MWATHIRIKA in Latitude

http://latitudes.nu/the-tale-of-mwathirika-and-the-papermoon-puppet-theatre/

The Tale of Mwathirika and the Papermoon Puppet Theatre

By: Umi Lestari

The first time I saw Mwathirika two years ago at the French Cultural Center (CCF) in Yogyakarta, I was impressed. The tale of a family that lived in a period of political change was deeply moving. Mwathirika is a puppet performance by the Papermoon Puppet Theatre that does not shy away from difficult subjects. It deals with the anti-communist purge following a failed coup in Indonesia in 1965, when over 500.000 people were killed. This grim story was told like a fairy tale, imaginative and original, by blending the darker history of Indonesia with a rich artistic concept.

I wasn’t the only one that was impressed. Mwathirika was invited to go tour in America in October 2012! After returning to Indonesia, it was about time to sit down with Maria Tri Sulistyani, Artistic Director of Papermoon.

Can you tell me how could  ”Mwathirika” ended up touring America? Why did Papermoon choose this piece?

For us, Mwathirika was the most ready piece to bring. Mwathirika is the most mature work looking at the concept, content, artistic feel and the output. Since the start of the process of creating Mwathirika, we agreed that this work should have a universal theme and we think it is important to share the work with the world: because “experiencing loss” and “political violence” can happen everywhere.

Tupu and Moyo, By: Iwan Effendi

How was America? How does it feel to meetpeers and other puppeteers?

We had so many great experiences. We met a new culture, experienced a new work rhythm and different perspectives. We loved to see how appreciative the Americans were; they like to ask many questions and give us feedback. We noticed that people were not only enjoying our performance, but also wanted to know what Mwathirika is all about. We were so excited that we received positive feedback after sharing our story. Meeting the other puppeteers in America was also exciting. They appreciate others, want to share anything, yet remained very humble. It is very nice to meet people who do something similar to compare and learn.

When you chose to use the 1965 tragedy as the darker history in Indonesia as the theme ofMwathirika, Iwan Effendi added that the theme was chosen for very personal reasons. Can you tell me more that?

We chose the theme based on Iwan Effendy’s (Papermoon Co-Artistic Director) family experience. During the process, we found out that some people in Papermoon also had similar stories. If we look broader, a third of the Indonesian population felt the effect of the tragedy. Everybody experienced loss.

Political situations greatly affect the general population and the national memory. I also saw these experiences of loss in “Setjangkir Kopi dari Plaja”. Why does Papermoon choose this kind of topic in several performances?

We don’t want to rush, moving from one theme to another theme. We want to seek and explore several possibilities in a single theme. The 1965 tragedy can be seen from various perspectives. Why don’t we explore it further? This can make our pieces deeper.

About Papermoon and Pesta Boneka #3

What is the background of Papermoon? Can you tell us the story of Papermoon since beginning until now?

Papermoon began from a studio of fine art and performing art for children but there was a format change in 2008. I have always had a great interest in fine art, performing art and education. After I found out that a puppet theater is an appropriate medium, I also saw the great possibilities of communicating with the audience. I saw that using puppets, people both adults and children, tend to be more receptive, relaxed and open to receive something. I felt this is the method that I want to explore fully. There are so many things that can be told with a puppet. Interestingly, a lot of people still believe a puppet can tell a story.

Why does Papermoon choose Japanese puppets (bunraku and kuruma ningyo) instead of Indonesian wayang (shadow puppet)?

We choose the puppets based on the concept of the story and the performance. We never limit ourselves. In Mwathirika and Setjangkir Kopi dari Plaja, we were adapting bunraku and kuruma ningyo from Japan because we see that there is an intimate feeling when playing with these puppets. The puppeteers can touch the puppet directly without using sticks like in wayang, or using strings, like with a marionette. This kind of intimacy is what we need to tell intimate and personal stories. We also did performances with wayang and even a 4-meters-sized giant puppet in an open space. The point is, we explore all options and choose based on concept and performance.

Papermoon in America, By: Iwan Effendi

What inspired you to create the Papermoon Puppet Theatre?

Every project with Papermoon is inspired by something else. I am very inspired by everyone who believes that a dream can be realized through hard work and effort. That is why I started Papermoon.

