#ali topan anak jalanan

[elizavitri]

The krosbois.

From Ali Topan Anak Jalanan the movie.

[rekayorekdotid]

REKAYOREK.ID - Teguh Esha, pengarang novel terkenal “Ali Topan Anak Jalanan”, Senin siang (17/5), pukul 14.30 WIB dimakamkan di TPU Tanah Kusir dengan protokol Covid-19.

“Ayah memang terpapar Covid-19 “, kata Muhammad, putra sulung Teguh Esha ketika saya hubungi sore tadi.

Teguh Esha mengembuskan nafas terakhir Senin subuh pukul 05.30 WIB di RS Suyoto, Bintaro

[irwanpratubangsawan]

ALI TOPAN ANAK JALANAN (1977)

ALI TOPAN ANAK JALANAN (1977)

Novel Ali Topan Anak Jalanan: Kesandung Cinta merupakan novel karya Teguh Esha yang terbit pada tahun 1977. Tokoh Ali Topan muncul pertama kali dalam cerita bersambung karya Teguh Esha di majalah Stop tahun 1972. Setelah itu, Teguh Esha mengekranisasikan karya tersebut dalam bentuk film dengan judul “Ali Topan Anak Jalanan” pada tahun 1977 dengan pemeran utama Junaedi Salat dan Yatie Octavia.

Dar…

[666463]

Ali Topan - Anak Jalanan

Teringat jaman SMP umur sekitar 14 tahun, lagi musimnya nge band ala-ala, FYI semua band karbitan saat itu milih nama pasti "Closet" uda itu doang. Setiap kali agenda nge band pasti nyoba booking di rental Gama daerah Dustira sana, bila diibaratkan kata-kata 'sebuah tempat dengan kelengkapan band paling sophisticated sa Cimahi' drum merk pearl, gitar fender, amplifier standar sih. Tapi pada jamannya siapapun yang latihan di tempat itu tingkat citra di mata awewe naik 3 level, asa Cimahi nu aing pokona. Ka aing teu ngaruh tapina kehed. Singkat cerita kita hendak nge band maka mengutus drumer andalan ku, Riyan dan bassis karbitan a.k.a aing booking tempat. Ingat ini jamannya jahiliyah tidak usum Google mau ga mau harus tanya langsung untuk pesan. Masalahnya umur 14 tahun mana punya SIM, terinspirasi aktivitas dan keberanian berandalan guitaris kita alias Gilang yang malang melintang dengan motor Kanzen nya pergi sekolah di Bandung tanpa SIM tertantang lah kita untuk mengangkangi Polisi Cimahi. 

Kira-kira begini hasutannya: "Moal nanaon asal pake helm fullface we, mun aya polisi tong di tempo." Aing dua an ngangguk-ngangguk kaya yang betul aja. Gas! motor Honda WIN inventaris BRI Pak Cecep di pinjam, kade ulah salah ieu motor abret-abretan! boncengan dengan jalur lewat Cihanjuang menuju Tagog terus ke Dustira. Jengjreeeeng... di depan nongol Polisi, lampu jalan merah pula. Anjeh motor kita di tunjuk suruh berhenti, nya moal lah! maenya Ali Topan ereun era lah anak band gitu loooh, aing menghasut untuk memilih cara Hardcore alias kabur. "KABUR KABUR BURU! GAS...GAS..!!" (disarankan pasang lagu whitesnake legend eehhh salah knight rider biar berasa atmospherenya) Geber lah nepi ngahiung eta motor jambret, aing liat belakang anjeeeeehhh di udag lah uwuwuuwuwu.... motornya supra warna abu-abu dekil abis, ini tukang begal jalanin motor aprak-aprakan hampir nabrak sana sini, geber edan pokona. Lewat depan Ramayana menuju Pasar Atas tapi aing poho jembatan di situ under construction! macet parah! Quick thinking aing jalan, teu salah lah Bu Dewi mere aing ranking 5 di kelas. "Pengkolkeun ka nusa hijau!" (Nusa Hijau = komplek perumahan sebelah jalan raya deket Pasar Atas) Aing menghasut eta ghost rider jiga iblis bahakhak Daaaaannn eta komplek buntu doooong!, terpojok, eehhh ada Sista temen SMP tapi sama sekali belum pernah ngobrol, doi rumahnya disitu lagi main di jalan aing todong. "Rumah kamu dimana!" maksudnya mau nyumput gituuu. "Geus ge urang pasrah we ge" si rider begundal ini uda keder wkwkkwkw Ya sudah katewak deh. Si polisi uda stand by di pintu komplek maju mundur kemudian mendekat. Bagian interogasi: "Kenapa lariiii....", ceuk si pokis dengan intonasi super seloow bari ngaledek, demi allah nyeri hate ngadenge cara ngomongna, awas siah. "IYA PAK, MAAP PAK" macem siswa IPDN wkwkwkwk aing hayang seuri. "Ya uda ikut bapak ke Pos, kamu ikut saya (nunjuk ka aing)" anjeeeeeehhh aing jadi di bonceng ku Polisi, sa jajalan kabeh nempo na ka aeeeeennggg anjeeeeehhh aing katewaaakk faaaakkk....citra aing ancur lebur seketika. Kayanya ini salah satu penyebab citra buruk aing dimata awewe. Si Riyan ikut di belakang mukanya aman, make helm fullface ajig, ga ada yang nyangka juga. Ujungna balik naek ojeg dari tagog bahahahha...biar motor Pak Cecep yang urus. Setiba di rumah anggota band lain heran kok naik ojeg. "Helm aing manaaa?" kata Gilang inget na ka helm ga inget citra aing yang hancur lebur. Teu jadi we nge band na, tapi masalah belum selesai masih ada Riyan yang bingung bilang ke Bapak nya.

