'I La Galigo' signals rise of new artists

'I La Galigo' signals rise of new artists

Carla Bianpoen, Contributor/Amsterdam, The Netherlands

Three days of prolonged standing ovations and commending reviews
from the Dutch media are making I La Galigo's first European stop
in the prestigious Het Muziek Theater in Amsterdam worth the
200,000 euro (US ) that the Muziek Theater spent to get the
Galigo on their stage.

In fact, as guest director, Pieter Hofman revealed that the
overall investment was 320,000 euro. The public was mesmerized.

"I have never seen such theater" was the general comment of
many who watched this theatrical version of the ancient Bugis
myth. For three hours they sat motionless, overwhelmed by a
feeling of being between the real and the surreal.

A longtime lecturer at the University of Indonesia, Professor
Aart van Zoest, said,"Its a homage to Indonesia's rich culture."

It was a wonderful and refreshing experience, so metaphysical,
and yet so human, he added.

Meanwhile, Patrick Praaning, an organizer of cultural events,
said he urged all his friends to experience the play. "What
struck me particularly was the blend of the "Wilsonian" with the
Indonesian," Praaning said.

"Whether you know Indonesia or not, this strikes a chord, the
evidence of real art," said artist Chris de Bueger.

"I just love it," exclaimed Camille Mortagne, a lecturer of
French literature in Amsterdam.

Het Muziek Theater with a stage measuring 14 x 26 meters, has
been, since 1986, the preeminent theater for the performing arts
in Amsterdam. This is the place where the Netherlands' Opera and
National Ballet perform.

Each year we have two co-commissions. I La Galigo is one of
these, said Hofman.

It is clear the ancient epic that was on the brink of falling
into virtual oblivion has been assured new life, thanks to Robert
Wilson and his all-Indonesian cast -- a blend of experienced and
not-so-experienced artists who have been able to lift themselves
up to an international standard.

One need only think of 27-year-old Zamratul Fitria, a member
of Sanggar Batara Gowa, whose exceptionally beautiful voice added
a haunting element to the production.

The success of the on-stage I La Galigo signals the rise of a
new generation of Indonesian artists and technical experts, and
those who have acquired the discipline of managing their artistic
talents and skills with professional expertise.

This momentous breakthrough in the stagnant art condition was
initiated by 39-year-old Restu Imansari Kusumaningrum, the
creative director of Bali Purnati Center for the Arts, who
partners with Change Performing Arts to produce the Galigo.

As it turns out, this paved the way for the young and unknown
to emerge as world-class performers.

Working with Wilson has been a unique experience for all.

"(I La Galigo's success) is not because it's high-tech," says
Toto Arto, assistant stage manager. "In Indonesia we tend to
think that foreign productions are successful because they are
high-tech ... What matters in I La Galigo is creativity and
precision. In fact, it's not too difficult to achieve, but to be
creative with simple things is an art."

"Just look at the one piece of cloth that was used to suggest
the seven sarongs that the Princess of China (one of the
characters) wrapped herself in. The same cloth was transformed
into the belly of the expectant We Cudaiq, and became the newborn
baby, or -- inspired by children's games -- the sarong was used
as a rowing boat. Low-tech, but so innovative." Toto said, adding
that he now realizes he never really knew what it was to be a
stage manager.

As a stage manager for years his responsibility was confined
to the cast and the props. Now, as the Galigo's assistant stage
manager he has learned the importance of attention to detail. The
rapid lighting sequences must coincide with the action on stage
and the tone of the music, for example.

"If you're not precise in your movement you could end up
outside the very spotlight that is intended to highlight your
performance," noted artist I Ketut Rina, who plays Batara Guru in
the performance.

"I've worked with various other foreign companies, but never
was the discipline so encompassing, which was quite tough in the
beginning,"she said.

Didi Hasyim from Jakarta said his involvement in the Galigo
opened his eyes to what theater really was, while dancer Tenri
from Luwuq called the project a rare chance to perfect her
skills.

For Rama Soeprapto, the Galigo was a real turning point.
Working alongside Robert Wilson, "the master of detail", changed
the direction of his life. Since his selection as Wilson's
assistant, Rama was driven by a passion that he had never before
experienced.

"Before, I lacked courage and felt pessimistic about my
abilities, he said.

When he thought about his new responsibility in the Galigo he
became very nervous, he revealed.

Rama has danced since he was 12. He graduated in marketing and
theater from the Towson State University in Baltimore, Maryland,
and studied film and video at the University of California, but
was aware that he needed more experience.

In preparation for the Galigo, he worked fervently to
produce the Opera Bawang Merah Bawang Putih -- with sponsors
committing to the project just three weeks before the production
opened -- produced video clips and other smaller projects. "I
needed a clue of what was awaiting me," he said.

"I know now that success is about focus," said Rama. "I have
learned that once we focus on what we wish to achieve, we can do
it. But we have to be persistent."

This new-found wisdom took him successfully through the many
phases of his responsibility as assistant director. Not only does
he translate Wilson's wishes and instructions for the troupe,
which comprises players of various ethnicities, but he must also
communicate with sensitivity to bridge the gap between director,
cast and crew.

In the process, Rama is required to replace the director in
his times of absence, displaying the same careful attention to
detail.

Rama is a tangible example of the impact of the I La Galigo.
Invited to join Wilson's Watermill Center, which supports an
inter-disciplinary approach to the arts, Rama has also been
offered a position as project director at Change Performing
Arts/Milan.

As I La Galigo proceeds to Barcelona, Madrid, Lyon and
Ravenna, it is bound to stir the hearts of thousands of Europeans
and evoke a renewed interest in ancient cultures. Left in its
wake, and of equal importance, is the rejuvenation of Indonesian
art and artists.