Maut Merah

Maut Merah

Fajar Satriyo | Alumnus Bahasa dan Sastra Indonesia FIB Universitas Airlangga | Teater Gapus[]

Seperti anak-anak tahun 90an pada umumnya, ingatan masa kecilku dipenuhi oleh tayangan televisi yang menayangkan huru-hara. Beberapa tahun berlalu, tapi aku masih sanggup membayangkan bencana itu dengan jelas. Kadang ingatan mengenai tayangan itu sekelebat datang mengganggu lamunanku.

            Dulu aku kerap menonton siaran sepak bola malam. Memperhatikan setiap gerak-gerik dari pemain dan memperagakannya di lapangan desa esok harinya. Atau juga menjadi komentator dadakan bersama bapak sembari menggunjing tim jagoan yang kebobolan.

            Setidaknya, hal itu begitu menyenangkan bagi masa anak-anakku. Meski terkadang aku kerap bangun kesiangan, dan terkena sumpah serapah ibu sebab bolos sekolah. Aku menyukai masa lalu ini—sebelum maut biru merusak sepak bola dan masa anak-anakku.

            Aku masih ingat betul, waktu Maut Merah terjadi. Selepas televisi menyiarkan peringatan-peringatan September kelam yang menurut bapak hanya seremonial belaka dan penuh tipu daya. Kami berdua memutuskan untuk melupakan teatrikal pertelevisian dengan menonton siaran sepak bola.

            Seperti lalu-lalu, bapak akan menyeduh secangkir kopi hitam untuk melawan badai rasa kantuk yang menjemukkan. Sesekali, aku pun boleh menyeruput secangkir kopi agar tetap menemaninya begadang. Dengan syarat harus sembunyi-sembunyi dari ibu yang melarangku untuk meminum kopi.

            Pertandingan selama sembilan puluh menit berjalan serasa begitu cepat. Kedua tim berbalas serang. Membuahkan hujan gol dalam suasana langit malam yang mendung. Satu gol dari tim tuan rumah langsung dibalas gol beruntun dari tim tamu. Begitu mengasyikkan sepak bola yang saling serang ini.

            Berbeda dengan sepak bola Italia yang berfilosofi bertahan. Negara kami punya filosofi sepak bola yang menyerang dan mengandalkan kecepatan-kecepatan dari winger. Memang masih kalah jauh dengan Jogo Bonito dari legenda Brazil serupa Neymar dan Vini. Tapi kelihaian pemain kami di lapangan setidaknya jadi obat penangkal setelah Timnas tidak pernah lolos piala dunia.

            Begitulah fakta yang terjadi saat itu. Obat kegagalan piala dunia, kami lampiaskan dalam liga sepak bola. Bahkan, bapak jauh lebih Spartan dari yellow wall untuk urusan mendukung tim jagoannya. Sepak bola notabene menjadi kepercayaan kedua setelah agama. Itu yang telah tertanam dalam hati seluruh supporter.

            Kedatangan Maut Merah yang telah merusak kepercayaan supporter tak terkecuali bapak. Selepas pertandingan berakhir dengan kemenangan tim tamu, aku hanya dapat melihat asap tebal menyelimuti. Bukan dari kabut mendung atau flare. Siaran langsung terputus berselang beberapa menit kemudian.

            Kami berdua pun memutuskan untuk langsung tidur setelah menghabiskan secangkir kopi. Tidur dengan rasa penasaran dan tanya yang belum terjawab.

“Mas, semalam terjadi ricuh. Tembak-tembakan di lapangan. Semuanya kalang kabut. Untung mas, untung, aku selamat.” ujar suara parau dari seorang lelaki.

            Aku hanya dapat menguping dari balik tembok kamar tidur yang bersebelahan dengan ruang tamu. Tidak jelas kudengar perbincangan antara bapak dan lelaki tamunya. Sesekali nadanya parau. Tak jarang, ia menangis tersedu-sedu mengutarakan kejadian yang terjadi di dalam stadion.

            Sekilas, seperti sebuah kepingan-kepingan yang kulihat dari televisi dan kudengar dari lelaki bersuara parau, stadion menjadi tempat eksekusi. Begitu pikiran sederhanaku menyimpulkan.