Ini si ibu yang cerita ke aing waktu ketemu Bu Cecep. "Pa motor ditilang...." "hmmm....." matanya terus nonton TV cuek wkwkwkw "Pa motor ditilang!..." "hmmm...." "Pa atuh pa motor teh da di tilang" bari leweeeeehhh hahahahahhahah "Eeuuhhh atuuhhh" Cerita selanjutnya aing ga tau Pak Cecep yang pergi, aing lanjut maen bola.

[suratpembaca]

SEBAGAIMANA kita ketahui perilaku pengendara motor dan pengemudi mobil di sejumlah kota besar sudah semakin tidak terkendali. Berdasarkan penelitian, setiap hari terjadi 73 kematian karena kecelakaan di jalanan, di Indonesia. Kecelakaan paling banyak disebabkan oleh pengendara motor. Para pengemudi mobil dan motor sering mengabaikan tanda rambu lalu lintas yang sudah dipasang demi keselamatan pengendara dan pejalan kaki. Jenis pelanggaran yang sering dilakukan adalah banyaknya pengendara yang menerobos lampu tanda henti lalu lintas di persimpangan. Perlu aturan tegas untuk para pelanggar lalu lintas ini karena hal itu sangat membahayakan dirinya dan orang lain. Selain berpotensi mencelakai pengendara dari arah berlawanan, kendaraan yang melanggar juga berpeluang mencelakai para pejalan kaki yang menyeberang. Padahal, pejalan kaki termasuk pengguna jalan yang diutamakan. Rencana pemerintah yang akan memberlakukan pasal pembunuhan kepada para pelanggar lalu lintas ini terkesan mengerikan. Akan tetapi, coba kita lihat korban kecelakaan lalu lintas tidak kalah mengerikan, bukan? Pemberlakuan hukuman ini memang untuk membuat jera para pengendara dan menyadarkan mereka bahwa berkendara dengan santun dan bertanggung jawab akan lebih menguntungkan. Sekarang bukan zamannya Ali Topan anak jalanan Bung! Kesadaran berlalu lintas di Indonesia memang masih sangat kurang. Berbeda dengan negara lain, misalnya Australia. Saya pernah berada di sana selama dua minggu. Ketaatan akan berlalu lintas sangat baik. Waktu saya akan pulang ke Indonesia dan diantar oleh teman saya orang Australia subuh hari, jalanan masih lengang. Ketika lampu merah menyala, dia berhenti sebelum garis zebra cross. Padahal untuk menerobos bisa saja dilakukan karena tidak ada orang di sekitar itu bahkan polisi juga tidak ada. Namun, itu tidak dilakukannya karena menurut dia itu salah. Kapan di Indonesia seperti itu, yaaa? Saya yang bukan praktisi hukum turut mendukung rencana pemerintah untuk menerapkan pasal pembunuhan kepada para pelanggar lalu lintas. Ini semata bentuk kepedulian dan kasih sayang kepada para pengguna jalan agar bisa berkendara lebih santun dan tertib sehingga kecelakaan yang megakibatkan kematian bisa diminimalisasi. Semua hak pejalan kaki dan pengendara mobil atau motor bisa terpenuhi dengan baik. Dengan begitu kematian sia-sia akibat ugal-ugalan dapat dihindarkan. Semoga dengan rencana diberlakukan aturan itu bisa sadar bahwa berkendara yang baik akan menghasilkan sesuatu yang baik pula. Begitu kan?   Nurjaman Gading Tutuka 2 Blok K 6 Ciluncat Cangkuang, Kabupaten Bandung

