Festivals overshadow the talents of emerging artists

Festivals overshadow the talents of emerging artists

Yusuf Susilo Hartono, Contributor, Jakarta

For Jakarta and the rest of the country, the year 2003 was one
of festivals and other public art events, although not all such
gatherings were celebratory in nature. Protesters enlisted street
artists to encourage post-Bali-bombing solidarity or reject the
U.S.-British led war in Iraq.

But with so much emphasis on group participation, the works of
individual artists were overshadowed.

The Erau cultural festival in Kutai Kertanegara regency,
Tenggarong, East Kalimantan, was an attempt to affirm the
regency's Dayak characteristics, through the performance of
various regional dances, songs, custom-based ceremonies and
traditional sports.

In Pangkal Pinang, Riau, participants from nations of the same
language family attended the Islamic Malay Festival to promote
the Malay culture amid world communities. The 25th Bali Arts
Festival in June, which was opened by President Megawati
Soekarnoputri, involved 8,000 local and foreign artists. They
sought to restore Bali's image as it struggled to recover from
the bombing tragedy.

The third JakArt@2003 Festival, also in June, marked Jakarta's
anniversary with world-class shows at the city's playhouse, as
well as other venues in the capital.

Apart from international festivals, there were many other art
events across the country, from venues on West Java's north
coast, to Bojonegro in East Java and Palu, Central Sulawesi.

Events promoting democracy, while at the same time opposing
the war in Iraq, showcased the talents of, among other
performers, legendary country-style singer Iwan Fals and his
group at the Kemayoran Square. Initiated by cultural analyst
Goenawan Mohamad and legal practitioner Todung Mulya Lubis, the
program covered music, fine arts, performing arts and orations on
democracy/humanity, with extensive local and foreign press
coverage.

In an attempt to restore the international image of Indonesia
following the terrorist attack in Bali, a number of diverse
events were organized involving prominent figures including State
Minister of State Enterprises Laksamana Sukardi and Taufik
Kiemas, husband of President Megawati.

Costing billions of rupiah, the events were highly lucrative
for artists well-liked by the authorities. Peace was the general
theme of the programs, such as the World Peace Music Awards,
which was broadcast worldwide from Garuda Wisnu Kencana, Bali.
Pop stars from 25 countries joined the concert, including INXS
(Australia), Emma Shappin (France), Love Psychedelico (Japan),
Gloria Gaynor, Maxi Priest (the U.S.) and Krisdayanti, Slank
(Indonesia).

With the greater freedom of expression of the reform period,
demonstrations have become commonplace. Demanding the attention
of both the public and press, demonstrators not only carry
posters and pictures but stage street performances. Their players
range from art students to laymen, who wear heavy make-up and
costumes, despite the scorching sun.

The massive rally at Merdeka Palace, with businesspeople,
students and factory workers demonstrating against the fuel price
hike, was one such occasion. Other places popular for public
displays of dissatisfaction (or art) were the Hotel Indonesia
traffic circle and the gate of the House building.

Choreographer Boi G. Sakti, said that the popularity of art
festivals had emerged several years ago, although this year the
trend was even more prevalent.

According to Taufik Rahzen, a cultural observer involved with
the management of dozens of festivals in the country, there has
been an obvious shift toward the promotion of cultural and local
identities.

The reform era marked a new awareness for the country,
including the courage to identify with a group, in both a
cultural and community-based context.

Festivals serve as a means of identity declaration,
particularly cultural identity, and performing arts are known to
be effective in conveying messages in a peaceful manner -- and in
a more palatable form than lengthy speeches.

The positive side of this trend is the revival of mutual
assistance within communities. This had previously slackened with
the influence of western culture, which promoted the idea of
individualism in daily life.

However, in the context of artistic expression, Taufik deemed
it necessary to pull the individuals "drowned" in groups to the
surface. He added that although attempts have been made toward
this end, but their outcome is not yet adequate.
On their own initiative and promoted by art institutes,
individual works were exhibited or performed at Taman Ismail
Marzuki, the Jakarta Playhouse, Teater Utan Kayu, Bentara Budaya
and foreign cultural centers.

Boi G. Sakti may be right in his observation that young
artists are not ready to make radical breakthroughs, as they
still create within the confines of theory or established
community traditions, preventing them from revealing their own
identities.

For example, at the Forum of Indonesian Choreography at Taman
Ismail Marzuki -- from Dec. 18 through Dec. 20, -- 15 young and
gifted choreographers participated from Jakarta, Bandung,
Surabaya, Solo, Batam, Aceh, Padang, Lombok and Yogyakarta. Many
of the dances were promising, but glimpses of real talent were
lost amid second-rate staging.

Next year, these young talents will hopefully have the
confidence and support to grow even further, and to come into
their own amid the group-festival atmosphere, that has thus far
overwhelmed them.