Thursday, September 10, 2009

ON THE ROAD TO FESTVAL APRIL 2010

Raising Women's Voices
Festival April 2010
Celebrating The Anniversary of The Birth of Kartini, Indonesia's First Feminist



I am currently preparing a new project that is an April Festival 2010, a cultural feminist festival to celebrating the anniversary of the birth of Kartini, Indonesian’s first feminist.

The Festival April is a celebration of women’s creativity and their thoughts, for the public to appreciate, through the showcasing of cultural performance and exhibition, public discussion, film screening, and cultural oration.

April Festival is a women’s event organized in conjunction with the anniversary of the birth of Kartini, Indonesia’s renowned feminist.

April, which coincides with the month when Kartini was born, has become the opportune momentum for women to celebrate their accomplishments, for self-evaluation and reflection, to identify concerns and struggles that lie ahead, and to impart messages of their own to the public including the younger generation.
We also hold a greater hope that as society grows to appreciate art and culture, so will their understanding on and respect for human rights, tolerance and pluralism.

Institut Ungu introduced the first April Festival in 2003 which proved to be a successful event with a turnout of some 5,000 visitors and received extensive news coverage. This tremendous reception from the public has inspired us to recreate the festival as a way of ensuring that the strength of mind and aspirations of Kartini and other Indonesian contemporary women thinkers continue to thrive amongst us.

April 2010 shall be the month for the 2nd edition of the festival which will carry the theme Raising Women’s Voices with focus on Women’s Liberation, Diversity and the Role of the Younger Generation.

Don't Miss It. See you at the Festival April 2010.

Thursday, August 13, 2009

Thought of the day-Raising Women's Voices

Faiza Mardzoeki


Raising Women’s Voices
From Kartini to the Youth of today…


The young woman contemplated and fought for a struggle no less arduous than the battle against the occupiers, which is the fight to unshackle women from the subjugation of their own people.”

Who is Kartini?

Women such as Tjut Nyak Dhien, Christina Martha Tiahahu and Nyi Ageng Serang are part of Indonesia’s spectrum of national heroes. Why then has Kartini become the symbol of the Indonesian women’s movement?

Tjut Nyak Dhien and Christina Martha Tiahahu were larger-than-life heroes who stood up against colonial powers to help gain freedom for the people. Kartini on the other hand, was a young woman who thought and fought for a more specific form of resistance intended to free women from the domination of their own people; a struggle as relentless as waging a war against the occupiers.

Kartini remonstrated against the absence of education for girls, lack of freedom of expression for women and a feudal system that imprisons aristocratic women within the walls of the royal palace. She decried on the treatment of women as nothing more than mere chattels for their fathers, brothers and husbands.

The fact that she herself breathed and lived in a social order that was most oppressive towards women – the Javanese feudal culture – meant that she had to bear a very heavy burden.

Kartini may not have defeated the culture that bound her. Her thoughts however, inspire women to have the courage to hold their head high and press forward in shaping a shared culture that serves justice for all.

Raising Women’s Voices

Women are citizens of the world and the state as well as members of society having equal rights as men. This is in keeping with the global recognition of CEDAW as an international instrument and the 1945 Constitution of the Republic of Indonesia.

In reality however, gender inequalities and discrimination against women prevail to this day.


Women’s Liberation, Diversity and the Role of the Younger Generation

Women today are in a more privileged position compared to their forerunners during Kartini’s lifetime. Women now have access to higher education, able to participate in politics, hold seats in parliament and have formal laws that protect them from violence particularly domestic violence.

Despite these advancements, there remains a host of other issues that need to be tackled and fought for. There are at least three main concerns that require urgent attention. First, is to free women from all forms of violence and poverty, and to enable them to participate in politics in its broadest sense. Second, the issue of diversity which has recently taken a setback due to the emergence of groups who tend to resort to violence in claiming the truth. Third, the need to ensure that the younger generation is involved in finding solutions to common concerns of the nation including those pertaining to the discrimination of women. The youth play a strategic role in ensuring the continuity of the women’s movement.

Women’s Liberation

Violence against women that occur in the public and private realms continues to see an upward trend. Women’s participation in politics is still fraught with hurdles or resistance in the public sphere where women are losing ground in the opportunity to engage in politics with a 30% quota for women through a majority vote mechanism imposed by the Constitutional Court. Under such circumstances, women who are still “new” to the political arena must battle against their more seasoned male counterparts. Another issue that continue to be of grave concern is the rampant trafficking of women and children. Violence inflicted on domestic workers, both in the country and outside has not seen any signs of abating. The most recent case involves a woman domestic migrant worker in Malaysia whose entire body was subjected to brutal abuse (see the Siti Hajar case, a migrant worker from Cianjur). More women are also forced to earn a living as sex workers as evident in the Dolly prostitution area in Surabaya which according to data from 2008 accommodates some 8,000 women.

Why are girls the victims of trafficking and thousands of women become sex workers at the Dolly red-light district? This is because women in general bear the brunt of the nation’s povertization, a state of destitution that at times incite acts of desperation and even courage such as the situation experienced by women migrant workers in foreign countries.

How can the voices of these women that rise and fall be duly heard to ensure that they are shielded and given the opportunity to be free from violence and suppression? How can these issues be continuously voiced to the public at large?

Diversity

Indonesia and its diversity, an undeniable certainty that has long been the pride of the nation is now imperiled by claims of truth touted by certain individuals or minority groups. We have not forgotten on how followers of Ahmadiyah were abused and hounded by a small band of people in the name of the “most truthful group”. In addition to instilling a sense of fear towards the Ahmadiyahs, this situation has also bred intense apprehension and trauma among women and children.

Laws that undermine national diversity and detrimental to women have also been enacted. These among others are the anti-“pornography” act and local regulations based on Islamic law which inhibit women’s freedom and threaten the preservation of the country’s folk art/traditions.

Another issue of equal importance concerns discrimination on the grounds of sexual orientation as inflicted on lesbians, gays, bisexuals and transgender people. Society still refuses to openly accept the sexual preference of LGBT who continue to be marginalized.

How should women stand on this issue?


