在印尼古都日惹 感受爪哇文化的創新與冒險
After the tropical thunder rolls across south Java comes the rain, and each drop has a character. Some sweep across the bamboo roof in high-pitched volleys, and some plop into the puddles one by one, luminous, like silver. Others hit the dried banana leaves with a solid, resonant thunk.
熱帶的雷聲席捲爪哇南部，之後傾盆大雨從天而降，每一顆雨滴都有自己的個性。掃過竹製屋頂的雨滴發出清脆的齊響，一顆接一顆落在水坑裏的雨滴發出銀子般明亮的聲音。打在幹香蕉葉上的雨滴則發出堅實洪亮的悶響。
In early Java, they heard music in these sounds and rhythms. They refined it over the centuries into a complex, ethereal form of auditory theater that needs as many as 10 instruments at once, so expansive in tones and harmonies that it cannot fit into any Western style of notation. By now you hear gamelan all over this ancient capital, from the airport public address system to the marbled palace of the local sultan.
早年的爪哇人便是從這樣的聲音與韻律中分辨出音樂。幾個世紀以來，他們將之進行加工，成爲一種複雜而輕盈的聽覺戲劇，需要10種樂器一起演奏，具有多種音色與和聲，西方的任何曲風都無法套用在上面。如今，從機場的公共廣播到本地蘇丹的大理石宮殿，這座古都到處都可以聽到甘美蘭（一種印尼民族樂器）的演奏聲。
All of Java’s courtly arts, including shadow puppetry and classical dance, first flourished here. They made this small city the heartland of traditional Javanese culture, protected during colonization, wartime, occupation, revolution and years of authoritarian rule. And now, as Indonesia’s voters turn away from the past and reach out for an uncertain but promising future, Yogyakarta has emerged as one of the world’s most vibrant centers of artistic innovation and risk-taking.
爪哇的所有宮廷藝術，包括皮影戲和古典舞蹈，都是首先在這裏發展起來的。它們令這個小小的城市成爲爪哇傳統文化的心臟，經歷了殖民、戰爭、佔領、革命與多年的專制統治，這種文化依然被保存下來。如今，印度尼西亞的選民已經摒棄過去，追尋不確定但充滿希望的未來，日惹也開始躋身世界上最有活力的藝術創新與冒險城市之列。
This remote provincial city could even play a part in healing a terror-weary world. Not long before the recent attacks in Jakarta, it was here that the world’s largest Islamic organization started a global campaign to repudiate extremism and intolerance, from the madrasa named for a local saint who preached a pluralistic, tolerant form of Islam in the 16th century. There’s even a Muslim academy for transgendered people here, the only one in the country.
這座僻遠的省城甚至可以療救這個被恐怖襲擊嚇怕了的世界。雅加達的恐怖襲擊發生後不久，就是在這裏的一所伊斯蘭學校(madrasa)中，世界上最大的伊斯蘭教組織發起了一場全球行動，譴責極端主義與不寬容行爲，這座學校是以一位本地聖人的名字命名的，他曾在16世紀呼籲一種多元主義、寬容的伊斯蘭教形式。這裏還有一所爲跨性別人士開設的穆斯林學校，也是這個國家裏唯一的一所。
Little known in the West but familiar throughout Southeast Asia, the city known simply as Yogja (pronounce the ‘Y’ as ‘J’) has been a royal center of art and power since the eighth century, even after Dutch colonials made Jakarta the capital. With several major universities, it has always attracted an artsy, intellectual crowd. As an ancient city and the last remaining sultanate in the country, it has long nurtured the presentations that, for Javanese, give symbolic form to everything from official ritual to the routines of daily life.
