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.