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Keep the Spirit of Tjak Durasim Burning: Lekra’s Efforts to Revolutionize Ludruk in the 1960s

by Penelitian Arek | Jun 9, 2025 | Arek-Arek

Image 1 View of Ludruk “Marhaen”, a sketch by Legowo. Source: Harian Rakjat, 26 September 1965

Alfian Widi Santoso | Alumni History Department in Airlangga University | Associate Research in Arek Institute

In various studies on the history of Ludruk (a traditional Javanese theater form), Lekra (Lembaga Kebudayaan Rakyat, or the Institute of People’s Culture) is often portrayed as an antagonistic figure in its efforts to develop the Ludruk art form. This is illustrated in Tempo’s special edition titled “Lekra and the 1965 Upheaval”, which mentions that Lekra once conducted a cultural offensive through Ludruk performances that featured plays with titles considered offensive to religion, such as “Malaikat Kimpoi” (The Angel Marries), “Gusti Allah Ngunduh Mantu” (God Throws a Wedding), “Matine Gusti Allah” (The Death of God), and others (Tempo, 2013).

Both the book by Saskia Wieringa and Nursyahbani Katjasungkana (2020) and the special Tempo report explain that these plays were merely intended to provoke rural communities to remain critical of their land rights, especially since they were often vulnerable in legal matters. Wieringa and Katjasungkana explain that the play “Matine Gusti Allah” is a simple story about the harsh conditions faced by rural communities, and was meant to commemorate the death of Jesus Christ or Easter (Wieringa and Katjasungkana, 2020).

Ultimately, the phenomenon of controversial Lekra plays is more frequently presented in a negative light, disregarding the factual content of these performances. This issue has also given rise to a partial yet dominant historical narrative about the cultural offensive, with the most logical justification being the limitation of sources. It has also resulted in the loss of fragmented narratives about Lekra, such as the concept of “1-5-1,” one combination of which includes “Good Traditions and Revolutionary Modernity.” Despite the controversy, there were in fact many efforts initiated by Lekra in the context of traditional performing arts that are rarely narrated due to the dominance of anti-communist power structures built after 1965 and entrenched to this day through the cultural hegemony of the New Order regime.

This article aims to fill the gaps in the current narratives surrounding Lekra’s Ludruk. Moreover, it is based on relatively new archival sources that are rarely included in the dominant and problematic narratives about Lekra’s Ludruk. To date, there is only one book that utilizes these sources, namely “Lekra Tak Membakar Buku: Suara Senyap Lembar Kebudayaan Harian Rakjat 1950–1965” (Lekra Didn’t Burn Books: The Silent Voices of the Culture Section of Harian Rakjat, 1950–1965) by Muhidin M. Dahlan and Rhoma Dwi Aria Yuliantri. Even so, that book only presents very limited archival material regarding Lekra’s Ludruk.

Ludruk, Cak Durasim, and Its Revolutionary Actions

One of the most prominent narratives surrounding Cak Durasim is his resistance to Japanese fascism on stage. His iconic parikan (rhymed verses) established him as a pioneering Ludruk performer who embodied both revolutionary and populist values. His emergence cannot be separated from the culture of urban peripheries and the Arek subculture that flourished in East Java, particularly in and around Surabaya.

According to Peacock, Ludruk rarely reached the priyayi (Javanese aristocracy) and santri (Islamic religious community) groups, as various opinions rendered Ludruk controversial. Most of its audience and performers came from the proletarian class, such as street vendors, pedicab drivers, commercial sex workers (CSWs), domestic helpers, and others (Peacock 1987).

The use of coarse or ngoko (informal Javanese) language is a distinctive hallmark of both Ludruk and the Areksubculture itself. This was likely influenced by the rough contours of urban culture, which was filled with migrants seeking better livelihoods. According to Rachman (2022), the rise of the Arek subculture—especially in Surabaya—was an indirect consequence of the alienation that emerged in urban areas during Dutch colonialism (Rachman 2022).

