Capturing ‘the power of shadows

Sutrisno Hartana keeps Indonesian shadow puppetry alive in Vancouver 4

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Stories and photos by Steven Chang

utrisno Hartana is one of
the few experts in Vancouver
practicing the art of wayang
kulit, a form of traditional
Indonesian shadow puppetry.

Hartana is currently holding
workshops at the Moberly Arts and
Cultural Centre in South Vancou-
ver. The workshops are designed
for schools and those interested in
exploring the art form.

While being one of the few
specialists in the city means receiv-
ing invitations to teach these types of
workshops and to perform, Hartana
said the experience can be demand-
ing due to a shortage of resources.

“Bringing the puppets to North
America is difficult because the audi-
ence might not know what wayang
means,” Hartana said. “I also don’t
have a crew to accommodate the
puppets, so I have to make my own.”

Despite Indonesia being home to
the fourth-largest population in the
world, Vancouver has seen relatively
low numbers of immigrants relocate
from the country. Hartana is one of
less than 5,000 Indonesian immi-
grants living in the city.

Consulate Officer Firman
Priambodo, in charge of infor-
mation, social and cultural
affairs at the The Consul-
ate General of the
Republic of Indo-
nesia, said that
besides Bali, a
popular travel
destination,
Canadians
might not be
aware of Indo-
nesian culture.

Priambodo added
that Hartana provides the
knowledge and experience

to intrigue a local audience.

Hartana’s childhood in Indonesia
was influenced by wayang perfor-
mances in his hometown. Hartana
says he would go watch the perfor-
mance even if it meant sneaking out
after his bedtime.

“There was no radio or television,
the opportunity for social gather-
ings among villagers only occurred
on special occasions,” Hartana said.
“Wayang is not only entertainment
but also a branch of art, including
theatre, music and visual image.”

In 1982, Hartana pursued his
interest in the art form by study-
ing performing arts and gamelan
music at the Conservatory of Java-
nese Traditional Performing Arts in
Yogyakarta.

After immigrating to Canada,
Hartana earned an MA in ethno-
musicology at UBC and a PhD in
interdisciplinary studies with art
history and visual studies from the
University of Victoria.

When puppeteering, Hartana has

to express

ABOVE: An Indonesian drum used to accompany shadow puppetry.

BELOW: A silhouetted wayang shadow puppet.

y

the puppets’ emotion through
shadow with gestures, sound effects
and speech. Hartana also illustrates
action, conflict and demonstrates
moral values for education purposes.

“From the audiences’ perspective,
they can't see what is happening in
the back of the theatre,” Hartana
said. “But they can imagine through
the power of shadows.”

Along with his puppeteering skills,
Hartana is also a skilled musician.

“Sutrisno is not only the master
of the puppets but the master of the
gamelan,” Priambodo said.

Gamelan is a type of music that
often accompanies wayang perfor-
mances. Don Chow, a musician
who performs with Hartana, said
that gamelan music offers some-
thing different than North Ameri-
can music.

“The philosophy and theory of
the music are so different compared
to western orchestral music,” Chow
said. “I was stirred quite deeply when
I first heard the gamelan.”

Over the years, Hartana has been
established by academic institutions,
museums and the The Consulate
General of the Republic of Indone-

sia as a prominent expert in Indo-
nesian performance art. He now
teaches ethnomusicology at SFU.

“The east and west are learn-
ing from each other,” Hartana
said. “Right now, there is

plenty of information
NN on the web, but how
re tag » to know the exact
§ culture, the subject
and presenting to
the audience is
a whole different
story.”

BELOW: Sutrisno Hartana holds up two of his traditional wayang puppets.

RIGHT: A gamelan instrument used to accompany Indonesian shadow puppetry.