Indonesia has a rich performing arts tradition in abundance, as Indonesia has hundreds ethnic. Every ethnicity has dozens or even hundreds of performing arts. This tradition of performing arts will be investing in the future, when humans began to sick and tired of watching a modern performing arts. As John Naisbit through the book Global Paradox, the era of globalization will reach saturation point, and men will be looking for something unique. Indonesia's tradition of art berlum internationally publicized, it will be a unique art, which will be favored citizens of the world. Therefore, let us maintain and develop our artistic traditions of Indonesia as an inheritance does not object to the world.
READMORE.... Performing Arts Tradition is Wealth The Silence
Monday, June 20, 2011
Re-Interpretation of Pakarena Dance
Ten female dancers who dressed in yellow rounded the six male of percussion players. The players played attractively. Once in a while the sounds of little trumpet broke the percussion stamped. The rhythms of percussion music were solid, hard and fast but on the contrary the dancers moved slowly. Although the music was very cheerful, the dancers moved slowly as if to fight the cheerful. In the next part, the dancers hold a stick fan, rounded their body in the same direction as the hand of clock. This round symbolized the human life cycles.
This is the parts of the performance of “Akkarena Sombali”, a contemporary dance the works of Wiwiek Sipala who being inspired by Pakarena, the traditional dance from Makassar, South Sulawesi, which growth since the 14th century. “Somabali” means kembara, reflected the Pakarena form which come from the united of Pakarena variants that widely known.
This dance started from the myth of the separation of the Gods-Goddess who lived in “boting” (heaven) with the inhabitant of “lino” (earth). The Gods-Goddess came down from heaven and lived with the earth inhabitants teaching the human about the life customs and manners, engaged in farming, breed animals, hunted, discussion, and mutual cooperation. When the Gods-Goddess had to leave, the earth inhabitants expressed their gracefulness through the movements and ever since called Pakarena.
The Pakarena movements are the contrast between the beautiful, rhythmical, dynamic music with the gentle and slow movements but straight. In the past, Pakarena performance played from three to seven days, started
at 4 p.m until dawn. Wiwiek Sipala made it short for only 28 minutes.
Wiwiek Sipala deepen the Pakarena since 1963. She explored this traditional dance moves for her thesis study. In 1979, she performed “Akkarena” to Makassar public. In 2002, it was performed in Institute Kesenian (Arts Institute) Jakarta. The original Pakarena had 12 parts. But, Wiwiek performed just nine parts. The rest is not explored yet.
The dancers of Akkarena were not allowed to open their eyes too wide. The leg movements could not too high. The dancer costume was simple. Wiwiek removed the gold flower accessories that usually was wore in the head. She focused in the moves.
In the stage, every part looks the same. But it had different meaning. It started with sit position and ended with also sit position. The round moves followed the cycle of life from birth until death. The up- down moves described the rhythm of life. It was the inspiration from the fourteenth century.
Sunday, June 12, 2011
Gado-Gado from Osing
Barong Osing performance in the past is only limited to the
ritual show. It can be found in the wedding, circumcision the
second day of Idul Fitri, the first day of Hajj month and the
celebration of big day. This performance develops in Osing
community group, one of ethnics considered as the oldest etnic in Banyuwangi,
East Java.
Tresno Budoyo Barong Art Group, led by Sapi’I from Kemiren, Gelagah,
Banyuwangi, plays four stories related to in Salihar Festival 2010. if the
Barong show usually held for a night, this festival is played only for two
hours for once show.
Osing Barong shows the unique identity: between Javanese and Balinese,
Islam and Hinduism, mountain and sea and sacred and profane. The shape
looks like Balinese baron, the creature of wonder-eerie animal, glaring,
has wings and big crown. In the usual performance, Osing Barong presents
ingredients: music, story, poetry, jokes, mystical acrobat and muscle
competition like ketoprak. The performance is accompanied by gamelan.
At the first night, Tresno Budoyo plays “Jaripah and Paman iris and
“Panji Sumirah”, telling about broken promise. Jaripah, female actress,losing Sunar Udara or Barong. She makes announcement that whoever
succeeding to find barong will be married. Paman iris succeeds
found Barong death. When he asks to the promise, Jaripah requires
one more requirements. If you can resurrect Barong, I will marry you.
With a wonder power, Paman Iris can resurrect Barong. Jaripah does
not want to marry to iris because he is ugly. And she asks for the last
requirement, if you can beat me I will marry you. The final result, Paman
iris is defeated and death. The body wants to be eaten by Barong,
but Iris is resurrected by Layar, his younger brother. They forms into
Panji Sumirah, clearing Wonoterboyo forest for community village.
At the second night, it showed “Landaya Singo Barong and Pangeran
Mantri. The show is telling about a werewolf who is originated from Lion.
The lion is “spoken” by his teacher to be a human. This werewolf met with
mantrri hutan”s wife, Siti Ambari and Siti Sundari. He was amazed with
one of them and wished to eat them.
Performance Stage is simply designed as in the most of folk theater. The
performance is a combination of old and young Barong. All players, including
woman player, are male. “Compulsory Tradition”, replied Edi
Sucipto.
Saturday, June 11, 2011
Randai Dance from Minangkabau
and traditional gathering.
On mid November 2009, in Berlin, Germany, winter covered
that one European capital city. Twenty multi-racial
students performed the Randai dance in a performance
building in Berlin.
This was one of the Dayang Daini motion-recite that they performed.
After the Dayang Daini recitation was read, the dancers, aligned in two
rows, entered the centre of an open field, rhythmically clapping their
hands. Left foot in front, right foot in back, and the two legs were put
agape. The body was slanted to the right, head faced to the front, and after
the music finished, the clapping of their hands were fast-phased.
After paying respect to the audience, the dancer then walked into circle
and stroke their Galembong (pants), marking the commencement of the
story.
Spectators crowded the building of 300 seats capacity. After one
hour, the show finished. They were warmly cheered for. They were
students of Ballet School Berlin, Germany and children of the Indonesian
Embassy employees in Germany.
Before the performance, Elindra Yetti, a dancer and also lecturer for the
Dance Art major in Jakarta State University, gave the Randai dance lessons
in a brief workshop. “They were quite fast learning Randai because
of their ballet dancing background,” explained Elindra, 42 years old. Besides
the performance in Berlin, the art mission in the framework of education
from Indonesia also performed in Frankfurt.
Randai dance is one of the randai arts, traditional art that grew and developed
in Minangkabau, West Sumatera. This art was developed from
pencak silat (traditional martial art) which existed since the Islamization
period in West Sumatera. In its application, this art combined several art
branches, such as: dance, theatre, fine and music.
The art that was developed from pencak silat, has lots of elements: the
story, dance (pencak silat), recitation, music and fine-art. All elements are
shown in the Randai performance.
To the people of Padang who are mostly Muslims, pencak silat is a routine
activity that is performed after the evening Qoran recitation (mengaji). In
the past, this pencak silat routine is done by men. After working all day in
the cropland or paddy-field, at the evening time they would recite Qoran
in the surau (little mosque), and afterwards practice pencak silat. “Every
man in Minangkabau must be able to do self defence,” said Elindra.
As many of other traditional arts in Minangkabau, the performance is art
always done by men. It is because almost all of the traditional arts were
developed from pencak silat. It so happen that it is men who practice the
silat. ”Even though there is a female character, it will be played by man
who wears woman dress,” uttered Elindra.
Sunday, June 5, 2011
The Fight for the Throne in Tiongkok
underwent quandary, the elite politics were head
to head on who should be the campaign general.
Every nation have their own heroic epos. Sincere sacrifices
with courage. Observe the words of Sie Jin Kwie to
Genral Thosukwie, “I shall always defend my country
disregard of any reward nor position”. The story of Sie
Jin Kwie took place in Tiongkok in the 7th century, at
the era of Tang Dynasty, but it was not written until the 14th century by
Tio Keng Jian at the era of Yuan Dynasty. In Indonesia this script was
published in various versions and was adapted into a comic, published
continuously in the Star Weekly Magazine during the 50’s era. “There
were 12 versions of Sie Jin Kwie that I read, This Sie Jin Kwie which
you are spectating could very well be the 13th version,” said Nano Riantiarno.
It is said that Thiosukwie is the admiral of Dynasty Tang army, who often
takes the credit for his inferior’s work. He is so worried that when
Lisibin, the Taizong Emperor of the Tang Dynasty finds out that Sie
Jin Kwie had entered the army, his position would be taken. This is
because Lisibin had a premonition that Sie Jin Kwie would be the one
to save him from a deadly ordeal. He was so curious that he would do
just about anything to encounter Sie Jin Kwie.
mean to have Sie Jin Kwie assassinated. Thiosokwie rejected Sie Jin
Kwie’s two applications to join the arny. When Sie Jin Kwie received
supremacy from the Prince of Taizong to enter the army, Thiosokwie
called Sie Jin Kwie by his childhood nickname, Suweli.
