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Discovering Indonesian Art at the TIM Centre

Taman Ismail Marzuki Art Centre which is known as the TIM art centre was named after a prominent Jakarta-born composer who is well known for his efforts in promoting the arts in the country. Unlike many other art centers in Indonesia, the TIM centre has a unique approach to promoting art and culture among the locals as well as tourists. Instead of the usual dichotomy of traditional art versus modernism, this centre embraces both styles and showcases the best of both worlds. Traditional dance performances such as Wayang, dramas and Puppet Theater are among the regular features of the centre's program.

The Taman Ismail Marzuki Art Centre is particularly well known for presenting local Indonesian artists and other regional artists from countries such as Malaysia, Thailand, Philippines and Vietnam. Staying true to the vision of Ismail Marzuki, who was well known for composing patriotic songs during the early days of the Indonesian independence, the centre helps promote the indigenous music of the region.

Perhaps the most popular song composed by Marzuki was Rayuan Pulau Kelapa (Solace on a Coconut Island), which gained many accolades locally as well as internationally. His work was honored posthumously by President Susilo Bambang Yudhoyono in 2004 with him being declared a national hero.

The TIM centre fills in a long-felt void in the cultural scene in Jakarta. Earlier, many local artists where hampered by the lack of a proper venue to perform. But with the establishment of the art centre they now have state-of-the-art facilities as well as a regular appreciative audience. The centre also has a planetarium that is a favorite among schoolchildren.

British Gamelan Trail

Yesterday I examined a SOAS PhD thesis on Balinese gamelan theory by Kate Wakeling - who plays with the London gamelan Lila Cita, and has also studied Balinese dance for a number of years. A really well written piece of work, with much of substance, particularly in relation to new compositions and their theorization.

Kate's supervisor is Mark Hobart, a SOAS professor of media studies and a close colleague of mine. After the examination, I sat in on a meeting Mark held with my co-examiner Neil Sorrell, arts producer Hi Ching and Balinese dancer Ni Made Pujawati (Mark's wife). Hi Ching, Ni Made and Aris Daryono (a Javanese musician who plays with the Southbank Gamelan Players) are developing a project for heritage funding called the British Gamelan Trail. If the bid is successful, this will take Aris and Puja around the country (with a particular focus on the London area) talking to people about how gamelan has been embedded in communities. The idea is to develop a general history of gamelan in Britain, with a focus on 6 groups in particular. Documentation will be included in an exhbit on Balinese dance and storytelling planned for the Horniman Museum in 2011-2012.

At this meeting, Neil offered a synoptic overview of gamelan. Neil's own studies go back to 1971 - when he attended one of Bob Brown's summer sessions in Bali. He believes the first gamelan ensemble in residence was at Dartington in 1974- a set of instruments borrowed from Europe. The Durham Oriental Music Festival sparked the interest of the Indonesian embassy to purchase a set of instruments, which was played by the group to become known as the English Gamelan Orchestra (which later morphed into the Southbank Gamelan Plyaers). Neil was able to use the EGO's existence to convince York to purchase a set of instruments for £6000 in 1980. This was the first set of instruments purchased by a university. The Cambridge University gamelan, a gift from an Indonesian cabinet minister who had a child studying at Cambridge, followed a year or two later.

We also spoke about other ensembles - Cragg Vale, the Bow Gamelan and the like - which will likely fall outside the remit of the British Gamelan Trail project.

The project is a clever and fascinating one - hope it gets funded...

Shakespeare in the Shadows

Puppets from "Macbeth in the Shadows"
Originally uploaded by seni-seni.

An intriguing new production is breathing life into wayang kulit in Malaysia, where the art form is slowly vanishing. Macbeth in the Shadows adapts the action of Shakespeare's classic play into shadow puppetry, with the dialogue performed in Bahasa Malaysia.

From Malaysia's Sun newspaper:

Slowly but surely, if no one does anything about it, traditional folk art such as wayang kulit (shadow puppetry) will disappear from our shores. Right now, there are only a handful of its exponents still keeping this culture alive.

Among them is Dollah Baju Merah (Dalang Abdullah Ibrahim), one of the last leading Tok Dalangs (shadow puppeteer) in the country.

