The Wangsa Cerbon ' Dermayu (Cerbon ' Dermayu Dynasty) exhibition puts the spotlight on works of art by the family members of traditional artists from Cirebon and Indramayu in West Java.

Hariadi Saptono, executive director of Bentara Budaya Jakarta cultural center, host of the show, said the event aimed to give a larger stage to traditional artists so they could reach a wider audience.

'These artists have a long history and good potential in the coming years,' he said, adding that a good result would be if the artists managed to sell more crafts after the event. 'It would really help the artists, and ultimately the art, to live.'

A dynamic performance of the traditional Cirebon mask dance, featuring pesinden (traditional singer) Mimi Waci and dancer Aerli Rasinah ' daughter and granddaughter of the late mask dance maestro Mimi Rasinah, opened the event, which runs until June 23.

The traditional Cirebon mask dance is an energetic dance with deep spiritual symbolism, believed to have been developed by Islamic missionary Sunan Kalijaga back in the 16th century.

The dance tells the life journey of five different characters ' Panji, Pamindo, Rumyang, Tumenggung and Kelana ' performed by a single dancer using different masks.

Aerli Rasinah.A performance of classical tarling ' a word derived from the two main instruments in the ensemble: gitar (guitar) and suling (bamboo flute) ' will be one of the event's highlights. The show, to be held on June 21, will feature tarling group Candra Kirana, led by 76-year-old Djana Partanain, accompanied by his son and grandson.

A complete tarling show, which incorporates a drama performance, can last for hours, with an ensemble consisting of dozens of artists including pesinden, wira swara (male singers), actors and nayaga gamelan music players.

Apart from giving traditional performances on the center stage, the exhibition also showcases renowned artwork from the region, from Cirebon wooden masks, Trusmi batik, Cirebon glass painting and Sitiwinangun earthenware. The latter is an example of traditional art's struggle.

Sitiwinangun was once famous for its craftsmanship, with the traditional ceramics and earthenware vessels carrying signature ornamental motifs, from jasmine to lompongan leafs. The most distinctive vessel is the Singabarong, which pictures a lion with a gaping mouth, menacing open eyes and a hole in its back. The hole is used to store padasan, the water for cleaning before Muslim prayers.

Hariadi said today many Sitiwinangun residents had turned to making furniture out of used tires, which brought in more money.

The decline started slowly, first with competition from Plered Purwakarta ceramic home industry, which had been growing quickly with support from its local administration. Later, many consumers turned to plastic-made wares. Sitiwinangun residents also deem pottery-making a time consuming and costly process.

Sitiwinangun earthenware is now being revived by 70-year-old Miskadna and Kadmiya, 45. Both learned the trade from their parents and grandparents, and now guide their sons in the art.

Cerbon and Dermayu, the former more influenced by the Cirebon sultans and the later more by the lower-classes, is a subculture on Java Island. However, neither culture is mainly driven by Javanese or Sundanese cultures ' the two central cultures on the island ' but rather by a melting pot of Javanese, Hindu, Islamic, Chinese and Western influences.

'On a smaller scale, Cerbon ' Dermayu represents the true face of Indonesia,' Hariadi said.

' Photos by P.J. Leo