日惹在西方罕爲人知，但在東南亞家喻戶曉，自從公元8世紀，它便是權力的所在地與藝術的中心，雖然後來荷蘭殖民者把雅加達定爲首府，也沒有改變此地的地位。這裏有幾所重要的大學，吸引着充滿藝術氣息與知性的人們。作爲一座古都與這個國家僅存的蘇丹領地(sultanate)，這裏長久以來培養着這些演奏，對於爪哇人來說，它爲官方典禮與日常生活中的固定儀式賦予了象徵性的形式。
Performance throbs from this city’s heart. On the expansive grounds of the Sultan’s Palace at the center of the old city, dance troupes and gamelan ensembles perform every day at 10 a.m. on a grand covered pavilion, the kraton. To signal religions at peace, it is lavishly decorated with symbols of the three traditions that inform life here, Hinduism, Buddhism and, the majority, Islam. In its shadow, children play with stick puppets representing Sita and Rama, iconic lovers of Hindu myth, as the call to prayer issues from a half-dozen loudspeakers, each one slightly mistimed to the others to create an atonal, ambient drone.
表演源自這座城市的心靈。蘇丹宮殿坐落在老城中心，宮殿寬闊的場地上，舞團與甘美蘭樂團每天從上午10點便開始在名爲“克拉滕”(kraton)的大天棚下演出。爲了表現不同信仰之間的和平共處，這座天棚上大量裝飾着這裏的三種主要宗教的符號：印度教、佛教以及佔據主體的伊斯蘭教。在天棚的陰影下，孩子們玩着代表印度神話中的情侶悉多與羅摩的木偶；六七個揚聲器裏傳出祈禱的呼聲，它們播放的時間有着細微的差異，製造出一種和諧的嗡嗡聲。
Over the last several years, a new generation of artists has sprung from these rich but formalized traditions. All over the city, choreographers, musicians, filmmakers, puppeteers and rappers are bursting the boundaries of these styles and their conventions. There’s a gallery scene with painters, sculptors and cartoonists whose works have made contemporary art from Indonesia the sensation of events like the last Art Basel in Hong Kong.
過去幾年裏，新一代藝術家從這些豐富但卻顯得程式化的傳統中脫穎而出。在整個城市裏，舞臺設計師、音樂家、電影製作人、木偶師與說唱歌手正在打破各種風格與傳統的邊界。畫廊場景充滿各種畫家、雕塑家與卡通畫家的作品令印度尼西亞當代藝術成爲上屆香港巴塞爾藝術節等盛事上的焦點。
The good news: There’s always something happening on the cutting edge of culture. An art gallery will host a visiting performance artist; a new dance troupe will be re-enacting an ancient myth as interpreted, perhaps, at the Edinburgh Fringe. Only a few events require tickets, and reservations are nearly unheard of. You just show up.
好消息：在文化前沿總有新鮮事發生。一家畫廊即將爲某位來訪的行爲藝術家辦展；一個新的舞團即將把古代神話重新演繹搬上舞臺，或許還將在愛丁堡邊緣藝術節上演(Edinburgh Fringe)。只有少數活動需要門票，提前訂位幾乎聞所未聞。你只要到場就行了。
Even private homes readily welcome strangers to gamelan concerts, less like performances and more like happenings. Restaurants, coffee houses, and a few hotels like Dusan Jogya Village Inn offer themselves as art centers, ready to host the next filmmaker or an impromptu act by an electronica D.J. working with hundreds of gamelan tracks. Rappers set up on the plaza across from the kraton, often calling attention to the plight of marginalized peoples of the East Indies. Festivals pop up like jungle flowers that bloom and fade overnight.
就連私人住宅亦歡迎陌生人蔘加自家的甘美蘭音樂會，它們不像是正式演出，倒像是一時起意的活動。餐廳、咖啡屋與Dusan Jogya鄉村酒館等旅館充當起了藝術中心的角色，歡迎電影製作者或電子樂D.J帶着幾百首甘美蘭樂曲來組織即興活動。在廣場的大棚之下，說唱樂手們也有一席之地，他們常常呼籲社會關注東印度羣島邊緣人羣的困境。各種節慶就像熱帶花朵一樣層出不窮，一夜之間又消失不見。
The bad news — or perhaps it’s an exciting opportunity — is that little of this is announced or scheduled in a way that fits into a world of prearranged vacations or advance-purchase airfares. Web-based information is sketchy. You could always call. But this is a place where, as Ry Cooder famously said of Havana, “when the phone rings, it’s like a dog barking — no one pays attention.” Official sources such as the city’s tourism group and most hotels know mainly about static attractions like the museums and temples. Word of mouth, through new acquaintances and friends, is how you come to see its hidden life.
