H

Firstly, what is it like to grow up in an artistic family? You are the son of a well-known figure in fine arts (Bagong Kussudiardja), and Butet (Kartaredjasa), your older brother, is also an artist.

D

I feel that it doesn’t make too much of a difference. We help each other because we are in similar fields. From the outside in, our family seems harmonious, and though we do get along well, there are of course internal conflicts that happen in our everyday lives. The conflicts aren’t negative, of course – sometimes there is friction, but these disagreement happens so we can reach a positive result. We always maintain the harmony.

H

Is it because you grew up with artists that you delved into the arts?

D

Yes, I grew up surrounded by the arts. If I grew up with doctors I would have been a doctor (laughs).

H

You also were able to study music in Japan and in America before you decided to move here.

D

I didn’t have a formal study of music – I was involved in workshops, and I had the chance to study under the tutelage of teachers. My studies were not formal in an academic sense, my formal study was actually in fine arts.

H

How did your background influenced the color of music you play?

D

I was very fortunate to have studied the wrong field – fine arts, because if I studied music I probably would not have be the way I am today. As I have studied fine arts, my field of creativity is large and it has given me the courage to explore, and it resulted in a form of music aesthetic that I understand – an aesthetic that isn’t in the mainstream of musicians with formal studies.

H

I read in that in your attempt to enter the music world, you experienced discrimination because you were considered a ‘provincial musician’.

D

Yes, it always happen. Mainstream music – those who are regarded by popular culture – tend to be condescending towards provincial and traditional music. It represents industry whose elitism is quite apparent and obvious. We can see from the appreciation, and I do not mean simply material things, I mean how people see simply appreciate music.

This situation compelled me to try to awaken all of us from a long sleep, that people in the field of traditional music must realize that they are equal to those who are in the mainstream, equal even to the individuals with an academic background.

The mentality of traditional musicians in terms of entering the world of pop is that of self-doubt and hesitation – don’t be. We are all the same. It takes years for a person to become a doctor just like it takes years for a person to become a musician.

Traditional musicians receive more recognition abroad than in their own country, and they feel awkward socializing in the world of pop – this is how this lack of appreciation is partly their fault.

But then the community in the mainstream see this form of art as something of little value. For example, ask the many event organizers about the value of traditional music. They say it is cheap music – appropriate for weddings etc.

H

In the beginning of your music career you were quite political – you even performed in the 1998 Reformation protest in front of the parliament. Now it seems like you aren’t too active politically. Is it because times have changed?

D

Oh not at all. I still observe the politics of this country, but being practicing politics is another matter altogether. I still have a sensitivity towards justice, and when there is an injustice we must speak, for me, it is through music. When I came out with an album with Orkes Sinten Remen last year titled Omdo, Omong Doang [only talking, but no action], it is relevant until today, especially during this presidential election. People ask me which candidate will I vote for, answer that our leader must be the Indonesian people.

H

Regarding Jazz Gunung, how was the idea originally formed?

D

The initial idea came from Sigit Pramono, then Butet Kartaredjasa and myself tried to translate the ideas such as tourism in Indonesia. What can we do to address the environment, the economic aspect? After much deliberating the answer we found was creating this Jazz Gunung.

H

Some people say that Jazz Gunung sells the exoticism of Mount Bromo. What are your thoughts on it?

D

Go right ahead, Mount Bromo is very exotic.

H

You have no problem with that statement then?

D

Not at all, Mount Bromo is already very exotic, how can we not admit that. Sometimes there are events that feel artificial, that the exoticism is created with the purpose of selling. On the other hand, places such as Mount Bromo are already exotic in the first place, and will be exotic without Jazz Gunung being there.

This is the 6th year Jazz Gunung has done this event. How has the event develop over the years? Have you created the ideal event?

Of course Jazz Gunung hasn’t reached a level of ideal, it is a process that is worthy of our efforts, worthy of our review. Jazz Gunung is an event that started small and grew, and as it grows we would like to incorporate new creative additions to it without losing its essence. The presentation will change, the content will change, but the essence will be the same – this is what we have agreed to as organizers of Jazz Gunung. The new, younger generation are currently given more responsibilities – to create a regeneration. The musical content also experiences a regeneration, new musicians from different communities perform.

