Retno Maruti keeps in step with changing times

By Rita A. Widiadana

JAKARTA (JP): Theodora Retno Maruti is a gem on the Indonesian dance stage.

"She is a rare 'dance creature' and a dedicated artist. She is a virtuoso in Javanese classical dance," noted dance critic Sal Murgiyanto.

There are no doubts about Maruti's achievement. Starting from her dance debut as a deer in the Ramayana epic dance staged at Prambanan Temple near Yogyakarta in the early 1960s, Maruti knew exactly what she wanted to achieve in life.

"Dancing makes me feel content. For me, it is not merely a body in motion. My brain, my body and soul incorporate in enigmatic gestures which I dedicate to the divine creator," explained Maruti during a rehearsal for her latest work Sekar Pembayun, performed at Gedung Kesenian Jakarta from last Friday through Sunday.

Born 50 years ago in Surakarta, Central Java, the young Maruti was surrounded by talented traditional Javanese artists.

Her mother, Siti Marsiyam, was a batikmaker. Her father, Susiloatmodjo, was a puppetmaster and painter and a famous court dancer.

By the age of five, she was already the master of a number of dances such as Srimpi and Gambyong, works usually performed by adults. Her first teacher was Tumenggung Kusumokesowo. Prominent dancers like Basuki Kusworogo and Bagong Kusudiardjo also polished her dancing skills.

Her radiant movements and distinctive talent impressed other highly acclaimed dance teachers such as Sukarini, a noted dancer from the Mangkunagaran royal house in Surakarta and Laksmintarukmi, wife of Sunan Pakubuwono X of the Surakarta nobility.

"Only a few dancers were able to enter a royal artistic circle, let alone learn any dance lesson from such distinguished people," recalled Maruti.

She mastered almost all sacred and rare Javanese classical dances, such as Bedaya Ketawang, Bedaya Duradasih, to more secular pieces like Gambyong Gambirsawit.

Maruti is also blessed with a beautiful voice.

"Maruti is lucky to master dance, gamelan and karawitan, Javanese music. A perfect combination to become an outstanding artist," commented Director General for Culture Edi Sedyawati.

She not only performs the classical dances, but also modifies and enlivens the centuries-old compositions, added Edi, herself a gifted Javanese classical dancer.

Maruti's works include Langendriyan Damarwulan and Abimanyu Gugur (The Death of Abimanyu) in 1976. In 1977, she composed Sawitri, Palgunadi (1978),Roro Mendut (1979), Sekar Pembayun (1980), Begawan Ciptoning (1983), Keong Mas and Dewabrata.

"I did not make any change in structure or philosophical ideas of a dance."

She experimented with more glamorous costumes and makeup styles to adjust to a more modern stage. Sometimes, she reduces the duration of long and repetitive movements.

In Sekar Pembayun, which features a strong female figure who was believed to play a significant role in the establishment of the Mataram Islamic kingdom in Central Java, Maruti modified several acts and storylines.

"The dance drama was already staged in 1979. Now, after I made some historical research, I have decided I should change some of the plot of the story," Maruti said.

During her 30-year career, Maruti promoted and staged the refined Javanese art throughout the world.

"I met my husband when we were both in a cultural mission at the Osaka Expo in Japan in 1970."

Maruti and Archadius Sentot Sudharto, a noted dancer- choreographer, were married and the couple has an only daughter, Ruri Nostalgia, who is now following her parent's path as a dancer.

"We never asked her to become a dancer but maybe her family environment has aroused her interest in dancing," explained Maruti.

She is happy to see her daughter's enthusiasm in learning traditional dances. At least continuation in the family's art is secure..

"She already masters traditional dances from Sumatra, Java, Bali and other provinces. She plays piano, modern ballet and is also fond of disco dancing like other teenagers."

Ruri, a graduate of a computer institute, said her parents are her idols.

"When other people seek more material things, we live in a humble yet fulfilling life."

Life as a professional dancer is not a promising career for young people like Ruri.

"In Indonesia, people still do not appreciate art and artists in the way the Western people do," commented Ruri.

Despite the grim truths, Ruri insists on pursuing dancing career because "it is the young people's task to preserve all traditional arts".

Indeed, it is hard to find a young and skilled dancer like Ruri.

"Many parents have sent their children to learn Javanese classical dances in my place but many of them lack of skills and patience," said Maruti.

Ambitious parents often urge her to force their kids to learn to dance. "They even set target for their children to master all type of dances within one or two years. This is ridiculous. Dancing is not something that people can learn in certain years. It comes from one's heart."

At the Jakarta Arts Institute, she will not take more than 10 students every year. "That doesn't matter to me. What's important is their strong will to master traditional dance."

She established Padnecwara to accommodate gifted dancers in Jakarta and its surrounding areas.

"We stage Javanese dances regularly. A lot of famous dancers are willing help us if we want to perform a big project like Sekar Pembayun."

The coming performances involve famous dancers like Miroto from Yogyakarta, Nungki Kusumastuti, Wahyu Santoso Prabowo, Maruti, her husband Sentot, their daughter Ruri and several other artists.

Maruti is greatly concerned over the development of traditional dances and other forms of indigenous performing arts. She pointed to several factors that have contributed to the decline of traditional arts.

Facilities, opportunities and audiences play significant roles in supporting the existence of a performing art form, both traditional and modern art.

"Traditional art like dance and theater are now declining because not many people like and understand them," Retno explained.

People today are now too busy to watch traditional performances which usually take a long time. The rapid growth of audiovisual entertainment and heavy working schedules have prevented people from watching and appreciating traditional dance shows.

"Some people find watching local art performances less prestigious and irrelevant to the modern world."

Maruti said traditional artists should not conveniently blame the government or audiences. "Time changes and artists must be able to adjust themselves to a new condition."