Not wanting Sie Jin Kwie’s career to stand up, he was then placed in
the kitchen. There, he formed the Tang Kitchen Troops. But beyond
everyone’s estimation, during the war against King Kolekok, Sie Jin
Kwie’s troops played a major role in defeating General Kaesobun, the
general who arranged a coup opposing King Kolekok. This is a classic
tale from Tiongkok that illustrates nationalism, patriotism, and
sincerity in defending a country, while facing political mayhems and
corrupt bureaucrats.
The draft for the screenplay that was estimated to have 7 to 8 hours duration
was “squeezed” down to only 4 hours. “All the scenes are filled
with attractive potential. It would be such a pity to waste them,” expressed
Nano. “Every form of directed plays that we know of are made
inspiration to manifest the dramatic and meaningful expressional pronunciation
forms,” he added.
The performance required 250 costumes with ornaments details and
motives that rooted to the Tiongkok culture in fusion with Javanese
tone. The music and singing were in Chinese-style, while the graphics
and stage settings were altered in accordance with the plot. The graphics
displayed wondrous images of dragons, swaying phoenix bird, and
people in Tiongkok costumes. Expressive dancing also added sparkle
and more entertainment value to this play.
Dusk of the Dayak Art
They have not only been deprived of their
forestry claim by the industrial age, butalso weakened their cultural values by
the pressure of the outer world.
November 1974. Hendrawanto Pandji Akbar Luthan
or as he is called, Deddy Luthan, was then 23 years
old. The student of the Creative Artists major of the
Jakarta Art Educational Academy –now Jakarta Art
Institute- departed aboard the Hercules aircraft from
the Halim Perdana Kusuma Airport in Jakarta. His destination; Balikpapan
of East Kalimantan.
From Balikpapan, he boarded a boat towards the inland of Kutai, still in
East Kalimantan. At those times, there was only a number of land transportation.
The main transports were small boats crossing hundreds of kilometers
of the river. Both banks of the river are bushed with rain forest.
After a two days and two night’s trip, he arrived at the Long Less Village of
Muara Ancalong in Samarinda. It is here that he observed the life and arts
of the Dayak community for preparation of his proficiency study test. He
went in-depth to the cultural society life that is beyond his own in Jakarta.
There he lived with the Kenyah and Modang Tribes.
Just three weeks into settling with the Dayak people there, he found a
disturbing oddness. During that rainy season, by the river bank of Long
Le’es he witnessed ancient statues of all sizes that belonged to the Dayak
people, laid. Some were carried off by the water flow. Those hundred year
old statues made of ulin wood were treated as useless items.
His body shook to see so many old models laid about and discarded at the
river bank. “How could ancient articles be thrown away so easily? What
is really happening? Why is cultural creations be put to such waste?” his
heart wallowed, saddened.
At the same time, Javanese and Banjar settlers were head to head in getting
the old items. As if finding a box full of gold, they sold those statues
in the City of Samarinda with process up to millions of rupiah. When the
Dayak people places the statues as part of their belief, the Javanese and
Banjars consider them nothing more than high-valued artistic items to be
marketed amongst art lovers.
Deddy was moved to find out about this seemingly unusual act. One Tribe
casts away old statues, while the other picks them out and sells them.
It was not until the following week that he found out why. It turned out that
the obscene doing was influenced by Christianity teaching. The new missionary
that was spreading the Christian belief condemned the existence
of the statues. Those missionaries gained two supremacies in the eyes of
the Dayak people: one is the knowledge of Christian teachings, including
biblical intelligence, and the holy mission that they bring.
Deddy could not let go easily the discarding of those statues, because
cultural creations cannot simply be thrown away. “If this continues the
Dayak people may lose their identity. They may have new faith, but they
can lose their customs and identity which for hundreds of years have
been their way of life,” expressed the choreographer whom since the year
of 1974 to date still makes the time to live for several months amongst the
Dayak community in East Kalimantan.
He argued a missionary. The following is the debate that went on in the
front of Tribal Assembly Hall.
“Why were those statues discarded to the river?” enquired Deddy
Luthan.“We did to allow them complete faith towards the Lord. They
must not return to their ancient belief. If those things (statues) still remain
within their sight, they will be haunted to come back to being submissive
to their old faith,” explained the missionary.
The ancient belief he was implying to is the animism and dynamism; entrenched
and ancient faith that has become the devotion of Dayak people.
“Those models are cultural creations that need not to be thrown away.
Those were merely tools of their worship. They could have been preserved
as cultural articles. It is your duty to explain to them so they follow the
path of God,” claimed Deddy.
“Who can guarantee that they won’t return to their old faith?”
“It should be within your mission to teach them how to have a good devotion.
I can assist in explaining the statue as a relic.”
Deddy came up with the idea to keep the statues from considered condemned
items.
“Place those statues as relics, to become the identity of the art of Dayak
people,” he concluded.
The idea found by Deddy, who was an “outsider” but later on was considered
as the foster child of the Dayak community, receive positive responses.
It would be much better, he added, if those ancient models were
to be placed in front of the Tribal Assembly Hall. It should be placed in
an open room to allow surveillance to their presence. It was unfortunate
that Deddy was only there for two months.
As it turned out, statues were not the only items the missionaries disallowed,
but also musical instruments and other Dayak arts. For the missionaries,
to convert to a new faith means to leave behind symbols, activities
and ancient traditions.
Though the missionary movements were progressing, to late 1980’s the
Dayak community was divided into two major groups: those that embraced
the new faith and those who remains devoted to their ancient beliefs.
Then in year 1978 Deddy Luthan returned to the inland of East Kalimantan.
He witnessed relics stood strongly before the Tribal Assembly Hall.
He was at peace, for those cultural creations still remain until today.
The new religions that arrive often times condemn traditions which are
considered as part of the prior faith. They not only forbid, but at times
dispose of the symbols of the old beliefs. Almost all of the religions that
rooted back from the time of Abraham have chastity dimensions those
are inconsiderate to the local culture.
Fortunately, in the upcoming progress, the gospel missionaries in Dayak became
aware of the significance in upholding the community’s traditions.
The Dayak community possesses plenty of art products. Dances, music,
poetries, articles, crafts, and literacy are part of the Dayak Tribe existence.
The Punan Tribe, for example, builds house trees that are livable by three
to four families. This house is made simple because they are nomadic
hunters. There is a belief there that once a family member departed, the
tree house should immediately be abandoned. It is such because the
house they live in will be no longer healthy and could pass on misfortune
to those still living, according to their belief.
Besides the tree house, there is the Lamin (long) house. This high house
can be settled by 40 to 60 families. The width is around 10-15 meters and
the length could reach up to hundreds of meters. Each family has their
own loft for the entire members to live in. The necessities of water, washing,
lavatory and bathing; are fulfilled by the rivers that are many in East
Kalimantan. It is in this house that togetherness; collective works and traditional
values are preserved and taught in everyday life.
According to Deddy Luthan, the daily routines of Dayak people have
major influence to their culture. Day to day they live in the forests and
are always close to nature. In the wild they are self-taught to be swift, responsive,
and versatile in doing anything. That is because the forest gives
out challenges like wild animals, snakes, and limited food supply.
When they hunt, as the Punan Tribe does, like it or not they have to move
fast to catch their prey. Different from the lives of modern people, who only
hunt to fulfill the family’s needs for several days. There is no greedy behavior
of wanting to take out the entire animals from the forest. This kind of living
is certainly distinguished from that of the city that is far from the forest.
Besides hunting, some of them farm. As their attitude in hunting, they
plant the paddy not to be sold, but for a year long supply. This is caused
by their dependence on a traditional planting pattern where the irrigation
depends solely to rainfall.
Those who cultivate dry-land also do it for daily survival. Even so, they do
not damage nor clear the forest by fire. They apply the five sites cycle system
in cultivating. When one site is no longer fertile, they move on to the second
site. So on with the second and subsequent sites until they start back to the
first cultivating site. Local insight becomes their lifelong guidelines.
Besides the art of sculpture and architecture, the quite rooted and popular
art known amongst the Dayak community is the dance art. Of the many
Dayak Tribes, each has their own particular dances. Although they speak
different languages and different types of dancing, according to Deddy,
for the Dayak people, the art serves multi-functionally: tradition, rituals,
and healing. There is no such word as entertainment in the Dayak
community’s book. “When there are lyrics, enchantments, or music that
seems entertaining, it must be coincidental,” said the choreographer and
dance tutor of the Jakarta Art Institute.
Art for the people of Dayak is part of their life. The artistic activities they
perform are inseparable from daily routines. Artist in this context is not a
profession, yet the activity for the good of the community. Here, various
art forms belong to the community.
Even so, their dance movements are soft, far from their hard and rough
everyday life. Most dances are performed massively. They do it with the
symbolic of gentle and agile beauty.
For instance the war dance of Kancet Papatai. This dance tells the story
of a warrior from Dayak Kenyah in a battle against the enemy. The movement
of the dancer is lively, swift, and full of stamina. At times the dancer
will let out energetic yells. The dancer dresses in traditional Dayak Kenyah
Tribe attire, equipped with the mandau, shield, and war gear. The
Sampeq instruments backgrounds this dance performance.
Even though the word “war” is used, this dance is far from the impression
of war using mandaus. When in Javanese dances the war scenes are often
times expressed in a vulgar manner, this war dance shows the dance by
force of the shields. Their held mandaus are never used, unlike the force
of spears in Javanese dances. “The movement of the war dance is the personification
of forest birds’ movements,” explained Deddy Luthan.