H

How does Jazz Gunung curate the performers?

D

Until now, I am the main curator of the event, and I consult with Sigit Pramono and Butet Kartaredjasa. I choose the performers by referring to Jazz Gunung’s original concept and the what is new in the music scene. We also consider the community that supports the artist, for example, the Overtunes caters to a young crowd. People say that “this isn’t jazz, this is pop!” The reality of jazz is that it opens a wide range of possibilities. What is important is the approach, not the the type of music that is being played – that they approach the music in a jazz manner.

H

Beside Jazz Gunung, you also created NGAYOGJAZZ. Is this a movement that you are doing to raise the level of jazz music in Indonesia?

D

Jazz is the music of the people, like jathilan (a form of traditional music). I would like remind everyone of this. Jazz shouldn’t be an expensive and elite music, as that will also affect the people who play jazz music. It changes the movement because musicians will focus on how they can become stars. We can see from people who truly immerse themselves in jazz – who dedicate themselves to jazz, who understand the meaning and freedom in jazz – like Syaharani, Bintang Indrianto, Idang Rasjidi. At last years NGAYOGJAZZ, I gave Idang Rasjidi the title of “Jazz Proletar” because he and the younger generation, always appear at jazz events in remote areas and participate in the growth of jazz musicians. There are jazz players whose musicianship are amazing, but sits on high pedestal, where they are lauded and worshipped, but yet they do not really contribute – those are superstars. They make music for themselves, to be applauded, but do not contribute to the community who appreciate their work.

H

In Indonesia, jazz is always associated with the sounds of fusion jazz, which, to be frank, all sounds the same. Why is that?

D

It is because of the industry and the music taste of the industry. The industry holds the largest stake, and they dictate the sound of fusion jazz. There is room where we can and must show appreciation to not only fusion, but also other forms such as contemporary, bebop, folk, world.

H

Jazz’s musical reach is wide.

D

Yes, and it will be even more interesting when we can offer even more musical colors to the community – not just one character such as fusion.

H

You have been involved in musical projects such as Kuat Etnika, Orkes Sinten Remen, and your current project is Ring of Fire. What makes Ring of Fire different from your previous work?

D

Ring of Fire is a project within Jazz Gunung where we invite individual players to perform with our group, Kuat Etnika. We first invited Dewa Budjana & Slamet Gundono, and then Jen Shyu and Idang Rasjidi. Ring of Fire is a collaborative performance.

H

You are known as a figure who brought contemporary music to Indonesia. What is contemporary music in Indonesia like now?

D

We just held an event in Solo. There has been a forum called Pekan Komponis (Weekend of Composers) in Solo for 7 years, headed by a Mr. Suko Hardjono, a music observer and teacher. Through Pekan Komponis, he gave way for great contemporary composers to establish themselves. Though he is no longer active, Pekan Komponis is still being held regularly.

Another forum is Bukan Musik Biasa (Not Regular Music), established by I. Wayan Sadra. The forum just had a celebration with a seminar and performance. Professor Rahayu Supangga, Mr. Slamet Abdul Sjukur, Mr. Anto Mendut, and myself participated.

These events were important in introducing contemporary music to the public. Now, in my personal opinion, it is difficult to grasp what contemporary music is because our daily lives are contemporary. We cannot use the same approach as before. The music is no longer confined to the stage, we have mediums such as Youtube and so on, raising a question to what contemporary music is like now. And who are the artists now? With the huge amount of information available, they no longer have to be composers – visual artists can create music, film, stage – this is the condition contemporary arts in Indonesia.

H

To end the interview, what contemporary music would you recommend to the Indonesian public?

D

I believe every human being should listen to any form of music, whether it is heavy like contemporary music or something very easy to digest. Listening to music is like receiving wisdom, whether it is bitter or not it is something one should swallow and savor.