'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.