Pusaka (Centre for the Study and Documentation of Traditional Performance in Malaysia), in association with the British Council, will be bringing Malaysians a taste of Shakespeare performed wayang kulit-style.

Macbeth in the Shadows combines the efforts of Dollah, British novelist-playwright-illustrator Edward Carey, and local poet-writer-translator Eddin Khoo.

The performance involves the design and creation of new puppets by Dollah and Carey, based on the characters in Macbeth. Khoo will adapt and interpret the original play to suit the requirements of wayang kulit.

Macbeth in the Shadows is scheduled to be staged at the Kuala Lumpur Performing Arts Centre (KLPac) in September.

Read more about on this production on the Malaysian blog, Bibliobibuli.

Wayang As One of the Indonesian Traditional Art

Wayang known since prehistoric times of about 1500 years before Christ. Indonesian society held belief [pagan] worship of ancestral spirits called or Dahyang Hyang, manifested in the form of [the statue] or image.

Wayang is the Indonesian traditional art developed primarily in Java and Bali. UNESCO has recognized puppet show on November 7, 2003, as a work of amazing cultural stories in narrative and beautiful heritage and valuable (Masterpiece of the Oral and Intangible Heritage of Humanity).

There are puppet versions played by people in costume, which is known as the puppet people, and there is also a collection of puppet plays puppet puppeteer. Puppet plays is such a mastermind puppet or puppet show. A story told in the wayang performance usually comes from the Mahabharata and the Ramayana.

Wayang show in every country has its own technique and style, thus puppet is made in Indonesia Indonesian people who have a genuine story, style and extraordinary puppeteer.

Sometimes repertoire Panji stories and stories Menak (Islamic stories) performed well.

Puppet, by the predecessors of this country really means very deep. Sunan Kali Jaga and Raden Patah was instrumental in developing the Puppet. The Guardian in the land of Java is arranged into three parts. First Wayang Kulit in East Java, the Wayang Wong or Wayang Orang in Central Java, and the three Wayang Golek in West Java. Very connected each one another. Ie "Where the contents (Wayang Wong) and Where the Skin (Wayang Kulit) should be sought (Wayang Golek)".

Types of wayang

Wayang Kulit (Leather Puppet)

Wayang Kayu (Wooden Puppet)

Wayang Beber

Wayang Orang

Wayang Suket

The types of wayang kulit by region or ethnic origin

There are also puppet who uses language like Local Melayu Betawi, Palembang and Banjar language:
1.Yogyakarta, Surakarta
2.Gagrag
3.Banyumasan
4.Bali
5.Banjar (South Kalimantan)
6.Palembang (South Sumatra)
7.Betawi (Jakarta)
8.Cirebon (West Java)
9.Madura (now extinct)

Enjoy Best Indonesian Cultural Performances at Jakarta Theatres

Jakarta has some excellent venues for music, dance and other cultural performances. Theatres in the city are perhaps the best way to explore the evolving culture of the place. Traditional theatre and cosmopolitan music is loved the most by both locals and those getting into city taking flights to Jakarta. Some non profit organizations at Jakarta organize plays in different theatres of the city to boast both tourism and the culture. Since last four decades they have been producing comedies, dramas, musical revues, murder mysteries, pantomimes, cabarets, theatres, and small and big shows. Some most popular theatres at the city are:

Taman Ismail Marzuki Arts Center in Jakarta: This arts center is located in Jalan Cikini Raya 73. The center is named after famous musician, Ismail Marzuki. It is the best place to search for Indonesian art and culture after taking cheap flights to Jakarta It is the first institute of its kind in Indonesia, and is successfully purporting to the training and promotion of performing and visual arts. Dance, music, and theatre are performed here by both local and international artists.

The Bharata Theatre in Jakarta: Visitors love to take Jakarta flights to enjoy the dance drama known as wayang Wong at Bharata Theatre, and this dance drama is generally held in Bahasa Indonesia language. It is a mixture of dramatic and comic theatre with some dancing. After taking your flights to Jakarta you may go to this theatre from 8pm to midnight every Tuesday, Wednesday, Friday and Saturday. A set of bronze gongs and other percussion instruments including a xylophone can also be enjoyed here.