Can you tell me what the steps are from the beginning to the stage when creating a performance?

There are a lot of steps actually. We get the theme first then do the research or vice versa. We always save all of our ideas. Every time we see or find interesting things, we keep it in mind. When we decide to create a new performance, those ideas will be discussed and adapted for the stage. Sometimes I and Iwan Effendi discuss the theme first. After we decide what theme will be performed, we research both the theme and the artistic concept. The research can be done from movies, interviews or other methods. After that, I write the script draft. This draft will be discussed and revised many times through discussion between me and Iwan. After we find the right format, we share it with the other Papermoon members. The script we share is not complete yet; it is changeable. Sometimes we change the script and add more detail in the middle of the process. We explore different avenues based on the puppets that we made. From here we can adjust any detail in any scene. A puppet is not an actor; that is why the actor and director must understand the puppet’s ability and limitations without being too imposing.

See a practice round here:

Will you bring the “Setjangkir Kopi dari Plaja” tour to other countries like “Mwathirika”?

I’d love to. But it seems to take a lot of time because “Setjangkir Kopi dari Plaja” is a site-specific performance which builds upon the atmosphere of the space. It is more complicated because the concept will depend on the space. We still have to process the artistic concept more so it gets easier to bring this piece go to other countries.

After the Show, By: Iwan Effendi

Papermoon’s Many Plans

What will Papermoon do next?

We will perform Mwathirika in Singapore on November 8th-9th, 2012 at the Asean Puppetry Festival. After that, I and Iwan Effendy will do an Artist Residency program for a month in the Philippines. We have many plans: visit the giant puppet parade in the Philippines and learning how the Filipino pupppeteers work. After returning from the Philipines, Papermoon will hold PESTA BONEKA #3, a Biennial puppet festival that will be held at Padepokan Seni Bagong Kussudiardja, Yogyakarta, December 17th-19th 2012.

What kind of event this will be? Who are the artists that will join this event?

This festival basically celebrates the puppet theater art world. This festival will be held for three days in a row; not only presenting several shows, but also various workshops for the public. In addition, we will also invite the puppeteers to cook together. It will be fun. Actually, we just want to create a festival where the artists and the public can share things.

Mwathirika on NY Social Status

http://nysocialstatus.com/2012/10/10/mwathirika-not-your-average-puppet-show/

MWATHIRIKA: NOT YOUR AVERAGE PUPPET SHOW

October 10, 2012 by missbananainthecity

General consensus is that puppet shows are aimed toward children, for various reasons. Sometimes to entertain, sometimes to teach, sometimes to just hold attention long enough for parents to breath. As far as Papermoon Puppet Theatre is concerned, general consensus has it all wrong.

Photo credit to Shanna Gibbs

A featured guest of the Asia Society as part of Center Stage, Papermoon Puppet Theatre performed at the Upper East Side museum last week and demonstrated that kid-only puppet shows are a thing of the past.

Papermoon’s sophisticated puppet show, Mwathirika, brings to life a story of mass murder and widespread loss through the near-silent tales of two families in Indonesia in 1965. Derived from personal experience with the attempted coup against Indonesian presidentSukarno, Mwathirika depicts the turn of events two families experience during the retaliation brought on by this attempt.

Though the show is set in Indonesia, Mwathrikia is the Swahili word for “victim.” According to the Asia Society, Papermoon chose this title for their story in order to combat the notion that political devastation is endemic and remind us that it can affect a variety of areas and demographics. With an aim to focus on the emotional aspects of the gruesome events surrounding the attempted coup, Papermoon effectively reminds viewers that human beings, often innocent, are the casualties of political discord.

In addition to the powerful message behind this production, a plethora of other artistic characteristics demand respect and appreciation. Though the ultimate message is relatively simple to grasp, the small intricacies of the show are what set it apart from the average hidden-lesson puppet event. Maria Tri Sulistyani and Iwan Effendi, artistic directors for Papermoon, have utilized various subtle details to add layers to and evoke emotion with their creation. The most notable of these is the use of whistles among the members of the primary family in the story. Throughout the show, the children in the family use red whistles to call for help from each other. What in the beginning appears to be a mere character quirk proves to be one of the most significant, defining symbols of the entire play.

