Javanese opera troupes make sure the show still goes on

Javanese opera troupes make sure the show still goes on

By Agus Maryono and Ngudi Utomo

PURWOKERTO, Central Java (JP): An Indonesian phrase Hidup
enggan, mati tak mau, which means "Don't want to live, don't want
to die", describes the current situation of a traditional stage
show, ketoprak, in Banyumas, Central Java.

The Javanese word ketoprak can be translated as kentong (a
gong instrument). During performances, coordination between the
scenes and the supporting background music is done by the sound
of the kentong.

In this region, it is generally known as ketoprak tobong
because the performance is held in a tobong, a structure made of
bamboo logs and iron sheets. The purpose of such a stage is for
practical reasons, since ketoprak tobong groups travel around to
present their performance.

Ketoprak was first performed in Wonogiri, Central Java; and
was a drama which included dialog and singing. Yet because it is
most famed in Yogyakarta, people believe that ketoprak originated
from there. It was from here that ketoprak began to spread to
other regions in Central Java, including Banyumas.

Ketoprak is rather distinct from more conventional types of
drama because its themes are restricted to historical stories
about ancient kingdoms or legends. With these types of settings,
the actors' costumes are according to the fashion during olden
times. The background music is that of traditional gamelan.

Originally, the performances were staged in permanent venues,
such as in the halls of a village center or in a special building
allocated for the performances. With the changes of time,
ketoprak has had to compete with more modern forms of
entertainment, such as dangdut music shows and movies, as well as
radio and television.

Thus, the popularity of ketoprak has drastically diminished.
The profits have also decreased severely and the performers have
to travel from one place to another because they can no longer
afford the maintenance and rent of a permanent building.

This marketing maneuver gave the show success, and performers
had their own fans in the villages they visited. But, the
popularity did not last, due to the monotonous themes that are
always presented. Now, an audience for each performance never
amounts to more than 20 people. Despite this difficulty, ketoprak
groups persist in holding their performances. They can stay for
three months or four months in one place before moving on to
another place.

From the about 20 ketoprak groups that once existed in the
region, Sari Budaya is one of the few left performing.

For the actors, ketoprak has become their way of life. But to
support their life, the actors must also get temporary jobs.

Sukirno, Sari Budaya ketoprak group's assistant to the head,
said: "What else can I do? It's obvious that we cannot rely
solely on the money earned from our performances."

"In the evening we perform our show. But during the day, we
all have our own activities," the 60-year-old man said.

He said many of the group's members have temporary jobs such
as becak (pedicab) drivers or household helpers.

Thirty-year-old Tuti, for example, washes clothes at a house
during the day, while her husband, also a performer in the group,
is a barber.

"No matter what, our main priority is to perform. Even if
there is not much of an audience, the show still goes on,"
Sukirno said. "If it is not done this way, who else will inherit
our own priceless culture?"

From 1990 to 1996, Sukirno led a karawitan (Javanese songs
accompanied by gamelan) group called Bawor Laras. This group was
under the auspices of the Seruling Emas Foundation which belonged
to the late Soesilo Sudarman, a former cabinet minister. Bawor
Laras used to perform at the Central Java Pavilion, Taman Mini
Indonesia Indah, East Jakarta.

Before Sukirno joined Bawor Laras, he was the leader of Sari
Budaya. He decided to leave because he did not want to see the
death of the ketoprak group, which was on the verge of ending.

The group is in fact in a critical situation. Now, the
performers' children must also help their parents make ends meet.

"It is very sad that many of us cannot afford to educate our
children. But what makes us sadder is that often we find them
begging for money at the corners of the stage," said Tuti, who
has been with ketoprak tobong for 12 years.

It is due to the performers strong motivation that this
ketoprak survives.

"Most of the performers are motivated by their own interests
or hobbies," said Sukirno.

The entry fee for a show is just Rp 500 per person.

"Every Saturday night, if it doesn't rain, we may get up to 20
people," said Sukirno.

The performance earns about Rp 10,000, which is distributed
among the crew. "Whether there is a performance or not, we pay
our performers Rp 300 per day. We are aware that the amount is
nothing but we are touched by our crew's persistence and
motivation," said Sukirno.

Despite the hardships they encounter, they are often invited
by the state radio station RRI in Purwokerto to perform "live"
once a week.

The proposal, made by Yon Maryono, head of RRI Purwokerto, is
not regarded as a bailout from their troubles because the payment
they receive is not much.

"We don't understand why, after a three-hour performance, we
only receive Rp 7,500," said Sukirno. "Imagine dividing that
amount between our 20-member crew, it is irrational," he added.

The only thing the ketoprak group has left to do is hope that
there will be more attention from the government in the future.

"During the Golkar campaigns for the election, until the last
one in 1997, ketoprak performances always drew masses of people.
But after they have won the election, we are left with nothing,"
said Sukirno, whose memories makes things worse for him.

The situation is similar to that of Yusuf Efendi, 47, the head
of another ketoprak group, Ngesti Wibowo.

But this group has a different marketing maneuver than that of
Sukirno. "Aside from commuting from place to place, we also
accept bookings to perform at wedding parties," Yusuf said.

"We may only be asked to stay for a day or two but we earn
more money than if we play in our tobong."

The world of ketoprak is very different from that of trading
said Yusuf. "In trading, if the expenses exceed the profits we
earn, they will stop the business. But in ketoprak, as long as we
can still support ourselves, even to the most minimum
requirements, the show will go on."

He said the most profitable times are during the Moslem Idul
Fitri celebrations at the end of Ramadhan, the fasting month.
"Usually during lebaran (Idul Fitri holidays), people in the
villages have a tendency to spend their extra money. This is the
time when we promote our show to the fullest. We even get to
perform during the day and at night," Yusuf said, adding that an
audience may amount to 100 people and the group can receive up to
Rp 100,000 during that time.

Suhardi, of the Ministry of Education and Culture's office in
Banyumas, said that he is also concerned about the fate of
ketoprak. "We are doing what we can to continue to promote this
valuable legacy to the people and for the ketoprak groups not to
stop their performances", he said.

As the first step toward this goal, Suhardi often cooperates
with the provincial office of the ministry to hold festivals that
present ketoprak, from village levels up to provincial levels. He
said his office also participated in supplying the groups with
tools and costume requirements.

"We also often contribute sembako (the nine basic necessities)
to the ketoprak tobong groups to ease some of their struggles,"
he added.