Taman Mini Indonesia Indah: A culture-based recreational area located in East Jakarta is known as Taman Mini. Visitors taking flights to Jakarta like to visit this synopsis of Indonesian culture. This is the best place to enjoy at night. It is supposed to represent at least 27 highlight of Indonesian culture as Indonesia consisted of 27 provinces while this theatre was created.

The Gedung Kesenian Jakarta: It is standing in all its majesty and glory in the heart of the city. It is the platform giving opportunity to both locals and international artists to perform any kind of performance including; music, dance and theatre. Audiences as well as performers take cheap flights to Indonesia from UK to attend this performing arts theatre.

The Indonesian Art of Sculpting

Since the beginning of time, men have had the interest for shaping simple objects into entirely new different objects. Human beings have learned to adapt to his surroundings, and this resilience of men has made them more in tune with their environment, enhancing their talents.

Modeling objects is somewhat similar to this concept. This process entails the usage of a material flexible enough to be manipulated through methods such as heating and molding. This manipulation is done to recreate the object it is being modeled after.

Sculpture is definitely a form of art that differs from culture to culture. All cultures may use the same material and same model, but how each culture implements their own cultural design, concept and beliefs would separate one work of art from another.

The Indonesian Symbolism

The Indonesian culture renders high respect and adoration for the nature that surrounds them. That's why in most of their art forms, themes of natures are always incorporated in their designs. Such designs they use are intricate and very expressive. Furthermore, the Indonesian design sticks to colorfully bright and sharp details.

Indonesia's close ties with its religious beliefs have led their art forms, specifically their sculptures, to be mythical in theme and design as well. These and other designs basically symbolize how significant life, nature and religion are to the Indonesian culture. Another addition to the already long list of themes significant to the Indonesian culture is the close ties that families form with one another which have so far inspired the Indonesian art tradition.

Indonesian Sculpture

Similar to wood carvings, sculpture in Indonesia follows the unwritten rule that the sculpture should incorporate the Indonesian's concept of life, nature and religious beliefs. Indonesian sculpture involves many processes of polishing and touches that highlights the truthfulness it should possess. Indonesian sculpture is also never limited to fixed model positions. Instead, it has the ability to portray extreme movement and expressive features. Most important of all, the richness of the Indonesian ethnicity is evident in every unique piece of art, especially their sculptures. Each unique piece also represents the unique cultural diversity that resides within the boundaries of Indonesia.

Sculpture and other forms of art not only serve as a hobby for the Indonesian society but a way to preserve their rich cultural heritage as well. At indonesia-exporter.com and other websites in the Internet featuring sculptures, further appreciation for the Indonesian art can be seen.

Indonesia - Discover The Unique Culture of Indonesia

Indonesian culture has shaped it's ways throughout the generations between it's original indigenous customs and traditions and the multiple influences of the foreign people. Indonesia played a very important role being the middle of trading routes between the Far East and that of the Middle East that had resulted many cultural and multitude of other religions and beliefs.

One of Indonesia's amazing cultures is the country's unique art-forms and that expresses mixed cultures. There are the Indonesian's traditional puppet shows that is influenced mainly by the Hindus and Islam that among the villagers of Java. The western culture in the other hand has influenced Indonesia with modern entertainment features and techniques like the art of TV shows and movies together with their songs. Their political system was influenced mainly of the Western's.

Though the Indonesians have been influenced by many foreign lads, the many remote places of the country still possess and reserve the country's unique culture, rituals, customs and old traditions.

Indonesian music has been a very big part of the Indonesian community making it a very important role in every Indonesian lives. The dance together with their music has also been a big part of Indonesian civilization. There are lots of traditional dances that are being played and performed during special occasions in some public places.

Apart from their dance and music, the Indonesian's drama and theatre are being performed in certain Indonesian occasions. Performances subjects with the country's history. They actually perform folk stories and get to play each unique character that will give life to the performances.

Painting is also been well known for the Indonesians and that they are very artistic and detailed with colorful and traditional designs that are unique by the Indonesians. These paintings are used to be backgrounds of the theatre arts performances that give life to the show.

Here are the some of the traditional customs and traditions behind the Indonesian culture. Through the years, their culture has diverged and lots of styles and techniques are added that made their culture more colorful and lively. There are lots more to be revealed with the culture of Indonesia that is only be discovered when one is to relate himself with the Indonesians and get to know them personally. So visit this beautiful country any time and learn more about their vibrant culture and their way of living.