壞消息——或者也可以說是一種刺激的機會——上述這些活動，很少會事先宣佈或事先安排，這可不適合這個度假需要事先安排、機票需要事先預定的現代社會。網絡上能查到的信息都很簡略。你可以打電話過去。但是正如瑞·庫德爾(Ry Cooder)形容哈瓦那的那句著名的話，“電話鈴響起，就像有隻狗叫喚一樣——根本沒人理”，這裏也是一樣。該城市的旅行社以及大部分酒店之類官方來源只知道那些靜態的信息，諸如博物館和寺院之類的。在這裏結識新朋友，從他們的口中你才能得知這座城市的隱祕生活。
So you show up at the right places, find the right people (this town has coffee and pastry shops like Boston has Irish bars) and leave plenty of messages. You spot the few other travelers at recitals and galleries and become comrades at a glance, comparing hand-scrawled notes as they did a hundred years ago. You get invitations to gamelan evenings, or hear of a gallery opening as if it were a rave, show up and meet an artist who last week was lionized in Paris.
所以說不定你可以來到正確的地點，找到了正確的人（這個城市的咖啡屋和糕點鋪就像波士頓的愛爾蘭酒吧那麼多），得到了不少信息。你在景點和畫廊發現了其他寥寥幾個旅行者，看一眼就和他們成了同志，好像一百年前那樣和他們交換了手寫的信息。你得到邀請，去參加甘美蘭晚會，又或者聽說有什麼畫廊開幕式，好像那是個銳舞派對一樣，於是你就去了，看到一個藝術家，上星期他可能還在巴黎被人衆星捧月呢。
Or maybe you just get a cryptic text message telling you to be at a crossroads outside of town. That is the only hint something special may be going on up a dusty farm road, past pens of chickens, goats and a few munching water buffalo. But at its end, a large postindustrial studio is throbbing with activity. Dancers, stagehands, musicians carrying heavy brass gongs, computer technicians with clipboards; all in a swirl and, at its center, the intent, black-clad choreographer Martinus Miroto.
又或者你得到一條神祕短信，告訴你到城外的某個十字路口去。唯一的特別標記可能就是一條塵土飛揚的農場道路，你經過大羣小雞、山羊和幾頭吃草的水牛，來到路的盡頭，就會發現一座巨大的後工業工作室，裏面正熱火朝天。舞者、舞臺監督、音樂家正搬着沉重的銅鑼，電腦技師擺弄着電腦；一切都如同一陣旋風，人羣中心正是一身黑衣的頂尖編舞者馬丁尼·密羅陀(Martinus Miroto)。
Mr. Miroto was born and raised in this city, where dance class is required in high school. Since then he has toured the world and won praise with acclaimed choreographers such as Pina Bausch and Peter Sellars. His own dancing draws on the rich vocabulary of classical Javanese movement, pulling together its rapid, angular, formal phrases into fluid, emphatic statements of personal experience rather than collective myth. Rather than remaining in Berlin or Los Angeles where he studied, he started the Miroto Dance Company, building an arts campus around this high-roofed studio, clad in aged coconut trunks. A performance here may start on a traditional stage or outdoors, on a terrace that lets dancers overflow across the nearby stream, wandering among torches and foliage, or splashing in a pool fed by a waterfall.
密羅陀是在這座城市出生長大的，這裏的中學都有舞蹈課。後來，他周遊世界，獲得了皮娜·鮑什(Pina Bausch)和彼得·塞拉斯(Peter Sellars)等著名編舞大師的認可。他的舞蹈從古典爪哇舞蹈中吸取了豐富的語言，把它迅疾、生硬、正統的表達轉換爲流暢而堅決的形式，同時又融匯了個人體驗，而非集體神話。他沒有留在當年求學的柏林和洛杉磯，而是在這裏開創了密羅陀舞蹈公司，圍繞這棟覆蓋着古老椰子樹幹覆蓋、房頂高大的工作室建立起了藝術學校。這裏的演出可能會以一段傳統舞臺表演開始，或是在戶外的露臺上，讓舞蹈者們穿過近旁的一條小溪，舉着火把在樹林間漫遊，抑或跳進一條由瀑布形成的池塘拍打水花。
For the traditional dance he grew up with, one of Java’s most vivid full-scale productions is showcased just a few miles north of town. The Ramayana Ballet, a spectacular staging of the South Asian epic, takes place every night of the year with firelight, extravagant costumes, a full gamelan orchestra and grandeur in the shadow of the nearby ninth-century Prambanan, the largest Hindu temple in Indonesia. (The region’s other World Heritage Site, the ninth-century monument at Borobudur, is the largest Buddhist temple in the world and worth a day trip.)
