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.