The Role of the Younger Generation

By revisiting the history of the nation’s journey, it is clearly apparent that the youth of the country, including young women, had played a crucial role in shaping the course of the people’s struggles. Prominent figures such as Kartini, Siti Soendari, Roehana Kudus and others were the early thinkers and formidable women heroes who have crossed the private threshold into the public domain.

A different strategy is needed today to maintain the role of the modern youth in contributing towards the women’s movement. These strategies may include inter-generational dialogues, their involvement in various campaign activities on issues related to gender, diversity and the role of the younger generation, as well as through contemporary popular mediums such as the arts (stage performance or digital) and public dialogues held in schools, campuses or public places.

Monday, June 29, 2009

Aruk Gugat-Teater Satu Lampung

Pertunjukan teater
Aruk Gugat-Teater Satu Lampung




Yang segar dan reflektif dari Lampung

Faiza Mardzoeki*

Pada tanggal 19-20 Juni, Teater Satu, Lampung kembali mementaskan karyanya di Teater Salihara. Grup ini sepertinya “langganan” mentas di komunitas seni yang dikelola Gunawan Muhamad Cs. Sebelum di Salihara, Teater Satu sudah bolak balik mementaskan karyanya di Teater Utan Kayu (TUK), antara lain Menunggu Godot karya Samuel Beckett, tahun 2002. Karya lain yang sempat pentas di Salihara adalah monolog berjudul “Perempuan di Titik Nol” dengan Hamidah Serpa sebagai aktor, disutradarai oleh Iswadi Pratama. Monolog ini merupakan adaptasi dari novel karya Nawal El Saadawi oleh Sitok Srengenge (2008). Monolog Perempuan di Titik Nol dipilih sebagai pertunjukan terbaik Indonesia Versi majalah Tempo tahun 2008.

Teater Satu merupakan grup teater yang cukup menonjol di Lampung dengan pengelolaan managemen professional dipimpin oleh pasangan suami istri Iswadi Pratama dan Imas Sobariah. Baik Imas maupun Iswadi, keduanya juga merupakan penulis drama, sutradara dan pemain. Karya Imas sendiri antara lain naskah Monolog berjudul Wanci, yang sedang dipersiapkan untuk mentas di Jerman tahun depan.

Kali ini, Teater Satu membawakan naskah hasil karya Iswadi Pratama berjudul Aruk Gugat. Iswadi juga bertindak selaku sutradara dan turut serta bermain di sini. Menurut Teater Satu, Aruk Gugat merupakan karya yang mengalami experimen panjang dimulai sejak tahun 1998. Sebelumnya, karya ini telah dipentaskan keliling lebih dari 50 kali pertunjukan. Aruk Gugat telah melewati pentas keliling di desa-desa Lampung, Jambi, Solo, Tegal, hingga Jakarta dan yang terakhir di teater Salihara, juga di Jakarta, pada bulan Juni ini.

Menurut Teater Satu, proses kreatif Aruk Gugat bermula dari pertanyaan: Munkinkah membuat sebuah pertunjukan yang bisa diterima dan dinikmati oleh semua lapisan dan kelas sosial masyarakat? Apakah mungkin dicapai suatu bentuk artistik dan estetik pertunjukan yang bisa diterima dan dimegerti secara umum? Apakah esensi dari sifat-sifat univesalitas di dalam karya seni pertunjukan itu? Mungkinkah membuat sebuah pertunjukan yang tidak terlalu sukar dilakukan namun memiliki kualitas artitistik dan estetik yang bisa diterimadan bisa dinikmati oleh semua penonton?

Dan, pementasan Aruk Gugat di Salihara malam itu menampilkan sebuah sajian teater yang segar, bernas sekaligus reflektif. Renungan dan pemikiran panjang dalam proses kreatif mereka selama hampir 10 tahun ini berhasil memberikan oase dan kebeningan sebuah pertunjukan teater di Jakarta.

Aruk Gugat, menampilkan kisah Aruk, yang dimainkan dengan sangat pas oleh Sugianto. Aruk adalah seorang laki-laki yang baik, sedikit pemalas dan bodoh, tapi jujur. Aruk diharapakan mampu mengangkat kembali martabat keluarga setelah kematian sang Ayah, dengan menitipkannya di rumah pamannya oleh Emaknya (Emak dimainkan oleh Ruth Marini).

Pertunjukan yang memakan waktu hampir dua jam ini terasa segar dengan akting yang merata bagus. Karakter-karakter yang dibawakan terasa pas! Alurnya sederhana namun tetap ada suspens yang membuat pertunjukan jadi lebih bernyawa. Terasa ada sedikit kekurangan, kalau itu bisa disebut kekurangan. Nampak ada beberapa bagian dari pemainnya yang tidak kuasa menahan kegeliannya sendiri, seperti Ayah Aruk, menghadapi kepolosan aruk dan satu adegan saat baca pantun. Namun, hal itu tidak terlalu menganggu jalanya permainan. Ruth Marini, sebagai Ibunya Aruk cukup bernas merespon “kegelian” sang Ayah. Selain itu pertunjukan Aruk Gugat memang sederhana dan terlihat sangat natural. Sehingga peluang untuk terlihat “jelek” pun sangat tipis. Aruk gugat kuat di alur cerita dan kemampuan para aktornya serta kemasan pertunjukan yang sederhana ala pertunjukan teater rakyat. Tidak ada set panggung yang njelimet atau rumit, atau dibuat supaya indah. Hanya ada beberapa bangku sebagai property panggung dan para aktor serta pemain musikya duduk berderet di belakang area panggung utama.

Sebagai karya yang sudah dipentaskan lebih dari 50 kali, tentunya para pemain dan seluruh tim pendukungnya sudah sangat mengenali apa yang dimaui Aruk Gugat itu.