Besides mass dances, the prime dance is the solo dance. This is the dance
that shows skills and professionalism in dancing. In mass dance, slight
mistakes can be overlooked to make it seem like a perfect dance.
The Kanjet Lasan Dance is one of the solo dances. This dance portraits daily
life of the Enggang bird. For the people of Dayak Kenyah, the Enggang
bird is a noble bird regarded as the symbol of greatness and heroism.
The musical instruments use in Dayak dances are among others the
sampeq, jatung utang (similar to antique xylophone), traditional flute,
and genggong (udiyeng).
The Belian Sentiyu Dance of the Benuaq Tribe is the healing dance for the ill. This dance will only be performed when an ill person needs it. There
are phases within this particular dance.
According to Hertalina, a dancer of Dayak origin, each phase is performed
with mantra chants, and also the process of sacrificing chicken,
pigs and mules. The mantra ceremony is held to summon the spirit from
the sky which will cure the ill.
The phase is divided to three. In the first three days of illness, the person
is attempted to be healed by medicine. When there is no healing, five days
later he/she will be given a liquid remedy and the chicken sacrifice ceremony
is performed. This ceremony is to detect the kind of illness that the
person is enduring. When there is yet healing, four days later a follow-up
ceremony is held by sacrificing a pig. Lastly, the mule on the eighth night.
The final night is the conclusion. “When they heal, that’s good. When
they don’t, it usually means death,” explained Hertalina.
A live pig will be stepped on in order to transfer the ill one’s sickness to
it. Mantras are chanted to summon the spirit of great ancestors that will
cure the person.
Deddy Luthan once witnessed the healing episode of a patient. A dancer
sucks on the ill part of the person. From the dancer’s mouth, pebbles and
glasses come, to then be put on a plate. Though modern medics have entered
the modern community, “To date the Belian Sentiyu Dance is still
used for healing purposes,” Deddy claimed.
The popular dance amongst the Dayak community is the Hudo Dance. This
dance is a part of the Dayak Modang and Bahau Tribe rituals. The dance is
performed after the paddy harvest time. It is easy to recognize because of the
unique costumes and masks used. The dance is meant as a ceremony to cast
away rice field pests to prepare for the next planting season. The dance is
carried out massively by several villages by collective work.
There are three phases in this dance: the common Hudo as the symbol of
crop pests; the Punan Hudo as the symbol of casting away the rice field
pests; and the mad Hudo that brings up the energy of the paddy.
According to folktales of the Dayak community, this dance is performed
as a remembrance of their forefathers’ good deeds. There is a belief that
as planting season comes, the spirit of the great ancestors will always be
around them to guide and keep an eye on their descendants.
Unlike other Dayak dances, the costumes of this dance use banana and
palm leaves. That makes the production process of this dance elongated
for the time used in scouting for those leaves in the forest, and also in formulating
potions. The masks take on the form of robin bird or a pig. Both
are considered as the pests that damage rice fields. Due to that, in the last
scene of this dance, the dancers with the masks will be told to go.
This is more than just a dance. There is a strong belief that is the Hudo
Dance is not performed, crops will be ruined. In short, the harvest will
be unsuccessful if Hudo Dance is disregarded. In the contrary, when it is
performed, they believe the harvest will yield well.
Despite of all the said beautiful dances, the life for them nowadays has
changed. Dayak community today is no longer applying the dances as
only part of rituals and customs, but more for entertainment. “This is
an inevitable reality, because of the pressure by the outer world that has
penetrated Kalimantan inland,” regretted Deddy.
As he went a few months ago back to the interior of East Kalimantan, he
saw that the forests by the river banks had vanished, turned into meadows.
He also found satellite dishes and televisions in Dayak houses. This
is not a new thing. Since the last two decades, television has influence the
way Dayak people view their life. “Now there are poco-poco contests and
dangdut music. The dances those were part of their rituals have now become
an act of recreation in the celebration of Indonesia’s Independence
Day or during Christmas,” he disappointedly remarked.
Forget (Not) the Past
Forty-five men and women got on the open stage held at the
Bentara Budaya Jakarta. The men are in semi-batik outfits,
while the ladies were in beautiful “kebayas”.
Each then sits down and took their places behind the notation
board, prepared to play their string instruments. Not long after, the song
Di Bawah Sinar Bulan Purnama played. The unique arrangement of the
song reminded the audience of songs from old 50’s-60’s Indonesian films.
The opening song was the commencement of the Sa’unine string orchestra
concert, held at Bentara Budaya Jakarta, last January 28 2010.
For approximately one hour, the audiences were swept away by songs familiar
(and also unfamiliar) to the ears. Stambul Lagu Manis, Ilir-Ilir,
Ibuku Bumi, Cublak-Cublak Suweng, Padang Bulan, Paris Berantai; are
some of the songs performed that night.
Sa’unine was established in June 9, 1992. The community is a community
of string instrument players who mostly had conducted their study in
the ISI Jogjakarta. Besides concentrating on string instruments, Sa’unine
(Javanese for As Long As It Makes Sound) is also quite focused on the
Javanese culture. This community was then supported by the Tembi Culture
House.
The performance that night was dedicated to the senior journalist P.
Swantoro, who happened to celebrate his birthday on January 26. Even
the musical repertoire that night, was named similar to one of the book
written by P. Swantoro, “The Past is Always Actual”. It was unfortunate
that due to health conditions, that one pioneer of Kompas newspaper
was not present.
Sa’unine also presented Silir Pukiwati to perform Lir-Ilir, and Krisna
Widianto to perform the song Derita. Silir’s piece with her unique sinden-
like vocal added to the richness of Javanese flavor that was in the
atmosphere that night.
This musical group then completed their performance with the game
songs of Javanese children; Cublak- Cublak Suweng, Padang Bulan dan
Gundul-Gundul Pacul. However, the enthusiasm of the audience kept the
group from getting off-stage. To answer the request, Sa’unine once again
performed Di Bawah Sinar Bulan Purnama, which finally wrapped up
their entire performance for the night.
Best Jazz Festival in the World
A great show for jazz lovers has been held
some time ago. Yes, Java Jazz Festival
2010, which presents hundreds of performances,
sucked the enthusiasm of music lovers
both domestic and abroad. This International
annual event is now experiencing the location changes.
After nearly five years in a row held in Jakarta Hall Convention
Center, Peter F. Gontha, as the founder of Jakarta International Java
Jazz Festival as well as Chairman of Java Production, moves the
location of this pride of Indonesia’s jazz festival to the wider area, in
Kemayoran, Central Jakarta.
The choice of location in Jakarta International Expo Kemayoran,
a place that is usually used as the location of Jakarta Fair is considered
able to accommodate the audience that bursting up to
30,000 people per day last year. Still took the main sponsors,
the international scope event entering its sixth year with theme
Jazzin ‘Up Remarkable Indonesia. This theme is interpreted as
a motto to provide energy, strength, enthusiasm, dedication to
the event which will scent the name of Indonesia in international
arena.
As in previous years, this prestigious event is back bringing foreign
musicians whose names are familiar to jazz lovers. With
a total of 1300 musicians divided into 430 foreign musicians
and 900 local musicians who presented on 21 stages and held
for three consecutive days. As the largest festival, Java Jazz
is not only famous in Indonesia, but has received recognition
as the best jazz festivals in the world. In this festival, can be seen
exploration of jazz music, with a various touch of other musical
genres such as rock, blues, RnB, ethnic, dance and pop.
International stars who jazzed up the Java Jazz this year are
Grifith Frank, George Duke, Christian McBride, David Murray,
Carl Allen, Darrly Jones, Kurt Rosenwinkel and Ray
Hangrove. The well-known jazz vocal group, The Manhattan
Transfer, came back this year and be one part of the special
shows appearing during the two days, Saturday (6 / 3) and
Sunday (7 / 3). For softer jazz lovers, there are Bob James,
Michael Paulo, Eric Marienthal, Everette Harp, Mindy Abair,
Jessy J, Lee Ritenour, and Karen Briggs. Not to forget the appearance
of the Cuban-jazz musicians, Latin-jazz and the sexy
Brazilian-jazz of Arturo O’Farril, Adonis Puentes, Brian Lynch
Latin Jazz Quartet, melodious voice of Emilio Santiago, Ivan
Lins, Hendrik Merkuens Samba Jazz Quartet, and Eric Benét.
Not to forget the sexy Kenneth “Babyface” Edmonds, John Legend
and beautiful singer Tony Braxton as a special show and
a magnet of Java Jazz this year. John Legend became the first performer in the Main Hall D1 JIExpo. This
6 Grammy Awards winner was greeted about
1,000 spectators that could not wait to sing
with chanter of “Ordinary People “.
On the second day, Saturday (6 / 3), it could
be regarded as the culmination of this festival.
It could be seen from many artists who performed
and two special performances of The
Manhattan Transfer and Toni Braxton, and the
arrival of President SBY to witness the appearance
of a composer of the songs became hits,
Diane Warren.
Performance on the second day was full of
artists who are too good to be missed.
