'Srimpi Sukarsih': A symbol of a prince's love

'Srimpi Sukarsih': A symbol of a prince's love

Kartika Bagus C., The Jakarta Post, Solo, Central Java

In the dimly lit audience hall of the court of Surakarta
Hadiningrat, four pretty virgins are dancing gracefully to the
tune of gamelan, the Javanese musical orchestra, in a romantic
atmosphere.

Their delicate movements and feminine charm suggested the
manner of teenage girls being in love and putting on make-up. It
was the rarely performed Beksan Srimpi Sukarsih, presented before
a number of Japanese tourists at a royal dinner some time ago.

Choreographed by Surakarta King Pakoe Boewono VIII (1858-1861)
in 1859 when he was still crown prince KGPH Hangabehi, the dance
was called Sukarsih after the name of a court singer, Nyi
Sukarsih, with whom the prince was in love.

The prince created the dance to convey his four principles of
life for women, namely ha (the first Javanese alphabet), meaning
patience and perseverance, na, implying humbleness, ca,
suggesting steadfastness and loyalty, and ra, indicating modesty.

This royal dance was also meant to express the feeling of love
and compassion, as the name Sukarsih signifies. Srimpi Sukarsih,
therefore, describes the prince's love story, as confirmed by
Surakarta royal dance instructor Eko Kadarsih.

According to her, this dance tells of a love story between the
crown prince and the beautiful court singer. "Through this
choreography the prince could always remember his intimate
relations with the singer, as all art performances used to be
linked with the history of Surakarta monarchs," she told The
Jakarta Post.

Likewise, Bedaya Ketawang, normally performed as an annual
event to commemorate the coronation of Surakarta kings, portrays
the supernatural love between Panembahan Senopati, first king of
the Mataram kingdom, and Ratu Kidul, mythical queen of the South
Sea.

In the same tone, Wahyu Santoso Prabowo of Surakarta's
Indonesian Arts College (STSI) said the creation of Pakoe Boewono
VIII represented deep adoration given to a woman. This feeling is
usually reflected in dance movements and verses sung by court
singers.

"Politically, Srimpi dances were at the same time meant to
legitimize the power of Surakarta kings as descendants of their
Mataram royal ancestors in Java, based on the instruction of the
first monarch, Sultan Agung," the STSI researcher explained.

Despite the delicacy of court dances and their high
philosophy, the interest to study these royal choreographic
pieces among members of the younger generation is very slim, with
students mostly comprising local women who have already belonged
to the court's troupe for some time.

This phenomenon has become the concern of Kadarsih and
Prabowo, who find it difficult to recruit youngsters who are
eager to follow royal dance training, though the Surakarta court
has opened its training hall to the public.

In Prabowo's opinion, the reluctance of youths to join this
court art performance is due to the long duration of each piece
and the various rules involved, besides the lack of understanding
of the dances' symbolism and philosophy.

STSI-Surakarta may offer one way of preserving the noble art
handed down by the past kingdoms of Java. "The choreography
department of STSI has for a long time obliged its selected
students to master the traditional court dances," Prabowo said.

Among the classical pieces chosen as compulsory subjects at
the department are Srimpi Ludiromadu, Sangupati, Anglir Mendung,
Dhempel, Tamenggita and Srimpi Lobong, in which STSI students
have had to study at the Surakarta court since the 1970s.