Marija Živković

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93Marina Pretković i Tea Škrinjarić. Izgubljeno i nađeno: indonezijsko kazalište svitaka. Zagreb, Etnografski muzej,   25. siječnja – 2. travnja 2017.Prikaz izložbeIzložba "Izgubljeno i nađeno: indonezijsko kazalište svitaka" bila je postavljena u Et-nografskom muzeju Zagreb od 25. siječnja do 2. travnja 2017. godine. Autorice izložbe i tekstova u popratnom katalogu su kulturne antropologinje Marina Pretković i Tea Škrinjarić. Izložba tematizira wayang beber – indonezijsko kazalište svitaka, a ostva-rena je u suradnji Udruge AngArt, Veleposlanstva Republike Indonezije u Zagrebu i Etnografskoga muzeja. Wayang beber dio je šire tradicije lutkarskoga kazališta u kojem se koristi bogato oslikani svitak namotan na bambusove štapove. Kako navode autorice, počeci ove kazališne forme sežu vjerojatno u 9. stoljeće, dok se u 14. stoljeću formira današnji oblik kazališta svitaka. Predstave su se izvodile u kraljevskim palačama tijekom važnih događaja, dok su seoske izvedbe imale zaštitnu funkciju. Predstave su, dakle, uz društvenu, imale i važnu ritualnu ulogu te ukazuju na još uvijek snažno prisutno vjerovanje u magična svojstva svitaka. Središnju ulogu u predstavama ima pripovjedač – dalang koji isto-vremeno odmotava svitke, pripovijeda i pjeva. Dalang sjedi ispred ili iza svitka koji odmotava scenu po scenu, s lijeva na desno. Tijekom pripovijedanja imitira glasove različitih likova iz priče te pjeva pjesmu na početku i kraju izvedbe te na početku svake nove scene. Pjevanje je popraćeno glazbom gamelan ansambla. Za razliku od većine kazališnih oblika na Javi koje tematiziraju priče indijskih epova Mahabharate i Ramajane, wayang beber pripovijeda priču o Panjiju, princu kraljevstva Jenggala, koji je u potrazi za odbjeglom princezom kraljevstva Kediri. Legende o Panjiju prenose se usmenim putem. U izložbi su autorice iznijele povijesni pregled wayang bebera i rezultate svoga etnograf-skog istraživanja, koje su provele u središnjoj i istočnoj Javi između kolovoza i listopada 2016. godine. Cilj im je bio prikupiti podatke o stanju starih svitaka, tradicionalnim i suvremenim stilovima wayang bebera te se upoznati s trenutnom situacijom na terenu. Tijekom istraživanja razgovarale su s umjetnicima, obrtnicima, performerima, lokalnim stanovništvom i pripovjedačima te pratile njihove aktivnosti vezane uz revitalizaciju wayang bebera.Kroz brojne fotografije i tri video zapisa, koje potpisuju autorice, obrađene su sljedeće teme: uloga pripovjedača i gamelan ansambla, tehnike oslikavanja svitaka, izrada papira daluang koji se koristi za svitke te tradicionalne i suvremene izvedbe wayang bebera. Izložene predmete, poput odjeće pripovjedača, originalnih svitaka i alata za oslikavanje, autorice su također prikupile na terenu. Svici koje nije bilo moguće dopremiti i izložiti predstavljeni su kroz fotografije origi-nala. Primjerice, do danas su sačuvana samo dva kompleta svitaka nastalih unutar kraljevskih palača. Svici su bili izmješteni iz kraljevskih palača u seoske obitelji u 18. 