Cultural Inheritance's Influence to Indonesia's Abstract Woodcarvings

Indonesia is one of the countries in this world blessed with a diverse culture. This culture has been passed down and preserved from generation to generation. Embedded as well into their culture are their religious duties and aspirations. These two aspects are what serve as guides for their artists in molding their art traditions. Each craft is like a form of scientific study, each requiring a systematic method for a successful output. One of their flourishing art traditions is their woodcarvings. Each piece is carefully carved and transposed into intricate designs that aim to depict more than what each piece physically portrays.

The Wooden Canvas

The Indonesian culture, although influenced by numerous other cultures, is dominantly close in relation to nature and most especially religion. The fact that they use wood as their carving canvas brings us closer to understanding their love and high respect for nature. Wood of different types, from soft to hard, dark to white, are used in all types of wood carvings. Designs such as flowers, plants, trees, animals, and dragons are usual when dealing with Indonesian wood-carved art works. Each work of art is unique therefore is very much cherished by the Indonesian culture and is popular to woodcarving collectors all over the world.

The Common Themes

Indonesian wood carvings are typically made in the likeness of human beings. With a few varnishing and colorful touches, the finished crafts are always life-like in nature and expressive at first glance. Human beings are portrayed in different eccentric positions that it even gives off the feeling of adoration for the nature surrounding it. In addition to human beings, Indonesian wood carvings take up the shape of common domestic animals as well. As part of their nature-inclined culture, they carve animal design that would not only represent human feelings at its best but the Indonesian history, incorporated in every detail.

Whatever the theme, whatever the design or concept and whatever the material used, each piece of carefully carved wood is evident of Indonesia's colorful, spontaneous and bright culture. You will notice as well that each detail incorporated in their woodcarvings is aimed to express the raw human traits that add lifelike touch to the woodcarving piece itself. By logging into the Internet, you will soon discover that Indonesian wood carvings definitely portray the Indonesian art, religious beliefs and culture at its best.

Holidays in Bali - The Indonesian Paradise

Image via Wikipedia

Bali is a beautiful Indonesian island situated on the western side of Lesser Sunda Islands, in between Lombak and Java lying east and west side, respectively. This Indonesian island is one of the major and highly favourite tourist destinations, with its culture, beauty, beaches, music, paintings and rich art work.
Taman Ayun Temple Taman Ayun (beautiful garden) is a magnificent tourist spot built over a high table enclosed and bordered by ponds. The whole pond surrounding gives this temple a floating look, which attracts many tourist and visitors holidaying in Bali. The inside of the temple has merus, shrines and bales.
Bali Bird Park
When on a holiday in Bali with family you can always visit this tourist spot and have a great family time together. This bird park is stretched across an area of 2 hectares and has amazing variety to offer to tourist and visitors. When on a holiday in Bali, you can always check out the superb collection of over 1000 of species from across the world and some being the rarest ones.
Pura Besakih - Mother Temple
Situated high on the top of mount Agung, Pura Besakih is a collection of shrines with the core temple being the Mother temple. Spread across huge hectares of area, the temple acts as a major tourist spot and brings out the spiritual and cultural side of this Indonesian island to tourist and visitors. A must to visit place, Pura Besaikh is known to be the largest Hindu temple and witness huge amount of visitors and devotes. Ubud Monkey Forest
Rich with greenery, Ubud is a forest sanctuary which has a magnificent walking pavement surrounded by thick foliage. When holidaying in Bali, you can always enjoy this green tourist spot adding to the beauty of this Indonesian island. The forest is known for the huge presence of monkeys, Balinese macaques.
Goa Gajah
This tourist spot is an elephant cave situated in the valley on the outskirt of Ubud next to Bedulu. This 700 years old cave was revived in year 1920 and 30 years later it was unearthed completely. When holidaying in Bali you must not miss this ancient tourist spot with beautifully carved striking entrance, the place is surrounded by bathing pools like most of the Bali temples.
Beaches
Apart from various tourist spots available to cherish a holiday in Bali the major attraction comes in form of its beaches. This Indonesian island is known for it water and beach activities, resorts and fun. Some of the stunning beaches found in Bali are Sanur beach, Soka beach, Lovina beach, Medewi beach, Kuta beaches, Legian beach, Jimbaran and Nusa Dua.
Best time to visit or holiday in Bali
Known to have only two seasons, dry and wet, Bali can be visited any time of the year for a great holiday. But the best time to visit Bali is usually the months from April to September. If you are holidaying in Bali only for the beaches, then the best months to visit are June to August.

