Sunday, May 31, 2009
 | Faiza Mardzoeki Without any hesitation, I agreed, when the organizers from Teater Satu asked me to become a resource person and observer at the “Sumatra Women’s Stage”. The asked me to comment on gender aspects on the performance and about writing story for stage (play) Why? I though the event would be very important and interesting. I also have thought that in the realm of theatre, there is a gender problem. For example, it is still so difficult to find women theater workers. The role for women in theater is not as a decision maker like as director, playwright or artistic director. The roles of women in theater are still in “domestic” area like manager of production. I think the initiative of “women on the stage” in Sumatra is become very important to encourage women artist to lead in front role. During following the process of the event, especially in the minutes of “presentations and discussion about playwriting and directing” there are some emphasis points I would love to share. Women on stage” in Sumatra was not only to show theatre by and about women themselves, but also discussed all aspects about the performances from artistic aspects and the production issues. Then, this forum also becomes a space for sharing the struggle of women artists from the battle to find the ideas and then how to put them onto stage. The Struggle of Women Artists “Women on Stage” in Sumatra was very well prepared. They have the goal to empower women artists (especially women directors and playwrights). We can see from the program of workshop about gender by SN Nurlaila from the women’s NGO, Damar and the workshop about theatre it self covering issues like directing and writing with many experts such as Joko Kurnain, Yudi Ariani, Yusef Muldiyana and Athur and myself, Faiza. The question is why they should name it as “Women on Stage” and why they should conduct a workshop about gender? I think, Teater Satu has been finding “gender injustice” problems in the theater realm. So, from the workshop we hope that they will be revealing many women artists who have gender perspective and theater feminist productions. What is a feminist artist and what is theater feminist? In my own view, discourse about feminism in the theater is important to address issues such as how the theater productions in Indonesia also take sides of women issues rather than perpetuating the oppression against women and stereotyping women. Forms oppression against women includes showing women as objects in both structures in the community and in the nearest relation (family). Women’s position is still subordinated by men in the society. This is not how it should be. The world already recognizes the equality of men and women's rights. In the world we have the CEDAW, the UN rules that set the rights of women. In the Constitution of the Republic of Indonesia women are also citizens with equality with men. Feminist artists must have consciousness about the women and social issues and use gender perspective as basic view to analyzing the women problem in the society (theater). Well, how the production of theater also offers a new discourse: exposing stereotype and taking a stand on the rights of women. Indeed, theater is about creating ideas, transforming ideas to the stage, the capability of imagination, communication to the audiences etc.. But, there is also another very important issue, e.g “creator perspective”. There are two basic elements in the theater e.g director and playwright. These two elements have function as departure points on how the visual stage would happen with all the arguments and what the basic concept they have. This will give the character of the performances. I believe that for example WS Rendra shall have different style or character with Imas Sobariah when they produce same Play, for example, Nyai Ontosoroh. Of course Rendra and Imas will have not only have different style, but indeed they have different perspective on how they will see of Nyai Ontosoroh as story as theme, as play! Gender perspective in the theater would be useful as alternative approach to produce feminist theatre. Furthermore, it’s very important to recognize women artists and open an affirmative programme to encourage women to be more active in the theater. Indeed there is no normative statement that the condition of culture in Indoensia is still discriminative against women. But, they have some indicators that the situation of culture especially of theater performance is till very low participation of women in front role of theater like director, playwright or artistic director. There are many factors why this could happen. The participants of “Women on Stage” in Sumatra are from various background e.g house wives, students, teachers or professional artists. But as women, they are facing many problems as women. The have to struggle since in the house (domestic realm). Wani, the participant from Sumatra said that she had to show to the parents that she is “ a good woman”, even though she always goes out every night for rehearsal or meetings till late, even more because she is single!. Other participants said that they have to negotiate with their seniors many of whom are men. Women artist are must struggle on many levels. The idea to encourage women directors and writers is a good example of efforts to endorse women