Preserving Culture

The Galeri Indonesia Kaya public art and edutainment space is celebrating its third anniversary with ‘I Am Indonesian’, a photo exhibition that features 100 arts professionals. Olly G. Santosa writes 40

ince its inauguration in october 2013, galeri Indonesia Kaya by Djarum Foundation has been on a mission to preserve national culture in the form of a public space that supports, displays and actively promotes performing arts in the community. During the three years of its existence, the gallery has staged more than 1,000 events involving 300 arts professionals— such as musicians, singers, composers and actors—and it has attracted some 300,000 visitors.

Highlighting its third anniversary is “I Am Indonesian”, a photo exhibition featuring 100 of these arts professionals clad in Oscar Lawalata’s authentic designs. Programme Director Renitasari Adrian gives us the details about this art happening that is located at the Shinta Lobby and Plaza Shinta of the East Mall of Grand Indonesia.

During the past three years, has the gallery achieved its goal of preserving Indonesian culture?

There is much still to be done—we are far from our goal simply because of the immense variety of Indonesian culture. From one cultural entity in the provinces, for instance, there could be more than 10 dances, many traditional cloths, and hundreds of folk songs.

Why does the gallery focus more on the performing arts?

We believe that our focus on performing arts will bring about a broader impact on society. Performing arts are always a collective project and involve art workers like dancers, singers, musicians, costume designers and even stage hands. The performing arts are quality entertainment for the public—they enhance public interest and increase the appreciation of national culture, and they re-introduce people to long-forgotten folk songs, fables and sagas.

designer Oscar Lawalata?

The project really focuses on Indonesian culture. Oscar started this social movement two years ago by involving aficionados of the country’s traditional fabrics. This time, with Galeri Indonesia Kaya he has developed a wonderful programme by involving 100 junior and senior arts professionals, including directorcum-playwright Nano Roiantiarno and maestro dancer Ayu Bulantrisna Djelantik.

What are the drawbacks to running a public space like Galeri Indonesia Kaya?

There is lots of good stuff here in Indonesia, but what’s lacking is the infrastructure, the organisation, the impresarios and the theatre companies that can properly manage and develop such potential.

Do you have any plans for the future?

We are looking forward to dynamic Indonesian performing arts that are as popular as their counterparts abroad. We also hope that one day, Jakarta will have a special venue like The Paris Opera: a home for all kind of performing arts.

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