The Prambanan Ramayana enjoys a revival

By Amir Sidharta

JAKARTA (JP): In 1961, the first Ramayana Ballet, organized by the Roro Djonggrang Foundation, was performed on the open stage in front of Candi Prambanan in Central Java.

The brainchild of G.P.H. Djatikusumo, at that time the minister of transportation, tourism, post and telecommunications, the dance was hoped to foster the development of performing arts and at the same time help promote Indonesian tourism.

The ballet had a significant role in helping to preserve many forms of classical Javanese dance such as the Bedoyo, Srimpi, Wireng, as well as other forms of Javanese court dances. It also continued the karawitan tradition of Javanese music through the performance of gending gede tengahan, gending pakurmatan, gending dolanan and so forth. In addition, the ballet provided a chance for dance masters to foster their creativity by developing new dances.

After 35 years, some of the first dancers of the Prambanan Ramayana are now the most famous Indonesian dancers. Sardono W. Kusumo, who started out dancing the role of Hanoman at Prambanan, is now Indonesia's leading modern Indonesian dancer. Retno Maruti and Sulistyo Tirtokusumo have been instrumental in preserving traditional Javanese dances, while creating their own forms of expression. Sal Murgiyanto, who appeared in the role of a member of Hanoman's monkey army, is now Indonesia's leading scholar of the performing arts, and got a doctoral degree from New York University in 1990.

While many of the dancers have gained prominence, the Prambanan Ramayana itself has not enjoyed the same kind of development. Although currently the ballet performs on a regular basis for tourists, it is not considered a significant institution in the world of Indonesian dance. But these famous dancers proudly admit that they clearly owe their position today to the Prambanan Ramayana.

"The Ramayana Ballet was developed in 1961 by the grandmasters of Javanese performing arts. The performance incorporated the canons of Javanese dance and music. It provided an excellent training ground, and the routine fostered discipline," said Sardono.

Concerned about the decline in the ballet's image, Minister of Tourism, Post and Telecommunications Joop Ave, asked the dancers to revive the Ramayana Ballet. After studying the current problems of the Prambanan Ramayana, the dancers concluded that the decline of the ballet was due to the loss of the grand masters of Javanese performing arts and original key people in the organization, most of whom have passed away. Secondly, there has not been an effort to revitalize the dance form.

Therefore, Sulistyo, Maruti and Sardono agreed to revive their alma mater. "Like a tree, the larger the canopy grows, the larger the roots also need to grow. That is why we have tried to look for elements in the traditions of the Ramayana that we can develop to make the dance more interesting."

They have discovered, for example, that Ramayana's army did not only consist of wanara (monkeys). As portrayed in the wayang wong/wayang orang of Yogyakarta and Tejakula and Mas of Bali, as well as reliefs on Javanese temples, the army also included many other creatures.

"Therefore, we have reintroduced other forms, such as the kapi mendo (goat-headed monkey), kapi warak (rhino-headed monkey), kapi cacing (worm-headed monkey), and so forth," Sardono explained. "The revitalization of the Ramayana is also hoped to contribute to increasing our awareness of the earth and the universe," he added.

The Ramayana Ballet will be performed today until Sept. 30 on the Prambanan Stage by a cast of 500, including Sulistyo, Maruti and Sardono. Sardono will perform as Rahwana, Maruti as Sayempraba, and Sulistyo as Rama.