SRI WINTALA ACHMAD"S OPINIONS

STHE PLASTIC ARTS OF JAVA AS DISCUSSION

By Sri Wintala Achmad

FOR society of Java knows about the life philosophy of the micro- and macro-cosmic well. Regarded from the dimension of material substance, macro-cosmic is understood as physical cosmic. Besides that micro-cosmic is understood as the spiritual-cosmic.

But considered from the dimension of immaterial substance, macro-cosmic is known as spiritual cosmic. Besides that micro-cosmic is known as physical cosmic. Caused by the spiritual cosmic does not have a limitation of both time and space. Besides that, the physical cosmic is always limited by time and space.

That study as early base (reference) is to know the essence of Java’s plastic arts well. In which, it is not just as human/creator’s reflection of physical cosmic. But essentially, the plastic arts of Java reflects more to creator’ spiritual cosmic. As assumption, that creator (a member of the society of Java) has an intuitive and spiritual power than more a physical and logical capability.

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Society of Java is known as the social. Collectivity characterized by the permissive attitude for other sides and various cultures has growth well. There is no difference of ethnic group, religion, and race. All people have to be of the same status beside Gusti Kang Murbeng Dumadi (The God the Controller of Life). The society of Java does not have an agreement for the individualism-attitude. In which privation and competition among personals obtain a full portion in reaching to the top of position and achievement.

As a member of the society of Java, plastic artists in understanding about the spirit of collectivity have not yet represented a wise attitude. The collectivity has been permitted to frame those plastic artists into the romantic collectivity and to form their personality having no militant character and good principle. This can be represented by each of their work of plastic arts.

That bad fact is strengthened by various events of the plastic arts of Java involving some artists. Their works are, such as: painting arts, sculptures, installations etc, identify creators’ character as human influenced easily by the concept and visual of West’s plastic arts. For example, surrealism, Dadaism, cubism etc, have developed quickly in the island of Java, the cultural centre of Nusantara. Event those isms have been made idols by Java’s artists as dogma.

Besides, misinterpreting for the social spirit in the society of Java, plastic artists themselves have not yet understood the substance of Java. That case is presented by their works having a physical visual. Those works reflect that the plastic artists of Java still tend for idioms, symbols, or old themes, such as: wayang (puppet), keris (wavy double-bladed dagger), adu jago (pitting cock), mbarang ledhek (hired dancer that is persistent like a singing beggar), etc.

Artists in understanding the plastic arts of Java have not yet reached its substantive level of philosophical values. The spiritual empiric experience, of course, can not be expressed physically, but it can be abstracted through the composition of colors, lines, and symbolic visuals. Besides, that abstraction must be detailed, substantive, and perfect in portraying about a nuance of Java.

Celebrating totally in the world of the plastic arts of Java up to its perfect substance, all artists’ sensitive intuition and sense of art are demanded more than their capability for thinking logically and physical technique in the process of perception, metabolism, and when expressing inspiration for visualizing works in the plastic arts of Java. Of course, the inspiration can be obtained through creators’ imaginative capability. As result, understanding for inspiration is not just as portrait or reporting. Then, processing to the inspiration must be through step of both contemplation and revision. This latest step is to reach a perfection of work.

It is conclusion. As long as the artists of Java exacerbate for their palette of intuition and sense of art in process of creative production, they can hold the process of inspiration into three steps, that is, first, they having a capability can percept and filtering the inspiration into conception. Second, they can transform the conception into the form of visualization. Third, they can relate a dialog between the conception (spirit) and visualization (physic).

Three steps of the process of creative production, for creators of the plastic arts of Java, are the keys to understand about the substance of Java’s philosophy touch by some forefathers. The lofty science known as ilmu manunggaling kawula lan Gusti (science to be firmly united between slave/micro-cosmic and God/macro-cosmic).

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In the world of the Indonesian and global plastic arts, presence of the plastic arts of Java has been assumed to be important. This is not purposed to separate Java’s artists from ones outside Java. In creating the plastic arts of Java does not focus for creators’ origin. But, works that reflects about substantive values of Java. However, it does not absolutely deny its physical visual.

Plastic arts of Java have a role to sport a critical capability of filtering for the informative influence of the plastic arts of west weakening artists’ creative process. It can sweep away as horrifying as aji sirep (the power to make a sleep for someone) having influence to return artists’ orientation from the tradition-basis and ancestors’ culture to the foreign tradition and culture. This problem should be solved skillfully. It is hoped in order that globalization shall not be bad reality to all artists of Java. In which, their fate shall be foams made an uncertain by the politics of the plastic arts of west.

