Facing the Pandemic, Papermoon Puppet Theatre Adapts by Staying Creative

Kapanlagi.com - The ongoing covid-19 corona virus pandemic has impacted various aspects of life, including the world of art. For almost a year, art performances have been limited. There are no more applause from the audience witnessing live performances. Now, the audience can only watch their favorite shows through digital screens.

Papermoon Puppet Theatre, a puppet theater group from Yogyakarta that has gained international recognition, has also felt the impact. For almost a year, Papermoon has not been able to perform live on stage. The last time before the pandemic, Papermoon performed in Japan, presenting the story of "Bucket of Beetles". Since then, until now, Papermoon has not been able to greet its audience directly.

However, it can be said that Papermoon is currently gaining popularity. Its name became more well-known after appearing in Tulus's music video titled Manusia-Manusia Kuat, as well as appearing in the movie ADA APA DENGAN CINTA 2. Papermoon now has many fans. Its performances and workshops are always anticipated. But, what can we do, the pandemic came unexpectedly. As a result, Papermoon has to adapt.

Kapanlagi.com had the opportunity to interview Pambo Priyojati, one of the artists from Papermoon Puppet Theatre. To some extent, Pambo shared about the adaptation process that Papermoon has gone through during this pandemic. Met at the Papermoon studio in Desa Sembungan, Bangunjiwo, Bantul on December 31, 2020, here is an excerpt of the interview conducted by Kapanlagi.com with Pambo.

1. Maybe you can tell us, Mas, how did Papermoon first feel the impact of the pandemic? And how did you respond to it?

We have felt the impact of the pandemic since the beginning of the year, actually. So in February, some of our team went to Japan to perform "Bucket of Beetles". Then, when they returned to Indonesia in February, COVID-19 exploded. At that time, they didn't know yet, even though the situation was getting tighter. Finally, all agendas were postponed and canceled until 2021.

Then, we made an agreement that we would not purchase any production materials for the time being. So we continue to create, by using up the stock of production materials that we have.

2. So what kind of adaptation did Papermoon make in terms of production and creativity?

After the "Bucket of Beetles One", the "Bucket of Beetles Two" was born as a result of a remake of the performance in Japan. But, at that time we explored all the artistic aspects again. All the artistic aspects were made from Lunang's drawings, Mbak Ria's child (founder of Papermoon).

Then Mr. Anton (one of the artists at Papermoon) took branches from the tree in front. It turns out that the branches can represent the lines in Lunang's drawings that are simple and honest. If (Bucket of Beetles One) previously used plywood, if used again it feels "wagu" (in terms of appearance).

Then, I also tried to make a hut set using branches in front. After it was done, it turned out to be interesting and suitable with the concept. So, without the need to shop for artistic production, it can still run. Finally, we adapted by utilizing it. And at the same time, we brought fallen tree trunks, so we moved the small forest here.

3. Does this mean the performance is through video, Mas? Is this the first time for Papermoon to perform through video? Then, how is it, the impression?

Yes (the first time), usually we only provide stock photo and video shoots for YouTube content trailers and Instagram. Because it's in video format, we took advantage of the opportunity. For example, if there's a fire scene, we actually create a real fire and then record it. We do everything here (in the studio). In addition, we also learn new understandings, such as about cinematography and POV. Things that were completely new before.

4. So in terms of creativity and production, the pandemic didn't really affect Papermoon, right? Instead, it became a way to be more creative. Then, what about the financial impact?

That's right (the pandemic became a way to be more creative). In terms of finances, the impact is clearly felt. But, yesterday we made an agreement to keep creating. But yes, finances are still important. On the other hand, the pandemic made us reflect a lot, what we have been creating for. After that, new ideas emerged.

5. What kind of ideas eventually emerged, and then executed by Papermoon during the current pandemic?

As we had the Biennale International Puppet festival, called Pesta Boneka, in October. Actually, initially we were still hesitant (to hold it). But some friends, like those from the Philippines, had already booked in advance. And they insisted on coming here. But we warned them that they would have to quarantine for 14 days and there would be no audience. With a heavy heart, we intended to cancel.

But then we remembered our initial agreement, that we created the festival to revive the circle of puppet artists. So the main target is not the audience, the audience is a different impact. Whether it is seen or not, this circle is the essence. That's why, yesterday we asked these friends if they were interested in having our puppet party online. Turns out there is a lot of enthusiasm. And thankfully, the public's interest is also increasing.

6. So, the first online Puppet Festival, how was it?

First of all, yesterday we learned from other artists, like friends in Singapore and the Philippines. They just wanted to create something, their equipment was on campus. However, the campus was inaccessible. Then, the works that were sent, for example from the Philippines, were collectively made by seven people. These seven people created their works from their own rooms, then edited and combined them online. That made us grateful because we can still move around, buy equipment, so we should be thankful.

And when they were asked for testimonials, they were very grateful for being invited. According to Mbak Ria, it's like an effort to maintain sanity, by chatting with friends in the same community.

There are also audience members who are interested in puppet theater and can chat directly through the Q&A session after the show. So, the audience can directly converse with the artists. The artists also feel happy, because it's been a long time since they've had a chance to express themselves. The Puppet Festival can be a platform to vent their frustrations. We also realize that the Puppet Festival is indeed necessary.

7. So, Mas, what was the Puppet Festival like in previous years? And what is missed the most?

The Puppet Festival is a biennial event, held every two years. It usually lasts for three days and takes place in a proper venue. The last one was held in Kepek Village, Bantul. So, there are several spots in that area. Actually, we wanted to hold it in this area, Sembungan. We have already approached the local community. But, unfortunately, there is this pandemic.

Usually, on the third day, everyone mingles. On the third day, all the creatives are allowed to enter, and there is a program where the artist friends cook their respective country's signature dishes. Then, the locals can taste them. It's a moment of blending, even though the languages are different. But unfortunately, it can't be done this year. And the Puppet Festival artists also miss that moment.

8. Oh yes, Mas, when I contacted you yesterday, you said you have already planned the agenda for the next year, right? Is there any anticipation, Mas, if the pandemic doesn't end soon?

True, we also agree that this virus has become a part of us. Well, let's make it a lifestyle, like wearing masks, getting used to cleanliness. We still don't dare (to be involved) in festivals outside. So, we will definitely continue to create through videos. Yesterday, the Kochi Museum wanted to involve us. But we still didn't dare, so we made an exhibition by sending videos again.

But then yesterday we had a discussion about creating a concept for hand carry performance. But, it's still a discussion. So, it's a small performance that needs to be arranged first. We will only bring one suitcase, then we perform in front of an audience of at most 10-15 people, really limited. Yesterday we did a simulation. We have also started opening a studio but with a limitation of only 15 people and certain protocols.

That is a snippet of an interview with Pambo Priyojati, one of the artists at Papermoon Puppet Theatre, by kapanlagi.com. It is proven that the pandemic should not be used as an excuse to stop creating. Instead, the adaptation process can be a new path to continue being creative. Hopefully, it inspires!

(kpl/psp)