Socially-engaged theatre performances in contemporary Indonesia Tamara Alexandra Aberle Royal Holloway, University of London PhD Thesis 1 Declaration of Authorship I, Tamara Alexandra Aberle, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Abstract This thesis argues that performances of contemporary theatre in Indonesia are socially- engaged, actively creating, defining and challenging the socio-political environment, and that theatre practitioners are important members of a vibrant civil society who contribute and feel actively committed to democratic processes. Following an initial chapter about the history of modern theatre from the late 19th century until the fall of President Suharto in 1998, the four core chapters centre on four different aspects of contemporary Indonesian socio-politics: historical memory and trauma, violence and human rights, environmentalism, and social transition. Each of these chapters is preceded by an introduction about the wider historical and socio-political context of its respective discourse and is followed by an analysis of selected plays. Chapter 2 focuses on historical trauma and memory, and relates the work of two theatre artists, Papermoon Puppet Theatre and Agus Nur Amal (a.k.a. PM Toh), to processes seeking truth and reconciliation in Indonesia in the post-Suharto era. Chapter 3, on violence and human rights, discusses the works of Ratna Sarumpaet and B. Verry Handayani, with a specific focus on human trafficking, sexual exploitation, and labour migration. Chapter 4 discusses environmentalism on the contemporary stage. It investigates the nature of environmental art festivals in Indonesia, taking Teater Payung Hitam’s 2008 International Water Festival as an example. It also contrasts a recent performance by Teater Payung Hitam with the work of teaterStudio Indonesia. Finally, Chapter 5 focuses on theatre practitioners’ engagement with political, social and cultural transition. It examines works from Teater Garasi, a group whose performances deal with friction, identity loss and change, commenting on a society in transition . 3 Acknowledgements I would like to thank all the Indonesian theatre practitioners and art workers who generously shared their time and knowledge with me. Without them, writing this thesis would have been impossible. In no particular order, I would like to thank Agus Nur Amal (PM Toh), Harris Priadie Bah and family, the late Mas Adji (Ags. Arya Dipayana) and Meyke Vierna of Teater Tetas and the whole Tetas community for letting me join their rehearsals in Bulungan - Jakarta, Yudi Ahmad Tajudin, Gunawan (Cindhil) Maryanto, Joel Taher, B. Verry Handayani, and all the Teater Garasi actors and staff who accommodated me during my stay in Indonesia in 2005, and generously shared more time with me in 2009 and 2011 for informal discussions and interviews. Particular thanks to Ratri and Lusi for organizing DVDs and other materials for me. Thanks also to Halim HD, Agus Noor, the late Pak Heri Kesawa Murti of Teater Gandrik, Putu Wijaya, Afrizal Malna, Wawan Sofwan, Ratna Sarumpaet, Lena Simanjuntak, Iswadi Pratama and his wife Imas Sobariah, Abi Kurniawan and Pak Hasyim Maulauna, Maria (Ria) Tri Sulistyani and her husband Iwan Effendi from Papermoon Puppet Theatre, Radhar Panca Dahana, the late Nandang Aradea, Rachman Sabur and Mas Ade from Teater Payung Hitam, Jose Rizal Manua, Rossa Rosadi, Jeanni Park and Besar Widodo, Egbert Wits and the Yayasan Kelola team, and Dewi Noviami from Dewan Kesenian Jakarta (Jakarta Arts Council). My friends Jheni Rinjo and her family, Wawan, Putri, Yen, Maroel and Yuri, Christelle and Koko, and the Siagian family made my stays in Indonesia worthwhile and I am extremely grateful to Priska, Nida and Imel for transcribing my interviews. My supervisor Matthew Isaac Cohen always had an open ear and a clear mind when I got stuck, and for his thoughtful advice, sharing of knowledge and time I am very grateful. I also want to express my thanks to Prof. Helen Gilbert, who supervised my work in my first year at Royal Holloway. The first PhD research period in summer 2009 was generously supported by the Helen Shackleton Fund of Royal Holloway, University of London. During my second research period, from August 2010 to March 2011, I was working as a German tutor at the Universitas Negeri Jakarta to fund my research. The university sponsored my visa for 7 months and the Central Research Fund partially funded the travel costs for this trip, for which I am thankful. 4 Last but not least I am thoroughly indebted to my parents Ilona and Albert, friends and colleagues Steffi, Helly, Conny, Michaela, Christina, Jana, Petra, and my London family Monia, Jo and Peppe for supporting me - always. 