要想看密羅陀從小接觸的傳統舞蹈，可以到鎮子以北幾英里的地方去，那裏有形式最完整的爪哇傳統舞蹈。“羅摩衍那芭蕾”(Ramayana Ballet)把這部南亞史詩精彩地搬上了舞臺，全年每晚上演，華麗的服飾映襯着火光，由一個完整的甘美蘭樂隊伴奏，附近的普蘭巴南神廟投下宏偉的陰影——這是一座九世紀的建築，是印尼最大的印度教神廟（這裏的另一處世界文化遺產是九世紀婆羅浮屠，是世界上最大的佛寺，值得花一天時間仔細參觀）。
Rather than waiting for that random text message, a good place to start any search may be a special clutch of stages, verandas, studios and classrooms up a red dirt jungle lane. Founded by a leading local painter and choreographer as a retreat for artistic meditation and experiment, the Padepokan Seni Bagong Kussudiardja has become Yogja’s all-purpose center for rehearsals, jam sessions and impromptu performances. Almost all of this is open to visitors, but little of it is scheduled.
如果不願等待隨意的短信，可以去叢林中一條紅土路，尋找一片特別的舞臺、遊廊、工作室與教室。這個名叫Padepokan Seni Bagong Kussudiardja的地方由一位本地著名畫家與舞臺設計師興建，可供藝術家們進行冥想與實驗，如今已經成爲日惹的全能文化中心，有各種排練、即興演奏與臨時表演。幾乎都是對遊客開放的，但是幾乎沒有事先計劃的活動。
Such a roiling performance scene needs a wrangler, and Yogya has Jeannie Park. As the center’s director she keeps track of dance troupes, musical ensembles and theater companies, telling you who’s doing a pop-up performance that night and who’s conducting open rehearsals, helpful when so little information is available in English. Starting this month, the center begins a monthly series with collaborations between the artists in residence.
演出景象這樣活躍，自然也少不了一位管理者，在日惹，這個人便是詹妮·帕克(Jeannie Park)。作爲該中心的主管，她負責跟蹤這些舞團、樂團與劇團的消息，告訴你晚上會有誰的臨時演出，誰會指揮公開彩排，在英文信息這樣缺乏的情況下，這很有幫助。這個中心最近每月都會組織一個系列活動，讓留駐的藝術家彼此合作。
For the more traditional arts, drop by the Yogyakarta Cultural Office, the Dinas Kebudayaan, in the university district. A staffer, Ibu (Aunt) Dwi, as she is called, is a font of advice and news on all of the classical forms. She has the timetable of performances at the palace, and knows about informal gamelan gatherings throughout the city. She can describe the different styles of puppetry, from the familiar shadow style of the wayang kulit or klitik, or the more bumptious wayang golek. And she makes sure to warn you that the wayang on the Sosona Hinggil pavilion to the south of the kraton is an all-night affair with a cast of hundreds of leather puppets — so bring a pillow.
想看到更多傳統藝術，可以拜訪大學區內的日惹文化辦公室(Dinas Kebudayaan)。一位女員工被人們成爲伊布·達維阿姨，可以告訴你各種各樣關於古典藝術的建議與消息。她有宮殿演出的時間表，知道城市裏不少非正式甘美蘭演奏會的消息。她可以告訴你各種不同木偶戲的區別，告訴你普通皮影戲(wayang kulit)和更花哨的歌迪皮影戲(wayang golek)有什麼不同，她會告誡你，在Sosona Hinggil克拉滕天篷舉辦的皮影戲演出是整夜的，會用到幾百個皮影，所以一定得帶個枕頭。
One puppet act in Yogja, however, is far from traditional. The Papermoon Puppet Theater has become a staple of the global arts festival circuit, with enigmatic modernist puppets that tell stories from myth to the birth of modern Indonesia. In one production, a simple tale of long-lost love plays out against a backdrop of the mass killings that took up to a million lives in 1965 and 1966 — such a traumatic subject that it is seldom discussed, not even in textbooks. Words are few for these puppets with moon-shaped faces who, like mimes, express everything in evocative, poignant gestures.