[patricerico-blog]

sudah mirip ali topan anak jalanan belum? 😎🤣✌️capture by : @embong65 #hondabigbike #hondarebel #hondarebel500 (di Tawangmangu, Jawa Tengah, Indonesia)

[ratuvictoria]

Animal Pop Dance Praise & Critics

Last Saturday I went to Gedung Kesenian Jakarta at Pasar Baru with my sister to watch the dance performance of Dhea Seto and her friends at Animal Pop group. The last time I watched a dance performance was in 2011, of the "Ali Topan Anak Jalanan" musical theatre, so this was quite refreshing. Only that this time the dance is a contemporary one, not musical drama.

The classical opera house

This was my first time ever to the art building, which is more like an opera house with capacity of around 500 people and a row of balcony seats upstairs. The Corinthian architecture has gold-painted ornamental details and red carpet & curtain just like in any other classic stage. I just love entering this old room, feeling sophisticated and cultured all of a sudden. LOL.

We got front seats! Yay!

The performance was divided into two scenes: the first one is fully a contemporary Trans Papua and the student class musical. The second one is a sort of exam or inauguration of the dance school from different class levels. I really enjoyed watching the dance moves, the energy I got from the performers, and the philosophy behind the choreography.

the girls acted as contemporary wayang wong, the human puppet, which is quite a good idea!

Here are the things I love from that night's show: 1. Great choreography. As the title "Trans Papua", the dance showed movements and acts from people of Papua. The first act had the dancers dressed up like Papuan people (although the girls didn't wear any costume, which perhaps showed the 'trans' part of the story.) But I got the idea and it was great. 2. They highlighted some pop issues. On the second scene (the class musical) they would highlight teenagers' daily problems such as physical issues. Most teenagers grow up feeling inferior in their peer group and physical things become an important thing. The dance had a song that told us that it doesn't matter if you're fat / skinny, dark / light-skinned, etc. They packaged it in a song / dance performance and I like the idea. It really is a good message for growing up teenagers. I hope more people get the message too. 3. Great energy. I could really feel the great energy of the dancers that night, because I was all ready to dance too all night. I could see how much effort the dancers put on giving their best, although my focus was centered to Dhea Seto, the only person I know on stage. But I could see the performance of the Trans Papua dance was equally good, and the credit goes to the whole team!

Dhea Seto and Zsa Zsa Utari

I found the first act was superb, but a bit confused with the second one because of certain things. It was too confusing that I think I had to write about this somehow. I think any dance performers / choreographers should really notice these things: 1. On stage, appearance is everything.  Yes, the moves and stage control are important, but what's more important is the costume. Even if it's "just" a student musical dance. Wearing loose T-shirt is definitely a no-no. If you're on budget, you could at least wear something basic, black and body fit like gymnastic clothes. It really annoys the eyes when you wear a loose class T-shirt on stage. For a moment I was confused if I really went for the performance night or was it the rehearsal night, and was questioning about the ticket price I had paid. 2. Art performance should be universal. I was personally bothered when I see one of the group performers wore hijab. I know it is a sensitive matter, but I just think that it's not appropriate to show your religion preferences on stage where it (dance, music and art) should be universal. It's not that I disrespect anyone's preference of belief, but to me it is as if the person is disrespecting the art of performance itself. It made her seemed like she wanted to be seen and be treated special because of her personal belief and principles and that she didn't want to blend with the team--where the rest of her group wore uniformed hairdos.  I just think that one's religion shouldn't be taken onto the stage and a good actor/actress should be able to play any role regardless one's religion/principal, because it's what a stage is for. And it just ruined the whole visual artistic. 3. Inner jokes are for your inner group. It's great to have inner joke with your friends; it could show how close and solid your relationship is. But when the show is open for public and they pay for it your audience wants to enjoy the show they could understand. When your joke is funny only to your own crowd, it's where your show fails. Art could be confusing sometimes, but inner joke isn't part of art. 4. Repeated pattern is boring. It's cool to have a bit element of surprise, but when the pattern is repeated for more than twice, it becomes predictable and boring, and won't make your audience stay till the end. On the show I watched, I could see a pattern of how each song would be stopped by a Papuan actor--and on his third time I became too bored. I didn't stay until the end of the show (and it's too rare that I leave any show before it finishes) because I thought I've seen it all and assumed the rest of the show would be a repeated pattern; nothing to be waited to the end. 5. Keep it minimal. On the performance I watched, there were two guys played as ladyboys. On their first appearance, I found it hilarious. Especially because one of them acted as another character in the previous scene. But when these two characters keep showing up again and again, I found it to be too much and cheesy. We could all take something exaggerated once for a refreshing surprise act. But when it's repeated, the audiences would think that you are not that creative, and anything excessive is not good.

