'Ketika Nalar Bertanya' Review: Addressing Generational Trauma at Salindia Teater

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KETIKA NALAR BERTANYA by Salindia Teater talks about the profound trauma of the May 1998 riots and its devastating impact on the Chinese-Indonesians.

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Review by Zahira, editing by Rakaputra Paputungan .

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Confronting the darkest chapters of national history requires both courage and acute artistic sensitivity. KETIKA NALAR BERTANYA by Salindia Teater talks about the profound trauma of the May 1998 riots and its devastating impact on the Chinese-Indonesians. Adapted from Seno Gumira Ajidarma’s short story Clara , with a script written by Deandra Syarizka and M. Habib Koesnady under the direction of Nadine Nadilla. The team from BroadwayWorld Indonesia attended the media preview on August 21st 2026, and here’s our review.

The production bridges past historical grief with a futuristic storytelling of Clara 50 years later in the year of 2048. The protagonist of this story is a teenage boy by the name of Nalar (Abie Sadefa), who lives with his mother, Karlina (Lefi Wilmala). The story starts into a dramatic shift when Nalar’s grandmother, Clara (Wafida Dharmawi), comes to stay with them. Clara suffers from severe PTSD, which occasionally manifests in frightening manic episodes. One night, her condition escalates so severely that she enters Nalar’s bedroom and almost tries to harm him. This happened a few times which left Nalar confused. Desperate for answers, Nalar then confronts his mother to understand why his grandmother kept turning violent toward him. His mother, however, kept him away from the truth by guarding a painful secret: Clara was assaulted during the 1998 riots.

Determined to uncover the truth, Nalar turns to his AI robot helper, Reka (Litany Nainggolan). Reka’s presence introduces a fascinating layer to Nalar's research. As an artificial intelligence, Reka’s approach to history is strangely unsettling, shedding light on the harsh reality that history is easily erased or rewritten by those in power. Reka's commentary leaves Nalar increasingly perplexed until he finally confronts his mother, asking her directly why Clara is only aggressive towards Nalar and Nalar only. This leads Karlina to reveal the harrowing truth about Clara. She told him everything that happened in the tragedy of May 1998, Clara being a Chinese-Indonesian woman, got sexually assaulted by a group of unidentified perpetrators during the riot. When she tried to report it to the police, she was faced with intimidation instead.

What makes KETIKA NALAR BERTANYA stand out is how carefully they handle such heavy, sensitive themes. The May 1998 tragedy, particularly the targeted violence against the Chinese-Indonesians is a deeply painful wound in national history. While some audience members today did not experience the riots firsthand, the script translates that collective trauma so effectively that one can intimately feel the misery endured by those who lived through it. It touches the heart without feeling overly sensationalized, bridging the gap between history and contemporary empathy through powerful writing.

I also really like the title of this production, ‘Ketika Nalar Bertanya’ carries a dual meaning that is both the core theme of the play. On a literal meaning, it refers directly to Nalar, the protagonist, as he investigates his family’s suppressed history, and refuses to stop searching until he uncovers the truth about his grandmother’s trauma. The Indonesian word “nalar” also translates to “reason,” “logic,” or “sanity.” Thus, the title also symbolizes reason itself asking questions, a poignant commentary on how a society tries to make sense of sensible logic to an erased tragedy like May 1998.

The performances across the board elevate the weight of the story. The inclusion of flashback scenes featuring a young Clara (Lidyawati) provides vital emotional context. Lidyawati gives a fragile innocent performance of a younger Clara, her early confusion and creeping terror, which makes the broken, traumatized version of her older self more heartbreaking. Meanwhile, Litany Nainggolan’s portrayal of Reka is also an absolute highlight. Playing an AI character on stage is challenging, yet it brings a fresh, different take to the role, balancing the play’s heavier moments with a unique comical energy.

The show also incorporates musical numbers featuring singing and dancing ensembles, which bring dynamic energy to the stage. While these moments are fun to watch, a few transitions feel slightly awkward. Similarly, the production weaves comedic beats into the dialogue to offer relief from the tension, but some of the jokes fall a bit flat due to a lack of confidence and lack of commitment in their delivery. When the comedic timing is not delivered all-out, it leaves a few scenes feeling briefly hesitant.

From a production standpoint, the technical choices complement the storytelling beautifully. The wardrobe and lighting are kept simple and natural, grounding the characters in reality rather than distracting from the drama. The set design is one tidy work. Despite remaining virtually unchanged throughout the show, the static set is more than enough to anchor every scene. It proves that a powerful story does not require constant set shifts, as long as the design effectively captures the atmospheric mood of the play.

Ultimately, KETIKA NALAR BERTANYA is a compelling theatrical work driven by a strong script and memorable performances. The production succeeds at delivering an empathetic, poignant look at intergenerational trauma and the lingering scars of the 1998 tragedy. I sure think the audience left the room reflecting deeply on the past and honoring the voices that carry its history. It’s all handled with a lot of care and empathy, creating a remarkably human piece of a show.

Broadwayworld Indonesia was a media partner of KETIKA NALAR BERTANYA.

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/indonesia/article/Review-How-KETIKA-NALAR-BERTANYA-Bridges-Generational-Trauma-20261020)._