|
Spirit
of Art Diversity in Bali Arts Festival’s
Parade
On
Sunday (20/6), the 26th Bali Arts Festival
(PKB) was officially opened by Minister
of Culture and Tourism, I Gde Ardika in
front the Struggle Monument of the Balinese
People, Renon. PKB that took the theme “Voice
of Nature: Peace and Beauty in Diversity”
involved thousands of artists, including
participants from outside Bali and overseas.
The PKB parade that took place until 17
July was preceded with the performance of
a Balinese traditional marching band, Adi
Merdangga.
 According
to the composer who is also lecturer of
ISI Denpasar, I Wayan Suweca,SSKar. M.Mus.,
what was presented in the parade this year
all referred to the above-mentioned theme.
This could be seen at the parade display
that emphasized beauty in diversity. It
was proven by the art performance that became
a diversity of typical arts of each region.
Clearly, there was a diversity element,
as it presented the local peculiarity. “Thus,
creations of each region will be able to
differentiate this from previous parades
of PKB,” he said to journalists.
Meanwhile, the fine artist Drs. Ketut Murdana,
M.Sn. was of a similar opinion. The presentation
of varied local arts had actually realized
the theme. This art diversity constituted
the embodiment of beauty in diversity. “We
should sustain diversity,” said the
acting Rector Assistant I of ISI Denpasar.
It was said that the essence of peace and
voice of nature existed in each art form.
“Through such art arises a peaceful
sense, devotional sense to the Creator who
had created the universe along with its
contents. The achievement of an artist to
interpret such a theme is greatly determined
by the sensitivity of his intuition,”
he said.
Department Head of Gamelan Music of ISI
Denpasar, Kadek Suartaya, SS.Kar.,M.Si.,
agreed that appreciation to diversity in
art activity is a certainty. “Art must
not be uniform. On the contrary, the art
diversity of each region should be sustained.
Therefore, Balinese heterogeneity of art
will continually grow nourishingly,”
he observed.
Head of Parade Section of the 26th PKB Gusti
Ngurah Arjana said that the current PKB
parade was designed in such a way in accordance
with the theme “Voice of Nature: Peace
and Beauty in Diversity”. It meant
that the theme becomes the embodiment and
content of the parade of each regency/city.
“What is presented should be local
typical art. Such diversity must be really
sustained,” he added.
The peculiarity of art that is presented
by regencies and cities was taken from the
monumental works of great artists. Tabanan
regency, for instance, presented Kebyar
Duduk and Oleg Tamulilingan Dances composed
by Mario – a great artist from the
regency of Buleleng presented Kebyar Legong
and Teruna Jaya by Pan Wandres and Gede
Manik.
Gianyar Regency presented the composition
of Swasti Bandem through her monumental
works entitled “Sekar Jagat”,
“Manukrawa” by Prof. Wayan Dibia
and “Satria Brasta” by Nyoman
Cerita. Badung performed “Legong Kraton”,
a work by Lotering, while Denpasar performed
a Margapati dance by Nyoman Kaler. Karangasem
presented its typical art, namely Gebug
Ende, Klungkung presented a Barong Dance,
while Bangli presented Baris Juntal dance.
The regency on the western tip of Bali namely
Jemberana presented “Makepung”
dance composed by Ketut Suwentra. “Performing
monumental works of the great artists also
aims at stimulating the young artists to
be more creative,” he said.
Apart from art composition, each regency/city
would also present the typical costume of
megayot (sedan chair) – children in
advance of maturity. In this parade, will
also be presented bridal costumes of each
region. “The costume peculiarity of
each region similarly shows the spirit of
diversity,” he added.
Kites
Not only dances, kites enlightened the parade
of PKB. Janggan and bebean style, creation
and pecukan kites seemed to be put into
procession in the parade. The kite team
of Pelangi Bali closed the parade by flying
kites at Puputan Margarana Square.