            Perbincangan di ruang tamu sudah tidak terdengar, aku segera beranjak menemui bapak. Tamunya telah pamit pulang. Sementara, bapak terduduk dengan raut wajah yang tersedu-sedu. Hatinya pasti teriris mendengar peristiwa yang terjadi semalam.

            “Memangnya apa yang sebenarnya terjadi di stadion semalam pak?” tanyaku spontan.

            Bapak terkesiap melihatku. Tidak menyadari sebelumnya bahwa aku berada di sampingnya. Ia berdiri dan berjalan dengan langkah gontai. 

“Tidak ada. Ini tragedi, Maut Merah.” jawabnya sambil beranjak.

            Kejadian semalam menjadi tragedi kelam bagi sepak bola terutama untuk supporter seperti kami.  Empat puluh hari berturut-turut bapak mengajakku ke stadion setiap sore. Dengan pakaian serba hitam, kami menaburkan bunga di hadapan patung Singa lalu memanjatkan doa.

            “Ada ratusan nyawa yang belum diadili disini.” ucap bapak sambil mengelus kepalaku.

            Aku memandang bapak yang terisak. Uban telah tumbuh di sekitar rambutnya, jiwa mudanya tak bergema seperti beberapa tahun lalu. Kejadian sore itu tidak akan pernah luput dari ingatanku. Semenjak saat itu, aku jadi tau mengenai tragedi Maut Merah.

            Setelah empat puluh hari berselang, kami rutin mengunjungi patung singa—yang dikeramatkan—setiap seminggu sekali di hari Sabtu. 

            “Kenapa kita tetap datang kemari pak?”

            “Kita datang untuk menuntut keadilan. Sampai keadilan itu benar-benar datang.”

            Ucapan bapak saat itu benar-benar membuatku bingung. 

            Setahun berselang, kuketahui lelaki—yang datang ke rumah selepas tragedi Maut Merah—meninggal dunia. Bapak benar-benar terpukul mengenai kabar duka itu. Tanpa sepengetahuanku, bapak lebih sering mengunjungi stadion. 

            Delapan tahun berlalu begitu cepat. Seperti tragedi yang sudah-sudah, Maut Merah pun cepat dilupakan oleh pengadil. Aku baru saja menuntaskan studi di Yogyakarta. Melupakan kebiasaan hari Sabtu bersama bapak mengunjungi stadion, menaburkan bunga di patung singa, serta memanjatkan doa.

            Begitu pula dengan sepak bola. Membicarakan sepak bola di sini membuatku ingin muntah. Permasalahan-permasalahan yang terus menghantui selama beberapa dekade tak kunjung selesai. Para pengurus yang hanya ingin memalak antusias kami para supporter. Mirip sosok preman di terminal.

            “Bapakmu masih kerap mengunjungi stadion.” ungkap ibu saat meneleponku.

            Air mataku berlinang. Terbayang langkah bapak yang ringkih menyusur jalanan dan berdiri menahan rasa dingin dari hujan yang menggigilkan tubuhnya. Secepat kabar yang sampai, aku memutuskan untuk pulang setelah mengetahui bapak mempunyai flek hitam pada paru-parunya. 

            Selama perawatan yang mengharuskan bapak bolak-balik rumah sakit, aku menggantikan kebiasannya berkunjung ke stadion. Kebiasaan Sabtu sore yang sudah lama aku tanggalkan. Kadang terbersit dalam benakku, mengapa bapak begitu kekeh datang ke stadion dan melakukan upaya tuntutan menurutku.

            Maut Merah memang sejarah kelam sepak bola. Negeri ini kerap menutut rapat kekelaman dalam sejarah peradaban mereka. Lantas apa yang perlu diadili dan ditegakkan. Keengganan selalu muncul ketika aku ingin menyampaikan ini pada bapak. Mungkin bapak masih mempercayai keadilan. Mungkin.

            Duka yang mendalam tak lama aku alami. Bapak wafat karena tak sanggup menghadapi flek hitam di paru-parunya. Hari-hari yang hampa kulalui dengan melakukan apa yang biasanya bapak lalui, berkunjung ke stadion. Tanpa digerakkan oleh apapun, aku mengunjungi stadion.

