HIV/AIDS and traditional performance

HIV/AIDS and traditional performance

Sri Wahyuni, The Jakarta Post/Surakarta

Wayang (Javanese traditional shadow puppetry), has long been
known as an effective means for disseminating information to the
public.

It has a long history of dealing with even the most sensitive
and controversial issues in ways that make sense to the audiences
usually targeted.

During the early development of Islam in Java, for example,
Sunan Kalijaga of Wali Sanga (nine pious Muslim leaders who
spread Islam in the island) used wayang as a proselytizing
medium.

It played a key role as well during the New Order era in
educating Indonesians about family planning. More recently, it
has been used to communicate details of the regional autonomy
process in the country.

'Wayang' carries HIV/AIDS messages

For the same reason, Family Health International (FHI) and
Stop AIDS Action (ASA), with sponsorship from the United States
Agency for International Development (USAID), Land O'Lakes Inc.,
the Indonesian Humanity Committee (KKI), the National Secretariat
of Indonesian Puppets (Senawangi) and the Association of
Indonesian Puppetry (Pepadi), launched last Saturday a new
program in which wayang was used as a means for disseminating
information on the risks of unprotected sex and injecting drugs.

"We at USAID strongly believe that wayang is also well-suited
to tackle the sensitive topics surrounding HIV/AIDS," USAID
office of health director Lynn Krueger Adrian said at the
official launch ceremony of the program held here at Surakarta
Palace Pagelaran hall on Saturday evening.

Featuring renowned puppeteer Ki Enthus Susmono from Tegal,
Central Java, he performed a story titled Ontran-Ontran Bawono
(the chaos of the world), which lasted the whole night.

The program was launched to mark World AIDS Day, which fell on
Dec. 1.

Initially, the puppeteer, who is well known for his
innovations, especially in blending conventional wayang
performance with other modern art performances, such as theater
and interactive dialog, with guest performers who are mostly
comedians, was scheduled to play the original scenario of Ontran-
Ontran Bawono prepared by Hudoyo Hupudio of ASA.

How the messages are conveyed

With the original scenario, messages on HIV/AIDS-related
issues are supposed to be mixed with and presented as the main
plot of the performance and not just inserted or attached as an
intermezzo in the play.

However, as many local senior puppeteers considered such a
plot or scenario as too far from the prevailing pakem
(conventional rules or agreements for playing traditional wayang
performances), Saturday's play was performed more in a
conventional manner.

The HIV/AIDS-related messages, therefore, were inserted as
intermezzo parts.

"In a conventional performance, it is difficult to insert the
messages into the main story. It would be amusing, for example,
to present King Kresna (of the Dwarawati Kingdom) talking about
HIV/AIDS in the story," said Ki Enthus Susmono.

It was also the inserted drama fragment -- describing how
promiscuity and injecting drug use could lead to HIV/AIDS
infection -- that was used by the puppeteer to take the audience
to a film presentation containing similar messages.

At this point the main story, which related the story of
protagonist characters from the Pandawa family being exiled to a
forest for 12 years due to their loss in gambling with the
antagonist characters of the Kurawa family, was halted.

It continued only after these particular intermezzo segments
along with the attached drama fragment was over.

What was also worthy of note in Ki Enthus's performance was
the way he arranged the simping (figurative) wayang characters in
the setting.

As if wanting to show how chaotic is the state of the country
at present due to the lack of fidelity of both the elite and
ordinary community in general, he arranged the wayang just as he
wanted, at random.

'Unusual' props

Some, for example, were simply placed upside-down, here and
there, on the upper parts of the screen. Some were just placed on
top of others, and others were put untidily near the bottom of
the screen.

Balloons were also seen at some points on the screen, which is
also rather unusual in a conventional wayang performance.

"You are free to interpret it (the setting). I won't tell you
why I did it this way," Enthus told journalists ahead of the
performance.

Among other accessories considered unusual for a conventional
wayang performance used by the puppeteer that night included
women's and men's underwear such as panties and bras, condoms,
and wayang golek (wooden puppets normally used in West Javanese
wooden puppet shows).

A becak (three-wheeled pedicab) was also placed next to the
stage where the modern drama fragment was played.

"I'm proud to tell you that I am a puppeteer who likes to
incorporate unusual, weird things into my performance.

I'm creating a medium to accommodate things, such as lines
containing rude words, that a conventional wayang performance
would never be able to accommodate," said Enthus, adding that
such things often helped him a lot to disseminate information to
the target audience.

Enthus also said that his performance that night was the end
result of thorough discussion with both Hudoyo Hupudio, the
scriptwriter, and other local senior puppeteers, including the
renowned Ki Manteb Sudharsono and Sudarko Prawiroyudo of
Senawangi.

Thus, it was basically an improved version of the original
scenario prepared by Hudoyo.

"That will be performed later at Yogyakarta Palace on Dec.
11," said Hudoyo, who is not a puppeteer, and whose Ontran-Ontran
Bawono was the first scenario he had ever written.

Speaking separately ahead of the performance, Hudoyo said that
the performance was part of a program jointly organized by ASA,
Senawangi and Pepadi, with full support from KKI.

Via the program, KKI has trained a number of puppeteers to
produce wayang performances with HIV/AIDS-related messages and
has helped them with scenario production.

"Thus far, as many as 30 puppeteers in Jakarta, West Java,
Central Java, and Yogyakarta have been trained to campaign
against drug use and HIV/AIDS infection through wayang
performances. We hope to train more in the coming years," Hudoyo
said.

The fight must continue

Many have expressed concern that, despite increased efforts
from both the government and non-government organizations in the
fight against HIV/AIDS, many in Indonesia remain unaware,
unafraid, or unconcerned about the rapid spread of the virus.

In reality, a large-scale HIV/AIDS epidemic is looming in the
country.

The Ministry of Health estimates that 90,000 people to 130,000
people have been infected with the virus in Indonesia, while some
four million to six million others are at risk.

The lack of awareness over condom use in the country's
widespread sex industry and the increased number of young people
injecting drugs and sharing nonsterile needles have been blamed
for the current situation.

Through wayang performances, therefore, it is hoped that the
rapid spread of HIV, especially among high-risk groups, may be
brought under control.

"Wayang performances offer a unique opportunity to speak
frankly about how to avoid infection, where to seek testing and
counseling, and where to obtain treatment when needed.

"Wayang can also help us to become more sensitive and caring
toward people living with HIV/AIDS to ensure that they garner the
respect and compassion they deserve," said Krueger Adrian.