Bali Culture

Bali is an Indonesian island that is rich in indigenous culture. A lot pf people say that Bali culture is unique and that the people of Bali have always been contented with the "now." If you ask a Balinese person what heaven is like, the probable answer will be "just like Bali". This only goes to show that most Balinese people are happy to be where they are and never worry.

One factor that contributes to this laidback lifestyle is the culture of close family ties in Bali. In the Balinese culture, support is always available. Balinese extended families are so tightly knit that all members usually reside in the same complex.

Hinduism is one of the main religions in Bali. The Bali culture is based on a form of this religion, which is called "Hindu Darma". This religion reached the island during the eleventh century. Most of the family customs and traditions as well as community lifestyles of the Balinese people are influenced by this. The religious influence even expands widely into the arts, which makes Bali distinct from the rest of Indonesia.

In spite of the influx of tourists to the island, Balinese people have managed to preserve their culture. Almost every native of Bali is an artist in some form or another. Parents and villagers have passed on their skills to their children, who all seem to have inclinations either to music, dance, painting, and decor.

Another remarkable mark of the Bali culture is the series of ceremonies and rituals known as the Manusa Yadnya. This marks the different stages of Balinese life. Cremation is very popular on this island - and unlike in the West, death is a joyous and colorful event for the Balinese.

Indeed, Bali has a rich culture, making it distinctive from the rest of the islands in Indonesia.

Cultural Inheritance's Influence to Indonesia's Abstract Woodcarvings

Indonesia is one of the countries in this world blessed with a diverse culture. This culture has been passed down and preserved from generation to generation. Embedded as well into their culture are their religious duties and aspirations. These two aspects are what serve as guides for their artists in molding their art traditions. Each craft is like a form of scientific study, each requiring a systematic method for a successful output. One of their flourishing art traditions is their woodcarvings. Each piece is carefully carved and transposed into intricate designs that aim to depict more than what each piece physically portrays.

The Wooden Canvas

The Indonesian culture, although influenced by numerous other cultures, is dominantly close in relation to nature and most especially religion. The fact that they use wood as their carving canvas brings us closer to understanding their love and high respect for nature. Wood of different types, from soft to hard, dark to white, are used in all types of wood carvings. Designs such as flowers, plants, trees, animals, and dragons are usual when dealing with Indonesian wood-carved art works. Each work of art is unique therefore is very much cherished by the Indonesian culture and is popular to woodcarving collectors all over the world.

The Common Themes

Indonesian wood carvings are typically made in the likeness of human beings. With a few varnishing and colorful touches, the finished crafts are always life-like in nature and expressive at first glance. Human beings are portrayed in different eccentric positions that it even gives off the feeling of adoration for the nature surrounding it. In addition to human beings, Indonesian wood carvings take up the shape of common domestic animals as well. As part of their nature-inclined culture, they carve animal design that would not only represent human feelings at its best but the Indonesian history, incorporated in every detail.

Whatever the theme, whatever the design or concept and whatever the material used, each piece of carefully carved wood is evident of Indonesia's colorful, spontaneous and bright culture. You will notice as well that each detail incorporated in their woodcarvings is aimed to express the raw human traits that add lifelike touch to the woodcarving piece itself. By logging into the Internet, you will soon discover that Indonesian wood carvings definitely portray the Indonesian art, religious beliefs and culture at its best.

IFTR Congress , Munich, Germany (25-30 August 2010)

Just returned from Munich, Germany, where I attended the Congress of the International Federation of Theatre Research, presenting on the first Indies Art Evening (The Hague, 1916)as a watershed event in the history of cultural internationalism. The basic argument I outlined will be in my book Performing Otherness: Java and Bali on International Stages, 1905-1952 (Palgrave, Nov 2010).

