'Srimulat' revives traditional comedy

'Srimulat' revives traditional comedy

By Endi Aras

JAKARTA (JP): Every Thursday night at 9:30 p.m. and Saturday
night at 7:30 p.m. you will find people crowding around the TV in
their living room eagerly watching the comedy programs Srimulat
and Ketoprak Humor.

When the country's political and economic situation was still
fraught with conflicts and uncertainties, the abundant outpouring
of news reports only shifted the public's attention further to
lighter entertaining subjects, such as music, gossip and comedy
sketches.

Indonesia's comic world is inseparable from the long history
of Srimulat, a group of comedians who originally started in
Surabaya, East Java, in the 1950s. Initiated and managed by Raden
Ayu Srimulat and later by Teguh, Srimulat has now become a
phenomenon following the popularity of television in the
entertainment world.

When Srimulat theaters in Surakarta, Jakarta and even Surabaya
closed for lack of audience at the end of 1980s, many people
believed that the comedy group was dead. At that time, Srimulat
members were suffering despite the fact that efforts were made to
popularize the group with the publication of Herry Gendut
Janarto's book on them.

Nevertheless, efforts continued for a revival of the group,
which was at its peak of success in the 1970s and 1980s. A senior
member of the group had an idea to offer a package of comedy
sketches to private television stations. At first the offer was
flatly refused. However, the senior member was not discouraged.
He was finally rewarded when Indosiar, then initiating its
program to develop traditional arts, accepted the offer. The
package was later broadcasted practically as it was because
Indosiar did not make many changes. The antilogical concept of
Srimulat's performance style, previously found only on stage, had
now become part of the television program and made it a great
success.

The 60-minute TV program which has appeared since November
1995, has won the hearts of the audience. Advertisers have spared
no time in seizing this opportunity. Slots for commercials are
always full every time a Srimulat show is on.

Srimulat's concept of humor is derived from the style of the
Javanese humorous skits. A member of the group, Ranudikromo, says
in the book on Srimulat that the Javanese word dagelan (humorous
skit) is derived from the word dagel, meaning "half done".
Everything which is half done or half way from two extreme points
will look funny, strange and amusing.

To laymen, however, Srimulat's style is equal to the
antilogical style. Srimulat members are highly skilled at turning
things upside down and it is this factor that becomes the key to
the success of their shows. Now that they have a regular TV show,
they continue to apply this style and have in this way won back
their popularity. Some of them have even become a celebrity,
which was something considered impossible before. A number of
actors who have begun to lose their luster have asked to guest
star on the shows.

Advertising agencies have asked some members to appear in
advertisements and commercials. Others, like Basuki, Nunung and
Pak Bendot, have made their name in a very popular TV film called
Si Doel Anak Sekolahan (Doel, the Graduate) by Rano Karno. A few
months ago Nunung even grabbed the best female comedian title
from the Panasonic Awards. Rising film director Garin Nugroho
also recruited a number of Srimulat members to be cast in
community service advertisements about the general election.

Unfortunately, things are not always plain sailing. Indosiar
later decided that for practical reasons the shooting of Srimulat
shows should be done in the studio instead of a playhouse. This
new shooting pattern slightly disturbed the schedule of Srimulat
members. An internal conflict brewed within the comedy group.
There were even rumors that Basuki would leave, because in his
opinion the humorous style of Srimulat could not be developed if
they were to act out skits in a studio.

This internal conflict unavoidably became deeper, and was
followed by the establishment of Ketoprak Humor (humorous
traditional Javanese play) by Timbul. It was set up under the
auspices of the Samiaji Foundation with a membership comprising
some members of Srimulat and the Bharata Group.

The emergence of Ketoprak Humor on television, has led to the
appearance of similar comedy groups, such as Ketoprak Jampi
Stress, set up by Basuki along with Mandra, Ludruk Luber Stress
and so forth. Traditional stories which actually no longer suit
modern times have again been presented with limitless humor and
upside-down human logic.

Aware of the return of their former glory, Timbul with his
Ketoprak Humor has continued to win people's interests. Ketoprak
Humor insists that its shooting be done in a theater, such as
Gedung Kesenian Jakarta and Graha Bhakti Budaya in Taman Ismail
Marzuki Arts Center, places usually presenting highbrow art
performances. And the community has given this effort a good
response. So every time there is a shooting of Ketoprak Humor,
the theater is always packed. What Srimulat abandoned was picked
up successfully by Ketoprak Humor.

An idea came up that the way adopted by Srimulat and Ketoprak
Humor should also be tried with traditional tales from other
regions. Take West Java, for example. This Sundanese land is rich
with folk stories. Sumatra, Bali and other islands also have
their own folk tales. The most important thing is how to
introduce these folk tales to a modern audience. Of course, good
humor, good facilities and a strong creative team would be
needed.

As there is lots of competition, Ketoprak Humor is now
intensively looking for innovations. Apart from presenting famous
artists as guest stars, this group also uses attractive stage
props and costumes.

The success that Ketoprak Humor is now enjoying is inseparable
from the humorous quality of Srimulat. This is understandable
because most Srimulat members have now joined Ketoprak Humor.
Only the storylines distinguish these two comedians' groups.
Srimulat sticks to stories about the daily life in a family; for
example, a story about a maid and her master, or about mystical
stories. Ketoprak Humor, on the other hand, relies on folk
stories. In some episodes, it performed Roman and Greek folklore.

Timbul, the director of this group, said Srimulat and Ketoprak
Humor share a common performing method. The cast is given their
roles and an outline and then they improvise the play in a
certain period of time. When one scene is about to end, someone
from the side of the stage will turn on a light as a signal.

Once on stage, the skills of the players are put to the test.
They must be able to develop the sketch into a fresh fluid
dialog. They are completely free but they must know when they
should talk a lot and when they should say only a few words. In
this way, obviously, there are some repetitions in various
scenes, but this has now been regarded as its characteristic.

Ketoprak Humor has an advantage over Srimulat. This group
always presents different stories with different costumes and
stage props, giving the impression that the performance is well-
prepared. Besides, it also employs detailed techniques in
presenting war or fight scenes; for example, by means of a
somersault, jumping and so on. Obviously, members of the Bharata
Group are skilled in doing this part.

So Srimulat has again enjoyed a semblance of its former glory.
Although its members can not be found in different groups, they
are still Srimulat people. Now that Srimulat has made its
comeback, the road to new glory is wide open. It is now up to
Srimulat members to tap this golden opportunity to ensure that
Srimulat remains intact and the welfare of its members may be
promoted.