Young innovators help `wayang` survive

Jakarta - In order for traditions to survive, modifications are often required to appeal to the younger generation.

The main challenge in the effort to safeguard heritage -- according to Sugihartatmo, the deputy coordinating minister for social welfare, who is in charge of cultural affairs -- is defining and controlling the impact of cultural innovation

"On one hand, people want to keep traditions unchanged. On the other hand, there is plenty of potential for the creation of new traditions from the old ones," he said.

One such tradition is the wayang (Indonesian puppet) performance, which was recognized as an oral heritage masterpiece by the United Nations Educational, Scientific and Cultural Organization (UNESCO) on Nov. 7, 2003.

The wayang shadow play, which was first developed by Javanese ancestors during the Hindu-Buddhist era, was traditionally used as a tool for disseminating cultural values; the tradition spread to many parts of the archipelago.

According to the Indonesian National Wayang Secretariat -- known by the acronym Sena Wangi -- there are about 60 different types of wayang in the country, including Banjar wayang and Palembang wayang, which were included in the revitalization and preservation programs carried out by Sena Wangi and UNESCO from 2005 to 2007.

Amid efforts to preserve the tradition of wayang, young puppeteers (dalang) have attempted to revive the tradition to attract a wider audience.

"As a puppeteer I always ask myself: ‘What can I do to make young people attracted to wayang?‘ Therefore, we always try to create new wayang performance formats that are more enjoyable," said Wawan Gunawan, a young Sundanese puppeteer.

Wawan has created his own style of wayang called wayang ajen, which has a different style to that of traditional wayang.

"I also call it wayang ajen kakufi, which is an acronym for wood (kayu), leather (kulit) and fiber. The basic philosophy of ajen is respect for others, by which a dalang should be able to incorporate the cultural values of his audience into his puppet show," he said.

Wawan said the majority of the younger generation, especially those who were not familiar with the language, viewed traditional Javanese wayang as monotonous.

Sena Wangi spokesperson Suparmin Sunjoyo said he appreciated the emergence of new varieties of wayang, but added the younger generation must not abandon the traditional forms of wayang.

"They may not like it because they do not know (much about it) and are not used to it. We have to familiarize them with it," he said.

Sena Wangi helped developed 14 sanggar (a Javanese term for a cultural arts institution) in its preservation program. Each sanggar has 15 to 50 students.

"There are hundreds of sanggar in Indonesia, especially in Java," Suparmin said.

The program included the standardization of sanggar curriculum, the provision of teaching materials in the form of books and visual aides (VCDs), puppets, musical instruments and an operational allowance to the amount of Rp 500,000 (US$55) per month.

Suparmin said the government had not yet been proactive enough in supporting wayang educational institutions. Meanwhile, Wawan said Sena Wangi tended to marginalize young puppeteers who promoted new forms of wayang.

Sugihartatmo said besides developing educational institutions and documenting cultural art heritage, a dialogue was needed among those involved in the effort to preserve the wayang tradition.

UNESCO program specialist of the Intangible Cultural Heritage section, Frank Proschan, said the Convention for the Safeguarding of Intangible Heritage discouraged the idea that intangible heritage "should be frozen, unchanging and fixed in some form at this moment and never change".

Source: old.thejakartapost.com (22 April 2008)
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