            Bukan keadilan yang aku tuntut, tapi aku merasa harus melanjutkan perjuangan bapak. Begitu Sabtu soreku seterusnya kuhabiskan. Kini aku semakin sering datang ke stadion di lain hari Sabtu. 

Terutama semenjak berkenalan dengan Laila. Perempuan berambut ikal yang begitu menarik perhatianku. Ia sekitar lima tahun jauh lebih tua, dan matanya mempunyai sorot yang tajam. 

Kami bertemu di suatu sore yang mendung dengan nuansa terasa begitu canggung ketika kami pertama berkenalan. Suasana jauh lebih cair setelah kami sering berjumpa.

            “Kamu tidak merasa bosan mencari keadilan?” tanyaku.

            Ia termangu memejamkan mata yang mirip dengan bunga Tulip yang kuncup itu sejenak.

            “Tragedi tidak butuh keadilan, tapi pertanggung jawaban.” ucapannya tegas.

            Suasana mendadak menjadi hening.

 “Aku kemari untuk berduka. Ratusan orang tak bersalah telah kehilangannya,”

            “Tak terkecuali pacarku.” suaranya kini bertambah berat.

 Ia membuka satu kancing kemeja hitamnya. Aku terperanjat melihat luka yang berada di bagian dada kirinya. “Aku diselamatkan oleh pacarku,” imbuhnya.

            Kepalaku mendadak begitu pusing, aku ingin memuntahkan isi perutku. Terdengar jelas teriakan dan isak tangis yang tidak sempat disiarkan dulu. Suara-suara yang telah dibungkam sampai sekarang. Aku jatuh lunglai, pak.

Adnan’s Poem: 11 Bodies at Patjarmerah

Adnan’s Poem: 11 Bodies at Patjarmerah

Retno Asih Firnanda | Mahasiswa Bahasa dan Sastra Indonesia FIB Universitas Airlangga | Teater Gapus[]

The Arek Institute positions itself as the alpha on the main stage of Patjarmerah Surabaya. They explore the poem “11 Bodies in the Room of Surabaya,” which is found in the poetry compilation “Body Dead Devouring Itself,” through static movements and dynamic body movements. Only with a sarong, the atmosphere is sentenced to silence. Through precise movements, Adnan favors a new interpretation of the poem “11 Bodies in the Room of Surabaya,” turning it into a more pronounced play. The questioned existence appears perfect.

This work is born from the mind of a chief of the Saung Teater tribe. The poem, as a condensed work, is then given symbolic life by the following lines: “city buses, exhaust pipes…”. The poem refers to urban life conditions without discarding the perspective of change and development over time through a surrealistic point of view. Adnan presents the dimension of urban life’s bustle through poetry, and he also represents it through his body movements in this performance.

The presentation of this work, in the form of a performing art, does not control the body’s dialogue with other bodies. His body appears alone. He plays the substitute for this poem vehicle alone. The play portrays a figure of a body as it truly is in the life of a migrant. As a diaspora, Adnan Guntur tries to capture the often-experienced side of urban migrant groups in surviving. This can be seen in the following excerpt from the poem: “salted fish, tomato sambal, a half-empty basin…”. Then, he presents the figure of a body in a condition of minimal survival in this performance.

Meanwhile, the Body, lying alongside the growing rain in its poem, responds that its truth is chaotic. Then, it wants to show the dimension of emptiness and narrowness through the extended poem as follows: “a hand giving birth to one mother and another…”. It also has the meaning of the movement of a still baby body, and the body is both whimpering and moving aimlessly.

At one moment, the body movement in the performance throws the body onto a very distant edge, and it enjoys its silence. It can be implied by the following excerpt from the poem: “neighbor’s walls, corrugated iron, electrical poles”. The presence of the body is also an attempt to criticize its surrounding environment. In densely populated urban life, many residents have educational and economic levels far below average. These conditions, in the excerpts of the poem and Adnan’s body movements, show the movement of urban life that is not always about luxury.

