Poet Sitok not afraid to say it like it is

Poet Sitok not afraid to say it like it is

Omar Prihandono, Contributor, Jakarta

What are the chances you would find yourself sitting on the back
of a motorbike, behind one of the country's most celebrated
poets, who had offered to drive you to buy a pack of cigarettes
because you told him you didn't like his brand and also could not
steer a motorbike?

Well, that's exactly what happened on a sunny Sunday morning
recently.

The poet-cum-volunteer ojek (motorcycle taxi) driver was none
other than Sitok Srengenge, who fits the bill as the eccentric
artist in looks, but also reveals his inner wisdom and fresh
logical thoughts.

"Don't say I betrayed the literary community simply because I
launched my novel at the Pakubuwono Residence," the poet, 39,
said when questioned about the launching of his debut novel
Menggarami Burung Terbang (Salting a Flying Bird) at the
ostentatious apartments in South Jakarta.

"It's a purely practical and strategic way of marketing, as I
want literary works to be appreciated by a broader audience who
never expect such an event would take place right on their
doorstep."

But the author of four published poetry collections clearly
knew the upscale setting for the launching of the book -- the
tale of a Javanese village in the aftermath of the 1965 upheaval
-- would bring some brickbats his way.

He said, however, he did not give a damn, quoting fellow poet
and mentor Rendra's wry view of the ups and downs of life:
"Disaster and luck are the same, praise and mockery make no
difference, you just have to go on".

Born Sitok Sunarto on Aug. 22, 1965, in Dorolegi village,
Purwodadi, Central Java, the father of one daughter has written
poetry and prose since junior high school.

"All I knew was that writing those words that lingered in my
head made me happy, though it never crossed my mind at that time
that I'd still have to deal with poetry and all, after 25 years
and counting."

The young Sitok had no idea where life would take him.

"Let me tell you, Dorolegi was a small village where I saw
only four occupations around me, including farmers, hansip
(civilian guard) and paramedics who only visited our village once
every three months. Those professions did not go along with my
poetry, so I grew up a boy without goals."

However, after finishing high school in the Central Java
capital of Semarang, Sitok found his calling: Bengkel Teater, a
theater company led by Rendra himself in Depok, West Java.

In the close-knit community which resembles a band of
brothers, the teenager from humble roots explored his artistic
talent to the full.

From poetry to monologues, singing to plays, Sitok learned the
ropes and ultimately rose to become Rendra's favorite protegee.
His mentor even changed the young man's name to Sitok Srengenge,
with the latter word meaning sun in Javanese.

But in 1995, after a 10-year association with Bengkel Teater
-- including involvement in the unforgettable Panembahan Rekso
and Lysistrata performances -- Sitok decided to try his luck as
an independent artist in Jakarta.

"I wasn't afraid of being homeless and penniless after leaving
Bengkel Teater. I believe that if I treat the arts well and
seriously, it will never leave me suffering and miserable. That's
why I hate people who label themselves artists but have never
been serious to even produce a piece of artwork. They just give
art and culture a bad name."

The interview venue then moved from the living room of his
house, located in a leafy, prestigious real estate complex in
Depok, to Sitok's neat work station.

Here is proof of his words that idealism does not hurt, and
that the artistic life could provide a decent and settled living.
But there was a time in Sitok's life when idealism broke his
heart.

One day, a friend of his wrote and performed in what Sitok
terms an "uninspiring play", given the fact that the friend had
earned a reputation as one of the country's most notable modern
writers.

Sitok's trenchant criticism in a weekly magazine infuriated
the friend, who has since boycotted the works of Sitok and those
in his inner circle

"He won't talk to me anymore. For me, that really hurts, you
know, as I lost a friend over a subjective viewpoint that had
absolutely nothing to do with our friendship. Strange, huh?"

Does it reflect the immature mind set of local artists?

"I am afraid I have to say yes. The condition was made even
worse with the so-called literature awards that name a winner
without any sufficient literary argument or parameters. They
simply mislead the public."

It's hard not to conclude from the three-hour interview that
he holds a gloomy outlook on the local arts and performance
scene.

There's only a few young, promising talents in stage
performances, young writers tend to go the easy route with trashy
pop novels and many theater companies now merely serve as soup
kitchens for the young and unemployed, who grow their hair long
to look the part but never bother to read books to improve their
creativity.

"Look, there's always a way to change it, even through a less-
literary way. Why don't we create a writing or acting contest
like AFI (Akademi Fantasi Indosiar, a popular local TV talent-
program) and give the contestants some scripts to act out or
thought-provoking subjects to be developed into a piece of
writing.

"Broadcast all the pain and joy during the creative process
and before we know it, we'll have the freshest of talents. It's
trashy, but I am sure people will love it."

Let's see if any TV station will take Sitok up on his unusual
idea, or if the waiting game is too long, count how many copies
of his 539-page thick history novel sell. Then again, maybe the
carefree artist doesn't really care about such things.

"Writing and performing on stage is the cool way to enjoy my
life. I think I will stick to that forever."