From the local artists such as Maliq
& D’Essentials, Dira J. Sugandi,
Andre Hehanusa with Tribute to
A. Riyanto, Glen Fredly, Endah
’n Rhessa and Shandy Sandoro
became part of the performers
whose the shows were
filled with spectators.
Entering the final day, enthusiasm tense of visitors
showed no decline; it was seen from the
crowded audience still at the swows there on
who skillfully plays saxophone and flute
was present as foreign artist who started the
show on that day. Followed by the appearance
of the 21-year-old singer who was called
has a sound mix of Josh Groban and Andrea
Bocelli. Show for one hour that took place in
A2 Electric & Fusion Hall became his first single
show in front of an audience of Java Jazz
2010.
Performance by Tropical Transit of from Bali
was not less interesting. Bringing ethnic music,
Tropical Transit served performances with
dance music, with the smell of burning herbs
over stage, the atmosphere
of the room to bring the
show the mystical aura to
audience. Performances
on the second day of The
Manhattan Transfer received a special visit from Vice President Boediono,
and with the standard security as happened
in previous days, the show area which
took place in the C1 rang with a dozen of Presidential
security officers in batik uniform who
were rigorously checking the visitors.
Enjoying the treat of hundreds of performances
over three days seemed to be release fatigue for
those who were waiting for this grand performance.
Opportunities witnessing world-class
famous artists became the pride for the committees
and visitors. Event that always sucks
visitors each year is able to collect hundreds
of artists in a festival. No wonder if Peter F.
Gontha is very serious to continue this show
every year.
commemorating chopin
Chopin’s masterpieces successfully stood the test of time.
The composer Frederic Chopin
and his works have special
meaning for two countries,
France and Poland. He was one
of the greatest composers of
the Romantic music. He has strong influenced
upon other famous composers such as Robert
Schumann, Franz Liszt, and Johanes Brahms.
Chopin was born in Poland on March 1st, 1810.
His father was a French expatriate while his
mother was Polish. When he was seven years
old, he had given public concerts, as well as
composing some of his first works. As a child
prodigy, he was compared to Mozart and
Beethoven.
The unstable political situation in Poland was
one of the reasons that made
him leave the country and
move to Paris, France in
1831. There he made acquaintance
with many artists
as well as compose his
greatest works. It was also in France that he
met his muse, George Sand. Chopin died of a
grave illness on October 17th, 1849. His body
was buried int the Pere Lachaise cemetery in
Paris.
Commemorating Chopin’s 200 years anniversary,
the Polish and France Embassy in Indonesia,
held a special occasion. An extraordinary
piano concert was held in Gedung Kesenian
Jakrta in March 10, 2010. Three great pianists,
Dana Ciocarlie representing France, Adam Makowicz
representing Poland and Ary Sutedja
representing Indonesia, perform consecutively
on one stage.
Dana Ciocarlie opened the show. The Rumanian
Pianist play several songs from Chopin’s
dance compositions. Such as Rondeau ala Mazur,
Three Mazurkas 59, and Polonaisie Fantasie.
The performance given by the woman who
had won many international piano competition,
impressed the audience. The second performance
was given by the Indonesian pianist, Ary Sutedja featuring the cellist, Asep Hidayat.
The most impressive performance was given
out by Adam Makowicz. The Polish-Canadian
pianist performs Chopin’s work reinterpreted in
Jazz. In his performance the work such as Faintasie
Impromptu Opus 66, Prelude #4 Opus 28
sounded like a brand new composition. “ You
probably would not recognize, which work of
Chopin I was playing,” said Makowicz jokingly
on stage.
The 70 year old pianist was known for his jazz
interpretation on Chopin. The album Reflections
of Chopin that he released in the year
2000 successfully bridged two different musical
genres, jazz and classical. With his impeccable
technique he performed Chopin in a totally
new and fresh composition.
Dream from a Pile of Trash
First collaboration project of Theatre Tetas with Phakama: loud but full of meaning.
At one time the world was already covered by piles
of trash. The society which lived in thatkind of
world is a society of clutter. Messy and disorganized,
was how that world was described.
In the midst of all chaos, a story-teller found a seed. The only
seed left on the face of the earth. It is humanity itself. The
story-teller then traveled far and wide, searching for the most
righteous place to plant that most valuable seed.
In his journey he encountered colorful characters. A writer
who tries to record daily events of his surroundings; a man
who calls himself the “professional outsider”; a poor artist;
a teacher with hidden passion of being an artist; a bus driver
who feels unappreciated; all the way to a street cleaner, who
from his profession has the chance to find may unusual
items.
This project is collaboration between Tetas and Phakama. Both
groups worked separately on the concept of human struggle to
manifest their dreams and inner desires of life; to then be put
together on stage.
“We met for the first time, two weeks prior to the show at Gedung
Kesenian. We then presented each of our interpretation
and sorted out, which part to use on stage,” said Ags. Dipayana.
The story plot was not made until that first meeting, and
the performance in Gedung Kesenian was the first show of the
collaboration between Tetas and Phakama.
Loud, was the impression that performance gave; the pandemonium
of mankind with dreams, exerting on reaching the
passion within their hearts. This show was also presented
in the British International School last 11 and 12 of January
2010. Ags. Dipayana wishes that this collaboration gives way
to other collaboration to commence.
READMORE.... Dream from a Pile of Trash
At one time the world was already covered by piles
of trash. The society which lived in thatkind of
world is a society of clutter. Messy and disorganized,
was how that world was described.
In the midst of all chaos, a story-teller found a seed. The only
seed left on the face of the earth. It is humanity itself. The
story-teller then traveled far and wide, searching for the most
righteous place to plant that most valuable seed.
In his journey he encountered colorful characters. A writer
who tries to record daily events of his surroundings; a man
who calls himself the “professional outsider”; a poor artist;
a teacher with hidden passion of being an artist; a bus driver
who feels unappreciated; all the way to a street cleaner, who
from his profession has the chance to find may unusual
items.
This project is collaboration between Tetas and Phakama. Both
groups worked separately on the concept of human struggle to
manifest their dreams and inner desires of life; to then be put
together on stage.
“We met for the first time, two weeks prior to the show at Gedung
Kesenian. We then presented each of our interpretation
and sorted out, which part to use on stage,” said Ags. Dipayana.
The story plot was not made until that first meeting, and
the performance in Gedung Kesenian was the first show of the
collaboration between Tetas and Phakama.
Loud, was the impression that performance gave; the pandemonium
of mankind with dreams, exerting on reaching the
passion within their hearts. This show was also presented
in the British International School last 11 and 12 of January
2010. Ags. Dipayana wishes that this collaboration gives way
to other collaboration to commence.
The Abused women
10 years after, Ipoh and Ronggeng.
Gender inequality against women in various forms was illustrated
in the Monoogue Play performed in GBB TIM. This
show was held on 22 December of 2009 in the event of TIM’s
41st anniversary and also in the celebration of Mother’s day.
The monologue illustrated the life fragments of three women. One
mother who lost her child, a coffee seller who overcomes her anguish
with laughter and innocence, and a “ronggeng” dancer who went insane
for being imprisoned and separated from her child.
In the monologue “10 years After” masterminded by Seno Gumira Adjidarma;
Niniek L.Kariem plays the grieving mother who had lost her
child in the May ’98 incident. Ten years after the disappearance of her
son, Satria, this mother lives in loneliness and questions that constantly
haunt her about the whereabouts of the her beloved son.
“Ten years have passed, many have changed, and many have not changed.
To me Satria is still here,” as always, Niniek presented the monologue
with her eminent expertise a professional actress. 10 Years After had been
performed in 2008 in the 10th year commemoration of the ’98 ordeal.
The second character, Ipoh, became an alluring character. Lisa Ristargi
who played the part of Ipoh was a match to Niniek L. Kariem who went
on stage earlier. Staging as a coquettish coffee seller, Lisa managed to
steal off the audience’s attention.
Ipoh vivaciously tells the story of her life. It is quite an irony because Ipoh’s
life is filled with sadness and scars. As a teenager she was raped by her own
uncle. She then grew up and met a man who eventually married her.
As it turned out, the man already has a wife, and when he died, all of
his fortune went to his first wife. Ipoh was then left to support her two
children by being a coffee seller.
There were frequent emits of laughter or even comments from the audience
in response responses to Ipoh’s humorous dialogues. For many times
Ipoh stressed out the importance of a woman in taking great care of her
“self esteem”. “My Mother said, women are like glass plates, once they are
broken they will be worthless, while as men are like tin plates that won’t
have any marks even when they have fallen over and over again.”
The third monologue titled “Ronggeng” was supported by Happy Salma.
Ronggeng was inspired by the novel “Ronggeng Dukuh Paruk” by Ahmad
Tohari. In this fragment, life scene periods of Srintil, the ronggeng dancer,
were shown. There were scenes of her as a dancer, as she was falling in love
and was trying to seduce Rasus, her childhood friend. There were also settings
of her being in jail to then went insane.
This play will mostly be hard to comprehend for those who have not
read the novel yet. It’s back and forth plot and the blur context of Srintil’s
living period may well be the cause.