Plastic arts of Java are assumed to be important. Caused by the positive idea to effort the realization and socialization of the exhibition of Java’s plastic arts is very important. Then this event can be expected as media to discover the tradition and culture of Java forgotten in the middle of modern era. The softy tradition and culture begin to be taught by no parents and be forgotten by their generation.

Expected by the idea can represent that the world of the plastic arts of Java has a role as media to socialize for some ancestors’ tradition and culture. That is in the same manner as literature of Java, art of shadow play property, classical dance, and traditional theatre. Although, a large part of modern artists claims in which the traditional arts and cultures have stood beside themselves dug tomb’s hole.

In socializing the plastic arts of Java would not just perform an exhibition. This effort needs to be performed continually into the form of other activities, such as: work shops, festivals, and competitions in the plastic arts of Java. Those activities would not be limited for the creators having certain old and just coming from Java. Those would be addressed for young participants and involve them come from various regions. As the orientation, those would not differentiate between ethnic groups, regions, and races. Caused by understanding about the substance of Java is opened for every one. What softy values of Java serve for the importance of humanism but not politics!

The concrete realization in socializing Java through media of plastic arts must be sported by various other related sides, such as: creators, institutions of traditional arts, mass media, government, and so on. Caused by the failure of crystallization between ideological role and vision from all sides shall result this effort just as a nice dream at the afternoon.

Socializing plastic arts of Java leading on the development of ancestors’ traditions and cultures should keep an intensity of interaction among various sides into one frame of ideological role and vision. It can be reached by the system of mutual cooperation. It can be expected as a success-key for developing the plastic arts of Java in the future. The successfulness is just valued by the quantitative increase of Java’s creators. Besides, it is able to improve fate in the tradition and culture of java. As the special contribution it is hoped to improve either for young generation’s mentality or for public’s.

May it happen!

SANGGAR GUNUNG GAMPING INDONESIA

The Media for Developing of Literature, Arts, and Culture

THE IMPACT of capitalism being able to change human having socialistic to individualistic spirit has been felt in the world of literature, arts, and culture. It is factual when many studios just remain its name. They have no members. Cause the raising of capital necessity makes their members to go out one by one. Leaving the studio that just promises for study of literature, arts, and culture in which its achievement of target to develop human's individuality. It does not give a hope of capital for every member.

What difficult to maintain the studio of literature, arts, and culture that always demand for their members assembling and studying ordinarily. Caused that it is assumed spending time by their members demanded to fulfill their capital necessity. Especially it is related to the financial. One of tools in the longest era of monetary crisis is felt very important to prop up the daily life.

Although the collapse of the studios of literature, arts, and culture is problem but it may be anticipated. Without constructing a house of studio and recruiting many members, but making blog (site) in which every one use as media to study creating the works of literature, arts, and culture, and appreciate and interact each other, and publish their works to the entire worlds. Making studio in the form of blog (site) is an alternative way when people beginning to have an individualistic attitude can not be bound by the commitment of certain regulations, time, and space.

Based on this idea, Sanggar Gunung Gamping Indonesia that was purposed as the physical building is now formed into the blog (site). Its membership is not just some lovers of literature, arts, and culture from local, but international scope. So that the language used as media of expression is English. It is purposed in order that they can interact globally. It is not in the limited scope.

Although it is not first, the existence of Sanggar Gunung Gamping Indonesia has an important role in developing either local or international literature, arts, and culture. So that, advices or critics for some sides we hope more. In order that media shall be develop qualitatively. It is just as complement for others. (Editor)
BLOG, THE MEDIA OF THE SOCIALIZATION OF ETHNIC ARTS AND CULTURES
NTERNET has function as an important socializing media of ethnic arts and cultures. It has been an effective media for informing various ethnic arts and cultures in the international scope. This perception must be understood by every person perpetuating and developing them in global era.

This opinion is important to be discussed. Because many persons perpetuating and developing the ethnic arts and cultures have not yet known a good opportunity that the internet is an effective media for socializing them. Other meaning, those persons’ efforts in the perpetuation and development of ethnic arts and cultures just perform event, discussion and publish their activity through either local electronic or printed media.
Before applying the internet as the media of the perpetuation and development of ethnic arts and cultures, the persons must understand prerequisites and requisites. The prerequisites fulfilled that they need not have an attitude of antipathy for the internet misused by a part of people in the criminal purposes and compatible with moral. It is caused that the function of internet shall be depended fully on its users.