94 Etnološka istraživanja — 23stoljeću, tijekom javskoga rata, kako bi se sačuvali. Otada su u posjedu nekoliko obitelji u regijama Pacitan i Wonosari te su vlasnici dopustili autoricama da prisustvuju prika-zivanju svitaka, kojem gotovo uvijek prethodi ritual i molitva, te njihovo fotografiranje. Komplet iz Pacitana sadrži šest svitaka te prikazuje jednu od legendi o Panjiju koja opisuje zabranjenu ljubav dvoje mladih ljudi. Predstava danas traje oko jedan sat, dok je u prošlosti mogla trajati i do tri sata. Pripovjedač sjedi iza svitka i publika ga gotovo i ne vidi tijekom izvedbe. Ne zna se točno kada su nastali svici, pretpostavlja se da su dovršeni krajem 17. stoljeća. Budući da su originali u lošem stanju, 2010. godine izrađene su kopije koje se koriste u izvedbama. Za razliku od pacitanskih svitaka, koji su gusto oslikani, oni iz Wonosarija imaju manje detalja. Priče triju od osam svitaka iz kompleta nisu poznate, a navodno se čak jedan ili dva svitka ne smiju otvarati, već služe samo u ritualne svrhe. Predstava traje oko dva sata te dalang sjedi ispred svitka i štapom pokazuje pojedine scene. Osim tradicionalnih izvedbi, izložbom je predstavljeno i djelovanje triju umjetničkih kolektiva s Jave koji promoviraju kazalište svitaka i približavaju ga mlađoj publici kroz suvremene teme. Izvedbe se odmiču od tradicionalnih formi te se uz svitke koriste lutke, maske, moderna glazbala, video projekcije i dr. Umjetnica Cahyati Praba Hardini, jedna od članica kolektiva "Welingan" iz grada Surakarte, gostovala je u Muzeju u vrijeme trajanja izložbe. Njezinim je nastupom zagrebačka publika dobila jedinstvenu priliku prisustvovati izvedbi suvremenoga kazališta svitaka. Kako bi se posjetiteljima približila ova kazališna forma, bilo im je ponuđeno da sami odmotaju svitak i ispričaju svoju varijantu priče ili se okušaju u bojanju likova karak-terističnih za wayang beber te se upoznaju s jednim drugačijim likovnim izražajem. Za potrebe izložbe Veleposlanstvo Republike Indonezije u Zagrebu posudilo je četiri glazbala gamelan ansambla (rebab, gong, kendang i kenong) koji se sviraju tijekom tradicionalne izvedbe wayang bebera u Pacitanu. Glazbala su bila izložena u insceni-ranom javanskom paviljonu (pendopo) koji je mjesto okupljanja i održavanja različitih ceremonija pa tako i izvođenja wayang beber predstava. Popratni program izložbe sastojao se od nastupa članova zagrebačkoga gamelan ansambla "Terbangun Matahari", plesne izvedbe Gendis Putri Kartini i Une Matije Štalcar-Furač (studentica Suvremenoga plesa pri Akademiji dramske umjetnosti u Zagrebu, koje su izvele javanski ples Gembira), radionica za djecu te stručnih i popularnih predavanja. Etnografski muzej ovom je izložbom nastavio niz kojim se rijetko, ali kontinuirano obrađuju teme vezane uz indonezijsku kulturu te prvi put predstavio terensko istraži-vanje domaćih etnologinja u nama udaljenoj i relativno nepoznatoj kulturi. Izložba je publici pružila uvid u temu o kojoj se u nas, ali i u drugim europskim muzejima, do sada malo govorilo, dok je studentima etnologije i kulturne antropologije moglo biti korisno doznati sve dijelove jednoga nezavisnog etnografskog istraživanja. Marija Živković

