Lampung poet champions literary appreciation
Lampung poet champions literary appreciation
Among his fellow poets and cultural community, Iswadi Pratama
is known as lurah, the chief, or pengayom, the protector, of
Lampung literature.
For almost 15 years, Iswadi, 34, has been working in the area
of arts and culture.
As part of his efforts to promote Lampung literature, Iswadi
has visited many regions in this country, from cities in Sumatra
through those in Java and Bali, and co-founded Teater Satu (The
One Theater) in Lampung. He has also raised awareness among the
people of Lampung on the importance of arts and culture in
civilization through poetry readings and theater performances.
A poet in his own right, his play Nostalgia Sebuah Kota
(Nostalgia of a City) won the 2003 Best Script Award from the
Jakarta Arts Council.
In the past month, he was involved in the Utan Kayu
International Literary Biennale as the Lampung coordinator and as
a participant. And just recently, he was one of several Lampung
poets who performed at the Taman Ismail Marzuki arts center (TIM)
on the invitation of the Jakarta Arts Council (DKJ).
Below is an excerpt from an interview with The Jakarta Post's
Kurniawan Hari before Iswadi's TIM performance on Sept. 15.
Question: Could you tell us a little about the poetry reading
at TIM?
Answer: The event, organized by the Jakarta Arts Council, is
titled Cakrawala Sastra (Horizon of Literature).
Lampung is among the provinces invited to perform. The other
provinces are South Kalimantan, South Sumatra and Central Java.
For this event, Lampung has sent eight poets that represent
four generations.
Of course, this event is important for us. Not only because it
takes place in Jakarta, but rather because it will drive more
people in Lampung to love literature.
The number of poets in Lampung has grown quite large. (And)
their creations are seen in the mass media.
Perhaps, they have not yet represented the condition of
literature in Lampung, but at the very least, I see that Lampung
has given color to arts and literature at the national level.
Would you like to tell us about your first interaction with
arts and literature?
Personally, I started to have an intense interaction with the
arts in 1989 through art lessons at school and through theaters.
From there, I began to engage in arts more intimately and
closely, and I have been immersed in the arts and have taken part
in theater (activities) since 1990.
I've never stopped working.
How about the cultural community in Lampung?
There are some theaters in Lampung. We also learn other art
works, not only theater or drama.
At university campuses, almost everyday there are informal
discussions about artistic works.
Some cultural groups in Lampung are Teater Satu, Komunitas
Berkat Yakin and UKM Universitas Lampung.
These three communities are very active in disseminating
information about literary works in Bandar Lampung. In addition,
activities coordinated by the Lampung Arts Council or Taman
Budaya builds the (literary) climate through workshops and
discussions.
I am now in Teater Satu. I co-founded Teater Satu in 1996, and
am now its artistic director. I represent the third generation
(of artists).
What theme or object has inspired artists in Lampung?
In today's Lampung, people mostly keep in touch with events at
the national level, mostly events in Jakarta because of its
geographic location.
Events or discourses in Jakarta affect Lampung the most.
In Lampung, literature is seen as a subject that falls under
art, and people study it because they are interested in (art). It
is not because of a political history of suffering.
Creating artistic work in Lampung is natural. That is why most
of the poems in Lampung do not touch political matters, but
rather focus on contemplative and abstract themes.
Many of our poets are also activists who often join street
rallies protesting government policies.
When do Lampung poets join such rallies?
I think that any time there is a political crisis, they will.
The first crucial incidents before the downfall of Soeharto (in
1998) took place in Lampung.
One of the victims was a member of our circle.
How do you view previous generations of Lampung artists when
compared to the present ones?
Looking at the career of the elder generation in Lampung, the
technology available then was not as good.
At that time, the artists worked for the sake of romanticism.
Art was seen as marganing urip (a field of work) without
discourse. Discourses did not take place back then.
In contrast, the following generations have engaged in
discourse, (and) the rapid development in technology has
contributed to discourse. People have Internet access.
In line with technological developments, the Lampung-based
Rumah Panggung cultural community has established a relationship
with Teater Utan Kayu in Jakarta.
I believe technology is also relevant to the growth of
literature in Lampung.
What do you see for the future of literature in Lampung?
It seems that the younger generation today still shows a
passionate and enthusiastic love for art and literature.
Of course, (the future of Lampung literature) is inseparable
from the support of Komunitas Utan Kayu (KUK) the DKJ, (as) both
groups often invite us to take part in various literary and
artistic events.
This kind of support encourages even more artists and drive
them to produce more creations.
You devote yourself to art and literature. How about family?
I see (raising) a family as a normal thing. For me, art is
another thing.
We all know that it is difficult to make a living from
theater. That is why I support my family through another job.
I have to work, whatever it is. I don't think that my family
is a hindrance to my activities in art and literature.
My (5-year-old) daughter Rarai is familiar with everyone in
the cultural community -- my colleagues. My wife Imas (Sobariah)
works in theater. But for me, she is a "competitor" because she
also performs in the theater.
Today, I am performing in Jakarta, while at the same time, my
wife is staging a play in Lombok.
What has been the most memorable event for you?
The (Utan Kayu) international biennale is very memorable. Of
course, it has raised more enthusiasm among us. Through such an
event, we can get to know other creations from other countries.
That is important. We can measure how far we have been left
behind. We can make a comparison.
How about your poetry reading at Taman Ismail Marzuki. Do you
have any messages or hopes?
This is an opportunity for our fellow Lampung artists to
perform in front of the Jakarta public. This event should be
accompanied with a discussion, so that we can also bring
something home.