In line with Rachman’s argument, Peacock sees Ludruk as a people’s art or proletarian art. Aside from its close ties with left-wing cultural organizations, Ludruk also emerged as a response to the social inequalities occurring in cities like Surabaya (Peacock 1987). In contrast, urban life since the colonial era was extremely unequal: Europeans lived from one societeit (social club) to another, from one café to the next (Achdian 2023), while the indigenous population lived in poorly sanitized private village ss or even squatted in abandoned buildings due to limited access to urban spaces (Basundoro 2013).

Therefore, it’s unsurprising that Ludruk emerged from humble street performances in markets and evolved into a stage art form featuring stories closely tied to the people’s everyday lives. As part of this response, Cak Durasim, a pioneer of Ludruk, was also a movement activist in the 1930s. His involvement in PBI (Persatuan Bangsa Indonesia, or the Union of the Indonesian Nation), founded by Dr. Soetomo, marked the beginning of his resistance (Rachman 2023).

During the Japanese occupation of Indonesia (1942–1945), Cak Durasim, as a Ludruk artist, resisted in the way he could—by composing satirical and provocative parikan, which later became legendary and ultimately led to his execution by the Japanese. At the same time, he was even reported to have been involved in an underground movement organized by the PKI (Indonesian Communist Party), though the nature of this underground activity remains unclear (Antariksa 2005).

Lekra and the Discourse on People’s Art

“Since its inception, Lekra has consistently unearthed the richness of people’s art across various regions—arts which, until then, could be likened to gold mines that had yet to be explored or exploited. Had Lekra not taken up this task, that gold might have remained forever buried under sand, or even disappeared without a trace.”

—Joebaar Ajoeb, “General Report of the Lekra Central Committee to the First National Congress of Lekra” (1959)

With its guiding principle that “The People are the sole creators of culture,” Joebaar Ajoeb’s statement at Lekra’s First National Congress becomes a certainty: that Lekra would always position the people as the primary source of artistic creation. This aligns with Hersri Setiawan’s statement (2022), which explains that Lekra’s goal was not to produce artists or writers per se, but to cultivate cultural awareness among the people through methods already ingrained in their lives—one of which was through traditional folk art (kesenian rakyat) (H. Setiawan 2021).

Muhidin M. Dahlan and Rhoma Dwi Aria Yuliantri (2008) further explain that cultural workers under Lekra carried out a collective mission rooted in their own awareness: to develop people’s art forms that otherwise only existed from village to village in a stagnant state, and would inevitably become marginalized and eventually disappear (Dahlan and Yuliantri 2008).

The use of people’s art became a highly feasible option because society was already more familiar with it than with modern forms such as opera, drama, choir, and others. Lekra, as a cultural actor, recognized that traditional art—originally perceived merely as entertainment—could be transformed into a medium for public consciousness. This was in line with the 1-5-1 principle: “Good traditions and revolutionary modernity.” Thus, Lekra’s cultural workers felt it necessary to establish creative institutions aimed at facilitating and organizing artistic communities already embedded in society, in order to “expand and elevate” people’s art (Dahlan and Yuliantri 2008).

In the context of traditional performing arts, for instance, there is Ludruk from East Java, which had long held characteristics of populism and organic resistance in its performances—such as the stories of Pak Sakera, Sarip Tambak Oso, and others. In fact, the very creation of Ludruk stemmed from lower-class resistance, exemplified by its pioneer, Cak Gondo Durasim, whose famous parikan voiced opposition to Japanese fascism:

“Pagupon omahe doro, melu Nippon tambah sengsoro”

(“A dovecote is the home of doves; joining the Japanese only brings more misery.”)

In the 1960s, Ludruk underwent a significant renewal, led by the leftist cultural movement such as Lekra. According to HR Minggu (People’s Daily Sunday edition), on January 31, 1965, the East Java branch of Lekra established the “Cak Durasim” Ludruk School, attended by 60 Ludruk artists from across East Java.

