Retno Maruti spins dance magic 'Dewabrata' drama

By Sal Murgiyanto

JAKARTA (JP): Choreographer Retno Maruti's latest work Dewabrata, an operatic Javanese dance drama, mesmerized local dance lovers in recent performances.

The four acts presented on June 28-29 at Graha Bhakti Budaya, Taman Ismail Marzuki (TIM) Arts Complex in Central Jakarta were The Encounter of Prince Dewabrata and Princess Durgandini; Duel for Princesses Amba, Ambika, and Ambalika of Kasi Kingdom; The Encounter of Dewabrata with the Three Princesses, and Bharatayudha Battlefield.

Light flickered teasingly on the darkened stage at the beginning of the performance. A troupe of nine young women garbed in the yellow-hued batik (dodot alit) usually worn by a Javanese princess entered from stage right. Distinct in green batik was Dewi Durgandini, the central figure in the group. They danced elegantly, accompanied by a gamelan orchestra and male and female choruses.

Prince Dewabrata (Wahyu S.P in refined male mode) entered. He had been sent to seek Durgandini's hand in marriage for his father King Santanu of Astina.

A sung exchange between Dewabrata and Durgandini using different traditional Javanese songs renders a special interpretation (rasa). The princess is willing to go only if Dewabrata agrees to give up his position as the crown prince of Astina. Durgandini demands if she marries the king, any male offspring would usurp Dewabrata in succession. Dewabrata agrees in deference to his father. And when Durgandini pushes him further, Dewabrata vows to live as a priest and be celibate. Dewabrata is another name of Bisma.

Highly respected Maruti, herself a dancer, beautifully molds the elegant movements of the female dancers and Wahyu SP along with his beautiful voice and newly composed Javanese gamelan music by B. Subono.

The gamelan orchestra is placed in the background separated by a black transparent curtain from the dancers.

The second act is dominated by 16 male dancers consisting of four flag bearers, two groups of five strong male dancers, and Kasi warriors Wahmuka and Arimuka, who would be defeated in the competition. Group as well as individual fighting scenes are choreographed neatly with dialog in song in between solo and chorus.

The two Kasi heroes are seemingly invincible; when one is killed, the other will step over to bring him back to life. Dewabrata arrives to kill both Wahmuka and Arimuka and win the competition.

In act three, Prince Dewabrata dances a greeting to the three princesses in a beautiful quartet. The climax of this act is not presented through the dynamic dance movements of the previous scenes. In a beautifully composed dialog between Dewabrata and the three princesses, he explains that his two younger half- brothers, the future rulers of Astina, will marry the women.

The young Ambika and Ambalika gladly agree, but the more mature Amba balks at the change in plan. She scolds Dewabrata for selfishness and reneging on his promise.

"If you are celibate, why did you enter the competition then? Lord, I, too, have vowed to give my body and soul to the winner of this competition regardless whether he is a king, prince, or a farmer! I, too, have to keep my promise!" she declares adamantly. Dewabrata loses his temper and puts an arrow in his bow. But he accidentally mishoots and fatally wounds Amba.

"Lord, you have made mistake," the dying princess gasps. "Women, too, have courage and dignity. Failing in the present, I will fulfill my promise in my next life. So, behold! In the great battle of Bharatayudha, you will fight a young warrior princess who is beautiful, skillful, and courageous. Someone who is also ready to sacrifice her life for the one she loves. There, I will meet you!"

The last act is once again defined by forceful and dynamic choreography. A battle scene is beautifully played out. A group of female warriors of the Pandawa, dressed in red cinde batik, fight with their bows and arrows. They move swiftly across the stage, killing off the male warriors.

While Dewabrata is still bewildered, a beautiful young female warrior approaches him on horseback. She dismounts elegantly and pays her respects to Dewabrata.

"My God! You are my beloved granddaughter Srikandi. What brings you here to this battle field my little dear?" Dewabrata says.

"Grandpa, I was sent by Prince Arjuna, on the suggestion of King Krishna, to lead the Pandawa's army in this battle. I understand, I am not your match in this battle. But this is the time to practice all that you have taught me: to fight for one's country and the people. Even if I have to sacrifice my life, it is my dharma as a warrior. It is also a way to prove my deep respect and love for Prince Arjuna, my beloved husband!"

"Oh Amba, you have come to meet me," he whispers. How can I fight my own beloved grandchild? Oh wise Krishna, my beloved Pandawa. Amba! I am ready to meet you. I promise, I will make no more mistakes."

Maruti choreographs a memorable scene for the death of Dewabrata. He stands fast in the midst of a field of wounded male and female soldiers. At the platform, Amba surveys the battle and waits patiently. From a distance Srikandi imaginatively shoots an arrow. At the same time, Bisma flicks a white scarf from his right shoulder and while he slowly falls forward, Amba steps slowly backward, leaving her trailing scarf moving while she disappears from the stage.

I am lucky to see Dewabrata three times, including the dress rehearsal. A view from the upper level of the theater showed the beauty of the group choreography but details of hand movements, facial expression and batik patterns were lost. Until the first performance, there was still problem with the use of microphones both for the gamelan orchestra and the dancers. The second performance was better.

Too bad Dewabrata was only performed twice. The good news is that the piece will be restaged on August 7 at the same venue. A matinee performance is for students by invitation only, but the evening show will be open to the public. In the meantime, let's hope there will be improvements in the program notes. Beautifully designed and printed, they were spoiled by poor editing and translation.