`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."