Another example is found in the field correspondence column of HR Minggu, which replaced the “Culture Section” (Ruang Kebudajaan) in Harian Rakjat starting in 1963. In the March 14, 1965 edition of HR Minggu, an article describes an experimental idea by M.D. Hadi, involving the creation of new wayang (shadow puppet) characters that reflect the people and are free from palace-centric hegemony. This experiment included plays rooted in the lives of common people. This aligns with Hersri Setiawan’s account during his time as head of Lekra’s Central Java branch, where the organization promoted the concept of “Fable Wayang” targeted at children, and wayang narratives grounded in the populist tradition (H. Setiawan 2021).

Lekra and Ludruk: What Has Been Done?

“Will Ludruk always be branded as cheap art and never accepted by intellectual circles?!” Thus spoke Bambangsio in his correspondence titled “The Second Lestra Surabaya Symposium: On Ludruk Drama Experiments”, published in HR Minggu, May 24, 1964. This statement aligns with the words of Gregorius Soeharsojo in his memoir, explaining his fondness for Ludruk: “I enjoy Surabaya’s Ludruk the most, with its witty rhymes that playfully jab at various issues. The wholesome humor of its comedians always sides with the common people” (Goenito, 2016).

Both Soeharsojo’s appreciation and Bambangsio’s inquiry reflect how, in the 1960s, Ludruk was no longer merely a folk performance watched only by the lower class—it was embraced across societal layers. Bambangsio noted that Ludruk was undergoing significant development at the time, attracting broader audiences. The invitation for Ludruk Marhaen to perform at the State Palace in both 1958 and 1964 was crucial evidence of this growth, marking a turning point for adapting Ludruk to its contemporary context (Harian Rakjat, 1958).

Several key moments illustrate how the leftist movement, particularly Lekra, worked to develop Ludruk as a noble tradition fused with revolutionary modernity in line with the 1-5-1 principle. The first moment, as documented in Harian Rakjat, was the participation of Ludruk Marhaen actors in the film Kunanti di Djokdja (1959). The second was the East Java Ludruk Institution Conference held from July 30 to August 1, 1964, which resolved, among other things, to support the Ministry of Education and Culture’s directive to oppose imperialist cultural penetration. The third was a series of events in 1965: Ludruk Marhaen was invited again to perform at the State Palace, the Tjak Durasim Ludruk School was founded, and the First National Ludruk Congress was held, eventually establishing the United Ludruk of Indonesia (PERLINDO).

Ludruk gained national attention through the film Kunanti di Djokdja (1959), which featured Ludruk actors. An advertisement in Harian Rakjat on June 19, 1959, claimed the film offered fresh humor while portraying the 1945 Revolution through laughter and tears. It was also touted as a major film of the year with the potential to “explode” the capital’s audience.

This marked an important experiment—integrating folk art like Ludruk with modern tools such as film. The film’s success, directed by Tan Sing Hwat, received positive responses from various audiences across Indonesia. Through cinema, many Indonesians were introduced to Ludruk, which had previously been popular mainly in East and Central Java. Additionally, the film sought to counteract the growing influences of Americanism and Indianism in Indonesia’s film industry (Harian Rakjat, 1959). The success of this experiment earned Tan Sing Hwat a Best Screenwriter award at the 1960 Indonesian Film Festival (A. Setiawan, 2019).

The film’s success inspired Ludruk artists affiliated with Lekra to participate in the modernization of folk art in line with the principle of “noble tradition and revolutionary modernity.” This was reflected in the resolutions of the first East Java Ludruk Institution Conference (July 30 – August 1, 1964), which declared that Ludruk organizations would actively oppose American imperialist films and volunteer to fill content gaps in the film industry. The 250 participating Ludruk organizations also emphasized that Ludruk should not only be humorous but also raise political awareness, combat superstition, and promote unity. At this conference, a new leadership was chosen for the East Java Ludruk Institution: J. Shamsudin (Ludruk Marhaen) as Chair, M. Nasrip as Vice Chair, and Asmirie as Secretary (Harian Rakjat, 1964).