Perhaps one of the most amazing aspects of Mwathirika is the skill and finesse on the part of each puppeteer. For most Americans, the term “puppet show” conjures up the memory of hand puppets set in a small stage lacking any real props or three-dimensional scenery. This is not the way Papermoon Puppet Theatre operates. Each puppet throughout the show is handled by its own puppeteer, all clearly well-trained and thoroughly practiced in the art of becoming one with their puppets. Though initial focus may be drawn to the workings of the puppets, from the composition of their limbs to the tiny hooks below their feet to facilitate movement, it takes the Papermoon crew a minimal amount of time to obliterate all concern for these details and command attention to the lively characters and their plight. Papermoon’s puppeteers need no words and minimal sound to communicate the emotions of their characters, and with an exemplary musical accompaniment and the intensity of the storyline itself, this is almost enough to make a grown woman cry.

Photo credit to Shanna Gibbs

As a twenty-six-year-old New Yorker, a puppet show isn’t always the most appealing choice for the night’s events, but in the case of Papermoon Puppet Theatre’s Mwathirika, it was the best. Sure to invoke thoughts deeper than what to mix with vodka for the night and certain to awaken the history nerd in all of us, Mwathirika is a cultural statement not to be underestimated and in this day and age, a message not to be left unheard.

MWATHIRIKA : on the stages of USA

We were performing in 5 province, 7 different towns and cities in USA..
and here are the photos of our performance in Bandung, just before we flew to USA...

...hope you enjoy the moments, dear...

MWATHIRIKA is ..dedicated to the whole universe..

while those people were celebrating the things that they thought was right.

with a big excitement , no matter what..

while the little boy was having his own time.

and a mean dog didn't mean a mean thing..

it's about how to take care each other..

..about loving each other..

..about a big brother with his little brother...

about a freedom of celebrating their life..

about a mini circus that always happens in everyone's life.

about the happy father who wants to give the best..

to his little daughter.

about a sign that could change someone's life..

...while all began, in the darkness.

the other people just do their job,

because it's a command.

when the effect is not only a little thing...

and they just try to survive.

feel cold and sad.

they were only the two of millions that has the same feeling

but it's not an end yet..

while being alone.. is the only thing that he had

and in the end of the day..

 we'll see... 

the time that they never could say goodbye.

****

text by Maria Tri Sulistyani ( Ria)

  photos were captured by Sondhiar and Arul.

How we packed all the sets of MWATHIRIKA

Traveling by bringing all the sets, puppets and properties for MWATHIRIKA was not that simple for the first time for all of us.
Doing the very first time tour abroad with MWATHIRIKA, was such a challenge.

So, we did lots of changes of the sets, but still thinking how to keep the artistic sense on it.
On the first version of sets that we produced on 2010, we use lots of woods.

and now we change it.
We are using Fabric instead of the heavy woods.
and all the sets are knocked-down-construction.

this is the mock-up of the stage.

we need to send the photos of the mock up to show the measurement of the set.

we choose to make the handmade one, and not the digital one.

i hope it helps.. ;P

and this is the sketch..

and these are the knocked down construction of the sets.

on the first show of MATHIRIKA, we build every sets from woods.

and now we change them into aluminium bars and fabrics.. ;)

 all knocked down!! :D

  

And guess what?!!
IT WORKS!

Traveling with 8 people by bringing 10 suitcases in total !
We don't need to ship ANYTHING!!

and yes, we are ready to travel and spread the words of MWATHIRIKA... :)

Mwathirika.. di Roemah Kajoemanis....

http://cinnamome37.blogspot.com/2012/06/mwathirika.html

SENIN, 18 JUNI 2012

mwathirika.

"Ketika para wakil rakyat berusaha "membela" kepentingan bangsanya, siapakah korbannya?

Ketika para tentara berupaya menumpas kejahatan, siapakah korbannya?

Dan ketika kita hanya akan mencari jalan aman, siapakah korbannya?

Anak, kakak, adik, kekasih, orang tua, tetangga, sahabat, mereka, yang tak bersalah"

...