不過，日惹有個非常偏離傳統的木偶劇團：“紙月亮劇團”(The Papermoon Puuppet Theater)，它成了全球藝術節盛會中的中堅力量，使用謎一般的現代主義木偶講述各種故事，從古代神話到現代印尼的誕生。其中一幕劇講述了一個簡單的，關於失落戀情的故事，背景發生在1965到1966年奪去100萬條人命的大屠殺期間，這個充滿創傷的題材即便在教科書中也是很少提及的。木偶們有着月亮般的面孔，它們的臺詞很少，像啞劇一樣，用挑釁、辛辣的手勢來表達一切。
Between tours scattered throughout the year, you can visit the puppets and the people who use and make them, like the founder Maria Tri Sulistyani, at their new studio and performance space, a gracious compound near the Chinese cemetery south of the city center. At a just-ended residency at the University of New Hampshire, Papermoon developed an epic-scale production on the Indonesian genocide that’s unlikely to appear in the country, but is preparing a new series based on traditional myths that bear on modern life.
木偶團全年都要進行巡演，在其間隙，你可以去參觀這些木偶，以及製作它和使用它的人們，比如劇團的創始人瑪麗亞·特利·蘇利斯塔尼(Maria Tri Sulistyani)，另外還有他們嶄新的工作室和表演空間，那是一個雅緻的院子，位於市中心以南，挨着華人公墓。紙月亮劇團剛剛結束在新漢普郡大學的留駐，排演了一出關於印尼大屠殺的史詩型劇目，不太可能在這個國家上演，但它目前正在籌備一個基於傳統神話，又與現代生活有關的系列。
The theatrical spirit runs so strong in Yogyakarta that it has energized the figurative arts as well. Local painters such as Agung Kurniawan, the duo known as Indieguerillas, and the puppet maker and cartoonist Eko Nugroho offer an emphatic, whimsical yet brutal approach that can deliver scabrous commentary on politics and pop culture. As contemporary art of Southeast Asia attracts more attention all over the world, these locals have become global stars, with prices soon to follow.
戲劇精神在日惹非常強烈，令各種具象藝術蓬勃發展。阿貢·庫爾尼亞萬(Agung Kurniawan)等本地畫家、名爲“獨立游擊隊”(Indieguerillas)的二重唱，以及木偶製作者兼卡通師艾克·努格羅霍(Eko Nugroho)都帶來風格鮮明、異想天開而又嚴厲的風格，對政治與流行文化發表犀利的評論。在南亞當代藝術日益吸引全球關注的今天，這些本地藝術家也成了全球明星，他們作品的價格很快也將隨之上漲。
“As a center of creativity, this place exerts a magnetic field,” according to the influential Berlin-based Matthias Arndt, who has opened galleries in that city and Singapore. Much of the energy springs from communal art spaces such as the Cemeti Art House, which welcome visitors to share morning tea. Updated information on the hottest openings comes from the curator Alia Swastika, based at the Ark Galerie, who also recommends the Art Jog festival, an artist-run event in June that has become a flamboyant center of this scene.
“作爲創意中心，這裏就像一塊磁鐵，”定居柏林的業內著名人士馬蒂亞斯·阿恩特(Matthias Arndt)說，他在柏林與新加坡都有多家畫廊。很多能量都來自塞米特藝術屋(Cemeti Art House)這樣的社區藝術空間，它歡迎參觀者進來喝一杯早茶。 Ark Galerie畫廊的策展人艾麗婭·斯瓦斯蒂卡(Alia Swastika)提供最熱門的開幕活動的最新信息，她還推薦Art Jog藝術節，這個由藝術家主辦的活動於6月開幕，是藝術場景中一個繁榮的核心。
With the national dance institute based here, there are events almost every weekend, ranging from formal productions to pop-up events. Just this year, the weekly dance performance at the kraton features a rotating series of the area’s top troupes. Don’t be deterred by the scruffy entrance to the kraton off the bustling shopping district of Malioboro Street; once you are inside, it gets much nicer, with uniformed guides.
