TIM marks 30th anniversary with problems

TIM marks 30th anniversary with problems

By Rita A. Widiadana

JAKARTA (JP): On the morning of Nov. 10, hundreds of young
civilian security guards armed with long bamboo sticks, spears
and other sharp weapons converged on the main gate of Taman
Ismail Marzuki (TIM) arts center, which was celebrating its 30th
anniversary.

These combative youngsters were not invited by TIM's
management to safeguard the center or to participate in the
anniversary celebration. Neither were they there to commemorate
National Heroes' Day, which falls on the same date.

Their presence at TIM was meant to prevent Amien Rais, a noted
reform leader who now chairs the National Mandate Party, from
delivering his cultural speech at Graha Bhakti Budaya to mark the
opening of November Festival, a month-long anniversary program.

Although Amien finally reached the stage and presented his
speech, Culture and Power, the atmosphere at the center was as
tense as in another part of Jakarta, which was hosting the
Special Session of the People's Consultative Assembly.

TIM's anniversary this year was very ironic and depressing.
TIM has been regarded as an oasis for the arts and culture. But
the scene at TIM on Tuesday was a symbol of a power intrusion on
the people's freedom of expression.

At the age of 30, TIM is facing a lot of challenging problems
concerning its major roles as the center for the freedom of
artistic and intellectual expression, as stated by its founding
fathers.

TIM's general manager, Wisnumurti, admitted that TIM has been
working very hard to maintain its position.

"We are facing different conditions but the spirit of TIM will
remain the same," Wisnumurti said.

TIM, established under the auspices of former Jakarta governor
Ali Sadikin, brought a ray of hope to many Indonesian artists who
had long dreamed of having a cultural center where they could
express their artistic creation freely.

The construction of art facilities was completed on Nov. 10,
1968. It is located on the former site of a park of the famous
painter Raden Saleh's residence, Jl. Cikini Raya, Central
Jakarta, then used as the city's zoological park.

The newly established TIM consisted of, among others, Teater
Arena (open-door theater), Teater Tertutup (close-door theater),
an office building, a film center, a fine arts galleries and a
planetarium.

Playwright Putu Wijaya remembered that artists in Jakarta were
enthusiastic about welcoming this new arts center. "We were like
kids who were given a new toy," Putu recalled.

A few years later, the 5.5-hectare arts center had more
facilities added, including a 800-seat Graha Bhakti Budaya Hall,
campus building of the Jakarta Arts Institute and the H.B. Jassin
Literary Documentation Center.

TIM became a parameter of artistic achievement. TIM has
contributed greatly to the emergence of highly reputable artists,
including, just to name a few: Oesman Effendi, Roesli, Popo
Iskandar and Affandi in fine arts; Wahyu Sihombing, W.S. Rendra,
Putu Wijaya and Nano Riantiarno in theater; Teguh Karya, Slamet
Rahardjo, D. Djayakusuma and Ami Priyono in film; and Taufiq
Ismail, H.B. Jassin and Sutardjo C. Bachrie in literature.

In its so far 30 years of existence, TIM has had its share of
ups and downs. Many artists have claimed that TIM is paralyzed
now.

"TIM has been undergoing serious setbacks. It has ceased to
blaze the trail for the country's art and cultural activities,
especially in the past 10 years," playwright W.S. Rendra once
said.

Putu, however, added that since its establishment, TIM has
faced several major problems.

"TIM doesn't only deal with artists but also with bureaucrats
and audiences. It is also closely involved with funding and
artistic management. It is a complicated business," Putu said.

Adie Moersid, chairman of the Jakarta Arts Foundation, a body
which is responsible for financially supporting TIM's art
programs, admitted that TIM's vitality must be revived.

"We are now undergoing a series of projects to improve TIM's
software and hardware," said Adie, who is also the rector of the
Jakarta Arts Institute.

Physically, he said, TIM needs major improvements. A gradual
and an integrated renovation project to develop TIM into a modern
and sophisticated art center is underway.

"The construction of the planned Grand Theater has been halted
temporary because of the economic crisis. I hope we can find ways
of collecting more funds to resume the project," said Adie.

In addition to physical problems, TIM is also facing serious
problems with its management and human resources development.

"If we want to develop a modern art center, we must be ready
to operate them. Meaning that we should have people who are
competent to do so," he said.

At present, TIM is jointly working with the Ford Foundation,
which provides grants, to upgrade the management skills of TIM's
personnel.

Ideally, he said, TIM must be managed independently by artists
with high management skills and professionals who have a wide
knowledge and understanding on art and cultural issues.

"I am sure that this dream is feasible if we work very hard,"
he said.

Art facilities in Indonesia are behind those of neighboring
countries, such as Singapore, Malaysia and the Philippines.

These countries are actively promoting art activities and
receive positive responses from their respective governments,
private sectors and audiences.

Singapore, for instance, is currently building a huge modern
art center to accommodate its people's demand for quality art
performances. The Singaporean government conducted a very serious
research and survey on the need for an art center before it
started construction.

"TIM needs integrated public relations and promotional
campaigns in an attempt to improve its image among artists and
the community," Adie said.