On January 31, 1965, HR Minggu reported concrete steps taken after the East Java Ludruk Conference. One such step was the founding of the Tjak Durasim Ludruk School, aimed at advancing Ludruk as a revolutionary folk art. The school was officially opened by Shamsudin, the chair of the Ludruk Institution, and welcomed 60 Ludruk artists from various parts of East Java as its first cohort. This initiative also served to prepare for the upcoming First National Ludruk Congress scheduled for April (Harian Rakjat, 1965a).

Unfortunately, the Congress did not take place in April, likely because Ludruk Marhaen had another performance scheduled at the State Palace (Harian Rakjat, 1965). Eventually, the First National Ludruk Congress and Festival were held from July 11 to 16, 1965, at Balai Pemuda, Surabaya. Under the slogan “Strengthen the Integration of Ludruk with the People and the Revolution”, the congress was reportedly attended by 25,000 Ludruk artists, according to Harian Rakjat (Harian Rakjat, 1965a).

Topics discussed included: “The History and Development of Ludruk,” “Artistic Issues in Relation to Audience,” and “Modernization and Organization of Ludruk.” The congress produced important resolutions aimed at advancing Ludruk as revolutionary folk art aligned with Sukarno’s political agenda, including:

Ludruk must foster a national culture serving workers, farmers, fishermen, and soldiers.
Form a centralized Ludruk organization called United Ludruk of Indonesia (PELINDO).
Implement necessary reforms to enhance its commitment to the people and revolution, while continuing its revolutionary tradition.
Focus on education to improve Ludruk’s ideological and artistic quality.
Declare Tjak Gondo Durasim a national Ludruk hero.
Ensure Ludruk artists integrate with the people and the revolution.
Host Ludruk festivals to encourage growth.
Promote cultural cooperation with state apparatus in line with revolutionary character (Harian Rakjat, 1965c).

The Congress also discussed writing a history of Ludruk and artistic experimentation. These efforts demonstrated Lekra’s approach to developing regional culture. As M.H. Lukman, Vice Chair I of the PKI Central Committee, stated:

“The idea that revolutionizing regional drama would harm its popularity is not only inaccurate but has already been refuted by revolutionary drama artists. Precisely through renewal and technical enhancement rooted in tradition, revolutionary artists have shown that regional drama can achieve higher ideological and artistic quality while gaining broader appeal” (Harian Rakjat, 1965b).

Following the congress, a Ludruk Performance Week Festival was held, in which Ludruk organizations from various regions performed and were judged. The festival winners were: Ludruk “Arumdalu” from Jombang (1st), Ludruk CGMI Surabaya (2nd), and Ludruk Sidoarjo (3rd). Honorable mentions included teams from Kudus, Jember, Blitar, “Mawar Merah” from Rembang, and Lamongan (Harian Rakjat, 1965d).

After the congress and festival, PERLINDO, the umbrella organization for Ludruk, began working. The only announcement published in Harian Rakjat (September 12, 1965) urged all member organizations to study Sukarno’s Takari speech. PERLINDO reminded its members:

“Our attitude toward both traditional and foreign cultures must be the attitude of the national democratic revolution: we strip feudalism from the old culture and eradicate imperialism from foreign cultures” (Harian Rakjat, 1965e).

Tragically, the 1965–1966 catastrophe struck. Cultural activities were paralyzed, including Ludruk. All performances were banned for two to three years, according to Cak Kartolo (Harian Rakjat, 1965). In the aftermath, Ludruk organizations were often brought under military institutions. Under the New Order regime, Ludruk became a propaganda tool and lost the revolutionary spirit of Tjak Gondo Durasim, who had once fought fiercely against oppression.

References

Achdian, Andi. 2023. Ras, Kelas, Bangsa: Politik Pergerakan Antikolonial di Surabaya Abad Ke-20. Tangerang: Marjin Kiri.

Antariksa. 2005. Tuan Tanah Kawin Muda: Hubungan Seni Rupa dan Lekra 1950-1965. Yogyakarta: Yayasan Seni Cemeti.