Some requisites which must be fulfilled, such as: first, making and performing the nice design of blog. Second, they must upload and upgrade data in occasional period. Third, they must make a good decision in relating to networks.

If this effort has been supported by the related sites, then the ethnic arts and cultures made a sleep by modern ones will wake up from their bed. They will be in the gloriousness again. Their vibration does not just reach to the local or national, but international scope. (Sri Wintala Achmad)

VISITING A SACRED PLACE OF THE AESTHETICS OF PLASTIC ARTS

(H. Affandi, H. Widayat, H. Amri Yahya, and Greg. Sidharta)

BEING admitted that some plastic artists of Yogyakarta have an important role in slanting to the Indonesian plastic arts. They are not males, but females. They are not the academic but the autodidact ones. The role of various communities of plastic arts ever or still making a continuity of activation may not be denied their contribution. It is just call for some names of senior artists being suitable to be noted in the history of the development of Indonesia plastic arts, such as: Fajar Sidik, Joko Pekik, Tulus Warsito, Ign. Pamungkas Garjito, Edi Sunarso and so on. While from the scope of young artists, such as: Nasirun, Entang Wiharso, Budi Ubrux, S, Teddy D, Ugo Untoro, Anusapati, Yusro Martunus, Sardjito, Joko "Gundul" Sulistiyono, Agapetus, Rudi Mantofani, Edo Pop and so on.

In the world of plastic arts making a difference of gender may also increase the quantity of the potential female artists, such as: Kartika Affandi, Lucia Hartini, Woro Anindyah, Bunga Jeruk, Sekar Jatiningrum, Dyah Yulianti, Yuni Wulandari, Regina Bimadona, Laksmi Sitoresmi, Erica and so on. While some communities being like a mother of plastic artists, such as: Kelompok Sakato (studio of plastic artist born in Padang), Kelompok Bidar (studio of plastic artists born in Palembang), Kelompok Dewata (studio of plastic artists born in Bali), Kelompok Spirit, Kelompok Jendela, Kelompok Sidji, Kelompok Sepi and so on.

The discourse about the plastic artists may not deny some names having passed away, such as: H. Affandi, H. Widayat, H. Amri Yahya, and Greg. Sidharta. Cause they could not just support for the image of Yogyakarta as a city of arts and culture, but for young artists’ creative spirit. In which the young artists still need technical training or specific style and conceptual maturity.

H. Affandi

The society of plastic artists has felt a lost for Affandi passing away to the eternity. When living, he could support the image of Yogyakarta plastic arts either in national or international scope. He was also known well as the modest creator having an unpretentious attitude of life and integrity in the creative process. Beside that, his works reflect an attention for the life of human.

Affandi’s unpretentious attitude of life has been appeared spreading to his members of family. This may be watched through a part of his decorative-figurative works visualizing for his members of family by scratching, painting of sun and frangipani flower, and composing of simple color but having a high aesthetic value. Those works are My Mother, Kartika Wear Kebaya, Portrait with My Daughter, Little Kartika and so on.

It was not just the unpretentious attitude of life giving a foothold for Affandi in his creative process. His love for the family, all of the people, and the country reflected trough his works is a foothold in reaching the degree of maestro. In which he had made a meaning for the works as medium to express his idea being free from the standardized technique of academic painting art. He was like a child expressing his idea based on his creative instinct. What logic if his works, such as: Main Street in India, Ke Roma, Aku Mengisap Pipa, Potret Diri and so on, have a naïf style of expressionism.

H. Widayat

When living, H. Widayat known well as creator having a modest and unpretentious attitude paid many attentions for the nature of rural. In which the trees grow with green leaves, the birds chirp and fly freely, and the sky is free from a pollution of air. In the nature of rural, both custom and tradition, and dynamic interaction among society’s members are still kept well.

Nevertheless, Widayat understood that modernism has influenced the rural society. What logic. Cause the development of technology-products such as televisions, compact disk players, hand-phones, personal computers and so on has socialized a newly life-style being allowed to break the custom and tradition and to change the pattern of interaction among society’s members. This point has been reflected through a part of his works by visualizing the rural girls wearing no jarit and kebaya, but skirt, t-shirt, or trouser as society’s members of city.

