At least 10 out of the 20 performers of the 5th Indonesia Performing Arts Mart 2009 have a broad network overseas. They are not only conscious of the camera, the stage, production costs, and profit, but they have grown and developed along with the art itself. The stage performance is only one small part of themselves as individuals who are continuously engaged in process and creation. It is as if art has chosen them, not the other way around.
Say, for example Retno ”Eno” Sulistiorini. This young lady born in Solo, on 4 June 1984 has repeatedly performed at the Salihara Theater and various places in Jakarta. From a young age, dancing had been a part of her physical and spiritual growth. Eno practiced her dancing at the Bangsal Prangwedan, on the east side of the Pura Mangkunegaran palace. She further studied the art of dancing at the School of Indonesian Arts (now named the Indonesia Arts Institute) in Solo.
Before participating in the Indonesia Performing Arts Mart in Solo, both the 4th in 2007 and the 5th one this year, which is an event where performers and buyers (presenter/ impressario) meet in a performance market, Eno had already experienced performing overseas. In 2007, she participated in the Visitor Change Cultural Program in New York and Chicago, USA. In 2008, she toured with the Mugi Dance Ensemble in Italy and Belgium.
Nan Jombang Group which drew much praise from the buyers in the 5th Indonesia Performing Arts Mart 2009, is well-experienced in festivals. For instance, in 2004 alone, they participated in the American Dance Festival in the USA, Queensland Music Festival in Australia, and the 4th Indonesia Performing Arts Mart in Solo. In Jakarta, in 2007, they contributed their dancing skills in the Jakarta Anniversary Festival and the Urban Festival.
Studio Taksu, which performed on the last night, on Saturday, 6 June, with a repertoire of movements called Tanda, has M. Guntur A.S., a choreographer who has often performed in Great Britain and Japan. Whereas the Sonoseni Ensamble performed at the Sapporo Music Festival in Japan and Weimar Kultur Stadt Europas’99 in 1999 and the Festival Millennium 2K in Santiago de Compostela, Spain in 2000.
Sahita, a dance group with humorous character, became hot news in the national media through their down-to-earth dance compositions. Managed by Fafa Utami, Sahita has toured a number of countries in Asia. ”In 2003, for example, we performed in the Philippines. We learned a little Tagalog. From that little knowledge of Tagalog we were able to make the audience laugh,” said Sri Setyo Asih, one of the dancers of Sahita who is more popularly called Ting-Tong.
Darma Giri Budaya Dance Group, one of the performing groups at this event officially opened by Minister Jero Wacik in Solo, is headed by Mujiono, a dancer, gamelan player and narrator/puppeteer of traditional shadow plays who has experience performing in the USA, Japan, Hong Kong, and Cambodia. At his dance studio, he teaches children the art of narrating and puppeteering. One of Mujiono’s students is Adam Gifari, the son of the very famous singer and “King of Dangdut” Rhoma Irama, from his wife in Solo, Gita Andini Saputri.
Then there is the Mayang Sari Dance Studio, which participated in the Singapore Arts Festival 2008. the Indra Dance Studio which has often been a part of Indonesian Cultural Missions to various countries such as USA, Erope, and Asia. ”We also received the First Place Award at the International Festival in Turkey,” disclosed Indrawati Lukman, the studio manager. That is why she dares to say that the Indonesia Performing Arts Mart should do more to improve its quality.
Indeed, the question is how effective is such a biennial event in connecting the Indonesian performers with the international buyers if they already have their own networks? The answer could be quite simple, and that is they will at least be able to make additions to their network. Or add to the ‘curriculum vitae’ of the host city. Observe how the Mayor of Solo always insists that his city hosts the event.
”I choose Solo to be the host of the 5th Indonesia Performing Arts Mart 2009 because this city is a city of creative industries and the most creative city in Central Java. And it has now reached the same level as other creative industry cities such as Jakarta, Bandung, Bali, and Yogyakarta,” said the Minister of Culture and Tourism Jero Wacik. The Minister of Trade Marie Elka Pangestu also expressed the same compliment.
As one of the keynote speakers at the Seminar on ”Global Creative-Industry Opportunities” which is a part of the event, Marie declared that she also approved of Solo receiving support from the government to promote its creative industries. ”Solo has at least 500 dance studios, other than the official dance school. Naturally the children in Solo grow up amidst a strong tradition of dance,” she said.
But, according to Marie, the contribution of performing arts towards the Creative Industry GDP (Gross Industry Product) is still very small. ”It is only 0.1 percent. We must work harder to raise this figure,” said Marie. Compare it with the contribution from other sub sectors. Advertising for example, contributes 7 percent. And architecture 3.2 percent; the arts market and antiques market 0.6 percent, and handicrafts 28 percent.
Design contributes 7 percent; fashion up to 44 percent; from film, video, photography there is 0.3 percent; interactive games 0.3 percent; music 3 percent; printing and publishing 3.5 percent; IT consultant and software 1 percent; radio and television 2 percent; research and development 2 percent. Naturally Marie hopes that the figures can rise since the year 2009 has been declared the Year of Creative Industries.
She also believes in the principle ”I am creative, therefore I exist.” Marie even said that workers in creative industries generate income that on average is much higher than the workers in other sectors. However, she also reminded that building a network is a very important priority. Likewise, having financial access so that the creative industries do not dissolve prematurely. We cannot always be idealistic and independent as well. .
However, not all forms of art can be categorized as an industry, especially if industry is defined narrow-mindedly as efforts to seek money.
Professor Sri Hastanto, Director of the Postgraduate Indonesia Arts Institute of Solo, will not acquiesce to the roots of our traditions being torn up just for the sake of a sales transaction in the name of interaction with world culture. According to Hastanto, the exoticism and mysticism of a traditional art cannot always be easily presented in a stage performance.
”The creative industry includes activities based on concepts from outside our culture. This kind of adoption cannot be directly applied, however. We need to evaluate the advantages and disadvantages to the nation, not only financially but also spiritually,” said the professor. But, at least, consider the showcases (the main performances) held at the Pamedan Pura Mangkunegaran, Hotel Sahid Jaya, and campus of the Indonesia Arts Institute in Solo, from 3-6 June as jam sessions for the artists who have already experienced performing internationally and practice sessions for those who have not.
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