Banyak sekali hiburan, tapi hanya sebagian kecil saja hiburan yang cerdas, dan salah satu hiburan yang cerdas adalah menonton pertunjukan "Mwathirika" dari Papermoon Puppet Theatre, Jogjakarta. Setelah berharap dan menunggu sekian lama, akhirnya Papermoon manggung di Bandung, yipiiee!! Alhamdulillaah, akhirnya tercapai juga! :D

Untuk yang belum berkenalan, Papermoon Puppet Theatre adalah teater boneka yang dilahirkan dari seorang mbak manis : Maria Tri Sulistyani. Ia adalah seorang ilustrator dan penulis, juga mantan aktris teater realis. *pantesan, teater ciptaannya ini hiduuup sekali!*. Papermoon ini juga dibesarkan dengan Mas Iwan Effendi, seorang perupa yang suka bercerita. Karya-karyanya keren-keren, lho! Saya jatuh cinta pada karya-karyanya! :). Dulu mereka membuat pementasan teater boneka untuk anak-anak di kampung. Tapi sekarang Papermoon telah 'menetapkan hati' melakukan ekspreimen seni dengan menggunakan media teater boneka yang dapat dinikmati khalayak luas.

Saya datang jauh sebelum pementasan supaya bisa nonton di bagian paling depan! Ternyata mereka menyediakan satu bagian khusus supaya penonton bisa lesehan. Pertunjukan dibuka oleh Mbak Ria dengan hangat, sebagaimana kita bertamu ke sebuah rumah. Lalu kita diminta untuk 'menyamankan' duduk supaya dapat menikmati suguhannya! Selama 55 menit berikutnya saya berenang dan tenggelam dalam ceritanya.

Ceritanya sendiri berlatar penggalan sejarah besar Indonesia di puluhan tahun lalu ketika banyak keluarga yang merasa kehilangan. Biasanya kisah ini banyak ditutup-tutupi, dianggap tabu, takut untuk dibahas, tapi Papermoon Puppet Theatre mengajak kita untuk mengingat, mempelajari, dan merasakannya melalui sebuah dongeng bersama para boneka! Para penonton ditenggelamkan begitu dekat dengan kehidupan dua orang anak, Tupu dan Moyo, kakak beradik yang dibesarkan oleh Baba, pria pekerja keras bertangan satu. Detail ceritanya, silakan tonton sendiri, yaa! :D

Setiap boneka hidup walaupun terkadang yang memainkannya berganti-ganti. Pemain boneka yang terlihat sosoknya sama sekali tidak menggangu pertunjukkan secara visual, malahan memperkuat penokohannya. Racikan visual dan audio yang sangat menyatu membuat kita lupa bahwa semuanya 'hanyalah' panggung boneka.

Jujur, saya tidak dapat bercerita banyak karena saya hanya terpaku selama 55 menit ditambah beberapa saat setelahnya, dan saya tidak berhasil menceritakan rasanya dalam kata-kata *speechless*. Papermoon ini harus ditonton langsung sodara-sodara! Kenapa? Pertunjukkan "Mwathirika" ini berhasil menyatukan emosi tidak hanya dari para pemainnya saja, tapi juga merangkul emosi-emosi dan menyalurkan energinya untuk para penonton! Ikut tertawa, ikut nyesek, ikut nangis, ikut cemas, dan ikut yang lain. Cocok dengan yang mereka tuliskan di bookletnya, "..kesempatan untuk sama-sama mengingat, dan kesempatan untuk membagi rasa." Saya sangat percaya, karena begitu besar energi sang pemain tercurah, boneka-boneka Papermoon ini menyimpan berjuta energi yang satu saat dapat menceritakan 'detak jantung'nya kepada siapapun yang melihat atau memegangnya.

Untuk saya, Papermoon Puppet Theatre adalah sebuah bahasa cerdas dalam mendongeng. Tidak banyak kata, namun imajinatif, kaya rasa. Walaupun namanya teater boneka, tetapi mereka tidak hanya  menghidupkan boneka ke dalam sebuah cerita. Tapi mereka mengemas pemain, boneka, simbol-simbol melalui properti dan artistik panggung, tata suara, tata cahaya, proyeksi visual menjadi satu dunia maya yang menghanyutkan penonton pada keseluruhan emosi!


J E N I U S ! ! 