Of course, H. Widayat had lived in the eternity. But the painter spending his latest living time in the city of Magelang had left a good name. it is not just his works that give an appreciative contribution for the public of plastic arts, but his attention to all of creators. Cause before passing away, he invited many plastic artists to create together with the re-creative spirit in his gallery. As the result, many people said, the monumental event was interpreted as the parting regard between Widayat and all of plastic artists.

H. Amri Yahya

For the public of plastic arts, H. Amri Yahya is known well as a batik painter having of abstract style. By the wild scratches dominated with the colors of red, black, yellow, and blue forming an expressionist abstract visualization we may understand that Amri is the free, extrovert, and dynamic creator. His dynamic creativity he had proved by inserting the calligraphy in his batik paintings, as an example for one title of works: Anugerah-Rabbanaa Hablanaa (Batik, 80 x 60 cm, 2001).

Out side of either liking or disliking, Amri’s works have applied a color to the world of plastic arts. The works reflecting his creative process always orient on his own culture. Therefore, his works are suitable to be approached by some appreciators and critics purposing to understand deeply about cartography and development of either Yogyakarta or Indonesian plastic arts.

Greg. Sidharta

It is not like with H. Affandi, H. Widayat, and H. Amri Yahya, Greg. Sidharta had spent the creative time in the sculpture arts. One of the genres of plastic arts that may support his existence as a reliable sculptor among others, such as: Edhi Sunarso, Ign. Pamungkas Garjito, Anusopati, Saptoto and so on.

If observing of his works, Greg. Sidharta’s creative process was tent to follow the figurative realism. It is caused that a part of his works visualizing about the figure of human does not experience a change of form significantly. But, that is based on theme, the works impresses that the creator has paid many attentions for the human’s life with all of aspects.

Being like other creators, the work had been used by Greg as medium to express his creative ideas. Of course, he used no words as the man/woman of letters. He used no movements as the dancer. He used no notes as the musicians. But he used colors. As the result, the works being as his book of ideas may be red by public every time.

The Latest Note

This writing is just purposed to remember some reliable creators in the sector of both Yogyakarta and Indonesian plastic arts. It is caused that many creators are respected by public when they reach the creative top in the living time. But after passing away, they are forgotten slowly. They are never reminisced about. In addition, they are seldom given a respect.

It is hoped to open the door of consciousness for the generation of plastic arts in which reminiscing about (respecting) for creators spending all times to the plastic arts is suitable as tradition. It is important. In order to creators’ works contributing to the human-life is not understood as the useless activity. Even less, it shall be claimed as a crazing persons’ dream. (Sri Wintala Achmad)

SAPARAN AND ITS MEANING, VALUE, OR ROLE

FROM Gamping sub-distric (Sleman, Yogyakarta, Indonesia), we will know well about the traditional ritual of Saparan being perpetuated by its society up to now, especially living at three clusters of hamlets such as north, south, or middle Gamping, and usually on the political district of Ambarketawang.

The traditional ritual ‘Saparan’ on Gamping having the historic background of the death of married couple between Mr. Wirosuto and his wife (Prince Mangkubumi’ servant piled by the collapsing hill of Gunung Gamping has both cultural meaning and spiritual value. Having cultural meaning, caused that Saparan performed in a series of the platoon of soldiers, carriers some couples of the bride and bridegroom- idols (made from sticky rice and juruh) in a litter, some animals taken care by Mr. Wirosuto, a couple of the female and malevolent-idols, and some communities of arts is an original cultural product from a part of local creators at the political district of Ambarketawang,

Having spiritual value, the traditional ritual of Saparan concluded by the main agenda i.e. butchering a couple of bekakak at the hill of Gunung Gamping and performing a shadow play on night through at the political district of Ambarketawang is purposed in order that it has a positive influence of welfare for all members of Gamping society and its environs. After it may be as media realizing a dynamic re-interaction of two cosmoses, i.e. micro-cosmos/jagad alit (human, animal, and environment) and macro-cosmos/jagad ageng 

(God as a controller of the universe).

The spiritual value in the traditional ritual of Saparan is reasonable to be suggested to day. When there is no a dynamic interaction of two cosmos bringing about a series of disasters in Indonesia has caused a lot of victims. When the phenomenon of the religion teaching for human about good measures to all of creatures and environment (horizontal interaction), and God (transcendental interaction) is released slowly from soul.

Beside the traditional ritual of Saparan has a cultural meaning and spiritual value, it has a big access in the field of tourism in Sleman as well. So that, the Tourism and Culture Service’ special attention and the Regional Government of Sleman regency’s fund support to organize the traditional ritual of Saparan is hoped more. It is purposed in order that society wanting to perpetuate the product of culture has no complicating problems of fund being faced forever when the event is organized.

