Our traditional arts

Our traditional arts

Traditional arts face the challenge of globalization. That
topic -- one of several discussed at a seminar organized to
coincide with the seventh wayang festival in Jakarta -- is a
subject worth pondering. This is particularly true at a time when
modern cinema, discotheques and other expressions of Western pop
culture are thriving in Indonesia that is striving hard to be
able to call itself modern.

At the same time, though, it is worth considering that while
connoisseurs here may lament the apparent decline of wayang, the
country's traditional performing art, the very fact that no fewer
than 20 students of wayang from abroad are taking part in the
festival at Taman Mini Indonesia Indah is proof that this art is
far from dead. Indeed, it indicates that appreciation for wayang
is growing, not only in Indonesia but in ever wider circles.

Wayang is the traditional puppet theater that is normally
associated with Java and Bali, but which, in fact, exists in many
other parts of Indonesia and Asia as well. It is true, though,
that in its Javanese and Balinese forms, the wayang puppet play
has reached an exceptionally high level of sophistication, with
visual artistry, drama, music, song, language and philosophy
working in unison to form an altogether fascinating production.

Ironically, it is this affinity for distinctive artistic
expression that has led to the decline of wayang as a popular
form of art and entertainment. Many of today's youth in Java,
particularly in the larger cities, are unfamiliar with the native
gamelan music featured in the wayang. And those who are familiar
with gamelan feel it is tiresome and lacks the dynamic beat which
they have grown accustomed to from popular Western music. Many
younger Javanese are also unfamiliar with the older form of
Javanese language that is used in the wayang. As for the
philosophy, many younger Indonesians regard it as completely
irrelevant to modern life.

A young American student of wayang who was attempting to
present the wayang saga Wahyu Makutoromo in the English
language, complained about how difficult it was for him to
transpose the story so it could be appreciated by a foreign
audience. And little wonder. The story is about the qualities a
ruler must have to be successful. One difficulty is that a
Westerner would take a direct approach in telling the story,
while the Javanese prefer an indirect approach so as not to
unnecessarily offend anyone.

While it is easy to understand how Westerners would face such
difficulties, a comparable gap exists between Indonesia's younger
generation and their parents and grandparents. Hence the
relevance of discussions such as those being held at the wayang
festival. Unless wayang is made accessible to young Indonesians,
its future indeed looks bleak. That would truly be a tragedy,
because it would mean the loss of an art form that some critics
have described as Shakespearean in its dramatic impact.

As can be seen, renewing wayang to make it more relevant to
today's audience is not an easy task. In this context, it is to
be lamented that practically none of the more profound artistic
and cultural expressions of the West have as yet managed to enter
this country. If this were to happen, globalization could be
highly enriching for Indonesia's traditional arts.