因爲國家舞蹈學院就坐落在這裏，所以幾乎每個週末都有各種活動，從正式劇目到臨時活動應有盡有。今年，克拉滕的每週舞蹈表演推出了這一地區頂尖舞團的輪流演出系列。不要被馬里奧波羅街商業區的克拉滕髒兮兮的入口嚇住，一旦走進去，就會發現穿着制服的嚮導，一切也都整潔了許多。
In a search like this, it’s hard not to run into street posters on rap events. Based largely on East Coast styles with a bit of Atlanta steampunk thrown in, crews perform often near the university district and, as in the United States, can take on a political edge. Shaggydog, for example, convened a fund-raiser for displaced people in the Gaza Strip.
在尋找類似活動的時候，也很容易看到街頭張貼的說唱樂活動海報。這裏的說唱樂以東海岸風格爲主，略帶一絲亞特蘭大蒸汽朋克風格，和美國一樣，樂手們經常在大學區附近表演，歌詞中往往帶點政治色彩。比如“毛毛狗”(Shaggydog)，他目前正在爲加沙地帶無家可歸的人們發起一場募捐。
The Yogyakarta-based Yogja Hip Hop Foundation has taken recent stardom to a level of media-consciousness reminiscent of American groups, with a new full-length film, CDs, T-shirts and online videos of rapping on an M.T.A. bus straight out of Bushwick, Brooklyn, accompanied by an omnipresent gamelan track that softens anything that sounds defiant. The group welcomes visitors to their headquarters in an out-of-the-way, bunkerlike concrete building.
本地的“日惹嘻哈樂基金”(Yogja Hip Hop Foundation)最近出了名，被媒體比作美國說唱團體，它推出了一部電影、唱片、T恤衫和在線的說唱視頻，內容是在一輛駛出布魯克林巴什維克的M.T.A.巴士上說唱，由甘美蘭伴奏，令挑釁的歌詞變得柔和起來。這個團體的總部位於遠離大路的一棟地堡般的水泥建築參觀，歡迎遊客參觀。
But Western-style celebrity doesn’t seem to be anyone’s goal. That’s clear from a recent event at the Dusun Jogya Village Inn, a homegrown resort that feels as if it’s deep in the jungle though it’s just a few minutes out of the city. Billed as an opening for 11 woman artists introduced by the provocative 80-year-old abstract realist Kartika Affandi, it had a documentary film, a hip-hop troupe with two rappers, a lightweight gamelan ensemble, an immersive performance art work and a dance performance with stark modern choreography, but in traditional Javanese costume.
但是西方式的出名並不是所有人的目標。私營度假聖地Dusun Jogya鄉村酒店離城市只有幾分鐘車程，但給人感覺像在叢林深處，最近，這裏舉行了一個活動。11位女藝術家舉辦了一個公開展示，由離經叛道的80歲抽象現實主義藝術家卡爾迪卡·阿方蒂(Kartika Affandi)主持，活動中有一部紀錄片、一個嘻哈樂隊演奏，配有兩個說唱手、還有一個輕柔的甘美蘭樂隊、一場沉浸式藝術表演，以及帶有鮮明現代風格的舞蹈演出，但是都穿着傳統爪哇服裝。
“In Indonesia we have a concept for this, an event where anyone joins in, and everyone here is at home,” says the proprietor Amron-Paul Yuwono, a theater director and actor, who recently returned from political exile in the United States. “We call it the village, the kampung, but it really means the community.”
“在印度尼西亞，我們有這樣一種觀念，一個讓所有人蔘與的活動，必須讓參與者感到賓至如歸，”酒店業主阿姆隆-保羅·約沃諾(Amron-Paul Yuwono)說，他是舞臺劇導演和演員，最近剛剛結束政治流放，從美國歸來。“我們把這個地方叫做村莊，但它實際上是社區的意思。”