Another dimension is the questioning of his own body. Adnan shows this body movement in his performance, and it also refers to the following excerpt from the poem: “how can I see my own head?” with a mirror. There is a body near the glass, but the body speaks without the glass and only finds its cleaner. After showing various bodies in each act, the performer’s body movement shows confusion and disarray.

This movement has meaning in this poem excerpt: “how can I define myself…”. Furthermore, the dimension of confusion deepens in this poem: “the ceiling fan spins 360 degrees…”. In his performance, Adnan shows this excerpt from the poem with body movements that look in various directions. Upon review, the body still stands and does not move. This movement shows the confusion about urban life from both the poem and the performer’s perspective.

Adnan’s poem and body movements always have an appreciation for the body’s dimension of experience. He moves as if seeing other bodies in an imaginary space. He plays with bodies that are both inside and outside. These dimensions also show individualism in each act of each movement. His body is also confined by layered walls. However, it also has a dimension of contestation over freedom. Because his body seems to want to reach the highest position to move freely, but it does not have a clear direction.

In essence, his body seems to want to escape. He wants to form an autonomous reality based on the subject’s mind and the world through different ideas at once. It also illustrates the dimension of Merleau-Ponty’s philosophy. This dimension is the experience of a body that has embodied, although the movements or poems expressed by Adnan also do not stand alone with the social products experienced by the experience of the poet’s writing. Body and world, through the term “weaving tangled fabric,” replace the consciousness of other bodies as flesh is presented by the body itself (Merleau-Ponty, 2008).

Adnan’s poetry and performance at Patjarmerah have fused flesh united in the body with a new dimension of social critique. He seems to want to declare that his body is always grappling with itself all the time. It shows a rapid and chaotic urban life development. He doesn’t have time to wait for a body that is still lying in a narrow and empty space.

Tembang Pilihan Arek Seri 1

Tembang Pilihan Arek Seri 1

Program Tembang Pilihan Arek merupakan program terbaru dari Arek Institute. Ini adalah seri pertama dari program ini, dan Arek Institute telah melakukan kurasi terhadap beberapa tembang-tembang yang jarang terdengar ke dalam satu playlist. Tembang pilihan tersebut dikurasi berdasarkan cerita dan kontennya yang berkaitan dengan Surabaya maupun subkultur Arek. Kalian bisa langsung klik tombol putar di bawah ini!
Arboyo: Ludruk Garuda Dancing

Arboyo: Ludruk Garuda Dancing

Alvianta Virgosa | Pendampingan Arek | Mahasiswa S1 Ilmu Politik FISIP Unair

The art of Ludruk is not only a means of entertainment but also plays a more vital role in educating society. This can be achieved through the art world, which appears very enjoyable and entertaining. One such effort has been made by the Ludruk Arboyo group in Surabaya. They introduce the value of nationalism through the dance they developed, namely the Garuda Dance.

This dance was created because the awareness of nationalism is considered to be in decline, as demonstrated by actual facts that depict counterproductive behavioral patterns with a lack of empathy towards one’s own nation. Several factors contribute to this situation, such as the globalisation trend that is increasingly encroaching on society.

Based on these issues, the Ludruk Arboyo group (Arek Suroboyo) developed the Garuda dance. The dance aims to disseminate the discourse of nationalism. It is an effort to ground Pancasila through art, and this is shown by the presence of this dance as one of the openers in every performance of this Ludruk group.

As the name suggests, this dance has movements resembling the figure of the Garuda bird, including wing-flapping movements, flying movements, and twisting movements. Each movement has its own meaning. For example, the wing-flapping movement symbolizes that the Indonesian people must uphold the good name of the nation and state.

In addition to being used as an opening dance, the Garuda dance also includes the reading of Pancasila after the dance is finished. The audience and all performers are invited to stand and chant Pancasila together. The atmosphere becomes very solemn and profound with this sequence of events. It aims to invite, notably, the young audience to further ground Pancasila in art. This is because the Ludruk group sees that many young people today do not interpret Pancasila as the foundation of the state and its philosophy.

In the reading of Pancasila, the Ludruk Arboyo group requires all visitors or spectators to follow the Reader. This is part of the discourse dissemination carried out by the Ludruk Arboyo group. And it serves as the transmission of values to the audience that Pancasila must remain in the minds of the people.