5 Table of Contents Introduction ........................................................................................................................................... 8 Chapter 1: A history of modern Indonesian theatre ........................................................................ 41 Chapter 2: Performances as sites of memory and trauma in Indonesia ........................................ 80 Papermoon Puppet Theatre: 30 September Movement - Coming to terms with the past ....... 87 Mwathirika – Staging history ..................................................................................................... 88 PM Toh – Reconstructing memory, constructing the future .................................................... 104 TV Eng Ong: “Aiming for a brighter future” ........................................................................ 109 Chapter 3: Human rights, violence and theatre ............................................................................. 118 The issue of migrant workers: B. Verry Handayani’s Sum - Cerita dari rantau ..................... 130 Human trafficking: Ratna Sarumpaet’s Pelacur dan Sang Presiden ....................................... 138 Chapter 4: Environmentalism on Stage .......................................................................................... 148 Teater Payung Hitam: Take me to the source ............................................................................ 156 Air Mata Air ............................................................................................................................... 159 Environmental Festivals ........................................................................................................... 163 teaterStudio Indonesia: Problems of land .................................................................................. 166 Perempuan Gerabah atawa Ritus Kawin Tanah ...................................................................... 170 Chapter 5: Modern theatre and transition ..................................................................................... 177 Waktu Batu ................................................................................................................................. 190 Je.ja.l.an ..................................................................................................................................... 194 Tubuh Ketiga (Pada Perayaan yang Berada di Antara ) .......................................................... 199 Conclusion ......................................................................................................................................... 212 Glossary ............................................................................................................................................. 227 Works cited ........................................................................................................................................ 242 Appendix ............................................................................................................................................ 283 6 Table of Figures Fig. 1 Before the show starts the puppets of Baba and Haki sit on the stage. Photo by Tamara Aberle. 94 Fig. 2 Circus in front of Haki’s house. The left-hand side of the image shows puppeteers with the puppets of Tupu and Moyo. Photo by Tamara Aberle. 95 Fig. 3 The image shows the character of Baba who is taken away by soldiers. Photo by Fanny Octavianus from antarafoto.com. 99 Fig. 4 The image shows some of the objects used in Agus Nur Amal’s performances which are on display on the walls of his old studio in Jalan Rawasari. Photo by Tamara Aberle. 107 Fig. 5 The image shows the plywood TV on the bed of a small truck during an afternoon rehearsal in Aceh. Photo courtesy of Agus Nur Amal. 112 Fig. 6 A fake cameraman and Agus Nur Amal as a reporter broadcasting from Aceh amidst a crowd of onlookers. Photo courtesy of Agus Nur Amal. 114 Fig. 7 Audience members in the TV set together with a member of the TV Eng Ong team. Photo courtesy of Agus Nur Amal. 115 Fig. 8 B. Verry Handayani in her role as Supi, throwing money into the air. Photo from sastradiaspora.blogspot.co.uk. 133 Fig. 9 The image shows the poster for the movie Jamila dan Sang Presiden . Atiqah Hasiholan (Ratna Sarumpaet’s daughter) played the part of Jamila and Christine Hakim played prison warden Bu Ria. Photo from movieposterdb.com. 141 Fig. 10 The perfomer at the front will soon be “carried away” by the wave. Photo from internationalwaterfest.webs.com. 161 Fig. 11 The stage with the performers drumming on the earthenware vessels. Photo