Didik no longer hurt by 'transvestite' accusations
Didik no longer hurt by 'transvestite' accusations
Tarko Sudiarno, The Jakarta Post, Yogyakarta
"Well, which one should I go to?" asked a man standing in front
of the men's and ladies' rooms at a restaurant, drawing laughter
among troupe members who were having a rest on their way from
Yogyakarta to Jakarta.
The joke restored the artists' vigor on their long, exhausting
journey. The humorous man, definitely an entertainer by
profession, was Didik Hadiprayitno, better known as Didik Nini
Thowok, a much-traveled Indonesian cross-gender dancer.
Nearing 50 by the end of this year, he is performing in
collaboration with foreign cross-gender dancers in Yogyakarta
during the third week of December.
He became interested in cross-gender roles in primary school
in Temanggung, Central Java.
Now he is no longer shy about assuming a female role in most
performances, nor hurt if people call him a transvestite dancer.
Such male parts, according to Didik, were an ancient tradition
in several countries like Japan, India and Europe. In the
Yogyakarta court under Sultan Hamengkubowono I, a male dancer
performed the sacred Bedhaya Semang dance normally presented by
females.
"In 1974, when I joined Yogyakarta's Indonesian Dance Academy,
I was determined to specialize in cross-gender dances because I
felt I was cut out for this art," said soft-spoken Didik. Playing
female characters is compatible with his body's inherently
feminine movements.
As a fifth-grader, he was less confident in presenting heroic
roles like Gatotkaca or Lawung dances. "I was kind of inhibited
in expressing valiant gestures, lacking what the Balinese call
taksu or grip," he revealed.
In dancing, continued Didik, a performer should be able to
combine three technical factors: wiraga (movement), wirama
(rhythm) and wirasa (feeling). "It's this feeling that I fail to
express in performing valiant roles. So even in college I got
poor marks in men's vigorous dances, while in gentler roles in
women's and men's dancing I scored high grades," acknowledged
Didik Nini Thowok.
With this gift, Didik became more deeply involved in cross-
gender choreography and became a dedicated dancer, through
untiring efforts to gain broader knowledge from local and foreign
maestros.
Abroad, he has learned from traditional dancers including
Sangeeta in Madras, India, Richard Emmert and Sadamu Omura for
folk ballet in Tokyo and Gojo Masanosuke also in Japan.
He has also received instructions from nearly all leading
performers in Indonesia such as Yogyakarta court dancers Mme
Yudonegoro and Sasminto Mardowo, women's dance specialist
Rasimoen from Malang, Cirebon mask dancers Sawitri and Sudji, Ni
Ketut Reneng from Bali and master of pop creations the late
Bagong Kussudiardja from Yogyakarta.
Didik's perseverance and total devotion to cross-gender
choreography have earned him invitations to all major cities in
the world to stage his work. Last year he spent his entire time
performing overseas.
Didik will appear in Germany just before his 50th birthday
celebrations from Dec. 13 through Dec. 18.
"I see it as a way of funding the Yogya events," he remarked.
An artist of Didik Nini Thowok's caliber really deserves such
a birthday party.
During his cross-gender dancing career, Didik frequently
performed at the State Palace from the presidency of Soeharto
through to the term of Megawati.
He has also created over 100 works characterized by humor and
femininity. "Now I don't need to deny my existence as a
'transvestite' dancer," added Didik, who claims to have fully
retained his masculinity.