Through this dance, Arboyo wants to show that Pancasila is not always understood rigidly. It is no longer studied textually as taught in schools or universities. However, Pancasila can also spread its discourse through art, which is close to society. Thus, society can get to know and reflect on Pancasila through a more enjoyable medium than the world of education alone.

This dance not only has a dissemination function but also simultaneously marks the character of the Ludruk Arboyo group—as one of the Pakem Ludruk groups. Because the owner of this dance is only this Ludruk group, and there is no other Ludruk group in Surabaya that has this dance. This dance is an educational tool created by the Ludruk Arboyo group so that society always remembers the identity of its nation, namely the foundation of the Indonesian state.

The Garuda dance was created by the wife of the late Cak Lupus, namely Nonik. The woman, commonly called Bunda Nonik, has replaced the role of the late Cak Lupus as the leader of Arboyo. Since then, Nonik has brought a renewal to her Ludruk group by adding the Garuda Dance at the beginning of the performance.

In an interview, Nonik—as the leader of Arboyo—said that there was a background to the creation of the Garuda Dance. It was caused by her concern over the erosion of the national identity among the wider community, especially Arek Suroboyo. This can be seen from the many young people, parents, and even state officials who do not memorize Pancasila. Therefore, she created this dance along with the reading of Pancasila to re-narrate Pancasila in the public space.

Nonik also received support from Lupus—as the chairman of this Ludruk group before his death. He gave support in the form of encouragement to Bunda Nonik to immediately develop the Garuda Dance, which was then followed by the reading of the Pancasila text. The reading is recited by the dancer at the end of the performance, which is then followed by all the audience.

Historically, this dance began to be composed since October 10, 2021, and the Garuda Dance was first publicly performed on November 23, 2021, at the Surabaya Cultural Hall. At that time, Arboyo was invited by the Surabaya City Government in an annual agenda, namely the Surabaya Art and Culture Festival 2021. In that performance, Arboyo presented the Sawunggaling play.

In this distinctive dance of the Arboyo Ludruk group, Nonik mandates that the members who join must learn. This means that members who are part of this Ludruk group are obligated to practice the Garuda dance. Nonik does this because she wants the narrative of love for the nation to be directed not only at the audience but to also start from within the members of Arboyo themselves.

Structurally, after the Garuda dance and the reading of Pancasila are finished, this Ludruk group continues with the traditional elements they have long implemented. These elements include kidungan (Javanese sung poetry), dagelan (comedy) combined with kidungan, and plays interspersed with kidungan. Thus, they always incorporate kidungan in every segment of their performance. Then, they also present a song owned by this Ludruk group, performed by several children of the Arboyo Ludruk Training members.

The addition of both the Garuda Dance and the Arboyo-owned song serves as an educational tool to ensure that society remembers its national identity. This Ludruk group demonstrates that mainstreaming the discourse of nationalism can be done not only in rigid forms such as educational institutions but also through the arts, like Ludruk art.

Therefore, the Arboyo Ludruk group uses Ludruk art as an educational medium for both the society and the internal members of this group. This is shown by their efforts to introduce Pancasila through this dance and teach it to all members of this Ludruk group. As a result, society can reflect more on Pancasila, both philosophically and ideologically.

Arek Institute Hearing with Local Legislative About Cultural of Advancement Policy in Surabaya

Arek Institute Hearing with Local Legislative About Cultural of Advancement Policy in Surabaya

The Arek Institute has published a policy brief based on one year of field research. The research results have led to a policy recommendation for the Regional People’s Representative Council of Surabaya. This is intended to issue a Regional Regulation (Perda) that can provide support for the artistic and cultural groups in the city of Surabaya.

The audience with the Arek Institute, representatives of the ludruk groups, and the Regional People’s Representative Council (DPRPD) was conducted together with A. H. Thony. We deliberately chose him because he already has an agenda to derive something from the law. In the end, we aimed to provide follow-up and present the results of our findings to him. The agenda resulted in the first publication of the Arek Institute, which is a policy recommendation accessible through the following link.

Access the policy brief.