Hanya di bagian akhir pertunjukan, terasa kurang pas atau nyambung dengan roh keseluruhan kemasan Aruk Gugat. Adegan akhir, pada perkembangan karakter Aruk, yang terus terpuruk, selalu gagal dan dicela oleh teman-teman dan lingkunganya, menyebabkan Aruk protes dan marah dengan membakar kantor kelurahan yang mengakibatkan Aruk diadili oleh desanya. Sutradara memutuskan dengan cara menampilkan adegan “pengadilan” yang suram dengan menampilkan saksi-saksi dari seluruh karakter yang melingkari kehidupan Aruk. Kesaksian dari orang-orang yang mengenal Aruk, menceritakan bagaimana Aruk sebenarnya. Padahal tanpa testimoni di pengadilan ini, sejak awal penonton sudah memasuki perjalanan siapa Aruk dengan plot yang sudah dilakonkan. Jadi, adegan akhir terasa kurang berguna apalagi dengan gaya suram. Kalau saja adegan akhir itu diisi oleh seorang pencerita saja yang menjelaskan bagaimana nasib Aruk, sama seperti ketika pertunjukan dimulai, Aruk Gugat akan lebih pas kalau mau dikatakan sebagai teater sederhana ala “sandiwara kampung”.

Aruk Gugat sebagai pertunjukan dengan nafas “sandiwara kampung” dengan logat kental lidah Lampung ini sejatinya membawakan naskah kisah sisi kelam manusia, namu dibawakan dengan gaya ringan. Tentang Aruk yang selalu gagal meski telah berusaha, selalu dicemooh oleh orang-orang yang merasa lebih pintar dan berpikir. Aruk telempar dalam lorong sepi dalam ketidak berdayaan melawan lingkungan sosialnya yang selalu menuntutnya menjadi pintar. Pertanyaan reflektif saya terhadap Aruk Gugat: Bagaimana kalau kita yang menjadi Aruk, seperti Aruk....?”

Friday, June 19, 2009

From A Play: The Metaphor of Love






The metaphor of Love
Is there any love?




Faiza Mardzoeki

On 24 May, I watched a play, “The Metaphor of Love” a production of Teater Koma, written and directed by Nano Riantiarno.
With the tagline of “Is there any love?”, the play was produced to celebrating Ratna Riantiarno birthday. Ratna is Nano’s wife and a leading actor of Koma as well.
As couple of theatre workers, to celebrating the partner’s birthday with special production of theatre was indeed very nice moment.

What happened on the stage?

The set were modern minimalist. There were 2 sets of chairs, one, in the left was for conversation in the morning or during the day. On the right was set of chairs seem like in the lounge room? Then, a bed was on the centre of stage. All the materials were from zincs’ with metallic colour. It‘s a bit strange idea.

With duration 99 minutes, the stage opened by three dancers with choreographer by Ratna Uli also 5 women who look like to brings some properties on the stage, of traditional lamp (damar). The women with the lamp moving around brings some light, the dancer was moved around show some movements, while the back of stage some hand writings title which moved slowly. It was like poems: Dalam gerak yang sunyi, awan berarak, menyatu, menebal.... (In the stillness movement, the cloudy was moved, uniting, bolding...

There was an impression of poetic nuance and stillness vividly revealed on the stage. Then, slowly the actors, Ratna and Nano Riantiarno came up. One morning, they made conversation, “what day is this, what date” asked the husband (Nano). The wife (Ratna) answered “Today is Monday and the first month” Then the husband talk active especially about politic. Nano tried to convey the actual political issues with satiric style. About pilpres (presidential election), about corruption ect. The next morning, they came up again with same question from the husband what day and what date is this. Then, the reflection questions from the husband: Is there still any love. This question was the base of dramatic tension moment from the story. It’s like the hints what the next will be happened. But, the wife didn’t want to answer verbally. So, the story will flow nicely and mysteriously, I hope. So, I would wait till end and enjoyed the acting.

Ratna and Nano were acted very well. Relax and they looked much enjoyed on the stage. I was so enjoyed to watch them. The distraction was revealed when they talk too much about the actual political situation. What the relation between the questions to the wife, “is there any love?” with the conversation about the politic. The focus story becomes weak.

I hope the story would flowing to the deep question why the husband asked “Is there any love” and really needed the answer from the wife, while wife didn’t want to answer. In the beginning, they gave hints when, both husband and wife told the “past of envelope” which was content of their past.

But its pity, Nano, dragged the audiences to the political satiric situation. The stories went into the jargon conversation like about justice and satire about court? Nano spread out the pamphlets with the questions of “Is there any love”. Because of the pamphlets’, Nano accused as crime. In this scene Nano satire of all the rotten trial law as happened today in actual issues in Indonesia. But, in the end scenes when the time already gone, they become old, the answer the question was that there is still love, of course. Because I am still with you, I am still your wife; I am still accompanying you all the time.

The metaphor of love was very good pieces of acting from Ratna and Nano Riantiarno. But, it was weak in the plot of story. They didn’t show what the context of the bad political situation and the love relationship question. Why didn’t Nano just focus on the journey of their love, their long relationship? Some time we just need “a humble” story. Just about the journey of love.

(tebet, 26 May 09)

CERITA DARI DOLLY -TALES FROM DOLLY

Cerita dari Dolly

Siapa Sesungguhnya yang PELACUR?


Faiza Mardzoeki


Perempuan-perempuan itu sudah tidak dimanusiakan lagi. Perempuan-perempuan itu sudah diubah esensinya sebagai manusia menjadi barang peliharaan, dikurung sebagai barang milik para germo dan dijual sebagai barang dagangan kepada para lelaki dan dianggap sampah oleh masyarakat. Bukankah demikian yang terjadi? Siapakah sesungguhnya yang pelacur? Merekalah para germo, calo, laki-laki pembeli tubuh perempuan dan agen-agen lain yang menindas, merampas kemerdekaanya dan memanfaatkan tubuh perempuan-perempuan itu.

Pada pertengahan bulan Februari 2009, saya mengunjungi Dolly, daerah pelacuran di Surabaya, Jawa timur. Dolly juga dikenal sebagai daerah pelacuran terbesar di Asia Tenggara. Kunjungan singkat selama 5 hari, adalah dalam rangka melakukan riset awal persiapan penulisan naskah drama tentang pelacuran Dolly.

Dolly tepatnya terletak di kawasan kelurahan Putat Jaya, kecamatan Sawahan, kota Surabaya. Surabaya sendiri dikenal sebagai kota terbesar ke dua di Indonesia dan dikenal sebagai kota industri dan pelabuhan.

