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For more than three decades, Indonesian composer Franki Raden has created original compositions that are a unique fusion of traditional and contemporary Indonesian music. A national treasure known in the early years of his career for his award-winning musical scores on numerous Indonesian films, Franki largely disappeared abroad, far away from Indonesia’s music scene, until his return in 2009.

On Wednesday night, Franki’s talents were again on full display as he conducted the Indonesian National Orchestra in its debut concert in Jakarta — a performance that brought together more than 60 musicians playing 45 traditional instruments from across the archipelago.

The 56-year-old Jakarta native said he immediately began working on this new concept when he returned to Indonesia, to create an ensemble the reflects the country’s diverse musical and cultural traditions.

“It’s about our slogan, Bhineka Tunggal Ika [Unity in Diversity], and presenting a tangible form of it through the glorious combination of these different instruments in making a singular beautiful sound,” Franki said.

Franki’s musical career began with his studies at the Jakarta Arts Institute (IKJ), from which he graduated in 1974.

He recalls his formative years in the 1970s at IKJ as the most inspirational and critical period of his life.

“During that time, it was more of a challenge to be an artist. There were a lot of unsupportive folks. So many of us made IKJ our home,” he said, explaining that he and his friends used to spend their nights in the university’s halls.

“I also learned a lot about dedicating your life to art through listening to debates and dialogue between artists there at the time, who are now legends, such as Goenawan Mohamad and WS Rendra.”

Franki became active as a music critic in 1975, writing for numerous Indonesian periodicals and journals. He immersed himself in the local art scene and soon found himself the go-to composer for movies, many of which are now considered classics of Indonesian cinema, including “Rembulan dan Matahari” (“The Moon and the Sun”); “Titian Serambut Dibelah Tujuh” (“A Hair-Thin Walk Split Into Seven”); “Kembang Kertas” (“Paper Flowers”); and “Kejarlah Daku Kau Kutangkap” (“Chase Me and I Will Catch You”).

It was during this period that his music caught the attention of renowned film director Teguh Karya, who was preparing to make the colossal film “November 1828,” about the Javanese national hero Prince Diponegoro. “My friend gave him a listen of my music, and he was intrigued. So that’s how I ended up getting the job,” Franki said.

The then 23-year-old set to work on creating a score for “November 1828,” immersing himself in traditional Javanese music for the project.

“I was primarily doing modern Western music at the time. And that movie really spearheaded my move toward traditional music,” he said.

“November 1828” was awarded the best musical score at the 1979 Indonesian Film Festival, and Franki received a Piala Citra (Citra Cup).

“Being nominated for the prestigious Citra was enough. It didn’t matter if I won or not,” Franki said, adding with a laugh that after “I messed up my studies my career took off.”

He received another Citra award in 1986 for his work on director Deddy Mizwar’s critically acclaimed “Nagabonar.”

Such recognition, however, did not satisfy Franki’s artistic hunger. He decided to pursue his artistic aspirations abroad. In 1986, an incredible opportunity came in the form of a Rockefeller Grant, which took him to New York for a year.

“It was fabulous. They provided me with everything I needed: food, shelter and art equipment,” he said.

For the next 15 years, Franki traveled to various parts of the world — including the United States, Canada, Singapore, Australia and France — to study, teach and perform. He studied with renowned Chinese-American contemporary classical composer Chow Wen-chung at Columbia University and with Stephen Dembski at the University of Wisconsin-Madison. He received a master of music degree from the University of Wisconsin-Madison in 1990 and a PhD in ethnomusicology in 2001. He also did minor studies in performance art and Southeast Asian studies.

During his time abroad, Franki also acted as something of an ambassador for Indonesian music and art. He began organizing arts festivals and cultural exhibitions in the United States, Canada and Japan.

In 1996, along with cultural scholar Tony Rudyansyah and music critic Serrano Sianturi, Franki founded the Sacred Bridge Foundation, which organizes cultural events both in Indonesia and abroad, and brings together musicians from different cultural backgrounds.

Franki was an a ssistant professor in the fine arts cultural study program at York University in Toronto between 2004 and 2005. The following year, he taught in the visual and performing arts program at the University of Toronto.

“I didn’t want to dedicate my life to being an academic, completely bestowing my life to students and not having time for my family and art,” he said.

So in 2009, Franki returned to Jakarta. Upon his return, he began gathering musicians from around the country to create the Indonesian National Orchestra.

The orchestra’s debut concert was attended by many renowned Indonesian artists, including composer Addie MS and veteran actress Christine Hakim. Also in the audience were diplomats and politicians, including Guruh Sukarnoputra, the brother of former President Megawati Sukarnoputri.

Addie MS, conductor of the Twilight Orchestra, said he enjoyed seeing such unconventional and diverse instruments featured in the performance.

Dedi Gumelar, also known as Mi’ing, a former comedian and talk show host, and now a lawmaker, commended Franki for representing Indonesia in a creative and positive light.

“I urge our leaders to support more concerts like this,” Dedi said, pledging his support for any future events.

For his part, Franki said he hoped his work would inspire more support for the arts in Indonesia.

“Our country is incredibly rich in culture. While there has been a progression in how art is perceived, there are still shortcomings,” he said.

“Most people just choose to be spectators of the arts, when they should really be actors in developing the nation’s artistic talent.”