Croatian

Marina Pretković and Tea Škrinjarić. Lost and Found: Indonesian
Picture Scroll Theatre. Zagreb, Ethnographic Museum, 25th January – 2nd April 2017

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97Marina Pretković and Tea Škrinjarić. Lost and Found: Indonesian Picture Scroll Theatre. Zagreb, Ethnographic Museum, 25th January – 2nd April 2017Exhibition ReviewThe exhibition "Lost and Found: Indonesian Picture Scroll Theatre" was put up at Eth-nographic Museum in Zagreb from the 25th January to 2nd April 2017. Marina Pretković and Tea Škrinjarić, cultural anthropologists, are authors of the exhibition and texts in the accompanying catalogue. The theme of the exhibition is wayana beber - Indonesian "Picture Scroll Theatre". The exhibition is realized in collaboration with AngArt associa-tion, the Embassy of Indonesia in Zagreb and the Ethnographic Museum.Wayana beber is a part of a much wider tradition of puppet theatre in which a richly painted scroll wound around a bamboo stick is used. According to the authors, this theatre format dates back to the 9th century, but the picture scroll theatre as we know it today was established in the 14th century. Plays were performed at royal palaces to mark important events, and at villages where they served as protection. Not only did the plays have an important social role, they also had a ritual function, and people still believe scrolls have magic powers. The central role was that of a narrator - dalang, who unrolls the scrolls, tells the story and sings. Dalang sits in front of the scroll he unrolls scene by scene, or behind it, from left to right. He imitates the voices of various char-acters from the story, and sings songs at the beginning and the end of the performance, as well as at the beginning of each new scene. Songs are accompanied by the music of gamelan ensemble. Unlike other forms of theatre in Java which focus on Indian epic poems Mahabharata and Ramajana, wayana beber, tells a story of Panji, the prince of a kingdom called Jenggala, who is looking for the runaway princess of a kingdom called Kediri. Legends of Panji are transmitted orally as well. The authors laid out a historical overview of wayana beber in this exhibition, and pre-sented the findings of their ethnographic research which they conducted in central and eastern Java from August to October 2016. Their aim was to gather information on the condition of old scrolls, traditional and contemporary styles of wayana beber, and to become familiar with the current state of play. They talked to artists, crafts-men, performers, the locals, and storytellers and monitored their efforts to revitalize wayana beber. The exhibition is divided into three themes on the basis of photographs and video recordings taken and filmed by the authors: the role of the narrator and the gamelan ensemble, scroll painting techniques, the making of daluan paper for scrolls, and tra-ditional and contemporary performances of wayana beber. Exhibits such as narrator`s clothes, original scrolls, and painting tools were collected during field research. Scrolls which could not be brought back and displayed in this exhibition are presented via photographs of the originals. For example, only two sets of scroll made in royal 98 Ethnological research  — 23palaces remain nowadays. All the royal scrolls were relocated to families in villages in the 18th century, during the Javan war, in order to preserve them. Since then they have been in the possession of several families in Pacitan and Wonosori regions. The owners allowed the authors to be present at the scrolls unravelling. Prior to scroll presentation there is a ritual and a prayer, and then photographs of scrolls can be taken.Pacitano set consists of six scrolls and presents one of Panji legends about a forbidden love between two young people. The performance is one hour long, in the past it used to go on for up to three hours. The narrator sits behind the scroll for the entirely of the performance and the audience cannot see him. No one knows exactly when these scrolls were created, but it is assumed that they date back to the end of the 17th century. Since the original scrolls are in a poor condition, copies were made in 2010 which are now used in performances. Pacitano scrolls are packed with illustrations, while Wonosari scrolls are less detailed. Stories from three (out of eight) scrolls are unknown, one or two scrolls are supposedly not to be unrolled, but are only used for ritual purposes. The performance lasts for about two hours, the dalang sits in front of the scroll and uses a stick to point at individual scenes.In addition to traditional performances the exhibition presents activities of three artist collectives from Java who promote scroll theatre and bring it closer to younger audience through contemporary topics. The performances move away from traditional forms, and puppets, masks, modern instruments, and video screenings are used in addition to scrolls. Cahyati Praba Hardini, an artist and a member of "Welingan" collective from the city of Surakarte, was a guest at the Museum throughout the duration of the exhibition. Her performance gave Zagreb audience a one of a kind opportunity to be a part of a contemporary scroll theatre performance. In order to bring this theatrical form even closer to the audience, spectators were given an opportunity to unroll the scrolls themselves and tell their own version of the story, or to try their skills in colouring characters typical of wayang beber and become familiar with another kind of artistic expression. The Embassy of Indonesia in Zagreb lent four gamelan ensemble instruments (rebab, gong, kendang and kenong) played at traditional performances of wayang beber in Pacitano for the purposes of this exhibition. The instruments were displayed in a staged Javanese pavillion (pendopo), which is a place where people gather and where various ceremonies are held, including wayana beber plays.The accompanying program included a performance by "Terbangun Matahari" - a gamelan ensemble from Zagreb, a dance performance by Gendis Putri Kartini and Una Matija Štalcar-Furač, a student of Contemporary Dance at the Academy of Dramatic Arts in Zagreb, who performed a Javanese dance called Gembira, a workshop for children, and lectures for experts and general audience.With this exhibition the Ethnographic Museum continues its series of exhibitions in which themes related to Indonesian culture are presented, on rare but regular occa-sions. Furthermore, this is the first time the Ethnographic Museum put on display a field research conducted by our native ethnologists in a land far away of which we do not 99Lost and Found: Indonesian Picture Scroll Theatre  (97-99)know a lot about. This exhibition gave the audience an insight into a theme of which not much has been said in Croatian and European museums so far. This exhibition might prove very useful for students of ethnology and cultural anthropology because they can learn about various processes and parts which constitute an independent ethnographic research.Marija Živković

Marina Pretković and Tea Škrinjarić. Lost and Found: Indonesian Picture Scroll Theatre. Zagreb, Ethnographic Museum, 25th January – 2nd April 2017

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