Dolly sebenarnya merupakan bentangan jalan kurang lebih sepanjang 150 meter dengan lebar 5 meter dan beraspal bagus, hasil dari Proyek Perbaikan Kampung pada tahun 1977. Dolly dikenal sebagai daerah lampu merah “kelas menengah” . Tidak jauh dari Dolly (bersebelahan) ada jalan Jarak, yang dikenal sebagai lokasisasi pelacuran “kelas bawah-miskin”.

Jauh sebelum saya berkunjung ke Dolly-Jarak itu, saya sudah sering mendengar kabar berita seputar Dolly sebagai daerah pelacuran, bahkan menjadi “Ikon” kota Surabaya. Sedangkan Jarak, saya nyaris tidak terlalu mendegar beritanya. Dolly-lah nama yang lebih terkenal itu.

Kunjungan riset awal ini ditemani orang kawan, Vivi. Atas bantuan Vivi ini, saya dikenalkan dengan seseorang bernama S, seorang lelaki mantan mucikari. Namun, atas kesadarannya sendiri S berhenti sebagai mucikari dan berbalik menjadi pekerja sosial dengan mendirikan perpustakaan untuk anak-anak di lokalisasi kawasan Jarak. S juga mengadvokasi kasus-kasus kekerasan atau mengikuti penyuluhan kesehatan bagi penghuni Dolly-Jarak. S ini yang kemudian menjadi “pengawal” saya selama di kunjungan itu.
Tanpa pengawal atau teman dengan orang yang sudah dikenal di daerah lampu merah ini, jangan harap mendapatkan informasi atau bisa memasuki kawasan itu dengan ringan. Gali-gali (gabungan anak liar) bergentayangan mengamankan seputar Dolly-Jarak. Mereka ini yang akan mengawasi kalau-kalau ada orang asing yang mencurigakan.

Berebut menggali untung dari tubuh perempuan


Jarak
Pada hari pertama tiba di Surabaya, kami langsung menuju jalan Jarak (Putat Jaya), janjian bertemu dengan S. Kami bertemu dengan S di sebuah warung nasi kecil (warteg) terletak di pinggir jalan. Dalam perjalanan menuju tempat pertemuan itu, kami melewati gang dengan kanan-kiri tempat bordil-bordil miskin (dikenal dengan sebutan wisma) Suara musik dangdut menggema keras. Biasanya musik mulai berdentum dari pukul 10 pagi hingga jam 2 atau 3 dini hari. Saat itu hari baru menunjukan pukul 2 siang, suasana bordil belum terlalu hidup. Hanya irama dangdut menemani beberapa laki-laki yang lebih suka duduk di dalam, sementara para perempuan, lebih terlihat suka duduk-duduk di depan bordil, sambil berbincang dengan teman-temannya. Hampir setiap bordil nampak minimal 2-3 perempuan menggerombol di depan. Usia mereka nampak antara 20 an, 30 an dan 40 an. Sesekali terlihat anak-anak kecil dan pedangang yang lewat. Di antara bordil ini ada juga yang rumah biasa, rumah yang dihuni oleh rumah tangga. Deretan bordil itu nampak suram dan gelap. Gang yang membelah kanan kiri deretan bordil itu sempit, hanya muat untuk 3 orang berderet.

Sekitar jam 3.30 sore kami bertemu S, lelaki berusia sekitar 50 tahun. Sambil menyeruput kopi tubruk kami berbincang seputar Dolly-Jarak. S cerita, bahwa banyak pihak terkait dengan keberadaan lokalisasi pelacuran tersebut. Tidak jauh dari lokalisasi ada masjid, rumah yatim piatu, rumah penduduk, toko-toko, warung nasi, tempat cuci, tempat parkir dan segala kegiatan yang menandai sebuah kehidupan urban pinggiran. Si pemilik warung, perempuan berusia sekitar 30 an tahun juga ikut berbincang dengan kami. Menurut pemilik warung, ia tinggal di daerah Jarak sejak kecil. Selama bertahun-tahun ia bertemu dengan beragam orang dari latar daerah yang beda dan cerita hidup yang beda. Orang-orang yang lalu lalang ke warung atau melintas di depannya nampak normal-normal saja, seperti layaknya sebuah warung. Sempat terlintas dalam benak saya “masyarakat bisa hidup berdampingan dengan tentram, padahal di komplek pelacuran”. Di daerah tertentu, lokalisasi pelacuran “dijauhi” penduduk biasa. Tapi di Jarak dan Dolly, campur aduk. Artinya penghuni kawasan ini cukup mempunyai rasa solidaritas yang tinggi?

Hari ke dua, saya lebih dalam memasuki kawasan Jarak. Kami sempat berbincang di perpustakaan yang dikelola S. Perpustakaan itu menempati sebuah rumah, dengan seorang Ibu dan anak kecil. S menyewa satu ruangan untuk menempatkan buku-bukunya dan satu kamar lagi untuk kantor sekaligus sebagai kamar tidurnya. Dari ruangan itu S bekerja. Menurut S dahulu rumah tersebut sebenarnya juga disewakan sebagian untuk dijadikan bordil, menyatu dengan kehidupan “normal” pemiliknya.

S mengatakan, di daerah Jarak memang banyak sekali rumah-rumah penduduk yang disewakan untuk dijadikan rumah bordil. Di antara mereka yang tadinya hanya menyewakan lama-lama ada yang “naik pangkat” menjadi germo juga. Atau orang lain menyewa rumahnya untuk dijadikan rumah bordil. Karena marak rumah-rumah bisa disewakan, seorang germo biasa menyewa 2 -3 rumah untuk dijadikan bordil. Menurut catatan S, tercatat ada sekitar 56 rumah bordil dengan 2500 pekerja sex perempuan di Jarak saja. Belum termasuk yang di Dolly.

Dalam catatan hasil riset Tjahjo Purnomo dan Ashadi Siregar dalam bukunya “Dolly-membedah dunia pelacuran Surabaya dan kompleks pelacuran Dolly”, Grafity Pers, 1982 bahwa izin mendirikan bordil itu diperoleh dari kepolisian dengan menyebut izin mendirikan warung kopi yang dilayani perempuan-perempuan. Tidak mengherankan, bordil-bordil itu selalu ada.