artists to be more active and giving them more opportunities. All of the participants also can share each other not only about their artistic or esthetic work, but also as women they can talk about their problems and share how they have to struggle as women artists. Feminism Spirit and Esthetic achievement Women’s position in the art world is still as an object and marginalized“”. For example in sinetron (soap opera), film or literary texts, the creator is still very rare to use a women’s perspective. Although there are some women artists (writers) already using a women’s perspective as a basic departure point, for example Nia Dinata, Ayu Utami or Djenar Mahesa Ayu. How about women in the theater? Contemporary theater is the most difficult one to record their traces. We often heard the story of theater maestros such as WS Rendra, Putu Wijaya, Arifin C Noor or Ratna Sarumpaet. But, they have not enough documentation of their works, so the younger generation can study or analyze it. It’s difficult to research for example how they put women character in their works. So, the opportunity to see directly of “women on stage” in Sumatra was a very “luxurious” event. The eight performances by women playwright and director were to point out women’s issues. A group from Payakumbuh, Teater Intro, with the title “Sama dengan Nol” (Same as Zero) by director Della and playwright Milla, was very vocal to point out about contemporary social conditions in Indonesia. They portrayed the high price basic needed issue, education, housewife, prostitutions. With satiric style, “Sama dengan Nol” tried to juxtapose private and domestic realm which have interconnections among them. Three women actors acted very well, dynamic and satiric. Another group, Teater Sakatak from Padang Panjang, with the director Tya and the writer Fya, bring the story about three women, with different generation who are have a problem each other but have interconnection because of “one secret”. About who is the father of the kid? The issue of reproductive rights and the authority of women are very strong. This piece was very strong in the style of nuance. With minimalist set property (only 3 chairs) the emotion, stillness and secret was very strongly revealed on the stage. Then, “Sehelai Emak” (A mother), directed by Florencia and written by Irma Sakti, a group from Palembang which tells the story about a low class family (pedicab driver). With the style of impressionist realist, Sehelai Emak portrays the poverty from point of view of the mother which said that low classes of women have to bear a double burden. The weaknesses of this performance were the way how to build the story (action development) was too weak and not focus…and the character was not clear. Furthermore, the story from Medan by Teater Generasi, directed by Wani and written by Nita tried to point out the issue of common stereotyping of women that women who are single are not good, also oppressed by family and society that women have to married. Wani tried to convey the myth that the character of women who not married was because she works as kembang mayang maker (wedding flower). In Indonesia, especially in Java, myths said the flower wedding makers find it difficult to get a partner. But the development story and character did not develop well. The director looked confuse about what they wanted. A very interesting theme, called “Dapur” (Kitchen) was by Teater Kuru Setra from Lampung. This group brings the story about kitchen as metaphor domestic realm of women. In the story of kitchen, it is not the role occupied by women, but loved by men who have a hobby of cooking. From Jambi, the story of a women legend called “Prahara Cik Apung” by theater Orange, has tried to interpret the position of women in the legend in the region. But, they still engage in stereotyping of the women characters on the stage. For example Cik Apung, the leading role in this story just becomes crazy because of a broken heart and revenge. The extra performance was from Teater Satu Lampung. It took the story written by Imas Sobariah and directed by her partner, Iswadi, called “Wanci” As a very experienced group and prominent in the region, Teater Satu succeeded in mesmerizing the audiences with a very good woman actor, Ruth Marini. It took a monologue style of a black satire of poverty. All the performances bring the women voices on the stage. The spirit of criticizing gender injustice and breaking the silence of discrimination against women through the stage was very interesting and important. The potential of all the directors, playwrights and production teams were good. We can see that all the productions seem very well prepared. In my reflection, the lessons learned from the event, from the performances were that besides there having to have skills as theater workers, it needed the knowledge about social issues, including about women problem. It needed research from many angles. Gender perspective can become one of way to see deeply the problems in the society and an approach to produce a theater. In conclusion, Sumatra Women Stage was the first step; it needs much support so the program can continue. Encouraging women directors and women writing in the theater is an important effort to make the theater world develop and flower. sumber : |
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