Ronggeng is some sort of an opening act before the primary extended
performance next April. The show that feels like an unfinished puzzle,
may find its answer on the greater show.
Ananda’s Symphony for Indonesia
Ananda Sukarlan adapts the genius works of Indonesian poets in melodies.
The sound of piano played by
Ananda Sukarlan breaks the
silence in Graha Bakti Budaya
stage last Sunday (3/01). Together
with flute player Elizabeth Ashford
and 15 years old violinist Inez Hardjanto,
he played Bibirku Bersujud di Bibirmu.
While the music played, 5 dancers emerged
one by one on the stage. Three lengthy
pieces of cloths were extended from one
side of the stage to the other. Each of the
blue colored cloths has different color
shade, illustrating the ocean while at
storm. The three male dancers acted as
if they are fighting for their lives. One of
them gets rolled in the wave. Not long after,
the angry wave ceases, but the man was
already down, lifeless.
Bibirku Bersujud di Bibirmu is the art done
by poet Hasan Asphani which was then
adapted by Ananda into a symphony masterpiece.
The inspiration for the symphony
was the 2004 tsunami in Aceh, whilst the
dramatic choreography was done by the
reliable choregrapger, Chandra Panatan.
Bibirku Bersujud di Bibirmu, is one of
Ananda’s whole series of composed works
which were performed in his most recent
concert, “Libertas”.
“Sweet Sorrow” was the second play performed
that night, combining the violin
play by Inez Hardjanto and piano by
Ananda. The piano part of the piece was
arranged to be played by only two fingers.
This particular work of art, inspired by
one of the dialogues from Romeo and Juliet
by Shakespeare, was composed solely by Ananda to be playable by people with
physical disabilities.
Ananda is one of the founders of Indonesian
Music Literature Foundation. This
foundation, which was initiated on 10
February 2009, has the mission to provide
musical access for less fortunate and physically
disabled children.
Sweet Sorrow is a manifestation of Ananda’s
care towards the less fortunate children.
“In Spain there is a similar foundation,
namely the World Music Foundation.
That foundation accommodates musical
interests of the physically disabled children
by composing piano repertoires which are
playable by the left hand only, and also developing
notations in Braille”. In the near
future, according to Ananda, the same
thing shall be done by the Indonesian Literature
Music Foundation.
As the climax of the show, “Libertas” was
performed. The contemporary masterpiece
of the 41 year old maestro was meant
to serve as the “foreword of freedom and
human civil rights”. Verses from eight renowned
poets became part of the 28 minutes
masterwork. The masterpieces of WS
Rendra, Chairil Anwar, Sapardi Djoko Damono,
Walt Whitman and Federico Garcia
Lorca are to name a few of them.
In Libertas also, Chairil Anwar’s “Karawang
Bekasi” was encountered with the
verses by Archibald Macleish, “Dead Soldiers
Do Not Speak”. For both poetries,
he made similar melody configurations,
which however, becomes very much different
as it was performed.
Façade of the Con
In a town of German lives a government official who is at his very old age. He
is accompanied with a female servant who is only after his wealth.
One day a nephew of the old official paid him a visit. The servant has long
persuaded the official to disgrace that nephew of him, who is actually his one
and only next of kin. The nephew was thrown out of the house. But he had his wits
and disguised as a mobile Polaroid photographer.
To make the uncle come to, he played a movie called Tartuff. The movie tells the
story on Tartuff who wore a virtuous façade conning his own friend, a wealthy man
by the name of Orgon. When Tartuff tried to seduce his wife, Elmire, it was then
that Orgon realized the real mischief of Tartuff.
So was a little of the Tartuff silent-movie, done by German’s renowned director,
Friedrich Wilhelm Munau. The movie was done in 1925 and was adapted from a
story of the same title by a French poet, Moliere.
Moliere wrote the screenplay in 1664, to protest the current situation where King
Louis the XIV was so influenced by the then French Archbishop Paul Phillipe Hardouin
de Beaumont de Perefixe. The on-target satire, Tartuff by Moliere became a
controversy and was banned for quite a while.
The play had such a big impact that the word Tartuff was since then used in the
French and English language to refer to hypocrites.
The rolling of the movie held by the Goethe Institute came as quite an eccentric, for
the appearance of music illustration by Capella Amadeus Ensemble together with
conductor Pierre Oser and pianist Adelaide Simbolon, also two brass instrument
players of the Salamander Big Band; Bonny buntoro and Andriyanto Haryanto.
Capella Amadeus Ensemble played the musical repertoire of the Tartuff movie
composed by Giuseppe Becce in 1924. Oser, a composer and conductor based in
Munich, only had ten days to prepare that night’s show. For the intense groundwork,
even during Easter the members of this group had to make the time to practice.
Ending the roll of that approximately one hour movie, it was written on screen;
How many people have two faces in this country, how many masks are they wearing.
Hoa bout the person next to you? This closing sentence invited laughter along
with contemplations from the audience.
Sound Resonance of the Palm Leaves
Sasando stands strong amongst more sophisticated
electronic based musical instruments.
The blast of music at the 2010 Java Jazz Festival held
in Jakarta International Expo of PRJ Kemayoran
Jakarta did not st––and in the way of Jacko Hendrick
Ayub Bullan in strumming sasando strings.
From the tips of his fingers flowed several musical
numbers – to name a few – Amazing Grace, Mother How Are
You, and Tanah Air Beta. His show that took place at early March
2010 showed how the traditional musical instrument of Rote Island,
Kupang, Nusa Tenggara Timur, still holds in them midst of
electronic based musical instruments revolution.
Jacko Hendrick Ayub Bullan, now 38 years old, is the on-going
generation of sasando player. Since a decade ago, Jacko settled in
Jakarta and concentrated in sasando for full time. Many people
see this unique, strange, and exotic musical instrument as not
something made in Indonesia. When the fact is, said Jacko, this
musical instrument is originally from a village in Rote Island of
Nusa Tenggara Timur Province. “Indonesia is rich in culture, but
is unable to manage it, making many of the products taken and
claimed by other countries,” he regretted.
Rote Island is the furthest southern territory of Indonesia. It is
known for the cultivation of palmyra, tourism of nature, cashew,
and farming. Rote Island was established to a district in 2002 under
the name of Rote Ndao District. To reach there can only be
traveled by fast ferry from Kupang for about an hour ride. It is
from this small island at the north ofAustralia that sasando was
created centuries ago by the ancestors.
The instrument is made of materials provided by the nature of Nusa
Tenggara Timur. The sasando holder is made of bamboo, plugged at
both ends with redwood, oakwood or sandalwood. On the bamboo,
strings and string arrangers are set. On the top, a spool is made to allow
it to be connected to an amplifier. The instrument can be played
acoustically or even electrically like a guitar. At one side of the holder,
a palmyra leave is set (called haik) shaping in a curve or half circle.
When played acoustically, the haik will be the resonance facility to the
string strums, making the sounds deeper.
There are two kinds of sasando: gong and violin. Gong sasando
has 10 strings; and in the past was used to play alongside the reciting
of Nusa Tenggara Timur lyrics. Usually to console families
those are mourning over the loss of a loved one, or for weddings,
and events to greet important guests of the local government. It is
used to play alongside the reciting of ancient lyrics such as the Te’o
Rendo, Lelendo, Ta’e Beno. The sound of sasando gong resembles
the gong in Java. Aside from sasando, in the show there is a gong
that plays together with it.
Violin sasando progresses more. The number of strings also keeps
adding up to 32, 42, 52, and so on. Diatonic and pentatonic notes are
all there. Sasando produces sounds from three musical instruments,
which are the harp, piano, and guitar. This instrument also has a specialty
where melody, bass, and background sounds all harmonize in
one instrument, and can be played by one person with two hands
moving in opposite directions.
However, there are not many people that can play this instrument
anymore. In Nusa Tenggara Timur, said Jacko, professional players
are no more than 9 people. In Jakarta, there are only 2 professional
players left: Jacko and Bertolens Pah, Jacko’s brother who now resides
in Cibinong of Bogor, West Java. Both are from Central Kupang.
Jacko has a high play rate. Last September he flew to Washington,
New York, and Canada to play the sasando; sponsored
by the Indonesian Department of Tourism and Culture. In
America, there weren’t so many enthusiasts, but over in Canada
he received amazing appreciation.Not many of the young During his teenage years he often enlists in youth exchange programs
in performing arts in various provinces of Indonesia. Semarang, Denpasar,
Surabaya, Pontianak, and other regions were visited by him
along with his sasando. So busy with the sasando and participating in
many exhibitions, his schooling was abandoned. Although so, many
of his friends are quite envious of his play rate that continues to soar as
an artist. “They are sometimes envious because I fly to many different
regions. But they will never keep up because they would rather play
the guitar than learning the sasando,” he affirmed.
Aside from that, he also plays in the house of Jeremiah Ougust Pah,
73 years old, his uncle from his Mother’s side, whose residence had
become a performance center, workshop, and sasando souvenir retail;
over in Timor Raya Street Kilometer 22 of Oebelo Village, Kupang
Tengah District, Jeremiah’s house had been one of the tourism destination
with sasando as the object, since mid 1980s to date.