Other than these critics (which went mostly to the choreographer), I think the performers did great that night. Some uniformity in movement still should be worked on, but it's just a matter of practice. I really do love watching art performances and I love seeing people being creative in their own terms and fields. I hope both the Animal Pop group and Indonesian art in general would get better and expand more. Rahayu _/|\_

My sister & I

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[atdism-blog]

Filmnya adventure,,, covernya Ali Topan anak jalanan! :D (7/5/17). #atd #videography #youtube #explore #sumatera #crosscountry #kpwbi #medan #sumut #cross #trail #tracking #jungleland #lintasalam #simalem #tanahkaro

[keikenike]

View this post on Instagram

A post shared by Nike Wulansari (@nikewulans)

Ali Topan Anak Jalanan 😂 Kalo mau pesen galon bisa lah yaaa 🙈 . . . #familytime #SisterBrotherRoadTogether #turuninakudipertigaanbang

[elizavitri]

FROM ALI TOPAN ANAK JALANAN by TEGUH ESHA

“Percuma belajar sopan santun kalau yang mengajari juga tidak mau memakai sopan santun itu,” kata Ali Topan.

*

Bel sekolah berdentang. Jam pertama hari itu adalah jam yang paling tidak disukai oleh murid-murid, yaitu “pembinaan budi pekerti” oleh Ibu Dewi. Ali Topan memberi sebutan “pendidikan overacting” untuk jam pelajarannya

*

Mereka melihat Anna dan Ika sebagai anak kecil melihat boneka-boneka. Anak-anak tak punya hak cukup untuk memilih jalan hidupnya sendiri. Hukum wajib dan larangan, semata-mata datang dari pihak orangtua. Kebebasan berpendapat, kebebasan menentukan apa yang disukai dan tidak disukai oleh Anna dan Ika, cuma ada di dalam hati. Tak pernah diberi kesempatan.

*

Kehadiran Ali Topan dalam hidupnya membawa kesejukan di dalam hati. Tapi orangtuanya menganggap justru sebagai badai yang memporak-porandakan segalanya. Tanpa alasan yang masuk akal. Hingga Anna kesal dan mulai nekat. Diam-diam ia sudah ambil keputusan untuk memberontak, merebut haknya, seperti Ika.

*

“Lantas apa maumu? Apa yang kau cari, Ali Topan?” kata Bobby. Dia ini paling doyan omong gaya tinggi, gaya teknokrat sama Ali Topan.


“Aku tak mau apa-apa dalam hidup yang singkat ini. Yang kucita-citakan adalah menjadi suami yang baik bagi istriku dan menjadi ayah yang baik bagi anak-anakku kelak, kalau Tuhan mengizinkan lho,” sahut Ali Topan dengan irama tukang pantun.

***

This is a breakthrough teenage rebel novel from Indonesia, written in everyday language, the way real teenagers back then spoke, not in the formal, good and proper Indonesian language (bahasa Indonesia yang baik dan benar), the only form that is often said to be fitting for literature. Even today, Indonesian novels that use everyday language is often considered less seriously, deemed lower in quality—but I think it increases the novel’s value in realism (I also write the dialogues in my novel in everyday language.) At the time of its publication in 1977, this book must’ve been considered crass, rude, and was probably looked down upon by the literary elite, but it still managed be a cult hit and a movie, directed by the author himself. The use of everyday language can also be seen as a refusal to conform to state-sanctioned euphemism, propaganda, and forced politeness of language to cover up and avoid talking about corruption, government atrocities, race and interfaith relations, and anything real in life.

The story centers on Ali Topan and his friends—he is a somewhat idealized portrait of the male teenage rebel: handsome, very smart, defiant, with a troubled home life and a tender heart. Yet he is hardly a street kid (anak jalanan), he comes a from a blue-blooded dysfunctional family with housekeepers and drivers, but he distances himself from his them and prefers to hang out on the streets with his friends and speed all over town on his motorbike. His father spends all his free time with sex workers and his mother retaliates by dating young men his son’s age.