Pada siang sampai sore, kehidupan terasa biasa. Banyak pedangan lewat, para perempuan berbincang di depan. Yang membedakan dengan kehidupan normal lain adalah dentuman irama dangdut, sesekali ada alunan pop yang sangat keras.

Saya sempat diwarkan untuk menyewa kamar di salah satu milik penghuni Jarak yang juga memiliki rumah bordil dan sekaligus menjadi germonya. Sekilas keluarga germo sangat biasa. Mereka ada suami istri. Di ruang tamu terlihat sebuah foto dipajang, berpakaian polisi. Rupanya itu foto anaknya yang berprofesi sebagai polisi. Kami naik ke lantai atas di mana ada kamar yang akan disewakan itu. Ruangan itu tidak terlalu luas, berukuran sekitar 3x3 meter dan ber AC. Kami berencana mau nginap di ruangan itu selama 3 malam, supaya bisa mendengarkan nafas kehidupan Jarak lebih dekat. Setelah harga deal, yaitu 300 ribu permalam, kami pergi, kembali menyusuri Jarak. Tapi, Esoknya kami batal menginap di rumah bordil itu, karena saya sempat terserang rasa pusing dan muntah-muntah. Masuk angin dan sedikit stress, marasa capai. Saya dan Vivi menginap di rumah seorang teman di daerah Bungur, kira-kira 45 menit menggunakan taxi ke arah Dolly.

Malam hari, kami menyempatkan diri nongkrong di rumah bordil pemilik kamar yang tadinya akan kami sewa itu. Seorang perempuan muda, bertubuh agak gemuk dari Madura menemani kami. Saya menaksir umurnya baru 20 an tahun. Menurut S, perempuan muda ini adalah primadona di bordil ini. Ia menemani kami minum bir. Ia terkesan pendiam dan sulit saya ajak bicara dan nampak pemalu. Seiring malam yang kian larut, bersama botol bir yang terus bertambah, akhirnya perempuan ini membuka juga percakapan. Ia cerita, pada saat minggu pertama bekerja di bordil itu, ia sempat muntah-muntah hampir 3 hari ketika latihan minum bir. Sang germo memaksa harus bisa minum bir dan memaksa para tamu untuk terus membeli botol-botol bir dengan cara terus menerus menuangkan bir ke gelas dari botol-botol bir itu sambil menemani ngobrol. Di luar harga bir, kami harus membayar ke perempuan yang menemani ngobrol dan menuangkan botol-botol bir ke dalam gelas kami seharga Rp 50.000. Harga bir di bordil ini bisa 5 x lipat harga normal.

Perempuan dari Madura bernama Sri (bukan mana sebenarnya) sempat cerita bahwa dirinya punya anak satu, ditinggal suaminya. Ia harus menghidupi keluarga dan anaknya di kampungnya. Di ruangan pengap itu tampak tamu-tamu lain, semua laki-laki menenggak bir berbotol-botol, sambil main gaple, main karaoke dengan musik yang begitu keras dan ditemani para perempuan. Biasanya akan berujung pada transaksi sex.
Kata S, rata-rata pengunjung bordil itu adalah supir taxi dan kaum miskin lainya. Semalam mereka bisa menghabiskan Rp 300.000 untuk sex dan minuman.

Keheranan yang cukup besar menghinggapi perasaanku. Bagaimana orang-orang miskin itu mampu membelanjakan uang sampai Rp 300.000 sekali berkunjung ke pelacuran??? Tidak heran, sering terdengar kisah kekerasan melanda rumah tangga jika sang suami lebih suka membelanjakan uangnya di rumah-rumah bordil. Para suami melupakan tugas dan tanggung jawabnya terhadap keluarga, akibatnya konflik terjadi dan bisa berukujung pada kekerasan.

Terlihat pula para pedagang bebas memasuki rumah-rumah bordil menawarkan makanan. Ada tukang sate atau tukang gorengan. Rupanya di rumah bordil tidak menyediakan makanan berat. Bordil hanya menyediakan minuman dan makanan kecil seperti kacang goreng.
Hal lain yang menarik perhatianku adalah plakat tulisan “Anggota ABRI di larang masuk” menempel di dinding-dinding bordil.

Namun, dari hasli penelitian Tjahjo Purnomo dan Ashadi Siregar dalam bukunya berjudul “Dolly”, tahun 1982, sebenarnya banyak sekali oknum-oknum militer yang bergentayangan dan menjadi backing para germo atau rumah bordil. Untuk itu para aknum militer ini mendapat imbalan dari para germo tersebut.

Bordil di Jarak tidak memajang perempuan-perempuan itu di dalam satu ruangan seperti aquarium. Perempuan-perempuan di Jarak nampak lebih “bebas”, bisa duduk dan berkaraoke menemani tamu-tamunya untuk kemudian dibooking ke kamar atau hanya sekedar menemani saja.


Dolly
Memasuki Dolly pada sore hari menjelang malam, gemerlap lampu warna warni mulai menyala sepanjang jalan. Terlihat banyak lelaki berbaju batik di depan bordil-bordil Dolly. Para lelaki itu adalah para “kenek”, yang mencari ribuan laki-laki yang lalu lalang berjalan di sepanjang Dolly ini. Para kenek berbatik itu mencari pembeli seperti kenek di terminal mencari penumpang. Untuk pekerjaan ini, para kenek ini mendapatkan Rp 7.000 apabila berhasil mendapatkan laki-laki masuk ke bordilnya.
Bordil-bordil dengan sebutan santun, wisma, ini berderet-deret tampak megah dan terbuka, memajang para perempuan yang siap bekerja melayani para “petualang sex” dan pemimpi keperkasaan. Hampir semua bordil mendesain ruangan nyaris sama. Salah satu Bordil memasang nama mentereng “Wisma Nusa Bangsa”.

Jumlah bordil di jalan Dolly ini sekitar 56 an. Rata-rata setiap bordil mempunyai perempuan yang siap dilacurkan sekitar 20 orang. Artinya Di Dolly saja ada sekitar 1000 perempuan yang dilacurkan. Mereka berasal dari berbagai pelosok desa di Jawa hingga luar Jawa. Jumlah ini belum termasuk yang berada di luar 2 lokasi (Jarak dan Dolly). Sebenarnya, tidak jauh dari Jarak dan Dolly, terdapat banyak terdapat gang dan jalan-jalan yang dipakai sebagai lokalisasi pelacuran dengan kamulfase salon, karaoke dan tempat pijat. Kulihat sekilas, jumlah perempuan yang berada di tempat-tempat ini, tidak jauh beda dengan kerumunan yang berada di Dolly.