Basundoro, Purnawan. 2013. Merebut Ruang Kota: Aksi Rakyat Miskin Kota Surabaya 1900-1960an. Tangerang: Marjin Kiri.

Dahlan, M. Muhidin, dan Rhoma Dwi Aria Yuliantri. 2008. Lekra Tak Membakar Buku: Suara Senyap Lembaran Kebudayaan Harian Rakjat 1950-1965. Yogyakarta: Merakesumba.

Dokumen (I): Kongres Nasional Pertama Lembaga Kebudajaan Rakjat. 1959. Bagian Penerbitan Lembaga Kebudajaan Rakjat.

Goenito, Gregorius Soeharsojo. 2016. Tiada Jalan Bertabur Bunga: Memoar Pulau Buru dalam Sketsa. Yogyakarta: Insist Press.

Harian Rakjat. 1958. “Marhaen DI ISTANA,” 12 April 1958.

Harian Rakjat. ———. 1959a. “Adv. Kunanti di Djokdja,” 19 Juni 1959.

Harian Rakjat. ———. 1959b. “Film Ludruk KUNANTI DI DJOKDJA: Peranan wanita dilakukan oleh para pria,” 20 Juni 1959.

Harian Rakjat. ———. 1965a. “Sekolah Ludruk ‘Tjak Durasim’ Surabaja,” 31 Januari 1965.

Harian Rakjat. ———. 1965b. “Kongres Nasional Ludruk,” 7 Maret 1965.

Harian Rakjat. ———. 1965c. “Wkl. WALIKOTA SURABAJA PADA KONGRES LUDRUK : Kobarkan terus semangat Tjak Durasim,” 18 Juli 1965.

Harian Rakjat. ———. 1965d. “KONGRES NASIONAL KE-I LUDRUK SUKSES: NASAKOMKAN RRI-TV SELURUH INDONESIA,” 25 Juli 1965.

Harian Rakjat. ———. 1965e. “DPP PERLINDO: DENGAN TAKARI DJADIKAN LUDRUK DUTA MASA DAN DUTA MASSA,” 12 September 1965.

Harian Rakjat . 1965. “Ludruk Marhaen di ibukota,” 28 Maret 1965.

Harian Rakjat. 1964. “KONF. LEMBAGA LUDRUK DJATIM: Bubarkan Ampai, Ritul DFI,” 9 Agustus 1964.

Harian Rakjat. ———. 1965a. “Kongres Nasional LUDRUK dibuka hari ini,” 11 Juli 1965.

Harian Rakjat. ———. 1965b. “M.H. LUKMAN: Dengan semangat Tjak Durasim kobarkan ofensif revolusioner dibidang ludruk,” 13 Juli 1965.

Harian Rakjat. ———. 1965c. “Meningkatkan Ludruk atas dasar tradisi revolusionernja,” 22 Agustus 1965.

Peacock, James L. 1987. Rites of Modernization: Symbolic and Social Aspects of Indonesian Proletarian Drama. Chicago: University of Chicago Press.

Rachman, Anugrah Yulianto. 2022. “Kemunculan Kota, Kemunculan Arek Surabaya.” Arek Institute. 8 Januari 2022. https://www.arekinstitute.id/blog/2022/01/08/kemunculan-kota-kemunculan-arek-surabaya/.

———. 2023. “Durasim (1).” Arek Institute. 26 Desember 2023. https://www.arekinstitute.id/blog/2023/12/26/durasim-1/.

Setiawan, Andri. 2019. “Riwayat Tan Sing Hwat.” Historia. 11 September 2019.

Setiawan, Hersri. 2021. Dari Dunia yang Dikepung Jangan dan Harus: Kumpulan Surat, Esai, dan Makalah. Yogyakarta: Sekolah mBROSOT & Kunci Forum dan Kolektif Belajar.

Tempo. 2013. Lekra dan Geger 1965. Tempo. Jakarta: Kepustakaan Populer Gramedia.

