During my work with Lokananta on a digital archiving project (Lokananta Project, 2014-2017), I discovered many audio archives, particularly vinyl records, that had never been heard before in my generation. These archives contained not only recordings of wayang (shadow puppetry) performances and religious sermons but also a wide range of traditional songs from various regions that had been rearranged, along with folk-pop songs created between 1956 and 1964. These compositions played a key role in shaping Indonesia’s new cultural identity during the post-colonial and post-war era. Before the Lokananta Project, several local cultural practitioners had attempted to reintroduce Lokananta to the public and propose digital library initiatives. However, these efforts were hindered by bureaucratic complexities and concerns over unclear copyright and royalty issues, particularly regarding the rightful heirs of the audio archives.

 

Despite these challenges, during the Lokananta Project, several descendants of musicians whose works had been recorded at Lokananta in the late 50s reached out to me. They were often driven by curiosity after discovering album covers at home without the records themselves, seeking information about their ancestors’ music. Lokananta also provided crucial evidence in cultural disputes, such as proving that the song “Rasa Sayange” was recorded in Indonesia much earlier than in Malaysia, thanks to discoveries by Titiek Sugiyanti and Bemby Ananto in Lokananta’s archives. Even today, several Indonesian folk songs that have gained international popularity face similar claims, especially since many musicians who recorded their works at Lokananta were later exiled abroad, rejected by their families, or passed away as a result of the 1965 political turmoil. These experiences have led me to explore new ways of connecting historical archives with contemporary society. 

 

Understanding historical archives is not just about learning what happened in the past, but also about engaging with the narratives and core values of these works that remain relevant today. Many artistic creations over the centuries have sought to shed light on unresolved issues that still resonate in our present time. It is crucial to find engaging and dynamic ways to bring these archives to life, recognising that people in Asia often connect more easily with audiovisual and oral histories. In this spirit, I have selected eight songs for this work which came from different regions—“Sin Sin So”, “Kemane Die”, “San-san”, “Rambang”, “Surat Undangan”, “Njanji dan Nari”, “Hela Dajung”, and “Dajung Sampan”. These songs are presented in a karaoke video format to make them more accessible and to offer a fresh approach to engaging with historical archives.

 

For example, the song “Sin Sin So”, often misunderstood as a sad song, is reconstructed in this project as a journey of celebration and the spirit of a young man crossing Lake Toba to propose marriage to his cousin after achieving success in a foreign land. “Sin Sin So”, a folk song from Tapanuli, has recently been widely rearranged in East Asia. Like many love songs, the narrative built in the Alterasi Kisah Sang Pengelana medley introduces a third character while the cousin awaits the proposal. Although this interpretation is fictional, the medley is woven together by three themes: a journey across water, the struggle for one’s vision, and the hope for a brighter future.​​​​

​

Actor

Andreas Ari Dwianto

Archives, Texts, & Graphics

Syaura Qotrunadha

Camera & Video Editing

Adhiwinanto Semali

Medley Arrangement

Timothy Satyaabieza & Rishanda Singgih

​​

This work was commissioned by PT. Ruang Riang Lokananta for the reopening of Lokananta to the public in 2023.​​​​​

​​​​

 Exhibitions: 

1. "Basoeki Abdullah Art Award #5"

       21st November - 8th December 2024

       National Gallery of Indonesia, Jakarta, Indonesia

​​​

2.  "Lokananta Remastered Vol.1"

        5th June - 4th November 2023

        Studio Lokananta, Surakarta, Indonesia.