Although, that fund is as main key to organize the traditional ritual of Saparan, but either Tourism and Culture Service, Regional Government of Sleman regency, or organizer should not sell it fully to the sponsor. It is purposed in order to there is no public’s negative image in which the role of Saparan has changed to be sponsor’s media to expand its product marketing in the scope of consumers, and avoiding of claim in which the event is just as organizer’s opportunity to get much financial profit.

Other point that must be paid a certain attention in which the traditional ritual of Saparan can really be used as media for introducing, perpetuating, and developing some product of culture on Gamping sub-district. Therefore it is pity, if the event having ever involved many groups of arts or culture from the entire political districts for some tens years ago is not realized again.

Organizer understanding in which the role of arts and culture as media for uniting members of society should realize idea about an active involvement from all persons or communities of arts and culture in the entire Gamping sub-district. That is right, if the organizer purposes to invite some persons or community of arts and culture from outside.

If this idea can be realized, I believe in which the organization of the traditional ritual of Saparan shall be lively. And the reverberation of event’s purpose and target shall reach to the wider scope. It is just unlimited to the political district of Ambarketawang but the others, such as: Balecatur, Banyuraden, Nogotirto, and so on. As the result, Gamping as one of arts and culture’s centers in Sleman or Yogyakarta shall have a positive image more both now and next days. (Sri Wintala Achmad)

MATA MATI ON JEMEK SUPARDI’S EYES

IF THE EYES can not see, then the darkness the persons can look at. If the darkness covers a whole life, then heart’s lantern can show the right way in which they will go on. The right way they walk along because God has helped for them. The heart’s lantern accompanies human to their destination.

That early words are just to describe that the existence of the blind persons seeing the life caused by their heart’s lantern. They are the blind ones experiencing an enlightenment of soul. Up to their blindness is the God’s grant given for no persons having two normal eyes. The persons who can not often see, that the blind is luckier than them. Cause their normal eyes are to see a direction of rainbow’ street misleading to the valley of hell.

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Mata Mati (title of pantomime art performed by Jemek Supardi, AMPI Taman Budaya Yogyakarta, February 8th. 2008) is appreciated as critics of social for the persons’ life seeing no situation of living space. Caused to their heart’s lantern has been extinguished. It is just for the personal importance, the persons do not obey to the unlucky fate of others. More than a blind pig, they damage the living space.

Other side, Mata Mati can be appreciated as Jemek’s obsession in order that persons are to see again for the reality of life by the heart’s lantern. In the same manner as Rosulullah who had been asked by Jibril to iqra’ (reading/seeing) the right way when the live was covered by darkness (jahiliyah). In which material had been an object worshiped in day and night with both the incense fumes and the fragrant flowers of passions.

Living in the middle of materialistic life is not easy. Caused that material shall be devil having a face of fairy tempting persons forever is to make right for all of ways in fulfilling their ambition. They in both personally and collectively are to fulfill their obsessions often wears a mask of policy, or do in the name of God.

But the persons having heart’s lantern can always restrain their ambition. As the result, the material shall not be understood as a final purpose, but the media to reach collective purpose in realizing prosperity, justice, and peach of life based on spirit of divinity. This is an idealization having to be struggled by other sites. Though, it is still as persons’ nice dream.

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As a creator, the life of Jemek Supardi can not be released to his social and individual circle. So that, Mata Mati reflects how Jemek understands for his condition of country, nation, community, family, and personal expressed through the pantomime art. The action-language does not just tend to a visual aesthetics, but a conceptual idea having some moral values. In which by the power of appreciation, the audiences can understand some values. As the result, Mata Mati has meaning as matter of audience’s contemplation leading to make a consciousness that the improvement of human’s life is important.

What interesting, Mata Mati reflects about Jemek’s life. An uncomplicated person who may know well, that his eyes are dead. Especially he is to know some products of technology such as hand-phone and personal computer. The products caused that their sophistication are often worshiped by a part of persons more than God. But his heart’s lantern having light, Jemek may see the bad reality of social life. He is not a part of them having a couple of normal eyes but being able to see no reality of social life caused that his heart’s lantern has ran out of love-oil.

By his heart’s lantern, Jemek may know his talent well granted by God for him. The talent to play pantomime he increases its quality forever. Up to the public may acknowledge his existence as the best player of pantomime both in the local and national scope. Besides that, the pantomime art occupied for 30 years has been used by Jemek as medium to make his way in life. His economical consciousness is not a big fault, but his good measure that has had responsibility as a leader of household.

