Nicholas Saputra, Happy Salma, Iwan Yusuf, dan (alm) Gunawan Maryanto

  • Artist Biographies

    Nicholas Saputra

    Nicholas Saputra (born 1984) is an Indonesian actor and a film producer. Nicholas first became famous through the role of Rangga in the film Ada Apa dengan Cinta? in 2002, a similar role in the film Ada Apa dengan Cinta? 2 in 2016. As a well-known actor, he has received two awards at Citra Award for Best Actor as the main character in the film Gie (Director Riri Riza, 2005) and Best Supporting Actor in the film Aruna & Her Palate (Director Edwin, 2018).

    Nicholas dedicates himself to environmental and conservation issues, while also supporting children's rights. He has also served as executive producer and producer for several environmental films through his production company called Tanakhir Films. In 2019, Nicholas was named UNICEF Goodwill Ambassador Indonesia.

    Happy Salma

    Happy Salma (born 1980) is an Indonesian actress, a producer and a writer. She is one of the influential figures in Asia, according to Tatler magazine in 2020. Happy received Bali-Dwipantara Nata Kerthi Nugraha 2023 award from the Indonesia Institute of the Arts, Denpasar in Artist and Maesenas Arts category.

    She started her career in the world of acting by starring in dozens of soap operas. While involved in the world of soap operas, Happy discovered her love for the world of literature, which she then expressed it in two books of short stories, including Pulang (2006) which was nominated for the Literary Khatulistiwa Award and Telaga Fatamorgana (2008). She is also involved in collaborative works in several short story anthologies, including Titian: Anthologi Cerita Pendek Kerakyatan (2008), Lobakan: Antologi Cerita Pendek (2009), 24 Sauh Kolaborasi Cerpen (2009) and Dari Murai Ke Sangkar Emas (2009)

    Apart from short stories, she also wrote a collaborative novel with Pidi Baiq entitled Hanya Salju dan Pisau Batu in 2010. Most recently, she wrote and published the creative biography book Desak Nyoman Suarti "The Warrior Daughter" in 2015.

    Gunawan Maryanto

    Gunawan Maryanto (born in Yogyakarta, 1976) was a director, actor and writer. He worked at Theater Garasi/Garasi Performance Institute as an Artistic Associate. He managed IDRF (Indonesia Dramatic Reading Festival) as a program organizer for seven years. As a cultural and artistic actor, he won the Cultural Anugerah award from the Department of Culture and Tourism for Print and Electronic Media in the poetry category in 2007, 2008 FTI Award, and Anugerah Sastra Khatulistiwa 2010 Khatulistiwa in poetry category. His short stories and poems were included in the Best Indonesian Short Stories and Best Indonesian Poetry in the 2008 and 2009 Pena Kencana Literature Awards. Most recently he was named the best film actor chosen by Tempo Magazine for his performance as Wiji Thukul in the film Istirahatlah Kata-Kata in 2016.

    Some of Maryanto's directorial works with Theater Garasi include Krontjong Mendoet (2012), Gandamayu (2012), Dicong Bak (2006), and Repertoar Uang (2001, 2005). Meanwhile, he also frequently stared in several films, including Istirahatlah Kata-Kata (Director Yosep Anggi Noen, 2016), Nyai (Director Garin Nugroho, 2016), Aach… I'm in Love! (Director Garin Nugroho, 2015), and Mencari Hilal (Director Ismail Basbeth, 2015).

    As a writer, some of the written works he published were Pergi Ke Toko Wayang (a collection of stories, Tan Kinira 2015), Sukra's Eyes and Other Stories (short stories, Lontar, 2015), Perasaan-perasaan yang Menyusun Sendiri Petualangannya (a collection of poetry, Omahsore, 2008), and Waktu Batu (a play script, written with Andre Nur Latif and Ugoran Prasad, Indonesiatera, 2004). He had also been invited to read his works at Frankfurt Book Fair (2015), Korean ASEAN Poetry Literary Festival II (2011), Ubud Writers and Readers Festival (2006), Global Voices in Borobudur (2009), and Utan Kayu (2005).

  • Concept of Artwork

    This work is an adaptation of Serat Centhini's reading, especially in the sequence of Empat Puluh Malam dan Satunya Hujan, translated by Elizabeth D. Inandiak in 2002 in French (later translated into Indonesian in 2004), with the late director, Gunawan 'Cindhil' Maryanto, as well as Nicholas Saputra and Happy Salma who act as the narrators. This reading is divided into 7 rounds. Visually, they collaborated with Iwan Yusuf who created beds and mosquito nets as his media.

    Serat Centhini is the greatest Javanese or Suluk literary masterpiece in the Land of Java written during the time of Adipati Anom Amangkunagara III, who later became king of Kasunanan Surakarta and had the title Sunan Pakubuwana V (r. 1820-1823). Adipati ordered three court poets from Surakarta, Sastranagara, Ranggasutrasna and Sastradipura to compose an ancient story in song form entitled Suluk Tambangraras, later known as Serat Centhini. "Suluk" is the "voice that rises up" in a wayang performance, but the term also refers to "all Javanese magical literature of the Islamic period". Centhini comes from the name of servant, Tambangraras.

    Centhini tells the story of the adventure of two sons and a daughter of the Giri Kingdom who fled from the invasion of the army of Sultan Agung, King of Mataram. Leaving the kingdom in ruins, the eldest Jayengremi lost his two younger siblings, Jayengsari and Rancangkapti. It was during this search that they tasted all the wisdom and transgressions that flourished in the Land of Java, the spiritual experiences and heresies that "weave and fiddled with the imaginary web of lust and spirit of the Land of Java." Jayengresmi officially changed his name to Amongraga ("He who carries his body") wandered and married Tambangraras. Before the wedding took place, Amongraga told Tambangraras that as soon as they had sex - on the fortieth night - he would leave her to look for his two younger siblings.

    In the original Serat Centhini, it is said that Amongraga and his wife, Tambangraras, spent forty nights in the bridal chamber without having intercourse. These forty nights fill the last six poems of volume VI and the first fourteen poems of volume VII.

    Through this works, we are invited to interpret the contents of the conversation between Amongraga and Tambangraras as a suluk was being represented in contemporary times, just like our interpretation of various 'prophecies' from the past.