Wieringa, Saskia E., dan Nursyahbani Katjasungkana. 2020. Propaganda & Genosida di Indonesia: Sejarah Rekayasa Hantu 1965. Disunting oleh Rahmat Edi Sutanto. 1 ed. Depok: Komunitas Bambu.

Sanepa Kecowa Kota: Manjing Ajur Ajer

by Penelitian Arek | Nov 21, 2022 | Arek-Arek

Abdul Rahman Oka Fahrudzin | Mahasiswa Bahasa dan Sastra Indonesia FIB Universitas Airlangga | Teater Gapus []

Sanepa¹ Kecowa Kota

Manjing Ajur Ajer

barangkali kota bentala tlah ditinggali

tikus-tikus menyulap keasrian menjelma

kengerian. Seekor Kecowa Resi

purbakala meleburi rotasi zaman dan waktu

bekerja menunjuk zaman

edan, akasia,

sengon, jati mati,

melati, edelwis,

ilalang hilang, dan rupa penghuni

lainya terkubur cor beton, murung memancar mata

matahari-bulan, di antara keriuhan yang menyongsong

Siwa sanepa kecowa

tembang manjing ke gendang

telinga penghuni habitat hingga

kahyangan

Manjing Ajur Ajer, menangislah dewa

-dewa kehancuran manusia meleburi

semesta, ngger, meleburlah

pada semesta yang

renta dengan jiwa

Tuhan, luhur cahaya

merakit

semesta.

Hujan dan Nyanyian Tuhan

mendung wajahmu diperbatasan

musim gugur doa

menganga ke langit ceruk air mata

Tuhan tersumbat kotoran

babi berterbangan serupa kapuk

meletus sebelum hujan

diutus, adakah Tuhan yang tak luluh bila

puisi doa sedang merayu rintik

turun bunyi drum

perlahan, lalu

cepat, lebih

cepat, dari gemuruh

angin seruling, suara gledek simbal sesekali menggelegar, dan sepenggal lirik

ciptaan hambanya Jika surga dan neraka tak pernah ada

Masihkan kau bersujud kepada-Nya samar Tuhan bernyanyi.

Perempuan Musim Hujan

musim hujan perempuan jatuh

di perapian melahap yang tersisa dari nasib kayu bakar, matanya menerawang lobang

gedek melihat airmata di pipinya

sendiri, pikiranya mengawang sesekali meledak rupa

gledek,

masihkah hujan sunyi tanpa surat kabar dari ibu di sorga? atau malam akan mengirim perjumpaan dalam mimpi? atau ketegaran ayahlah yang akan pulang ke dalam jiwaku?

Kelahiran Selepas Badai Musim Berakhir

badai musim berakhir

dewi sri segera melahirkan pesta akan

diselengarakan

takir dan sandingan memenuhi tuhuh

ladang

bumbu, dan beras jenang

jajanan, tangkep, kembang abang,

sego rokok, bumbu wedang bumbu

bucet, mendang/katul/empok, jagung, kembang, endog nginang,

sementara bocah-bocah capung tertawa

mengejari senja mendendangkan mantra

Asalamualaikum, kula suguh, suguh larung, sekiduk kembang melati,

arum gandane enak rasane, Sak mantune kula

suguh, lek enten kekurangane kula nedhi sepunten, Sak

mantune kula suguh, lek enten lupute kula

nedhi maklum. dukure pundak, nisore gulu, tak dadekna kemantenan dina iki

Bulan di Kota Hitam

Gemerlap kota meredup. Apartemen, Mall, Hotel, gulita. Jalan raya, gang-gang, trotoar, kelam. Jelma lorong hitam. Mataku ujung jalan ke tubuhmu, sendiri langit menyelimuti sinar

wajamu melarungi selangkangan mimpi gerbong-gerbong pendatang. serupa lilin menembus lautan keruh jiwa.

debu hanya menyelinap bening matamu, mengganjal pojok retina, tapi akan membuatmu buta Haluan kampung halaman. polusi akan merangsek ke paru-parumu tertawa, lalu membuatmu tersedak keriangan palsu. terik akan membumi hanguskan mimpi di pori-porimu.

tanah ini akan membunuhmu, jalan, gedung-gedung, dan rupa kemewahan imitasi, menyeret kakimu ke kota hitam, seperti jari-jari raksasa buto.

