JP/19/GALIGO

JP/19/GALIGO

'I La Galigo' springs new, young 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.