However, the economy crisis in 1997 and the riot of East Timor in
1999 changed the economy in Kupang. Plenty of hotels, restaurants,
entertainment places, and travel agents closed down. Tourists were
reluctant to visit. Cruise ships no longer dock. The situation was
nearing death for Kupang’s economy and tourism. There were no
invitations to play the sasando.
At the same time, the society there is more appreciative towards
bands than sasando. “Sasando is only given Rp 200 thousand to
Rp 300 thousand for every performance, while as bands can get up
from Rp 500 thousand to a million,” he regretted. In the year 2000
Jacko decided to migrate to Jakarta to change his luck.
Now, aside from coming into various invitations to play the sasando,
Jacko also gives private lessons to several students who wish to
learn the sasando. Those sasando learning students must purchase
the sasando from him. “This is because there is no one that can
make and sell sasandos in Jakarta,” he explained.
His house in the Main Road of Tipar Cakung, East Jakarta, also becomes
a workshop that produces sasando. The woods and palmyra
leaves are brought in straight from Kupang. One sasando costs from
Rp 2,5 million, Rp 5 million, and Rp 15 million. “It depends on the
material. Sandalwood can make it more expensive,” said Jacko.
The family of Jeremiah August Pah, 73 years old, is a portrait of
a sasando artist and crafts family who is loyal to the musical instrument
from Rote Island. Jeremiah’s father who lived in Rote Island
is a sasando artist and craftsman who developed the 5 strings
sasando to 15 strings. In Jeremiah’s hands, the strings were developed
into 45 to 57.
After Jeremiah’s father passed in 1872, Jeremiah went on to develop
sasando. To introduce sasando in a broader way he moved
to Kupang in 1985. Together with his first wife and four children,
he resided in the TimorRaya Street Kilometer 22 of Oebelo Village,
Central Kupang District. It is this house that until now has
been the sasando tourism object. Not only sasando, but over there
visitors can also see the process of sasando making and purchase
sasando souvenirs.
Slowly but sure sasando is starting to be recognized by people. Jeremiah
continuously participates in traditional music exhibitions
in various regions representing Nusa Tenggara Timur. In the year
2006 he was even performing sasando play in Yokohama, Japan.
Five of the ten children Jeremiah Pah has from his three wives – the
first and second wives have passed – are able to play the sasando.
Jeagril Pah, Jitron Pah, Bertolens Pah, Inan Pah, and John Pah are
the next in generation to preserve and develop the sasando. There
are also Zakarias Ndaong, Leuwi Pingga, and of course, Jack Bullan.
In short, the sasando players inNusa Tenggara Timur are still a
family under the Pah surname.
Bertolens Pah, 23 years old, the son of Jeremiah Pah, migrated to
the Capital City five years ago to change his luck. He chooses to
leave his hometown, Nusa Tenggara timur. He now lives in Bogor
in pursue of his dreams. “Making life better,” he claimed.
There are not many young people that can and like to play the
sasando musical instrument. It is no wonder then if in Kupang,
sasando central is only in the East Main Road of Central
Kupang, which belongs to his father.
The life in Kupang as a sasando artist goes on flatly. Each day at his
house, there are foreign tourists that visit to enjoy the strumming
of sasando. Jeremiah Pah’s house, has all the facilities; workshop
place, exhibition space, dance performance accompanied by the
sasando play, souvenirs, and the making process of sasando from
raw material to the furnished and ready to play state. “From one
place there is a lot to know about the sasando.”
The tourists usually come in one or two buses. One group
pays Rp 700 to 900 thousand for every hour of performance.
There is a guide who is used to taking the tourists around. For
his choice of life that is far from Kupang, Berto explained, “I
will not go back to the village, will not settle there.”
It is dark as midnight falls. The sound of lyrics Bou Lele Bou can
be heard softly from the sasando played by Berto. ”Bou...lele bou/
Nusan lele bou..../Ma lole tak malole/Ita nu san nde malole.../Bau
lele bou..../Tanah Timor lele bou..../Baik tidak baik/Tanah Timor
lebih baik...”
READMORE.... Sound Resonance of the Palm Leaves
electronic based musical instruments.
The blast of music at the 2010 Java Jazz Festival held
in Jakarta International Expo of PRJ Kemayoran
Jakarta did not st––and in the way of Jacko Hendrick
Ayub Bullan in strumming sasando strings.
From the tips of his fingers flowed several musical
numbers – to name a few – Amazing Grace, Mother How Are
You, and Tanah Air Beta. His show that took place at early March
2010 showed how the traditional musical instrument of Rote Island,
Kupang, Nusa Tenggara Timur, still holds in them midst of
electronic based musical instruments revolution.
Jacko Hendrick Ayub Bullan, now 38 years old, is the on-going
generation of sasando player. Since a decade ago, Jacko settled in
Jakarta and concentrated in sasando for full time. Many people
see this unique, strange, and exotic musical instrument as not
something made in Indonesia. When the fact is, said Jacko, this
musical instrument is originally from a village in Rote Island of
Nusa Tenggara Timur Province. “Indonesia is rich in culture, but
is unable to manage it, making many of the products taken and
claimed by other countries,” he regretted.
Rote Island is the furthest southern territory of Indonesia. It is
known for the cultivation of palmyra, tourism of nature, cashew,
and farming. Rote Island was established to a district in 2002 under
the name of Rote Ndao District. To reach there can only be
traveled by fast ferry from Kupang for about an hour ride. It is
from this small island at the north ofAustralia that sasando was
created centuries ago by the ancestors.
The instrument is made of materials provided by the nature of Nusa
Tenggara Timur. The sasando holder is made of bamboo, plugged at
both ends with redwood, oakwood or sandalwood. On the bamboo,
strings and string arrangers are set. On the top, a spool is made to allow
it to be connected to an amplifier. The instrument can be played
acoustically or even electrically like a guitar. At one side of the holder,
a palmyra leave is set (called haik) shaping in a curve or half circle.
When played acoustically, the haik will be the resonance facility to the
string strums, making the sounds deeper.
There are two kinds of sasando: gong and violin. Gong sasando
has 10 strings; and in the past was used to play alongside the reciting
of Nusa Tenggara Timur lyrics. Usually to console families
those are mourning over the loss of a loved one, or for weddings,
and events to greet important guests of the local government. It is
used to play alongside the reciting of ancient lyrics such as the Te’o
Rendo, Lelendo, Ta’e Beno. The sound of sasando gong resembles
the gong in Java. Aside from sasando, in the show there is a gong
that plays together with it.
Violin sasando progresses more. The number of strings also keeps
adding up to 32, 42, 52, and so on. Diatonic and pentatonic notes are
all there. Sasando produces sounds from three musical instruments,
which are the harp, piano, and guitar. This instrument also has a specialty
where melody, bass, and background sounds all harmonize in
one instrument, and can be played by one person with two hands
moving in opposite directions.
However, there are not many people that can play this instrument
anymore. In Nusa Tenggara Timur, said Jacko, professional players
are no more than 9 people. In Jakarta, there are only 2 professional
players left: Jacko and Bertolens Pah, Jacko’s brother who now resides
in Cibinong of Bogor, West Java. Both are from Central Kupang.
Jacko has a high play rate. Last September he flew to Washington,
New York, and Canada to play the sasando; sponsored
by the Indonesian Department of Tourism and Culture. In
America, there weren’t so many enthusiasts, but over in Canada
he received amazing appreciation.Not many of the young During his teenage years he often enlists in youth exchange programs
in performing arts in various provinces of Indonesia. Semarang, Denpasar,
Surabaya, Pontianak, and other regions were visited by him
along with his sasando. So busy with the sasando and participating in
many exhibitions, his schooling was abandoned. Although so, many
of his friends are quite envious of his play rate that continues to soar as
an artist. “They are sometimes envious because I fly to many different
regions. But they will never keep up because they would rather play
the guitar than learning the sasando,” he affirmed.
Aside from that, he also plays in the house of Jeremiah Ougust Pah,
73 years old, his uncle from his Mother’s side, whose residence had
become a performance center, workshop, and sasando souvenir retail;
over in Timor Raya Street Kilometer 22 of Oebelo Village, Kupang
Tengah District, Jeremiah’s house had been one of the tourism destination
with sasando as the object, since mid 1980s to date.
However, the economy crisis in 1997 and the riot of East Timor in
1999 changed the economy in Kupang. Plenty of hotels, restaurants,
entertainment places, and travel agents closed down. Tourists were
reluctant to visit. Cruise ships no longer dock. The situation was
nearing death for Kupang’s economy and tourism. There were no
invitations to play the sasando.
At the same time, the society there is more appreciative towards
bands than sasando. “Sasando is only given Rp 200 thousand to
Rp 300 thousand for every performance, while as bands can get up
from Rp 500 thousand to a million,” he regretted. In the year 2000
Jacko decided to migrate to Jakarta to change his luck.
Now, aside from coming into various invitations to play the sasando,
Jacko also gives private lessons to several students who wish to
learn the sasando. Those sasando learning students must purchase
the sasando from him. “This is because there is no one that can
make and sell sasandos in Jakarta,” he explained.