Menurut S, data terakhir tahun 2008, jumlah perempuan yang dilacurkan di Dolly-Jarak dan sekitarnya hampir mencapai 8000 orang.

Dilengkapi dengan bar yang penuh minuman, sofa dengan warna menyolok membentuk huruf L atau U untuk penempatan para perempuan dan papan nama-nama minuman (bir) terpasang di setiap depan bordil. Plakat bertuliskan “Anggota ABRI dilarang masuk” menjadi “ornament” wajib di setiap bordil di Dolly ini.

Para perempuan diharuskan dandan penuh dengan berbedak tebal dan berlipstik menyala di bibirnya. Mengenakan pakaian terbuka sejenis tanktop, rok mini dan sepatu ber hak tinggi. Kebanyakan berambut panjang dan lurus. Mereka duduk dengan kaki-kaki disilangkan, setia berdiam diri, sambil sesekali memainkan HPnya (seperti ber SMS-an) menunggu “dibeli”.

Bersama teman dan petunjuk jalan yang mantan mucikari itu, kami masuk ke bordil yang paling terkenal dan paling mahal di Dolly, namanya wisma “B”. Menurut S dan orang di Dolly, wisma B ini milik seorang yang sudah berkali-kali naik haji. Dulunya, sebenarnya hanya seorang calo, menanjak jadi germo dan memiliki bordil megah dan memiliki perempuan-perempuan yang siap dilacurkan dengan harga paling mahal di kawasan Dolly. Kenapa bisa memasang harga paling mahal? Konon karena perempuan di bordil B ini cantik-cantik dan berkelas. Entahlah. Kulihat para perempuan itu berdandan seragam. Tanktop, rok mini, rambut lurus, make up tebal dan sepatu atau sandal berhak tinggi. Semua nampak cantik dan mata hatiku menangkap mata yang kuyu dan jiwa yang lelah. Kaki-kaki mereka duduk seragam, menyilang. Mereka duduk berderet di sofa di balik kaca dengan lampu terang sehingga memungkinkan mereka terlihat jelas dan gampang dipilah-pilah. Mereka setia penghadap para pengunjung yang duduk-duduk di depannnya. Saya menghitung jumlah perempuan yang dipajang itu ada 22 orang.
Kami duduk-duduk memesan beberapa botol bir, memperhatikan para pengunjung.

Di Bordil B ini 100% laki-laki kecuali saya dan temen saya, dan pedagang makanan, ibu tua yang berumur 50 tahun, menggendong makanannya menawarkan ke para perempuan yang gelisah dan capai menunggu dibeli. Para pengunjung laki-laki konsentrasi memperhatikan deretan perempuan dari keremangan kursi. Beberapa kulihat tangannya menunjuk kearah perempuan sambil berbisik kepada calo di sampingnya. Kelihatan sedang sibuk memilih mana yang bakal dibeli.

Para perempuan di Dolly ini “dibandrol” dengan tarif perjaman. Dari perbincangan kami dengan S, setiap kali tamu masuk ke kamar, mereka dicatat pada sebuah buku, dicatat jam masuk dan nama perempuan yang dipilih. Kelebihan waktu maximal hanya 10 menit. Di Dolly rata-rata perjamnya Rp 85.000, sedangkan untuk bordil termahal itu, tarifnya sampai Rp 300.000 perjam.

Melihat angka-angka rupiah dalam lingkaran kerja pelacuran ini sangat fantastis. Tidak heran apabila bisnis pelacuran kian merambah dan terus ada. Kemiskinan di satu sisi telah mendorong para perempuan terpaksa bersedia dilacurkan, di lain sisi menciptakan kekekayaan baru bagi si pengedali “kekuasaan pelacuran”. Dalam situasi ini, perempuan si subyek utama bisnis ini justru berada di titik nol. Dinistakan dan diperas sampai ke keringat keringnya.

Ini Tubuhku, Dolly!

Keberadaan pelacuran Dolly dan Jarak telah membuat denyut roda ekonomi berputar ke segala penjuru, mengalir ke desa-desa asal perempuan, pungutan untuk RT, RW, Lurah, kecamatan, sampai ke tukang parkir. Lahan kerja untuk tukang cuci, pedagang makanan kaki lima, tukang salon, tukang pedagang keliling kredit baju make up, dan cara ngeruk untung untuk para germo, penyewa bordil dan calo-calo.

Menurut Yuyung Abdi dalam bukunya “Sex for Sale, tahun 2007”, satu bordil permalamnya bisa mendapatkan omzet sebesar Rp 10.000.000 (sepuluh juta rupiah). Dengan rata-rata satu bordil memiliki 20 perempuan, dengan harga Rp 85.000. Para perempuan ini sedikitnya dalam semalam harus bekerja melayani 6 laki-laki. Pembagian hasil keringat perempuan ini adalah sbb: 40: 60. Masuk ke si perempuan Rp 35.000, Rp. 40.000 masuk ke germo dan Rp 10.000 untuk para pekerjanya, termasuk para kenek itu.
Jadi dalam semalam perempuan apabila melayani 6 laki-laki ia mendapatkan uang sebesar Rp 210.000 (Rp 35.000 x 6 orang), Germo mendapatkan Rp 4,8 juta (kalau dapat tamu 120 orang permalam x 20 perempuan) sedang yang masuk ke kas buruh bordilnya adalah sebesar Rp 1, 2 juta. Bandingkan berapa yang diterima oleh si perempuan-nya. Dari hasil jerihpayahnya sebesar Rp 210.000 permalam ia harus menyewa kamar kost, membeli makanan dan kebutuhan sehari-hari, baju sexy, make up dan harus nabung untuk keluarganya.

Para germo itu juga harus membayar iuran ke Muspika (Musyawarah Pimpinan Kecamatan). Sehari Muspika bisa menapatkan Rp 1,4 juta dari keberadaan rumah-rumah bordil. Jadi dalam setahun bisa meraup pendapatan Rp 504 juta!

