Retno Maruti keeps in step with changing times

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."