His house in the Main Road of Tipar Cakung, East Jakarta, also becomes
a workshop that produces sasando. The woods and palmyra
leaves are brought in straight from Kupang. One sasando costs from
Rp 2,5 million, Rp 5 million, and Rp 15 million. “It depends on the
material. Sandalwood can make it more expensive,” said Jacko.
The family of Jeremiah August Pah, 73 years old, is a portrait of
a sasando artist and crafts family who is loyal to the musical instrument
from Rote Island. Jeremiah’s father who lived in Rote Island
is a sasando artist and craftsman who developed the 5 strings
sasando to 15 strings. In Jeremiah’s hands, the strings were developed
into 45 to 57.
After Jeremiah’s father passed in 1872, Jeremiah went on to develop
sasando. To introduce sasando in a broader way he moved
to Kupang in 1985. Together with his first wife and four children,
he resided in the TimorRaya Street Kilometer 22 of Oebelo Village,
Central Kupang District. It is this house that until now has
been the sasando tourism object. Not only sasando, but over there
visitors can also see the process of sasando making and purchase
sasando souvenirs.
Slowly but sure sasando is starting to be recognized by people. Jeremiah
continuously participates in traditional music exhibitions
in various regions representing Nusa Tenggara Timur. In the year
2006 he was even performing sasando play in Yokohama, Japan.
Five of the ten children Jeremiah Pah has from his three wives – the
first and second wives have passed – are able to play the sasando.
Jeagril Pah, Jitron Pah, Bertolens Pah, Inan Pah, and John Pah are
the next in generation to preserve and develop the sasando. There
are also Zakarias Ndaong, Leuwi Pingga, and of course, Jack Bullan.
In short, the sasando players inNusa Tenggara Timur are still a
family under the Pah surname.
Bertolens Pah, 23 years old, the son of Jeremiah Pah, migrated to
the Capital City five years ago to change his luck. He chooses to
leave his hometown, Nusa Tenggara timur. He now lives in Bogor
in pursue of his dreams. “Making life better,” he claimed.
There are not many young people that can and like to play the
sasando musical instrument. It is no wonder then if in Kupang,
sasando central is only in the East Main Road of Central
Kupang, which belongs to his father.
The life in Kupang as a sasando artist goes on flatly. Each day at his
house, there are foreign tourists that visit to enjoy the strumming
of sasando. Jeremiah Pah’s house, has all the facilities; workshop
place, exhibition space, dance performance accompanied by the
sasando play, souvenirs, and the making process of sasando from
raw material to the furnished and ready to play state. “From one
place there is a lot to know about the sasando.”
The tourists usually come in one or two buses. One group
pays Rp 700 to 900 thousand for every hour of performance.
There is a guide who is used to taking the tourists around. For
his choice of life that is far from Kupang, Berto explained, “I
will not go back to the village, will not settle there.”
It is dark as midnight falls. The sound of lyrics Bou Lele Bou can
be heard softly from the sasando played by Berto. ”Bou...lele bou/
Nusan lele bou..../Ma lole tak malole/Ita nu san nde malole.../Bau
lele bou..../Tanah Timor lele bou..../Baik tidak baik/Tanah Timor
lebih baik...”
Angklung Soars More
Government is fighting for the declaration of angklung
instrument as the global heritage.
The area is beautiful and flourished by trees, located
in the eastern part of Bandung. When evening
sets in, it becomes crowded. Tens of children are
dropped off by their parents, and there are those who
come in cars of tour buses. What’s going on in there?
There; concerts of angklung music are constantly held. It is Sundanese
people’s traditional music, and it is the angklung concert
that has become the attraction of the place namely the Saung Angklung
UJO (SAU). SAU is one of the many numbers of musical
groups that concentrate on angklung music in West Java. It can
be said that SAU is the one most active and tirelessly preserves
the angklung and makes the angklung music a favorite, and even
copycatted by musicians from the Neighboring Land of Malaysia.
In that country even, there is an area where angklung is frequently
played, with a poster that mentions that angklung is Malaysian
traditional music that is also recognized by artists from East Java.
This is a misleading poster, because in Indonesia, angklung is
commonly played by musicians from West Java.
Besides SAU, the art group that introduces angklung to foreign
lands is the Kabumi fron Indonesian Educational University.
There is also the choir from Pasundan University or Bandung
Technology University that plays the angklung.
Although in Indonesia angklung is identified more as the possession
of Sundanese artists, but those who play the angklung and
instruments of sort are not just Sundanese artists. One of the references
on the Samanyata bulletin Edition II/2009 published by
the Department of Culture and Tourism mentioned that according
to Dr. Groneman, angklung had already been a favorite of the
entire Nation even before the Hindu era.
In Bali, for example, angklung is played also, especially in the
events of ngaben (cremation ceremony). The Baduy Kanekes of South Banten also plays the angklung at time of cropping or yielding paddy fields. In Jati Village
of Serang, the term angklung gubrag is known as the instrument that is played at times of
village collective clearout, and as for the commencement of field cultivation, the Kulonprogo
calls it the angklung krumpyung.
According to Yaap Kunst in Music in Java, angklung is also mentioned to exist in South Sumatra
and Kalimantan (Soetigna in Sumarsono and Pirous, 2007: 2008). According to several
info, angklung is also known in West Kalimantan, which item is kept in the Indische Institute
Museum in Holland, listed in the catalogue No. 1297/1-2 dan 1767/1-3.
According to catalogue No. 40/58, traditional angklung is also played in Lampung. While in the
Land of Sunda alone, angklung has various names such as the Angklung Badeng, Angklung Buncis,
Angklung Dogdog lojor, Angklung Badud, Angklung Gubrag, Angklung Bungko.
The map of angklung expansion above shows that the musical instrument for the same
sort of angklung is actually not only known by the people of West Java. It could well be
too that the artists of our neighboring country knows angklung beforehand, remembering
the existence of bamboo there. However, the type of angklung as we know it now is
assured as the modification made by Daeng Soetigna, one of the angklung artists from
West Java who was the most persistent in preserving angklung.
 |
| Add caption |
Soetigna who was a teacher at the Hollandsch Inlandsche
School (HIS) of Kuningan District, West Java; was successful
in developing modern angklung, that was only in pentatonic
tones, to be made in diatonic. This angklung is commonly
called the Angklung Daeng or Angklung Padaeng.
In 1968, Daeng received the honor of “Cultural Satyalencana
Honors” from the Republic of Indonesia. Since then Daeng
mentioned the motto for angklung as the cheap, simple, educating,
and attractive musical instrument.
In 1950, Daeng Soetigna developed the diatonic angklung
in the City of Bandung. It was here that Daeng found a
highly talented and eager student namely Udjo Ngalagena.
After Daeng Soetigna departed, Udjo loyally concentrated
on angklung to date. It is the place where he
developed the angklung that stands in the beautiful and
flourished area of East Bandung.
Taufik Hidayat, SAU operational Director explained that,
Daeng Soetigna is an inseparable part of the Saung angklung
Udjo’s establishment, for it was from the said artist that Udjo’s
interest in angklung grew stronger. Located in Padasuka 188
Street of East Bandung, at the beginning Saung angklung
Udjo was only a common residence.
However, due to the interest that Udjo Ngalagena and his wife
Uum sumiati have towards angklung, their house was finally
turned into an angklung manufacturer. With time, the angklung
manufacturer spot became known and started to get visits
from foreign tourists. From there, Saung Angklung Udjo
began its development into the sundanese culture art tourism
destination as it is now.
The Indonesian Republic Government, through the Directorate
General of Art Culture and Film Value (NSBF) of the
Tourism and Culture Department, is fighting for angklung to
be enlisted the global heritage. All of the requirements for that
fight has been fulfilled and gone through. And now, we are all
in wait for the juror that was assembled by Unesco to decide.
Best of Luck.
Why should angklung be fought for as a global heritage? It is
because angklung music is not only entertainment, but also
guidance. In angklung music, there are values of discipline,
awareness of duty and obligation, democratic, tolerance, confidence,
collective work, precision, swift, and responsibility.
Angklung cannot be played alone. That is why, cooperation is
the important key in an angklung musical concert.
Saturday, June 4, 2011
Performance the Sick People
Menggugat Building was
opened, the lights went on
with maximum brightness.
The audience were surprised by somehow
entering the waiting room of the Barayaku
Yasadaya Hospital. From the front can be
seen the registry, and to the left and right
side the quarters were set.
Commuting to and fro were actors playing
their parts as patients, visitors, nurses, doctors,
medical students, even the baker and
newspaper vendors with scientific dialogues
and patients’ complaints accompanied by
fresh humor – opened the first scene of
Laskar Bandung Panggung as the recipient
of the Kelola Hivos art grant titled Sikat Sikut
Sakit, produced and directed by Director
Yusef Muldiana.
The innovative performance of Sikat Sikut
Sakit with the form of naturalist theatre
involves the audience in real-time with
interactive responses. The performance
presented humans’ sickness due to “love
for the world” not physically, but more to
the psychological and emotional conditions.
Seen was a mad painter who considers
himself as Van Gogh (Tisna Sanjaya),
a stressful patient (Rusli Keleeng), and an
old lady who constantly rant on the old time bitterness (Ria Ellysa Mifelsa).
