Suzan Piper has spent over three decades engaged with Indonesia.
She speaks Indonesian like a native and can converse well
in Javanese. For over 15 years her business Wot Cross-cultural
Synergy has provided translating/interpreting services, training,
communication skills and strategies, and arts production and
management to facilitate better understanding between Indonesia
and Australia in particular, and the West in general. Wot
has negotiated both highs and lows in Australia-Indonesia
relations, the most dramatic example being the performance
of the Australian-Indonesian drama The Black Rooster in Jakarta
just 300 metres from the site of the Australian Embassy bombing
one week before.
Where do you come from?
I am Australian but have lived in three countries: England
where I grew up, Australia where I completed my schooling
and Indonesia which became the focus of my studies and my
career.
What is your professional/educational background?
I graduated B.A. (Hons) with a major in Indonesian from Sydney
University and continue to research into the area. I also
have a Diploma in Teaching English As a Foreign Language (Sydney
TAFE), Graduate Certificate in University Teaching and Learning
(UNSW) and am a NAATI-accredited professional translator (written)
English-Indonesian and interpreter (oral).
Why and how did you first become interested in Indonesia?
At school in England I studied French and German. As a student
at Sydney University I chose to study Indonesian as the language
of Australia’s closest neighbour. My first visit to
Indonesia as an undergraduate in the early 70’s made
a lasting impression on me. I spent my first month in Ubud,
improving my Indonesian fluency. Fond memories of that time
include watching fireflies dancing in the rice fields and
Balinese dancers in nearby Peliatan. I also recall returning
to my losmen one evening, my torch turned off so as not to
waken the street dogs, only to trip over the large black sow
sprawled asleep at the entrance, invisible in the moonless
night! My next stop was Yogyakarta where I stayed at Bengkel
Teater Rendra (BTR), having met and been inspired by poet/dramatist
Rendra on his poetry tour of Australia. Clearly my Indonesian
had improved when several monthslater I was invited to perform
with the BTR drama troupe in the play Mastodon dan Burung
Kondor.
Why do you call yourself a cultural interpreter?
In the past I have described myself as an Indonesianist, to
indicate my long-standing involvement with Indonesia in various
sectors from the multinational, government, public service,
legal, education, arts, NGO and grass roots margins at various
levels: professional, community and family. Nowadays I prefer
the term cultural interpreter to emphasize the services we
provide to enable a nuanced understanding and enhanced communication
between Australia and Indonesia.
What kinds of jobs have you held in Indonesia?
In Jakarta I worked from 1983 to 1992 as Director of English
at a foreign language school, and then on various World Bank-funded
training projects with the Indonesian Airforce (ask me about
spot-welding F5 fighter aircraft), BPPT - the Agency for the
Assessment and Application of Technology - headed by the future
president, Habibie, and for Public Works. I also marketed
Australian tertiary education for IDP. In addition I also
performed, researched and wrote articles on Indonesian popular
music, and translated lyrics, poetry, prose and film subtitles.
On return to Australia I resumed teaching Indonesian language
and cultural studies at various Sydney university campuses
and continued translating and interpreting. Translating and
interpreting clients include the World Bank, the Australian
Federal Police and the NSW Crime Commission, interpreting
for visiting Indonesian judges and public prosecutors for
the Asian Law Group, and live to air translation for Australian
public television of Suharto’s resignation and the 7-hour
sentencing of Amrozi, the ‘Bali bomber’
Is your family also as involved as you are with Indonesia?
My husband Sawung Jabo is an Indonesian musician perhaps best
known for forming the band Swami with Iwan Fals. We met through
BTR. Our son Johan (25) is a graphic artist and video maker.
Shanti our daughter (20) has studied Indonesian dance and
is currently studying fashion design.
What are the most common misunderstandings between the two
countries?
Both our countries need to move beyond the crude caricatures
of each other that we get from the popular media in today’s
increasingly polarized world. For those seeking to establish
a long-term relationship between Australia and Indonesia,
taking the time to get to know each other well is a wise investment
and good risk management. Faulty first impressions are difficult
and costly to erase.
What is the best means by which to bring the two countries
together more?
Better understanding of each other can be achieved through
education; encouraging more study of each other’s country;
the media; more in depth articles on each other; and most
importantly through better communication.
What aspect of your work helps to bridge the huge cultural
gap between Australia and Indonesia?
Actually our two countries share some important common features:
a multicultural population spread over vast distances, formerly
reliant on natural resources. I feel that the work I do translating
and interpreting helps facilitate communication across the
gap and the many concerts, drama tours and other arts events
we have produced in both countries exposes each other’s
different cultures in an entertaining yet provocative way.
I passionately believe that presenting and supporting the
arts are a popular, accessible and entertaining way to explore
each of our country’s depths.
To learn more about Suzan’s work, check out the website:www.proz.com/pro/115536
or email her directly at: wot@iprimus.com.au.
For anyone interested in being considered for Siapa, please
contact : <pakbill2003@yahoo.com>
Copyright@2007 Al Hickey
You can read all past articles of Siapa
at www.BaliAdvertiser.biz