Lihatlah rautnya, cahaya tlah sempurna terbit, kendati kegelapan membalut rupawan, senyumnya utuh, menggerogoti tubuhmu, tapi biarlah

—terimalah

—jemputlah di ujung

jalan. Bulan di kota

hitam.

Tetumbuhan dari Rahim Perempuan

air bah mengalir dari rahim tlah merobah alang-alang kumitir lautan kutuk, tak ada hembus angin bergesakan dengan arak-arakan domba langit dan suluk burung menyamar pada rintih awan.

tampak segalanya terbalut mendung dijilati geledek.

Dari mulut Batara Guru menyembur titah meleburi Kalagumarang.

“kepercayaanku telah tumbuh di jiwamu, bawalah syarat seserahan lamaranku”

aku tlah menyimpan takdir futur di tanganmu yang matang—sekuntum mawar dan sepotong sajak untuknya.

***

“adakah genni berani melawan tirta?”

Barangkali tak ada kecuali Kalagumarang, menjelmakan dirinya binatang iblis; menghambakan diri pada berahi, memperkosa bumi

kepunyaan Wisnu, lalu mulutnya komat-kamit mengutuk jadi babi hutan, sebab libido tak tercurahkan.

Jarum jam merangkak di kebinalan kian

dahaga, sementara darah Wisnu menaiki purnama kemerah-merahan; tak ada lelaki rela istrinya diperkosa dan tak ada nafsu binatang yang menyadari lakunya melewati markah.

***

Dewi Sri terisak. Tidak salah, bila ingin mengenal raut penderitaan dan ketakutan, lihatlah perempuan terpojok dikejar hantu-hantu syahwat. Dia akan tersengut-sengut sepanjang subuh

bergulir, dan matanya meratap waspada, sekalipun pada debu terseret ke pipimya sejenak, lalu berlalu, luka menusuk

alang-alang kumitir menghapus garis tipis kemurkahan dan kesedihan, Dewi Tisnawati. Utusan Batara Guru anak panah melesat di jantung kepercayaan Dewi, bisikan dipangkuan terakhir selembut angin,

“semayamkan tubuhku di hutan Kendayana, sebagai persembahan untuk Dewi Sri”

***

Tujuh malam jasad melebur, dari rahim perempuan tetumbuhan menyubur;

Kepala, kelapa, pete, kemlandingan, jengkol, dan tanaman liar penghias kemolekan hutan; telapak tangan tumbuh pisang; payudara tumbuh papaya; gigi tumbuh jagung; pusar tumbuh

pohon aren; hati tumbuh sawo dan tanjung, dan dari mata tumbuh

padi.

Maut Merah

by Penelitian Arek | Nov 11, 2022 | Arek-Arek

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.

Warna Budaya: The Kampong’s Ludruk

by Penelitian Arek | Mar 19, 2022 | Arek-Arek

In Surabaya, the existence of Ludruk art is increasingly marginalized day by day. It’s evident from the difficulty of finding performances of this art form, leading many people to think that it has become extinct. Even the younger generation, who are the future bearers, are unaware of Ludruk. This critical condition for the sustainability of this art form has caused concern among Ludruk activists and lovers in the Pagesangan Subdistrict, prompting them to create a community Ludruk group, Warna Budaya Pagesangan.

Warna Budaya is a community Ludruk group. This Ludruk group has a training place or “tobong” in the Pagesangan area, Jambangan district, Surabaya city. The group was formed through the initiative of the Pagesangan neighborhood residents. They are also fully supported by local institutions, namely the Community Empowerment Institution of the Subdistrict (LPMK), and the group is led by Bambang Sugeng, who also serves as the chairman of this institution.