Sickness came as a wake-up call. “When
we see a healthy person, we actually see
someone with a hidden illness. While
those sick and paralyzed actually have a
healthy soul. They pray and stay close to
God. Life is nothing but a mere worldly
business,” such was revealed by Mr. Sampoerno
(Muhammad Sunjaya), and his
encounter with Sugiyati Suyatna Anirun
(Putri Kawih) gave a new hope in compassion.
Yusef Muldiana criticize the stigma of
scooping financial advantages that the
hospital has mostly been doing. When
patients are no longer able to pay, they
would then no longer receive righteous
treatment. This drives Giri Mustika (Bargas)
with his stressful and confused face
offered samping cloth to every visitor for
her wife’s (Anita Bintang) hospital registry
fee.
The last scene came out as the climax of
the conflict. The entire cast with gestures
of smashing their bodies, walking in staggered
phase, arms folded and hair pulling
showed the hidden expression behind the
human body stature that holds chronic
psychological sickness.
Blowing the Spirit of Gamelan onto the World
Fifteen years ago as musician Sapto Raharjo pioneered the international gamelan festival in Jogjakarta,
he sparked many pros and cons. First was that there were many that think the idea was crazy
remembering that the festival started off on a low budget. That means, it would take artists with strong militancy
that were still prepared to fight for gamelan. Second, the decision to perform gamelan beyond the classical
path of course also received critics, moreover the position of the jogjakartan gamelan festival which is
known as the classical Javanese civilization central.
But anything can happen. Sapto along with the Gayam 16 community turned out successful in implementing the
crazy idea since 1995. Even though Sapto has departed 2 years ago, the work unit he established kept performing
the inspirer’s wish to continue flourishing the YGF. All through its 15th event at last 16-18 July 2010, the spirit remains
and grows.
On the first night, Friday (16/7), the YGF event was opened at the Jogjakarta
Cultural Park. That night the space was packed, not only because of the YGF
event, but the 2010 Art Jogja also held its opening that night. But still, that is
how Jogjakarta is, jammed with various artistic activities.
YGF 15 used the main performance room at the TBY Concert Hall with the
opening act: group KPH 10 from USA. The story of Sapto’s “madness” seems to
be an everlasting memory for this group.
As heard from the head of the KPH 10 group, Alex Dea, that witnessed YGF’s
struggle. “I call Sapto a mad man with mad friends. How can people of this era
willing to work with no certain pay, and hold an event with a minimal sponsor?
And why would anyone bother to watch the gamelan, when there are more enjoyable
music such as pop and dangdut? Maybe the gamelan enthusiasts are also
mad,” he smiled as he was about to open the show.
For Alex, YGF has inspired many people on gamelan. YGF’s freedom has given
space on how can be interpreted more, dug more, aside from its classical stream.
“I also came from classical gamelan. Since YGF asked me, I ended up making new
simpler and more minimized composition like the In Pelog work,” he explained.
And Alex Dea with with KPH 10 has really dedicated In Pelog for the last
time in YGF. “This is the last time I’ll be playing In Pelog,
after 10 years of joining YGF. I’ll be preparing a new
work for next year,” claimed the man who promised to
Besides the KPH 10, the first day performance was
also filled with the Orke Star Trio and Ramu Thirruyanam.
The Singaporean group did not use gamelan at
all, however beyond the works those use the western
instruments they also presented a very “Indonesian”
musical atmosphere.
And of course the peak performance of the night was the
arrival of Kyai Fathahillah (Bandung) meets Ensemble
Gending (Belanda). Both ensembles seemed to show a
magnificent performance. Both presented progressive
composition supported with great individual skills.
Both groups performed a project around Indonesia titled
“Tribute to Ton de Leeuw” in 2006. It was an honorary concert
for the maestro of Gamelan from outside Indonesia.
At the 15 YGf this year, Kyai Fathahillah and the Ensemble Gending teamed up to play the big gamelan composition for 20 players.
The performance of both with sufficient ammunition does deserve
to be the reference of gamelan play progress with the nowadays approach.
New frames then showed up, not only gamelan to support
the composition that has been self-arranged, but also the effort to
translate non-gamelan works in to the gamelan. The matter at least
was shown as Iwan Gunawan with Kyai Fathahillah performed Six
Marimbas by Steve Reich (1974).
It is then not wrong when the YGF committee scheduled Kyai Fathahillah
meets Ensemble Gending to perform once more on the second day,
Saturday (17/7). In the second day, there was also the Andrawina group
(Jogjakarta) and Jendela Ide (Bandung).
On the third day, Sunday (18/7) that was also the closing of the annual
event, Rene Lysloff (California, USA), Bronze Age (Singapura),
Kiai Kanjeng (Yogyakarta), and the Sumunar Gamelan and Dance
Ensemble (Minnesota, USA) were up with each their own style on
stage, reinterpreting the gamelan.
A touching sense was felt as the Sumunar Gamelan and Dance Ensemble
recited praises to the prophets at their composition. It was
truly a beautiful prayer chanted by those foreigners. It was as if they
were praying for the longevity
of YGF.
This may well be the reminder for our own nation that has the tendency
to have put the gamelan aside. The masterpiece of the civilization
has slowly becomes something of less matter in the era that demands
pragmatism. It must be admitted that in the end, those foreigners turn
to have a much better awareness towards the gamelan. Like the words
of the Gending Ensemble’s conductor, Jurrien Slighter, “The sound
of gamelan is remarkable to us. Although for many Indonesians it is
considered an ordinary thing,” he said.
Jurrien himself admitted his admiration as he explored the gamelan
with Holland native players. With the concept of playing the nonclassical
gamelan, the Gending Ensemble has really given birth to
amazing composition. “In order to understand the gamelan character,
sharpness of feel is required. In gamelan each instruments requires
the handling based on their characteristics,” he explained.
Awarness and exploration of gamelan by the foreigners was also unquestioned
by the Kyai Fathahillah’s leader, Iwan Gunawan. “They
have inspired us to play the gamelan in a much broader way. Not only
by playing our own works, but also in rearranging the works of others
in the gamelan,” he elaborated.
Out there, besides the YGF, other prestigious gamelan festivals have
been growing, such as the Amsterdam Gamelan Festival. And this event has served as the motivator of interest for musicians from
all parts of the world to concentrate more on gamelan.
Even so, it should be remembered that the YGF has become
one of the lighter of the globalization of gamelan nowadays.
The at least 34 countries those were involved in this event
has brought the sparkles of that spirit to their countries. The
fact that gamelan is progressing in other parts of Indonesia
is also one of the proofs that gamelan has been accepted everywhere.
Yes, YGF has been diligent in keeping the spirit to stay convinced
that the gamelan will be a world icon from Indonesia.
YGF is certain that the preservation is not by putting the
gamelan in the museum but by playing them, and opening the
room of tolerance so it will not be a halted culture. So is the
pledge that is continuously developed.
Bandung Gamelan and Utrecht
a long historical relation.
The audience in the Salihara performance room on Tuesday
(13/7) witnessed an extraordinary show. Ten white men
wearing dark red shot sleeves and 15 tanned men in black sat
cross-legged. They all faced Javanese gamelan metals those
are arranged by their front. Their hands grabbing the panakol -batons in
Sundanese language-.
Not long after the composition of Sanata de Camera that was written by
Klaus Kuiper and the Holland Gending Ensemble was heard. At first this
composition was played by ten players, but for that night, 20 players were
performing. The composition was opened slow, soft and flowing. Jurrien
Sligter was the conductor that gave commands to to the gamelan members
from the Gending Ensemble and Kyai Fathahillah Bandung. The
Bandungs played the pelog while the Hollanders played the slender. As
soon as Jurrien came down, energetic tunes surround the entire performance
room that was packed by at least 120 spectators.
The show did not only show the gamelan proficiencies of the two nations,
but also became the sign of cross-learning. Kyai Fathahillah, as any
karawitan groups in Java, in general uses number notations, while the
entire composition played were using block notations. The issue was that
Gending is used to the Bes as their ground note. Fathahillah uses A base
note. Iwan Gunawan, the conductor and leader of Fathahillah must interpret
the two different notes so that is can be accepted by the two groups
of two different backgrounds.
Although enchanted the audience, the collaboration show that only took
place at the beginning and end of performance was a 90 minutes show.
The rest was filled with each groups playing their own composition separately.
The next show was filled by the Gamelan Ensemble. The second composition,
Petruk, was one of the compositions chosen by the judges at the
2010 International Gaudeamus Musicweek. The composition combines
Chinese techniques and Indonesian musical instruments, including the
Balinese and Javanese instruments. Fast and slow tempos were going one
after another.
The performance began with a theatrical act. At first there were only two
persons on stage, then one by one the players come on and played the
music directly. The same act was then repeated to close the composition.
For the next composition, Pengaget by Iwan Gunawan, fast music pattern
was used.
The show that night showed that traditional musical instruments can
serve as the inter-nation dialogue embassy. It did not occur overnight,
but since 2006 both have been travelling around under the collaborative
project of Tribute to Ton de Leeuw. This is the concrete form of East
meets West dialogue.
Subscribe to:
Posts (Atom)