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Multiculturalism Theatre Indonesia:
Respecting Diversity
By Sahrul N
Benny Yohannes in his paper says that “multiculturalism in the theater should be understood in principle always be present or absent (absent, present). That culture can never have-Large transcendence or beings, or the origin arkaiknya. For tracking of the origin like that always make us orphans and more orphans. But the range of orphanhood is epistemic sources that were never provided the limit, kefinalan or sequel.”
Benny expresses his thoughts in a seminar PAT 2003. In addition there is also a Azuzan JG Benny from IKJ Jakarta, Sahrul N from STSI Padangpanjang, and Zulkifli of the talk about multiculturalism STSI Padangpanjang Indonesian theater from a different angle. In addition there are also seminars that followed the theater as much as six theater groups consisting of IKJ Jakarta, STSI Bandung, Bandung Prung Theatre, Theatre Literature Unand Padang Padang Theatre IAIN Imam Bonjol, and STSI Padangpanjang as host. All of these events comes from the 15th till May 20th, 2003 at STSI Padangpanjang.
Theatre is an event or to clarify events. Manuscript, wishes the director, cast ability, artistic, stage and other elements is to build events that ultimately lead to the dialectic between things that are expected with the unexpected. The combination of these elements make the theater a vast open spaces of cultural adaptation. Nothing is impossible in the world of theatrical creativity.
Multiculturalism anyone understand it as referring to the emphasis on racial harmony in the diversity of the show, but ignoring the problem of language and culture. As a result it will lead to conflict such as Indonesia. For the concept of multiculturalism should be understood as a reaction that includes culture, language which is seen in more detail, especially relating to the emergence of dominance strength between one language with another language. Its direction is the balance between the interests of certain ethnic with other ethnicities interact.
Performing in the context of PAT was initiated by groups of IAIN Imam Bonjol Theatre, which brought the manuscript Padang Karbala two works / director Zelfeni Wimra cs In the context of multicultural, performing two to take the spirit of the war of Karbala Karbala for the sake of understanding of historical events. Middle Eastern idioms, combined with the Western concept of the dramaturg and also added a touch of tradition to make the struggle of the Minangkabau culture of each of these ethnic touch. Karbala War is only the starting point but not the main focus of the story. Likewise with the concept of cultivating the taking of Western concepts and then combined with the concept of making it rich in the tradition of the Minangkabau idioms or ethnic symbols that are different.
Different from that shown Theatre KMT STSI Bandung that brought the script works Akhudiat Bui, director of the Word in the form of absurd. Making the works of realism in the form of absurdity is the other room and search a different meaning. Jail is no longer physical bermana but has become an epistemic meaning. Deeper meaning and symbolic representations. Manuscript Bui mengadirkan only two people figures, but in this show, the director presents one other character (the jailer) to give a different meaning. This business is in finding diverse (multicultural) understanding in the search for identity or no identity.
Theatre Prung find another way in lifting Woman hammering stones, works of Tim Prung, director: Hikmat Gumelar Pray. In contrast to the concept of aesthetics during this stage (stage theatrical conventions) plays Stone Woman remove embarrassing focus. Focus on every scene like submitted to reach and interest by the spectators gaze freely. The show began with the emergence of the players from the back right corner of the stage. Costume players wrapped with black cloth (one female player) while the rest is wrapped with white cloth loops. Some of the few male players to paint his head with black and red. performance took place within a monotonous and rigid. The hotel was so impressed to meet the stage only to inanimate objects. There's no story, no story. That there is only a monologue of events and players.
Step Theatre Faculty Unand Padang displays the work of M. We Mealtime Syafari Eden, director Hariyanto Prasetyo. The three gods (Brahma, Vishnu, and Shiva) are used to express contemporary issues and emphasize that in life there is always a virtue and evil. Making the symbol of the past (Chronicle) for the sake of the show today is a business of multiculturalism that led to the murder of identity to form a new identity.
While the KMT Theatre STSI working Padangpanjang Barabah Busye Motinggo works, director Wen Hendri pure realism, but use the concept of the meaning conveyed to try to go beyond realism itself. Banio as a man who had many wives have a tendency to boast keperkasaannya. Similarly, today's male or that seen in young children today. Men always get something done through violence. Likewise with Barabah figure symbolizing a woman who does not want dimadu women like before. Emancipation and gender is a form of struggle which carried Barabah.
Similarly, STSI Padangpanjang Theatre KMT, KMT IKJ Jakarta Theatre brings the concept of realism with the manuscript works of Anton P. Proposal Chekov, director Hestu homes. This verbal performances that make the audience is not too think to analyze the problem. Moreover, the ability of the three actors are quite successful with hilarious improvisation. Ketoprak silliness and lenong into the theater area Brehctian realism, as well as incorporate elements of the Minangkabau, when Agus collapse (presumed dead by Rachael). Rachael Minang sang a very sad while diringi by Bansi (Minangkabau ethnic music), really incredible absurdities.
Multiculturalism refers to the process of cooperation, interaction and intersection between cultural groups. Cross-cultural obtain a new dimension with respect to the intensive contact between both cultures because the process of globalization and the media revolution. Taufik Rahzen believes that the contiguity between cultures, not just beyond geographical boundaries, but also crossed in the time dimension is moving into the past and the future. Compaction of space and time in the process cross-culturally, to disassemble the transmission of values that are usually custom inherited through generations.
Theatre each ethnic differ according to the nature of culture in general. Therefore, any changes made to vary. In this case, the factors that influence the process of change within a specific theater include to what extent a community theater support and agreed that some flexibility, the needs of the theater itself at a certain time, and most importantly the level of compatibility between new elements and a matrix of existing theaters. Changes in the theater can run with a slow, somewhat longer, and faster.
Theatre in Indonesia today is a reflection of a very large diversity. Geographical and historical factors hinder the development of a homogeneous theater with a single evolutionary line direction. The phenomenon of cultural diversity present in different levels. Some there are who make theater traditions (ethnic) as basic to express idioms today. In another section there that makes the theater as an expression of the universal, so that ethnicity is not so prominent or almost completely gone.
In the continuum growth of theater, the elements overlap the old and new, mixed, or sometimes be present side by side. These figures are only the year that marks the approximate divisor introductory ideas or new techniques, without needing to be explained about the disappearance of the beliefs and habits earlier. For that we need the renewal viewpoint of observing the theater as a performing arts in Indonesia. This can be seen in the theater, which performed on this 2003 PAT. Tradition and modernity is only a tool to measure the reach of the creativity of artists in creating the theater.
Changes in the dimensions of time and distance are not only enhances the frequency of the visitation rate but more importantly decrease the sense of strangeness. It means the difference between where we are and where they are increasingly blurred. In this atmosphere, when the communication has been running more smoothly is not too weird, and this is akulturalisme which give meaning to diversity.
The discourse of multiculturalism is not autonomous. Nor is it a fair game, by far, in practice it is possible through an exchange with a base that is not fair. To this day multiculturalism continues to be a theory, rhetoric, concepts, frameworks, and maps, almost all over the world. Finally PAT 2003 at STSI Padangpanjang open space Indonesian theater thinking about multiculturalism and try to respect the presence of different theater groups in Indonesia. As Benny said that the theater to reveal the "other" (the other) ***
The writer is a lecturer at STSI Padangpanjang Theatre
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