The pantomime art having been Jemek’s life-choice is not fault. Caused to his choice shared with his loyalty has a positive contribution for art-culture in Indonesia. What logical, if Jemek has obtained respect from some institutions of private and government. The respect which should not make Jemek to be blind, but it must be a motivator for him to increase his quality of works.

***

The pantomime performance of Mata Mati played by Jemek Supardi has an important meaning. Cause it does not just enliven the discourse, but make a motivation to the development of pantomime art in Indonesia. After, it has been seen by public with one eye.

It is also hoped to be motivator for a part of next generations to create. Cause, there are not many pantomime artists. So that, Mata Mati is hoped to open eyes that the pantomime art is not just as a re-creative but educative, appreciative, contemplative, and educative medium for public. (Sri Wintala Achmad)

PARDIMAN, AKAPELA MATARAMAN, AND TRADITIONAL CULTURE

THE SWIFT flow of modern culture has been assumed by a great part of public as an effort of treatment for the perpetuation of traditional culture. It is not just related with the ethics of association, but various products of traditional culture will be extinct slowly form its internal scope. This case is caused that public begins to be crazy about the products of modern culture socialized quickly by the modern media of information, such as: television and internet. Do not be amazed! If the public has a way and a style of modern life (be like a Westerner).

Changing in the way and style of life is not influenced absolutely by the rapid socialization of modern culture. But, public having weak power of appreciation for the modern culture is a main causal factor. If public does not make improvement quickly to its power of cultural appreciation, then the decreasing quality of the ethics of association need not to be blamed. Do not complain! Beside that, we must not claim that the modern culture is as causal factor.

Some eliminated products of traditional culture claimed by public as a causal from the modern culture is not wise. But, public does not have a good comprehension how to manage and publish the traditional culture into the internal and external scope. It is just by the ways, the products of traditional culture will have good chance in global era. The era has public to look back for the products of culture bequeathed by forefathers.

The bad reality of the traditional culture being allowed to motivate Fredy Pardiman Djoyonegoro is to form a group of Gamelan Cangkem, Konser Conthong, or Akapela Mataraman. The group of vocal art based on traditional culture whose members, such as: Soimah Pancawati, Catur Kuncara, Sutaryo, and Theresia Wulandari (lead vocal), Maryono, Doyok Kadipiro, Suwarjiyo, and Budi Pramono (bass and percussion) is like a small ray of sunlight from cloud pass in the sky of traditional culture.

Progress of Akapela Mataraman both in the local (Yogyakarta) and national (Middle and East Java, and Jakarta) is as evidence every product of traditional culture can received by public if creator can perform his/her work by giving a touch of creative exploration. Other words, the result of creation must not be absolutely based on the pakem (the source book). In which, the products of traditional culture is formatted more as the media of education than the media of recreation.

Factually, the creative exploration done by Pardiman to a part of his compositions by combining between the lyric having a playful nuance with lyric of macapatan is one of jack-powers for the traditional culture's fate from the bottom of dale. Those compositions are such as: Jalan Jogja Tolak Belok, Uler Kambang Jenggleng, Jur Sang Seng, Sinom Reggae and so on.

It is interesting that Pardiman's works inspired by the playing of children when full moon at last time impresses vision and mission in informing of forefathers' teachings through music or song in which its nuance is playful. No amazing, the works supported by the capable vocalists, and Theresia and Soimah's nice vocal obtain a warm reception from public.

The brilliant developing method of traditional culture is not just really done by Pardiman. Some creators, such as: Bagong Kusudihardjo (Java dance of new creation), Bondan Nusantara (Kethoprak/traditional theatre), Samuel Indratma (traditional mural), and Emha Ainun Nadjib with his musical group 'Kyai Kanjeng' have participated in developing the traditional culture through their creative exploration. It is caused that they do not allow if forefathers' culture shall as fate as a dying field mouse crushed by the wheels of modern machine.

Whatever result reached by Pardiman and some creators with their creative exploration shall support for some traditional artists to develop the traditional culture. Therefore, all of traditional artists would not claim that the creators are as traitors of culture. Some wise steps to be taken, they would open their door of consciousness. In which they do not enough conserve, but develop the products of traditional culture. In order that values of traditional culture can be known, understood, and applied by all of generations in the complex life. (Sri Wintala Achmad)