National forum boosts the future of local theaters

National forum boosts the future of local theaters

By Ahyani

BANDUNG (JP): Indonesian theater aficionados have set up
special campaigns to encourage the development of theater
companies in provincial areas badly in need of artistic as well
as managerial improvement.

Their planned endeavors include holding annual theater
festivals in each of the country's 27 provinces in order to
provide forums for local artists to perform their own creations.

Both the government and artistic institutions have promised
to provide these artists with training and scholarships to
enhance their aesthetic skills and professionalism.

These latter two issues were among the problems facing the
Indonesian theater world discussed at the 11th National Theater
Forum in Taman Budaya Jawa Barat (West Java's Cultural Center) in
Bandung from Oct. 3 through Oct. 7.

The first national theater meeting was held in l969 and they
are now held every three years.

The four-day meeting concentrated on exploring the potency of
Indonesian theater and how to encourage theatrical activities
throughout the country. The previous meeting was held in back-to-
nature style at the Cibubur camping ground in East Jakarta, in
June l994.

Around 25 theater groups from several provinces including
Jakarta, Yogyakarta, West Java, Central Java, West Sumatra, South
Sulawesi and West Nusa Tenggara took part at the meeting.
Numerous prominent theatrical figures, such as Putu Wijaya, W.S.
Rendra, Bakdi Sumanto, Jacob Sumardjo, Tatiek Maliyati, Suyatna
Anirun, Sapardi Djoko Damono and Prof. Mursal Esten were also
present. Some theater observers and critics from neighboring
countries such as Australia, the Philippines and Thailand also
participated in the event.

This year's gathering was also highlighted by theater
performances, seminars, workshops and fine art exhibitions.

Each province presented its own locally-inspired creations.
Bali, for instance, performed a play titled Basur, a blend of
modern and traditional theatrical elements. The play, written by
Anom Ranuara and directed by Wayan Silur, tried to deal with
current issues in a traditional style. It talked about how
traditional Balinese society deals with interpersonal conflicts
including arranged marriages, sex and even homosexuality.

The director used traditional elements in the setting and
costumes, a technique that has proved succeeded in revealing the
production's message to the audience. Characterization in this
play is quite strong. The artists bridged the communication gap
with the audience by using various popular idioms.

Irian Jaya presented Mawai, which focused on love affairs and
black magic. East Nusa Tenggara performed Pak Gabriel which is
rich in its criticism of a corrupt authority.

Commenting on the performances of these provincial theater
groups, famous playwright and film director Putu Wijaya said that
they have the potential to become successful professionals if
they are given wider opportunities to perform in national-scale
events.

"In terms of aestheticism, professionalism and management
systems, it is clear that there is still a wide gap between
provincial groups and those based in Jakarta and other big
cities," Putu said.

Saini Kosim, Director of Arts at the Ministry of Education and
Culture, added that efforts must be made immediately to improve
the quality of provincial companies. He admitted that so far,
theater performances have been concentrated in Jakarta and other
urban areas on Java and Bali.

He also said that in general, the development of this kind of
performing arts in Indonesia is not as evident as the development
of other artistic forms in the country over the past two decades.

Many artists from provincial groups are very good, but their
performances were not supported by solid story lines. Lack of
directing skills and other technical supports such as setting
arrangements, lightning and costumes have contributed to their
weak theatrical presentation, Putu commented.

"Of course, they can explore our rich culture as their basic
themes, but they should not be trapped in the traditional forms
of theater. They have to mix local and modern elements so that
their performances will appeal to all audiences," Putu pointed
out.

In the opening ceremony Minister of Education and Culture
Wardiman Djojonegoro stressed those involved in the theater must
be more professional in their endeavors.

He suggested that theaters should be developed as an
"industry," meaning that all theater companies should combine to
attract both large audiences and financial support.

"Creating a theater industry will not reduce its aesthetic
values and its main target as a means to express the aspirations
of society, " the minister said.

Many young people find theatrical works less amusing than
those on television, radio or shown at the cinema. As a result,
the audience for the theater is limited because of the inevitable
dominating influence of technology in the entertainment world, he
said.

Flamboyant playwright W.S. Rendra added the theater world must
be more active in capitalizing on opportunities offered it. A
theater group should be innovative and create its own market and
build up a regular audience.

One interesting subject that emerged during the course of the
meeting was the impact of the bureaucracy.

Complex and confusing bureaucratic procedures often prevent
local theater groups from developing as they might, and
unclear regulations over the issuance of permits for various
performing arts still cloud theater activities across the
country.

Saini, a critic, called on related government agencies to
fully support art and cultural activities. "The government and
artists should become close partners in promoting local culture,"
added Saini.

The authorities have frequently banned theatrical works and
other cultural performances which explored political and social
issues, although several senior government officials, including
Minister/State Secretary Moerdiono, have reassured the art world
that there would be no more bans of controversial efforts.

Although some participants were skeptical that this gathering
would bear sweet fruit, it was still regarded as an important
milestone in the development of Indonesian theater.

It brought together both the government and those involved in
the performing arts to tackle all problems that have hampered the
development of the theater in Indonesia.

However, it remains to be seen whether the meeting will
inspire local theater people to strive for better performances as
well as to improve their organizational and managerial skills.