(BTN/lun)
Bali
Art Entertainment to Produce A Film ‘Poepoetan
Badoeng’
Bali
Art Entertainment production house is planning
to make a wide – screen film based
on the historical incident of Puputan Badung
(Badung Massacre) that occurred in 1906
entitled “Poepoetan Badoeng,”
according to the producer, I Ketut Subagiya,
stated at a press conference at Angklung
Café, Langit Biru, Tuban last Monday
(7/6).
I Ketut said this film making formed the
background of his intention to put into
account the history of Puputan Badung that
contains heroism, custom, cultural and moral
message elements whose echoes have spread
all over the world. “In addition, to
the challenges he received from his colleagues
overseas to make the film,” he said.
Through this film, he hopes to introduce
to the world that from time immemorial Bali
has known that laws should be upheld. “The
story of Puputan Badung is very unique.
In fact, Bali possesses excellent administration
and economic order since that ancient time.
Laws have been properly upheld so that Puputan
Badung keeps abundant messages will be known
by the people of Bali, Indonesia or even
the world community,” he said.
It was explained that this film would be
supported by thousands of artists, which
90% of them were of Bali, and the main character
would be played by an experienced national
artist. Location of shooting is in Bali,
and 87% taking place at Pejeng Village,
Ubud, Gianyar. Meanwhile, the capital allocated
for this film, Ketut Subagiya who was accompanied
by Pande Gde Soebrata dared not mention
in detail. For the time being, he added,
such finance was entirely supported by Bali
Art Entertainment and his colleagues.
Considering the finance for the production
would be exorbitant, Ketut Gde Subagiya
admitted that he would not do it playfully.
Its people should be professional, like
Putu Wijaya who is a poet, novel writer
and chairman of Theater Mandiri, entrusted
to be film director; Bernard Keytimu as
a historical researcher on making inquiries,
and Fredie Cancer as screenwriter had much
experience in producing colossal electronic
cinema (sinetron) like Damarwulan, Kho Ping
Hoo and the King Siliwangi.
Putu Wijaya said that the filmmaking had
no target of completion and readiness to
show. According to him, patience was required
here. It needed to observe more attentively
and discover any details that had not been
noted yet so it would make it steadier in
its planning and performance.
The Tabanan-born man revealed to us that
he felt confused at the beginning, whether
it was caution or pride. “Having discussed,
ultimately I understood that it makes a
humanitarian monument,” he observed.
He also said that the presentation of the
film certainly would be able to lift the
spirit of Bali and give meaning of Puputan
so later on the film will not only become
entertainment, but also carry a moral message
or, at least, could record the moral message
inside such a story. “Popepoetan Badoeng
does not suffice as a film or sinetron.
But more than that, it should be capable
of delivering a humanitarian message,”
observed Putu.
Fredie Cancer gave a different opinion.
When he was offered to be the screenwriter,
he was spontaneously interested. Even though
he would need to commute to Jakarta, simply
within a week he feels he can complete the
scenario of Poepoetan Badoeng. Nevertheless,
Fredie admitted, he was always careful in
writing, since there were many sacred values
included in the historical plot. “Apart
from revealing the historical connection,
this film is also intended to express, that
in Puputan Badung, the triumph was not by
the Dutch. Physically, perhaps the Dutch
really achieved success, yet morally they
lost,” he said.
For that reason, he would like to write
the screenplay of Poepoetan Badoeng since
it was real, not spicing the film up as
other action films. This film will narrate
the triangle love of I Gusti Ngurah Made
Agung, the King of Badung. When he intended
to perform Ngaben ceremony, he heard that
the commercial vessel Sri Komala belonged
to a merchant of Chinese blood from Banjarmasin,
South Borneo cast ashore at Sanur. On desiring
to lend a hand, the people of Sanur were
accused of stealing the load of the merchant.
This incident was soon reported to the Dutch
government, so that it asked for compensation.
Although investigations had been conducted
up to performing ‘cor’ vow (religious
vow, usually with bitter consequences),
in fact they were not proved guilty. But
the Dutch persistently insisted on asking
for compensation. Since the King of Badung
would like to uphold the truth, the perang
puputan (all out war) exploded.
(BTN/bintir)
|