There were only a handful of other papers addressing Southeast Asian theatre and performance.

Barbara Hatley spoke about Yogyakarta's lively contemporary performance activities, including the Pasar Kangen (saying that his both sells and celebrates nostalgia) and the many locally based groups that construct community in a relaxed and happy atmosphere and and connect to a global audience via the www, facebook and so on. She focused particularly on Teater Garasi, and its resistance to essentialism (in Waktu Batu) and presentation of alternatives to Islamic modernism (in Je.ja.l.an). Its third major piece, titled Tubuh Ketiga (referencing Homi Bhabha's idea of the third space), is based on Tarling Dangdut in Indramayu. Barbara asked that while the piece nomimally deal with conflicted bodies, will it be received in 'party mode'? Tubuh Ketiga is still in rehearsal so it is difficult to say. It is due to tour Java in the autumn of 2010.

In addition to Barbara's presentation, Monica van der Haagen (formerly Monica Wulff) returned to the subject of her PhD research in the New Scholars Forum to show her performance installation addressing Losari-style topeng, Mata Hari and a deconstruction of colonial film of the Dutch Indies.

In the Asian Theatre working group, Kirstin Pauka discussed the reasons behind the decline of cross-gender performance in randai while Kaori Okado, an ISI Solo trained dancer, discussed her MA thesis topic of langendriyan.

There were also presentations in the conference from Catherine Diamond (on the popular theatres of bangsawan and cai luong), Lim How Ngean (on Malaysian tradition-based choreographer Azanin Ahmad) and meLe Yamomo (on opera in SE Asia).

The big issues of the conference revolved around the large-scale research projects of Erika Fischer-Lichte (on interweaving theatrical cultures) and Chris Balme (on global theatre history). There was much discussion about the use of 'intercultural theatre' and whether this was still a useful rubric for thinking about theatrical productions that combine different styles or forms associated with different cultures. Opinions varied, naturally.

Straits Times

I spent a day in September of last year looking at digitised back issues of the Straits Times at Singapore's national library. Now I've learned that the library has provided - free of charge - this same service on the world wide web. Content is even showing up on google. Above is an image from the paper of Raden Mas Utomo's dance group, which performed in Singapore in 1949, a year before it played London. Note that it has water marks on it - preventing it from commerical use, but still making it very valuable to researchers and the curious.

Rahayu Supanggah and the Kronos Quartet

Ran into this nice, short video about last summer's workshop of Indonesian composer Rahayu Supanggah and the San Francisco-based Kronos Quartet.



The site of the workshop was the Bali Purnati Center for the Arts, and perhaps not surprisingly the resultant piece is titled Purnati.

Doesn't seem like Kronos will be recording the piece. Reports have not been very positive from friends who have heard the result. For a first public play-through see also:

Teater Tetas

Learned recently from a PhD student of mine working on Indonesian theatre that Teater Tetas, a theatre group from Jakarta, is appearing in the Contacting the World festival in Manchester.

As it turns out, another Indonesian group, CuciOtak from Pasuruan, also is appearing. Perhaps a first - at least here in the UK. I can't recall two Indonesian teater groups appearing side-by-side in an international festival. (With the exception of course of specifically Indonesian-themed festivals.) Has Indonesian teater come of age? Or is this just a fluke?

Komedie Stamboel reviewed in c2o-library.net

A very fine Indonesian-language review of my book The Komedie Stamboel: Popular Theater in Colonial Indonesia, 1891-1903, was just published on the website of C2O, a progressive library, cinametheque and cafe in Surabaya.

http://c2o-library.net/2010/06/komedie-stamboel/#_ftn2

The reviewer, who is anonymous, also cites my article on Yap Gwan Thay which appeared in an edited collection titled Sadur: Sejarah Terjemahan di Indonesia dan Malaysia (KPG, 2010). This piece has yet to see print in English, as far as I am aware.

The Indonesian-language translation of The Komedie Stamboel has been delayed by factors beyond my direct control, but it is good to see that the book is being read and discussed in Indonesia.

Asian Performing Arts Forum

I am in the process of setting up a new forum called the Asian Performing Arts Forum (http://asianperformingartsforum.wordpress.com/). This is envisaged as a site for researchers of Asian theatre, dance and music to discuss recent research and dialogue with representatives of commuities of interest. The plan is to have monthly meetings in an academic year on a specific theme, leading to a June symposium.

