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.