Retno Maruti keeps in step with changing times<\/p>\n
By Rita A. Widiadana<\/p>\n
JAKARTA (JP): Theodora Retno Maruti is a gem on the Indonesian
\ndance stage.<\/p>\n
\"She is a rare 'dance creature' and a dedicated artist. She
\nis a virtuoso in Javanese classical dance,\" noted dance critic
\nSal Murgiyanto.<\/p>\n
There are no doubts about Maruti's achievement. Starting from
\nher dance debut as a deer in the Ramayana epic dance staged at
\nPrambanan Temple near Yogyakarta in the early 1960s, Maruti knew
\nexactly what she wanted to achieve in life.<\/p>\n
\"Dancing makes me feel content. For me, it is not merely a
\nbody in motion. My brain, my body and soul incorporate in
\nenigmatic gestures which I dedicate to the divine creator,\"
\nexplained Maruti during a rehearsal for her latest work Sekar
\nPembayun, performed at Gedung Kesenian Jakarta from last Friday
\nthrough Sunday.<\/p>\n
Born 50 years ago in Surakarta, Central Java, the young Maruti
\nwas surrounded by talented traditional Javanese artists.<\/p>\n
Her mother, Siti Marsiyam, was a batikmaker. Her father,
\nSusiloatmodjo, was a puppetmaster and painter and a famous court
\ndancer.<\/p>\n
By the age of five, she was already the master of a number of
\ndances such as Srimpi and Gambyong, works usually performed by
\nadults. Her first teacher was Tumenggung Kusumokesowo. Prominent
\ndancers like Basuki Kusworogo and Bagong Kusudiardjo also
\npolished her dancing skills.<\/p>\n
Her radiant movements and distinctive talent impressed other
\nhighly acclaimed dance teachers such as Sukarini, a noted dancer
\nfrom the Mangkunagaran royal house in Surakarta and
\nLaksmintarukmi, wife of Sunan Pakubuwono X of the Surakarta
\nnobility.<\/p>\n
\"Only a few dancers were able to enter a royal artistic
\ncircle, let alone learn any dance lesson from such distinguished
\npeople,\" recalled Maruti.<\/p>\n
She mastered almost all sacred and rare Javanese classical
\ndances, such as Bedaya Ketawang, Bedaya Duradasih, to more
\nsecular pieces like Gambyong Gambirsawit.<\/p>\n
Maruti is also blessed with a beautiful voice.<\/p>\n
\"Maruti is lucky to master dance, gamelan and karawitan,
\nJavanese music. A perfect combination to become an outstanding
\nartist,\" commented Director General for Culture Edi Sedyawati.<\/p>\n
She not only performs the classical dances, but also modifies
\nand enlivens the centuries-old compositions, added Edi, herself a
\ngifted Javanese classical dancer.<\/p>\n
Maruti's works include Langendriyan Damarwulan and Abimanyu
\nGugur (The Death of Abimanyu) in 1976. In 1977, she composed
\nSawitri, Palgunadi (1978),Roro Mendut (1979), Sekar Pembayun
\n(1980), Begawan Ciptoning (1983), Keong Mas and Dewabrata.<\/p>\n
\"I did not make any change in structure or philosophical ideas
\nof a dance.\"<\/p>\n
She experimented with more glamorous costumes and makeup
\nstyles to adjust to a more modern stage. Sometimes, she reduces
\nthe duration of long and repetitive movements.<\/p>\n
In Sekar Pembayun, which features a strong female figure who
\nwas believed to play a significant role in the establishment of
\nthe Mataram Islamic kingdom in Central Java, Maruti modified
\nseveral acts and storylines.<\/p>\n
\"The dance drama was already staged in 1979. Now, after I made
\nsome historical research, I have decided I should change some of
\nthe plot of the story,\" Maruti said.<\/p>\n
During her 30-year career, Maruti promoted and staged the
\nrefined Javanese art throughout the world.<\/p>\n
\"I met my husband when we were both in a cultural mission at
\nthe Osaka Expo in Japan in 1970.\"<\/p>\n
Maruti and Archadius Sentot Sudharto, a noted dancer-
\nchoreographer, were married and the couple has an only daughter,
\nRuri Nostalgia, who is now following her parent's path as a
\ndancer.<\/p>\n
\"We never asked her to become a dancer but maybe her family
\nenvironment has aroused her interest in dancing,\" explained
\nMaruti.<\/p>\n
She is happy to see her daughter's enthusiasm in learning
\ntraditional dances. At least continuation in the family's art is
\nsecure..<\/p>\n
\"She already masters traditional dances from Sumatra, Java,
\nBali and other provinces. She plays piano, modern ballet and is
\nalso fond of disco dancing like other teenagers.\"<\/p>\n
Ruri, a graduate of a computer institute, said her parents are
\nher idols.<\/p>\n
\"When other people seek more material things, we live in a
\nhumble yet fulfilling life.\"<\/p>\n
Life as a professional dancer is not a promising career for
\nyoung people like Ruri.<\/p>\n
\"In Indonesia, people still do not appreciate art and artists
\nin the way the Western people do,\" commented Ruri.<\/p>\n
Despite the grim truths, Ruri insists on pursuing dancing
\ncareer because \"it is the young people's task to preserve all
\ntraditional arts\".<\/p>\n
Indeed, it is hard to find a young and skilled dancer like
\nRuri.<\/p>\n
\"Many parents have sent their children to learn Javanese
\nclassical dances in my place but many of them lack of skills and
\npatience,\" said Maruti.<\/p>\n
Ambitious parents often urge her to force their kids to learn
\nto dance. \"They even set target for their children to master all
\ntype of dances within one or two years. This is ridiculous.
\nDancing is not something that people can learn in certain years.
\nIt comes from one's heart.\"<\/p>\n
At the Jakarta Arts Institute, she will not take more than 10
\nstudents every year. \"That doesn't matter to me. What's important
\nis their strong will to master traditional dance.\"<\/p>\n
She established Padnecwara to accommodate gifted dancers in
\nJakarta and its surrounding areas.<\/p>\n
\"We stage Javanese dances regularly. A lot of famous dancers
\nare willing help us if we want to perform a big project like
\nSekar Pembayun.\"<\/p>\n
The coming performances involve famous dancers like Miroto
\nfrom Yogyakarta, Nungki Kusumastuti, Wahyu Santoso Prabowo,
\nMaruti, her husband Sentot, their daughter Ruri and several other
\nartists.<\/p>\n
Maruti is greatly concerned over the development of
\ntraditional dances and other forms of indigenous performing arts.
\nShe pointed to several factors that have contributed to the
\ndecline of traditional arts.<\/p>\n
Facilities, opportunities and audiences play significant roles
\nin supporting the existence of a performing art form, both
\ntraditional and modern art.<\/p>\n
\"Traditional art like dance and theater are now declining
\nbecause not many people like and understand them,\" Retno
\nexplained.<\/p>\n
People today are now too busy to watch traditional
\nperformances which usually take a long time. The rapid growth of
\naudiovisual entertainment and heavy working schedules have
\nprevented people from watching and appreciating traditional dance
\nshows.<\/p>\n
\"Some people find watching local art performances less
\nprestigious and irrelevant to the modern world.\"<\/p>\n
Maruti said traditional artists should not conveniently blame
\nthe government or audiences. \"Time changes and artists must be
\nable to adjust themselves to a new condition.\"<\/p>",
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