Sang peramu bahasa (baca: sutradara) Mbak Ria, mampu memilah dengan tepat pengemasan bagian-bagian cerita. Keseluruhan detail terpikirkan masak-masak. Thoughtful! Timingnya setiap adegannya tepat, tidak terlalu lama tidak terlalu cepat. Dan memang benar apa yang mereka sampaikan, walaupun mengangkat tema cerita yang 'tidak mudah' tapi para penonton mudah mencerna kisah dan rasanya. Angkat topi juga untuk desainer artistik,  Mas Iwan, yang sukses untuk 'nyemplungin' penonton pada dunia panggung yang ciamik!


Salut untuk seluruh pemain, pendukung, dan tentunya konseptornya!

Sebenarnya saya juga masih sangat ingin menonton "Secangkir Kopi dari Playa", karena sudah terisak hanya dengan menonton dari DVDnya saja *gembeng!*. Tapi sekarang baru bisa berdoa semoga dipentaskan kembali.. *amiin, beribu-ribu amiin*

Oke, sekian cerita kesan pesan "Mwathirika"nya.. Oya, "Mwathirika" ini akan dipertunjukkan juga di Amerika pada bulan September mendatang. Semoga sukses di sana, ya teman-temaaan!

Mwathirika untuk kesekian kalinya bagi Suryo Hapsoro...

http://diefolgerung.blogspot.com/2012/06/rasanya-masih-sama.html

Rabu, 20 Juni 2012

  Rasanya Masih Sama

Printed Artwork by Iwan Effendi. 

  

Mungkin lebih dari lima kali saya menyaksikan pertunjukan ini, dan sudah puluhan kali melihat proses latihannya. Mulai dari Tupu, Moyo, Baba, Haki, dan Lacuna belum “lahir” sampai mereka tumbuh dan berubah penampilannya. Mulai dari Tupu yang dilihat sebagai anak perempuan, sampai Tupu yang sudah bisa pipis berdiri. Mulai dari suara asli kotak musik Lacuna dipakai untuk latihan pertama kali sampai menjadi lagu yang selalu terngiang di setiap pentas dengan diiringi dengan tarikan nafas sesenggukan penontonnya.

Masih selalu sama rasanya melihat adegan-adegan itu. Iba luar biasa. Rasanya ingin sekali melihat Tupu tertawa lebih banyak, rasanya ingin sekali membantu Moyo mencari Babanya, dan masih saja selalu kecewa karena tidak bisa mengingatkan Lacuna supaya tidak bermain-main dengan peluit milik Tupu itu.

Mwathirika memang seperti benar-benar nyata, benar-benar ada dunia lain yang penghuninya adalah keluarga Baba, dan Haki yang bertetangga, anjing lincah yang taringnya sangat besar, badut yang tampak ramah tapi menyimpan kepentingan politis yang besar. Semuanya benar nyata telah dihidupkan di mana pun mereka dipentaskan.

Rasanya tidak bisa mengatakan, “padahal mereka hanya boneka.” Ya, mereka memang boneka, tapi tidak menjadi sekadar “hanya”. Rasa kagum masih selalu ada ketika semua pemainnya berhasil menghembuskan nafasnya untuk menghidupkan gerak para boneka. Tidak heran kalau US Department dan Center Stage memilih Papermoon dengan Mwathirika-nya untuk dipentaskan di Amerika Serikat. Mereka tidak akan pernah menyesal jika harus menghabiskan banyak dana untuk mendatangkan Geng Papermoon ini.

Pentas di Bandung kali ini membuat saya menjadi semakin tidak bisa bicara terlalu banyak. Dengan material baru dan kematangan karakter yang semakin baik tidak ada rasa bosan dalam diri saya sampai sekarang saya selalu menjadi penonton dalam pentas ini. Dan ketika rasa yang sama masih selalu timbul ketika melihat tontonan yang selalu sama itu adalah luar biasa.

Perjalanan menghidupkan dunia Mwathirika ke benua seberang semakin dekat, masih banyak yang direncanakan sebelum benar berangkat ke sana. Semoga rasa yang muncul masih akan selalu sama dirasakan oleh semuanya. Semoga juga pesan yang ingin disampaikan Tupu, Moyo, Baba, Haki, dan Lacuna lewat kisah hidup mereka diterima dengan baik juga oleh semuanya. Terimakasih Mwathirika!