Contemporary group reviving Bali's operatic tradition<\/p>\n
By Kadek Suartaya<\/p>\n
BALI (JP): An ancient form of Balinese theater, Arja, seems to
\nhave recovered from its unconsciousness and regained the glory it
\nheld from the 1950s to the 1970s.<\/p>\n
This is judging from the performance on the evening of May 16
\nat Banjar Kayumas in the heart of Bali's capital of Denpasar.
\nSome 1,500 enthusiastic spectators watched the Balinese opera,
\nwhich had been largely forgotten or ignored over the past 20
\nyears.<\/p>\n
The opera was energetic and enchanted. An interesting
\ndevelopment was its freedom to address current political themes,
\na taboo during the New Order regime.<\/p>\n
The theater group which successfully hypnotized the audience
\nis known as Arja Cowok, a group made up entirely of men. The
\nopera group is under the supervision of Denpasar-based Printing
\nMas Studio and is busy putting on performances throughout Bali.
\n\"We receive 15 to 20 requests to perform each month,\" Kadek
\nWidnyana, a 36-year-old dancer who usually plays the heroic role
\nof Mantri Manis for the group, said.<\/p>\n
The opera seems to have returned to its original form when men
\ndominated the stage. Balinese have long believed that most of the
\nplayers in the Arja were women, while men were only given roles
\nas clowns.<\/p>\n
However, when it first appeared in 1775, female dancers were
\ntaboo. Female players only appeared in the early 1920s, but since
\nthen have dominated both the male and female roles in the opera.<\/p>\n
After enjoying a long period of glory, the traditional opera
\nbegan to lose its touch. Requests for performances drastically
\ndecreased and one by one, Arja groups dissolved. The opera fell
\nfurther from grace as young artists declined to learn the art and
\ncraft of the opera, while Arja masters grew old and died.<\/p>\n
And even the regular broadcasts of Arja opera on state-run RRI
\nradio which had been heard since the 1960s lost their audience.<\/p>\n
The return to glory started in 1994, when a group of alumni
\nfrom the Denpasar-based Indonesian Arts College decided to
\nreactivate the Arja Cowok. Surprisingly, they won warm applause
\nfrom the public.<\/p>\n
Interestingly, the group broke from the tradition of using the
\nPanji as the source of stories for the opera. They adapted the
\nparody of the Siti Markonah, a story about a member of the West
\nSumatran royal family who seeks a beautiful bride in Madura.<\/p>\n
However, the group maintained the basic format of the opera.
\nIts dramatic structure has remained true to Arja's classical
\nframework and its theatrical source book remains the same. The
\nmacapat or sekar alit style of expression is still used, while
\nthe acting continues to be accompanied by songs.<\/p>\n
In the past, the sadness or misery endured by the opera's
\nprotagonist could draw tears from the audience. The Arja group
\nhas the same ability to bring tears to the eyes of the audience.
\nHowever, these are not tears of sadness, but tears of laughter.<\/p>\n
Old Arja performances, which often were formal and long-
\nwinded, have been transformed by light and fresh dialog, although
\nthe context and cultural setting remains the same. These new
\nperformances are capable of using humor and satire with a deft
\ntouch.<\/p>\n
An actor playing the character of the poor Desak Rai talks
\nabout the crisis which has hit his country because of its
\ntyrannical leader. Meanwhile, the Prince warns his people to
\ncarefully elect their leader. \"Your votes will determine the
\nfuture of this country. Your right to vote is not mere courtesy,\"
\nhe says, and is immediately applauded by the audience.<\/p>",
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