Keuntungan, uang yang didapat berangkat dari satu hal: tubuh perempuan. Tubuh Perempuan inilah “alat produksi” utama industri pelacuran itu. Persoalannya Perempuan si “pemilik modal utama” itu, berada dalam posisi yang sangat lemah posisi tawarnya dan rentan dengan kekerasan. Perempuan yang dilacurkan ini tidak otonom atas tubuhnya. Dalam situasi ini, germo dan pembelilah (laki-laki) yang memiliki kekuasaan atas tubuh perempuan, sementara perempuan-perempuan ini juga harus menghadapi situasi rawan kekerasan demi memenuhi keinginan germo dan para pembeli (laki-laki)

Rantai kekerasan yang dialami oleh Perempuan yang dilacurkan...


Selama ini, masyarakat berkecenderungan menuding “perempuan pelacur” sebagai biang kerok kebobrokan masyarakat, bahkan dianggap sampahnya masyarakat. Tetapi masyarakat lupa mempertanyakan sampai ke dalam intinya, bagaimana perempuan itu bisa menjadi pelacur. Masyarakat melupakan ada agen-agen yang menyebabkan perempuan terseret ke arus pelacuran. Di dalamnya banyak pihak terkait, menyetujui dan membiarkan bahkan mengambil keuntungan dari para perempuan ini.

Sekarang ini, atas kesadaran sendiri, kaum sebagian perempuan yang bekerja sebagai pelacur penyebut diri sebagai “Pedila”, singkatan dari Perempuan yang dilacurkan. Istilah ini mengadung kesadaran bahwa ada agen-agen lain yang menyebabkan dirinya bekerja sebagai pelacur, bahkan dipaksa atau terpaksa menjadi pelacur.
Untuk itu, sayapun menggunakan sebutan perempuan yang dilacurkan, karena saya menyakini bahwa ada pihak lain, agen lain yang menyebabkan ada perempuan bekerja sebagai pelacur.

Saya percaya, bahwa perempuan sebagai manusia juga berhak dan ingin menjadi manusia. Bebas, merdeka dan bermartabat, setara dengan manusia lain, baik laki maupun perempuan.

Mengapa perempuan bersedia dilacurkan? Banyak riset mengatakan bahwa faktor kemiskinan menjadi pendorong utama para perempuan itu terseret dalam arus perdagangan sex. Faktor lain adalah budaya patriarki yang masih bersemayam dalam sistem masyarakat kita. Sehingga, dalam situasi kepepet itu, perempuan adalah “properti” yang paling mudah untuk dijinakan. Banyak kisah seorang Ayah menjual anak-anak gadisnya kepada para calo untuk dijual ke germo-germo di Dolly.

Menurut S, perempuan itu diambil oleh para calo ke desa-desa, dengan membayar kepada orang tuanya sekitar Rp 2.000.000 s/d 5.000.000 per orang kepada orang tuanya. Calonya sendiri akan mendapatkan Rp 1.000.000 s/d 2.000.000 per orang. Uang tersebut (uang untuk si orang tua dan si calo) berasal dari calon germo si perempuan. Ketika perempuan itu sudah sampai di lokalisasi pelacuran dan siap bekerja, jumlah uang untuk orang tua dan calo langsung dibebankan kepada si perempuan. Beban itu disebut: Hutang. Selain hutang untuk orang tua dan calo, perempuan itu juga akan dikenakan uang makan, uang penginapan dan kebutuhan lain, yang dipinjami terlebih dahulu oleh sang germo. Jadi, perempuan itu sudah menanggung hutang jutaan sebelum ia bekerja.
Pada detik ketika ia dipanggil oleh ayahnya untuk menemui calo, perempuan itu telah dirampas kebebasan dan harga dirinya. Ia harus menanggung beban kemiskinan dan kekuasaan ayah.

Di lokalisasi, tempat ia terpaksa harus menyerahkan tubuhnya, ia sudah menanggung hutang dan apapun keinginan germo dan pembeli. Situasi inilah yang menjerat perempuan yang dilacurkan itu sangat kesulitan terbebas dari pekerjaan “melacurkan diri” itu.
Di samping hutang yang ditanggung, ia harus menjalani “lompatan budaya” secara drastis. Misalkan, tiba-tiba ia harus akrab dengan minuman beralkohol (bir dll). Ingat cerita Sri yang sudah kutuliskan di atas, perempuan asal Madura itu harus muntah-muntah 3 hari karena dipaksa oleh germonya latihan minum bir. Selain harus minum yang bukan kebiasaanya, tiba-tiba ia harus berdandan tebal, berpakaian terbuka, mengikuti aturan “mana yang sexy” menurut si germo demi untuk bisa memuaskan pembeli, dan tentu harus melayani sex dengan laki-laki yang tidak dikenal. Ia harus membuang jauh emosi yang bersemayam dalam dirinya. Perempuan-perempun itu sudah tidak dimanusiakan lagi secara utuh.

Tidak ada pelindung bagi perempuan yang dilacurkan itu. Tidak dari masyarakat apalagi pelindung formal dari pemerintah. Yang ada preman-preman dan gali-gali yang bergetayangan mengamankan dan melindungi germo.

Kemana perempuan-perempuan itu mengadu apabila mengalami kekerasa sexual, mengalami pemerasan dari orang tua, germo, calo dll?

Perempuan-perempuan itu sudah tidak dimanusiakan lagi. Perempuan-perempuan itu sudah diubah esensinya sebagai manusia menjadi barang peliharaan, dikurung sebagai barang milik para germo dan dijual sebagai barang dagangan kepada para lelaki dan dianggap sampah oleh masyarakat. Bukankah demikian yang terjadi? Siapakah sesungguhnya yang pelacur? Merekalah para germo, calo, laki-laki pembeli tubuh perempuan dan agen-agen lain yang menindas, merampas kemerdekaanya dan memanfaatkan tubuh perempuan-perempuan itu.

Saturday, May 30, 2009

Gender and Theater-Notes from Sumatra Women Stage




Gender and Theater
Notes from Sumatra Women Stage –Teater Satu Lampung

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.