Ali Topan refuses to be blindly obedient and dutiful (berbakti) to his parents and teachers, as is expected of a son and a student. He shows other teenagers that to be defiant (durhaka) is the more moral choice when your parents and teachers abuse their authority and have done nothing to earn your respect. 

The novel is set in real locations, presenting a complex portrait of 1970s Jakarta, especially Melawai-Bulungan-Pasar Minggu-Kebayoran areas, sprinkled with glimpses into the country’s economic and political scape at the time: people’s fear of and admiration for the military; the vague yet pervasive feeling of surveillance on the streets and in schools; the creeping liberalism that places money as source of respect and encourages corruption, and that if you have the money you can basically hire the police as your own private security; and so on.

Ali Topan is in love with a girl named Anna Karenina, because she’s beautiful, because he needs someone to love, and because she’s sympathetic to him although he is considered bad by others. The author is not proud (gengsi) enough to make his main character an unconquerable boy immune to all feelings, even including a scene of Ali Topan being vulnerable and writing a romantic love letter to Anna. Through Anna he learns to be less selfish, putting her needs before his own.

Like Ali, Anna is a privileged girl with rich parents and a driver, who secretly lusts after her. Her parents limit her movements very much, because her older sister became pregnant outside of marriage by a Betawi boy, an ethnic group that is often looked down on by the aristocratic Javanese people. In the beginning Anna was docile, but after hanging out with Ali, Anna dares to defy her parents and even stands up for her sister.

Ali and his friends demand honesty, justice, and upright role models, while performing and perpetuating certain unfair attitudes. They constantly objectify girls and women and divide them into marriage material and not: cewek opletan vs cewek Mercy (girls who look like public buses vs. girls who look like Mercedez Bens). Ali doesn’t acknowledge or isn’t aware of the unfairness in calling his mother “jalang” (bitch) and his father “main perempuan” (playboy)—the former term positions women as immoral and the latter as object. When Ali’s older brother got their houseworker pregnant, the family ordered her to have an abortion; Ali then told her to run away and keep her pregnancy because aborting it would be shameful and a sin. Ali seemed convinced that he did the right thing, not realizing that he didn’t even ask the her what she needed or what she really wanted to do, or if her sexual relation with Ali’s brother was consensual or not.

Perhaps, though, the boys’ unfair attitudes can also be attributed to the lack of role models around them—the adults are too busy posturing with no humility, drunk with whatever small power they have and using it to their own benefit, and when they don’t get respected, they abuse that power even more to force respect out of others. (Although, we mainly see the parents and teachers as characters who fail at their roles and responsibilities, not as fully fleshed individuals with complex reasons for their behaviors.)

In the end, this is a story of friendship, love, and family—the nation’s young generation craving for something true and fair in a country that was becoming increasingly corrupt and unjust.

[katalogresepmasakan]

Foto: Ngehitszz, Sinetron 'Ali Topan Anak Jalanan' Gunakan Motor Custom Sebagai Tunggangan http://dlvr.it/NC3LBP

[rantauparapatnews]

Foto: Ngehitszz, Sinetron 'Ali Topan Anak Jalanan' Gunakan Motor Custom Sebagai Tunggangan http://dlvr.it/NC3L9v

[blogkatalogresep]

Foto: Ngehitszz, Sinetron 'Ali Topan Anak Jalanan' Gunakan Motor Custom Sebagai Tunggangan http://dlvr.it/NC3L94

[hiskiasianiparforyouthsystem]

Foto: Ngehitszz, Sinetron 'Ali Topan Anak Jalanan' Gunakan Motor Custom Sebagai Tunggangan http://dlvr.it/NC3L4d

[irfanazis]

Junaedi Salat Bintang Film Ali Topan Anak Jalanan Hina Muslim Di Tanah Air

Junaedi Salat Bintang Film Ali Topan Anak Jalanan Hina Muslim Di Tanah Air

Sebuah rekaman video yang melecehkan umat Islam menggegerkan media sosial. Di rekaman video itu, seorang artis sinetron ‘Ali Topan Anak Jalanan’ pindah agama dari Islam ke Kristen.

Saat ini, artis tersebut telah menjadi pendeta. Namanya Pendeta Junaedi Salat. Dia memakai nama Salat karena mengklaim sering melaksanakan shalat sebelum pindah ke agama Kristen.