I will be working together with my colleagues Avanthi Meduri at Roehampton (a researcher of bharatanatyam) and Ashley Thorpe at Reading (who researchers Chinese opera).

The hope is to raise awareness in London and around the UK of important issues in the field of Asian performing arts, as well as generate new research collaborations and synergies between 'the industry' and academia.

Have a look at http://asianperformingartsforum.wordpress.com/ for further info.

Gamelan Mendunia

While in Holland last week I was interviewed by the Joss Wibisono (dalbera@Flickr.com) of Radio Netherlands' world service. Others interviewed were Indonesian composer Franki Raden and Dutch composer Sinta Wullur. The programme is available in both transcript form and also as a podcast at

http://www.rnw.nl/bahasa-indonesia/article/gamelan-mendunia-antara-pangling-dan-rela

Tong-Tong Festival

I attended the Tong-Tong Festival again on 22 May in the company of my friend the anthropologist Robert Wessing.

I have been visiting the Tong-Tong Festival, formerly known as the Pasar Malam Besar, with some regularly since 1998. It is a major site for transnational Indonesian performance, a research interest of mine, a contact zone which involves cultural experts; performers from Indonesia and Europe; vendors of crafts, food, service; and the general public. 'The pasar' underwent a name change in 2008 which signals an attempt to move away from the nostalgic mode of 'tempo doeloe' towards a celebration of multi-culturalism and Asia in the world.

Some of the familiar parts of the pasar have been disbanded - there is no dedicated wayang theatre any more. There is definitely less of an emphasis on academic talks on indonesian subjects. There has not been an auction of art and antiques from Indonesia for a decade. The Nusantara Museum (Holland's museum of Indonesia) this year did not have a stand. (It had a stand at every other pasar I have attended.)

I attended two full performances on 22 May - 'Call Me Nyai Ontosoroh' a play from the Jakarta-based theatre company Pentas Teater based on Pramoedya's Bumi Manusia, and a fusion concert of Cianjuran meets tabla and jazz piano.

The former was a fairly straight 'read' of Pramudya. A small cast (4 performers) enacted the narrative of Minke's marriage to a Eurasian woman again a backdrop of seppia-tinted moving images. The actors were amplified and generally melodramatic in delivery, in the style of pre-1990s Indonesian film or sandiwara. English supertitles were projected in very small letters above the stage. Audience members came and went during the performance, which lasted about 80 minutes.

The Cianjuran (kecapi/suling/vocal) concert was also a mixed success. The playing was polished, but balance was an issue. The piano overwhelmed the other instrumentalists on many occasions and seemed unable to accompany the singer. As a result is was less fusion than a Charles Ives like juxtaposition of different musical forms.

I also attended a delightful 'straat' performance of kroncong group Jawara - which was hawking its CDs to 'pay for the cost of transport back to Jakarta' in the words of one of their singers, and saw briefly a 'modern kroncong' group on the main stage.

Robert and other friends reported that the Tong-Tong Festival has been experiencing some tension with the Indonesian Embassy. The Embassy organised a Pasar Malam Indonesia in the same space (the Malieveld fields next to the Central Train Station) in April (http://www.indonesia.nl/pasarmalam/) over the protests of Tong-Tong, which has been using this same space for decades. The Tong-Tong people felt that this was a conscious attempt to draw their own audiences away.

The Dutch public seems to have been indifferent to the Pasar Malam Indonesia - they felt it was overpriced, over-full with government propaganda, with not enough vendors and uninteresting performances (despite things on the schedule like 'Miss Indonesische Performance'!).

Because of the Tong-Tong's protests and other tensions, the Embassy refused its personnel permission to participate in the Tong-Tong Festival this year. This meant that oddly the Indonesian embassy's performance group will be presenting a wayang wong fragment at Tong-Tong without any of the regular members who are employed by the embassy.

Tong-Tong has recently published a book celebrating the history of the pasar (Florine Koning, De Pasar Malam van Tong Tong: Een Indische Onderneming, 2009). I have long had the ambition to conduct more academic research on this fascinating, always changing yet always the same event...