* pic note: Teater Intro, Payakumbuh, by Teater Satu Lampung

Wednesday, May 20, 2009

We are against poligamy !

http://www.thejakartapost.com/news/2003/07/29/we-are-against-polygamy.html

We are against polygamy!


The Jakarta Post , Jakarta | Wed, 07/30/2003 12:00 AM | Opinion

Faiza Mardzoeki, Member, Management Council Ungu Institute, Jakarta

July 25, 2003, marked a setback in the Indonesian women's movement. On that date an Indonesian businessman, Puspo Wardoyo, the owner of the restoran Wong Solo franchise, organized an awards ceremony for males who had married more than one wife.

More than 30 women's organizations as well as individuals from Jakarta protested this event. Among the organizations that formed the coalition ""Nurani Perempuan Indonesia (Indonesian Women's Conscience) were the APIK Legal Aid Center, Aisyiah, Kalyanamitra, Institut Ungu and the National Commission on Violence Against Women. This coalition rejects polygamy and also protested the awards ceremony. A similar demonstration also took place a year ago in Yogyakarta.

The women's movement has always rejected polygamy. National heroine Kartini was among the virulent opponents of it. There was also a strong movement later -- Pewari, in 1952, opposed to the decision by President Sukarno to take a second wife. After the fall of Soeharto, the women's movement always raised its opposition to polygamy when it organized events, to protest violence against women.

The women's movement outside Indonesia also opposes the practice of polygamy. This is shown by the recommendations passed on the issue of elimination of discrimination in February 1998 at the UN. At the 378th session of the assembly, a resolution was passed, stating, ""Indonesia, as the largest Islamic society, is urged to become a society free of polygamy"" and it added, ""polygamy remains a threat to all women as long as it remains unprohibited by law.""

Polygamy is a form of violence against women and children. The practice of marrying more than one woman is a product of unequal power relations between husband and wife. Male domination, in the form of power wielder in the household and controller of all family economics, has provided the basis for the development of a doctrine, misusing religion as a weapon to subdue wives and children.

Most polygamists refer to verses from the Koran, particularly the third verse from an-Nisa, which reads: (4.3) ""And if you fear that you cannot act equitably towards orphans, then marry such women as seem good to you, two and three and four; but if you fear that you will not do justice (between them), then (marry) only one or what your right hands possess; this is more proper, that you may not deviate from the right course.""

According to Musdah Mulia in his book The Islamic View on Polygamy these verses were not related to the issue of polygamy as such but rather to the issue of how to care for orphans and the unjust treatment they sometimes suffered. These verses contain a warning for all people to avoid all forms of injustice and arbitrary acts, especially within a marriage relationship.

Does the marriage law permit polygamy?

In Law No. 1/1974, Clause 2, it states a husband may have only one wife and a wife only one husband. That clauses institutes monogamy, not polygamy. However, Clause 3 negates this intent by giving a court the power to grant permission for a man to have more than one wife if it is ""desired by the concerned parties.""

The inconsistency between these two clauses also exposes the weakness of the position of the woman in a relationship. A man is given a way out to get around the prohibition on multiple wives by the second clause, which allows a court to give him permission to marry additional wives if he fulfills the conditions in article 5 of Law No. 1/1974.

It is true that if a husband marries a second wife without the permission of the first, the latter can seek an annulment of the marriage. This is set out in article 22 of the law. However, in such relationships, where economic dependence and religious pressure can also be factors, many first wives are reluctant or are not in a position to withhold permission.

In all these arrangements, the woman is placed in a lesser position than the man. This is indeed the nature of polygamy. Polygamy reinforces unequal relations between men and women in society.

Tuesday, April 21, 2009

Euro Tours Theater Project: They Call Me Nyai Ontosoroh



UPCOMING SHOWS! Europe Tour May 2010
A play: They Call Me Nyai Ontosoroh


The Battle of a Netherlands Indies Nyai at the end of the 19 century

Playscript by Faiza Mardzoeki
Directed by Wawan Sofwan
Actors Verani M. van Driel, Willem Bevers, Puspita Hadiati, Wawan Hermawan
Artistic Director: Deden Bulqini,
Film and Video art Director: Ariani Darmawan,
Music Director: Patrick Shaw Iversen,
Make up and Costume: Irina Dayasih
Producer: Faiza Mardzoeki

In 2007 in Indonesia, the country’s major daily newspaper, Kompas, declared the play Nyai Ontosoroh (The Concubine Named Ontosoroh) as the theatrical production of the year. The play had been performed by several theatre groups in several cities throughout the year. A specially selected ensemble, under the direction of Wawan Sofwan, performed it to packed houses in Jakarta. A thousand people came each night, with standing room only, even the stairs had people sitting there.

The play is by Indonesian playwright activist Faiza Mardzoeki’s adaptation of Pramoedya Ananta Toer’s record breaking Indonesian novel Bumi Manusia (This Earth of Mankind). Faiza’s adaptation focuses on the story of the concubine named Ontsoroh, who was sold as a young girl, the named Sanikem (acted by Verani M. van Driel) to become the concubine of a Dutch businessman in Surabaya, the second biggest city in the then Netherlands Indies. The play follows the struggles and tribulations of Sanikem alias Ontosoroh as she fights to overcome her status as a nyai (concubine); to defend the family she has in concubinage, and to raise up the dignity and worth of all “natives” in the Indies.

This new version is called “They Call Me Nyai Ontosoroh”. It combines video art and film by Ariani Darmawan and new music by Norwegian composer Patrick Shaw Iversen. This adaptation is based on just four major roles. The play will be performed in Indonesian, with English Subtitles.

The play also introduces other key characters from Pramoedya’s great novel: Herman Mellema, (Willem Bevers) the Dutch colonial businessman; Annelies (Puspita Hadiati), the nyai’s Indo daughter; and Minke (Wawan Hermawan), a young Javanese, inspired by the real life character of Raden Mas Tirto Adhisoeryo, the first Indonesian to own and run a nationalist newspaper, have now entered the Indonesian readers’ psyche throughout the country.

This version is being produced to be performed at the Troppen Theatre Amsterdam and the Tong Tong Festival in Den Haag in May, 2010.