Di depan jamaah Kristen, Pendeta…

[ratuvictoria]

Animal Pop Dance Critic

Last Saturday I went to Gedung Kesenian Jakarta at Pasar Baru with my sister to watch the dance performance of Dhea Seto and her friends at Animal Pop group. The last time I watched a dance performance was in 2011, of the "Ali Topan Anak Jalanan" musical theatre, so this was quite refreshing. Only that this time the dance is a contemporary one, not musical drama.

the girls acted as contemporary wayang wong, the human puppet, which is quite a good idea!

The performance was divided into two scenes: the first one is fully a contemporary Trans Papua and the student class musical. The second one is a sort of exam or inauguration of the dance school from different class levels. I really enjoyed watching the dance moves, the energy I got from the performers, and the philosophy behind the choreography. Here are the things I love from that night's show: 1. Great choreography. As the title "Trans Papua", the dance showed movements and acts from people of Papua. The first act had the dancers dressed up like Papuan people (although the girls didn't wear any costume, which perhaps showed the 'trans' part of the story.) But I got the idea and it was great. 2. They highlighted some pop issues. On the second scene (the class musical) they would highlight teenagers' daily problems such as physical issues. Most teenagers grow up feeling inferior in their peer group and physical things become an important thing. The dance had a song that told us that it doesn't matter if you're fat / skinny, dark / light-skinned, etc. They packaged it in a song / dance performance and I like the idea. It really is a good message for growing up teenagers. I hope more people get the message too. 3. Great energy. I could really feel the great energy of the dancers that night, because I was all ready to dance too all night. I could see how much effort the dancers put on giving their best, although my focus was centered to Dhea Seto, the only person I know on stage. But I could see the performance of the Trans Papua dance was equally good, and the credit goes to the whole team!

Dhea Seto and Zsa Zsa Utari

I found the first act was superb, but a bit confused with the second one because of certain things. It was too confusing that I think I had to write about this somehow. I think any dance performers / choreographers should really notice these things: 1. On stage, appearance is everything.  Yes, the moves and stage control are important, but what's more important is the costume. Even if it's "just" a student musical dance. Wearing loose T-shirt is definitely a no-no. If you're on budget, you could at least wear something basic, black and body fit like gymnastic clothes. It really annoys the eyes when you wear a loose class T-shirt on stage. For a moment I was confused if I really went for the performance night or was it the rehearsal night, and was questioning about the ticket price I had paid. 2. Art performance should be universal. I was personally bothered when I see one of the group performers wears hijab. I know it is a sensitive matter, but I just think that it's not appropriate to show your religion preferences on stage where it (dance, music and art) should be universal. It's not that I disrespect one's preference of belief, but to me the person is disrespecting the art of performance itself. It seems like she wants to be seen and treated special because of her personal belief and principles and that she didn't want to blend with the team--where the rest of her group wear the uniformed hairdos.  I just think that one's religion shouldn't be taken onto the stage and a good actor/actress should be able to play any role regardless one's religion/principal, because it's what a stage is for. 3. Inner jokes are for your inner group. It's great to have inner joke with your friends; it could show how close and solid your relationship are. But when the show is open for public and they pay for it your audience wants to enjoy the show they could understand. When your joke is funny only to your own crowd, it's where your show fails. Art could be confusing sometimes, but inner joke isn't part of art. 4. Repeated pattern is boring. It's cool to have a bit element of surprise, but when the pattern is repeated for more than twice, it becomes predictable and boring, and won't make your audience stay till the end. On the show I watched, I could see a pattern of how each song would be stopped by a Papuan actor--and on his third time I became too bored. I didn't stay until the end of the show (and it's too rare that I leave any show before it finishes) because I thought I've seen it all and assumed the rest of the show would be a repeated pattern; nothing to be waited to the end. 5. Keep it minimal. On the performance I watched, there were two guys played as ladyboys. On their first appearance, I found it hilarious. Especially because one of them acted as another character in the previous scene. But when these two characters keep showing up again and again, I found it to be too much and cheesy. We could all take something exaggerated once for a refreshing surprise act. But when it's repeated, the audiences would think that you are not that creative, and anything excessive is not good.

Other than these critics (which went mostly to the choreographer), I think the performers did great that night. Some uniformity in movement still should be worked on, but it's just a matter of practice. I really do love watching art performances, and I don't mind some cheesy performance sometimes. I love seeing people being creative in their own terms and fields. I hope both the Animal Pop group and Indonesian art in general would get better and expand more. Rahayu _/|\_ from Blogger http://bit.ly/2wqZXll via IFTTT