Among his fellow poets and cultural community, Iswadi Pratama
is known as lurah, the chief, or pengayom, the protector, of
Lampung literature.
For almost 15 years, Iswadi, 34, has been working in the area
of arts and culture.
As part of his efforts to promote Lampung literature, Iswadi
has visited many regions in this country, from cities in Sumatra
through those in Java and Bali, and co-founded Teater Satu (The
One Theater) in Lampung. He has also raised awareness among the
people of Lampung on the importance of arts and culture in
civilization through poetry readings and theater performances.
A poet in his own right, his play Nostalgia Sebuah Kota
(Nostalgia of a City) won the 2003 Best Script Award from the
Jakarta Arts Council.
In the past month, he was involved in the Utan Kayu
International Literary Biennale as the Lampung coordinator and as
a participant. And just recently, he was one of several Lampung
poets who performed at the Taman Ismail Marzuki arts center (TIM)
on the invitation of the Jakarta Arts Council (DKJ).
Below is an excerpt from an interview with The Jakarta Post's
Kurniawan Hari before Iswadi's TIM performance on Sept. 15.
Question: Could you tell us a little about the poetry reading
at TIM?
Answer: The event, organized by the Jakarta Arts Council, is
titled Cakrawala Sastra (Horizon of Literature).
Lampung is among the provinces invited to perform. The other
provinces are South Kalimantan, South Sumatra and Central Java.
For this event, Lampung has sent eight poets that represent
four generations.
Of course, this event is important for us. Not only because it
takes place in Jakarta, but rather because it will drive more
people in Lampung to love literature.
The number of poets in Lampung has grown quite large. (And)
their creations are seen in the mass media.
Perhaps, they have not yet represented the condition of
literature in Lampung, but at the very least, I see that Lampung
has given color to arts and literature at the national level.
Would you like to tell us about your first interaction with
arts and literature?
Personally, I started to have an intense interaction with the
arts in 1989 through art lessons at school and through theaters.
From there, I began to engage in arts more intimately and
closely, and I have been immersed in the arts and have taken part
in theater (activities) since 1990.
I've never stopped working.
How about the cultural community in Lampung?
There are some theaters in Lampung. We also learn other art
works, not only theater or drama.
At university campuses, almost everyday there are informal
discussions about artistic works.
Some cultural groups in Lampung are Teater Satu, Komunitas
Berkat Yakin and UKM Universitas Lampung.
These three communities are very active in disseminating
information about literary works in Bandar Lampung. In addition,
activities coordinated by the Lampung Arts Council or Taman
Budaya builds the (literary) climate through workshops and
discussions.
I am now in Teater Satu. I co-founded Teater Satu in 1996, and
am now its artistic director. I represent the third generation
(of artists).
What theme or object has inspired artists in Lampung?
In today's Lampung, people mostly keep in touch with events at
the national level, mostly events in Jakarta because of its
geographic location.
Events or discourses in Jakarta affect Lampung the most.
In Lampung, literature is seen as a subject that falls under
art, and people study it because they are interested in (art). It
is not because of a political history of suffering.
Creating artistic work in Lampung is natural. That is why most
of the poems in Lampung do not touch political matters, but
rather focus on contemplative and abstract themes.
Many of our poets are also activists who often join street
rallies protesting government policies.
When do Lampung poets join such rallies?
I think that any time there is a political crisis, they will.
The first crucial incidents before the downfall of Soeharto (in
1998) took place in Lampung.
One of the victims was a member of our circle.
How do you view previous generations of Lampung artists when
compared to the present ones?
Looking at the career of the elder generation in Lampung, the
technology available then was not as good.
At that time, the artists worked for the sake of romanticism.
Art was seen as marganing urip (a field of work) without
discourse. Discourses did not take place back then.
In contrast, the following generations have engaged in
discourse, (and) the rapid development in technology has
contributed to discourse. People have Internet access.
In line with technological developments, the Lampung-based
Rumah Panggung cultural community has established a relationship
with Teater Utan Kayu in Jakarta.
I believe technology is also relevant to the growth of
literature in Lampung.
What do you see for the future of literature in Lampung?
It seems that the younger generation today still shows a
passionate and enthusiastic love for art and literature.
Of course, (the future of Lampung literature) is inseparable
from the support of Komunitas Utan Kayu (KUK) the DKJ, (as) both
groups often invite us to take part in various literary and
artistic events.
This kind of support encourages even more artists and drive
them to produce more creations.
You devote yourself to art and literature. How about family?
I see (raising) a family as a normal thing. For me, art is
another thing.
We all know that it is difficult to make a living from
theater. That is why I support my family through another job.
I have to work, whatever it is. I don't think that my family
is a hindrance to my activities in art and literature.
My (5-year-old) daughter Rarai is familiar with everyone in
the cultural community -- my colleagues. My wife Imas (Sobariah)
works in theater. But for me, she is a "competitor" because she
also performs in the theater.
Today, I am performing in Jakarta, while at the same time, my
wife is staging a play in Lombok.
What has been the most memorable event for you?
The (Utan Kayu) international biennale is very memorable. Of
course, it has raised more enthusiasm among us. Through such an
event, we can get to know other creations from other countries.
That is important. We can measure how far we have been left
behind. We can make a comparison.
How about your poetry reading at Taman Ismail Marzuki. Do you
have any messages or hopes?
This is an opportunity for our fellow Lampung artists to
perform in front of the Jakarta public. This event should be
accompanied with a discussion, so that we can also bring
something home.