The ASEAN Puppetry Association was established in December 2006 following an initiative taken by the Indonesian Wayang Secretariat (SENAWANGI) and other cultural bodies in
From the very first I had mixed feelings about the participation in the event of the Kampung Asun group, due to the fact, firstly, that the troupe does not represent the mainstream style of Malaysian wayang kulit, that honour, in fact, belonging to wayang kulit Siam/Kelantan; and secondly, due to the fact that what is generally presented these days by the Kampung Asun troupe, is a totally new dramatic repertoire without the place in it for the traditional stories, including the Ramayana. The troupe is a pale shadow of what used to be wayang kulit gedek, the Malaysian variant of the Southern Thai nang talung. The best-known performer of this form of wayang had been the late Pak Noh, Pak Majid’s father. Nonetheless, the
An uncomfortable situation developed when officials from the
The discussion during the APA meeting centred upon the state of puppetry in each country. My paper gave a general picture of the situation in Malaysia, touching on wayang kulit and Chinese as well as modern puppet styles. I pointed out that wayang kulit was dying out due to various pressures, including, in the case of Kelantan, the official ban on wayang kulit Siam and mak yong. On the positive side new initiatives have recently created less controversial forms of shadow play. One of these, wayang kulit Dewan Bahasa, promotes Islamic themes, while another, wayang kulit semangat baru, that I personally helped develop with the intention of using local stories, has thus far performed a single story based on the Japanese invasion of Kelantan at the onset of the Second World War. On the ground, even these and other new shadow play forms, some still tentative, remain relatively inactive. Puppeteers thus resort to other media such as video compact discs (VCD’s) and cassette recordings to promote their art and, possibly, also to earn royalties.
Intensive discussions took place during the meetings to lay the groundwork for the ASEAN Puppetry Association, proposed by
The ASEAN Declaration was initialed on December 1 2006 before the Vice President of Indonesia, Jusuf Kalla, in an impressive ceremony in his office in the presence of the Media, and officials from ASEAN countries, with at least some of the representatives still uncertain and hesitant.
The first hurdle appeared to have been cleared, with a glittering and dynamic wayang kulit performance by a well-known Balinese troupe. But, for most of the signatories, the uncertainties had only just begun.
The first meeting of the APA was held in
I even suggested that, to make things easier and cheaper, they mobilize dalang Pak Nasir of ASWARA to do this and that I would be prepared to assist. Pak Nasir could easily put together a troupe of people from
As it turned out, I could not go to the meeting. I had to return to
In the middle of 2008, when
In the later part of the year I suggested to the Cultural Centre of the
This time representatives from
The next APA meeting is scheduled to take place in the
My own interest in all of this, from the very inauguration of the APA, was to get something achieved in the area of research and documentation. This would take two forms: a book on ASEAN Puppetry, and the development of a resource collection, logically to be placed in
The Indonesians had planned the APA meeting to coincide with their own national wayang festival involving, this time, 18 of the best puppeteers from all over the country in competition. The event, organized by the Dalang Association of Indonesia (PEPADI) presented a spectacular array of outstanding performances over several days, including several by new and younger puppeteers. One could not but be impressed, even amazed, by the seriousness, as is their wont, with which the Indonesians took their wayang kulit, a form of theatre which, in their country, has virtually attained the character of “sacred art”.
Attending the Inaugural meeting in 2006 and the 2008 one in
In this country when it comes not just to wayang kulit but other traditional performing arts as well, we sense confusion; we sense a dilemma—manifestations, one suspects, of a deeper and broader identity crisis.