`Indonesian culture in Moscow' feature another world

`Indonesian culture in Moscow' feature another world

By Melanie Morrison

MOSCOW (JP): "Welcome to the Twilight Zone" would have been an
apt banner at the entrance to the Indonesian cultural festival in
Moscow's Kino Center.

Here, in stark contrast to the heavy Moscow skies, one could
see the colorful dances of Bali, the serene movements of
classical Solo dance traditions, the exotic fashions of Itang
Yunaz and the lively sounds of the Balinese gamelan.

"It's like entering another world," one Muscovite commented as
he took refuge from the chill of a damp Moscow night in the art
center's hall.

Like most other Russians, this visitor knows little of
Indonesia. What opportunity does your average Russian have to
sample the culture of a country on the other side of the world?
From a cultural perspective, the two countries bear little, if
anything, in common. Apart from a handful of Russian students
studying Indonesian at the State University of Moscow and the 10
or so families of mixed Indonesian-Russian origin, left-overs
from the brief period of close contact between Indonesia and
Russia during the Sukarno years, there is very little cultural
contact between the two countries.

This cultural distance was the source of inspiration of the
organizers of the largest Indonesian cultural festival ever
showcased in Moscow.

"Indonesian Culture in Moscow", the title given to the four-
day festival held between Aug. 22 and 25, was put together by
Gaung Cipta Semesta marketing communication services company in
conjunction with the Indonesian Embassy in Moscow. Apart from
stage performances, the festival was also complemented by a
display of ikat from the eastern islands of Indonesia as well as
photographs and a slide show featuring the beauty of Indonesia
and recent cultural developments. There was also a bazaar
consisting of Indonesian art objects such as carvings, batik
cloth, paintings and items aimed more directly at the ever-
growing Russian middle-class consumer market like stuffed toys
and leather jackets.

Two Indonesian films were screened on the final day of the
festival; Tjoet Nya'Dhien and Langitku Rumahku (My Sky, My Home).
These films were accompanied by a discussion on issues affecting
Indonesian film makers by the head of the film faculty at the
Jakarta Institute of the Arts, Gatot Prakosa. Several Russian
Indonesia enthusiasts also took part in an Indonesian dance
workshop.

The neat, compact program provided the audience with a good
overview of Indonesia's cultural life. Although the dances
performed by the internationally acclaimed Soeryo Soemirat group
and the Tirta Sari dance group from Peliatan near Ubud were
highly predictable, they were nonetheless enchanting. These
dances were interspersed throughout the program along with short
slide programs and an impressive parade of creative designs by
Itang Yunaz, modeled by both top Indonesian and Russian models.

All events have their shortcomings. This particular program
could have been greatly enhanced if it had included more
contemporary Indonesian performances. A common criticism of
similar touring festivals is that the dances of Bali and Solo are
regarded as the safest cultural export. Although, on the whole,
the program was well received -- a particular favorite of the
Russian audience was the fashion parade -- restlessness was
detected during the slow classic dances of Solo. If more
attention had been paid to the styles which appeal to Soviet
audiences, who tend to be more inclined to the fast pace of Cosak
or Russian folk art performances, the lively Jaipongan dance or
Batak performances would have been more appropriate.

These are minor criticisms, however, of a program which aimed
to herald the way for greater cultural understanding. The
organizers must be commended for being able to work with the
complex, chaotic and ever-changing Russian environment.

Crazy

"People thought I was crazy. They warned me about the current
social and political conditions in Russia, but I went straight on
and organized it regardless," said festival executive Wanda
Tumanduk as she continued relaying stories about the precarious
situations she and the performers had encountered. She told of
how the art center had been closed down when the group first
arrived because three Russians had been murdered in an adjacent
park and of the sounds of gun shots outside their hotel.

The ambitious program has not been without its logistical
headaches. Transporting 80 performers and members of the
committee in and around Moscow is no mean feat in a place that
has never been known for its bureaucratic efficiency. This fact
becomes even more glaring when an Indonesian complains about the
incredible difficulties in getting permits and arranging
transportation and accommodation.

Yet, it is only through such initiatives and efforts that
deeper relations between two totally different countries can be
fostered.

"I hope that this type of activity will not stop with this
current effort, but will be continued by individuals or groups.
Introducing Indonesia through culture and art is one of the best
contact points between two cultures, for the appreciation of
cultural values doesn't just stop with the people who practice
these values," said Ambassador Rachmat Witoelar, an adamant
supporter of art and culture programs, in his opening remarks on
the first night of the festival. "I hope this is just one part of
the closer relationship between our two culturally distinct
societies."