Traditional artists fight for survival

The popularity of western and modern entertainment has affected the traditional performing arts. Urban people, especially the young, prefer to forsake most local art forms for more contemporary and appealing entertainment. A gloomy atmosphere appears to have enveloped the country's traditional arts. Is there any way to preserve what some people believe to be a key part of our national heritage? The Jakarta Post's reporters, Rachmat Effendi, Teguh Karyanto, Ida Indayani Khouw, Dwi Atmanta, I. Christianto, Prapti Widinugraheni, Rita A. Widiadana, Wirasti Wiryono and photographer Mulkan Salmona examine the issue. More stories are on Page 3 and Page 8.

JAKARTA (JP): Ndeh cavorts suggestively, gyrating her lithe body in time to the strains of the jaipong (Sundanese folk dance) music.

The 17-year-old girl is the prima donna of the Sinar Budaya dance and music group which performs jaipong dance and dangdut music at a small, low-key stage-restaurant in Marga Jaya subdistrict in Bekasi, 40 km east of the capital.

Her youthful face and seductive body have mesmerized many visitors. Every night, except Thursday, Ndeh and other dancers entertain their fans from 8 p.m. to 2 a.m. She earns between Rp 10,000 (US$4.10) and Rp 20,000 a night.

In the middle of the show, some male guests may choose one of their favorite girls to become their night-long companion, of course in return for money.

"I like jaipong and I enjoy working here," admits Ndeh, an elementary school drop-out who has no skills but dancing.

In downtown Jakarta, Bharata, a group of Javanese wayang orang performers, is desperately trying to lure an urban audience.

"We earn a considerable income on Saturday nights and holidays, but sold-out shows are rare," said Kastono, the group's director.

On average only 50 of the theater's 300 seats are filled at each of the daily performances, he complained.

"Audience numbers will drop to only 10 in the last week of the month or if it rains," said Kastono.

This is the gloomy reality of life for traditional arts performers in Jakarta, where their talents struggle to find an audience in the melting pot of modern society.

Scholar HB Soetopo said in a recent seminar that in this modern era, traditional arts are no longer seen as society's main entertainment. They are just one alternative in the vast range of cultural activities available.

"Don't ever think that traditional art can compete with modern entertainment like cinema or television. Times have changed," he said.

In order to survive, Soetopo said, any cultural endeavor, and the performing arts in particular, must be supported by society.

He called on people to appreciate the arts, be it in a traditional or modern form, because the arts enrich people's lives, and also balance their physical and spiritual lives.

In reality, however, urban people, especially the young, have started to desert most forms of native arts for more contemporary and appealing western-style entertainment, which is still welcomed as a sensational novelty.

There is no denying that traditional performing arts have suffered from the triumph of cinema, which in some cases, has completely replaced them. Many people believe that the growth of cinema, television and other media has had a crucial effect on the existence of many local art groups, as the chairman of the Jakarta Arts Foundation, Wiyogo Atmodarminto, explained.

"We are now facing complicated problems in preserving, promoting and improving indigenous arts," the former Jakarta governor said.

He said local performing arts in Indonesia had their roots firmly embedded in history. The movements and gestures of the dancers, the stories and musical form are based on patterns that are often hundreds, or even thousands, of years old.

Besides, traditional art is, of course, not only of historical interest; any performance is part of the present and the actors are our contemporaries, he said.

All parties -- the government, the private sector, the media, and artists -- should work side by side if they want to create an atmosphere conducive to the proliferation of traditional cultural activities.

The government has paid attention to the development of traditional arts, but their efforts have not been sufficient, Wiyogo said.

Soetopo shared Wiyogo's view about the need for government assistance in promoting the arts, but he underlined that the government should not interfere with individuals' creativity. Otherwise, the assistance could well prove counterproductive.

Haj Bokir, a leading Betawi (indigenous Jakarta) artist, said the government should understand the need of traditional arts groups.

"They often provide us with things that we don't really need. For example, they once gave us hi-tech sound equipment which we did not know how to operate. We just sold this equipment on," Bokir said.

Television

Although the ever-increasing influence of cinema and television has always been blamed for the decreasing popularity of traditional performing arts, they can play a crucial role in supporting the local arts scene, Wiyogo said.

Some local private televisions have started to realize the need to promote local arts, something which has long been done by the state television company TVRI.

Several private television stations, such as Indosiar and Televisi Pendidikan Indonesia (TPI), regularly air traditional arts even though most of these shows do not generate much advertising revenue .

Aside from television stations and radio, many private institutions are very active in promoting local arts, although many traditional performances are being adapted into short variety shows to suit the needs of the tourist industry, bureaucrats and tour organizers.

Taman Mini

Taman Mini Indonesia Indah, 15 kilometers east of downtown Jakarta, has been working consistently for the past two decades to preserve and promote local cultures.

Taman Mini official Mas'ud Thoyib said many traditional artists lack the creativity and innovative spirit required to keep the culture alive.

"They are still trapped in their past glory. If they want to improve the current situation, they must be active and responsive to the market's needs," Mas'ud, an expert on Betawi culture, said.

However, he is optimistic that indigenous art, or at least its spirit, will never die "because people are always in need of rites and other traditions."

While many people are turning to modern entertainment, traditional arts always attract international tourists. Some tourist establishments, including hotels and restaurants, present local art performances as one of their attractions.

Dancer-choreographer Sampan Hismanto, who organizes traditional shows at his own restaurant, admits that traditional art performances in such places have been adjusted to tourists' demands. "I feel very sad that I have to sacrifice my idealism but at least we are doing our best to keep the traditions alive," he said.

It is very difficult to predict the future of traditional art in Indonesia and in Jakarta in particular. But one thing is sure. Much serious work must be done to develop traditional art forms to ensure they appeal to the MTV generation.