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.