Mon, 20 Mar 2000

'Titian' serves up superb entertainment

By Y. Bintang Prakarsa

JAKARTA (JP): Titian (literally, footbridge), was a lovely and entertaining performance at Gedung Kesenian Jakarta on March 11 and March 12 that deserved more than its meager audiences.

It was a concert using human voices, various instruments and other sound sources, fusing music, stage art and dance and movement. Produced under the supervision of the young choreographer Boi G. Sakti, it introduced spatial dimensions that made the music more telling.

The stage set did not have a decorative function only, but served a musical purpose. Many antiphonal renditions between groups of performers were made effective by placing the groups on separate platforms (right-left, front-rear, low-high). Admirable singing, playing and movements were accomplished by 12 New Jakarta Ensemble instrumentalists and 17 female and male dancer- vocalists from the Jakarta Arts Institute.

Of course much of the credit must be given to the resourceful composer, Epi Martison, an instructor of dance music at the Jakarta Arts Institute who, in the last 15 years, has gained broad national and international experience, and lately has been associated with composer Tony Prabowo.

Two contrasting works were performed during the first half of the performance. The first, Titian Jemari, used various stringed instruments (Batak, Dayak, Chinese, Western, etc., plucked and bowed), a flute and voice. Using drones, understated dialogue between the instruments and vocal incantations that never reached extreme loudness, the piece suggested a tranquil and reverent mood.

The next composition, Titian Bundo, was a collection of various vocal utterances with stunning variety. There was much singing and non-singing, as well as an eerie contrast between processions and haunting pentatonic chants, sung by an ensemble against a choral ostinato, which evoked the atmosphere of a religious ritual, and violent movements and fast changing configurations, clanging chamber pots, gargling and spitting, wild screams and shrieks of jungle animals.

The two other pieces, Titian Nasib and Titian Bunyi, were kaleidoscope of timbres. Here, families of instruments or sound sources were used successively or against each other. In Titian Nasib, the families were flutes (including a didjeridu), bottles, glasses, percussion and voice. In Titian Bunyi, there was earthenware, drums, bells and small metal and wooden objects, each group contrasted more than in the previous piece. Dramatic effects were created with the booming earthenware (struck on its mouth by the palm), the sharp and penetrating drums and the clicking and ringing of small objects played in quick succession or simultaneously. This was the most exuberant piece, aptly closing the concert.

One critical note. The materials were abundant, the technique excellent (the drumming was marvelous), but then what? Many Indonesian composers of contemporary music devote so much of their energies in creating new sounds, they neglect the higher ordering of their new-found world.

They are weak in analysis and structure (see my review in The Jakarta Post, Oct. 2, 1999, on the failure of Sujiwo Tejo's ensemble to respond to Steve Reich's Six Pianos -- an irony because Reich based his piece on interlocking rhythmic patterns found in Balinese music). Titian Bunyi used similar patterns, and this technique alone can be sophisticated by using the canon, polymeter, polyrhythm, mathematical permutation, as well as pure virtuosic development.

By manipulating these variables, the composer can achieve a clearer, delineated scheme, which in turn would enhance its dramatic effect.

Nevertheless, I still think this was attractive and well- crafted music, with many memorable moments, especially the chanting. It really deserves a repeat performance.