jadi Pawang (King of the Jungle Becomes Tamer).
The story was inspired by a number of Yogyakarta students who lodged complaints against conditions at Gembira Loka zoological park.
A large number of artists were previously skeptical that they could produce and stage their works in a period when millions of Indonesians are suffering because of the protracted economic, social and political crises.
Time has proven different. The arts have flourished despite the obstacles. The artists are prolific and creative as well.
There were numerous cultural events held throughout l998. The Second Art Summit Indonesia, a month-long international festival on the performing arts, provided local art lovers with a taste of outstanding, world-class performances.
This year's Festival November, an annual art event to celebrate Taman Ismail Marzuki, featured both senior and junior artists to provide the audience with contemplative art works.
Inspiring theater, music and dance performances were also held in various places outside Taman Ismail Marzuki and Gedung Kesenian Jakarta, once considered the only quality art centers.
Various venues, such as Teater Utan Kayu and Galeri Cemara, have become popular art venues in the capital.
A number of significant cultural activities were also held in Yogyakarta; Central Java's Surakarta and Semarang; West Java's Bandung; East Java's Surabaya; the islands of Bali, Sumatra and Sulawesi.
All in all, l998 witnessed ample unforgettable works in the performing arts which recorded part of the nation's historic moments.