Seeing the concern for the Ludruk art, Bambang and the residents of Pagesangan formed this Ludruk group. This concern, in fact, bore fruit because there are now 20 actors and crew members in Warna Budaya. The number of group members shows that Ludruk art in this area is of interest to the local residents since most of its members are taken from the village’s community where this Ludruk group is based.

Although this Ludruk group was formed and filled mostly by village residents, the composition of their members also includes several art activists from other groups. This is intended to accommodate art activists in expressing their art since many Ludruk groups currently still cannot hold performances. This has caused other Ludruk artists to be unable to work in this art form anymore. Thus, this space is greatly utilized by these artists to get involved in the artistic activities of the Ludruk group Warna Budaya.

The involvement of artists from other Ludruk groups, in fact, resonates with the goal of this Ludruk group, which is the spirit to preserve the Ludruk art. They also want to reintroduce this art to their village, stemming from this Ludruk group’s concern that many children in the village are starting not to recognize Ludruk art.

In an interview, Bambang—as the chairman of the Ludruk group Warna Budaya—explained that the formation of this Ludruk group was based on the village residents’ concern for the Ludruk art that was increasingly unheard. They missed the Ludruk-style gamelan beat and its comedy. As a result, the younger generation could no longer recognize Ludruk art. From the residents’ concern for this original art of Surabaya, a desire to preserve and introduce Ludruk art to the next generation was formed.

On the other hand, compared to other Ludruk groups, this Ludruk group could still be considered very new. Most Ludruk groups were formed in the 90s, and the latest was concluded in 2016. While Warna Budaya was only formed in September 2018. However, the presence of this Ludruk group has provided ample evidence that the village, in the Arek subculture environment, longs for this art. This is demonstrated by the large community involvement, both from the audience and direct involvement in artistic activities.

However, the spirit of this Ludruk group in reviving this art is no less than that of the old Ludruk groups. From 2018 to 2019, they have performed several times, attracting a large audience, especially from the Pagesangan residents themselves, as they often perform in their village area. The crowd density attending these performances shows that Ludruk art is indeed missed by the Arek-Arek village.

In addition to the villagers’ longing for the art, the residents of Pagesangan themselves have a high enthusiasm because Warna Budaya is a Ludruk group unique to their village. This also marks the village community’s solidarity with the initiative from their own brethren. They always fully support all the artistic activities of this Ludruk group, proven by the villagers’ eagerness to always actively participate, both in terms of presence—as a form of appreciation—and involvement in the creative process.

Unfortunately, from 2020 to 2021, this Ludruk group had to pause its activities due to the Covid pandemic, forcing them to take a break. Although Warna Budaya experienced a downturn, after the decrease in virus spread, the group resumed training to regain their performance level. They always conduct training and regular meetings at their training location in the Pagesangan Subdistrict.

As Indonesia manages the pandemic better, this Ludruk group has re-emerged. They have performed three times in the last three months, holding their first performance after the pause in November. It was held in the Pagesangan Subdistrict field, attended by the Arek Institute’s accompanying team. This was the initial meeting of the accompanying team with this Ludruk group.

The performance marked the beginning of their subsequent shows. Due to the overwhelming enthusiasm for that performance, they held a second performance on December 18, 2021. At the second performance, the audience once again filled the entire venue. The seating for the audience was even full and could not accommodate other spectators, resulting in many audience members crowding and standing just to enjoy this Ludruk group’s performance.

Interestingly, the audience for this performance was not only from the Pagesangan residents, but many people from outside the village also attended. They successfully expanded their audience reach. This was possible because this Ludruk group employed a different approach from the old-style Ludruk groups. This Ludruk group leveraged the important role of social media, especially WhatsApp, to distribute their performance pamphlets from one group to another.

Additionally, this Ludruk group also succeeded in choosing a performance location. They held their second performance in a very strategic place, namely the area of Street Vendors (PKL) for religious tourism on the North side of the Al-Akbar Mosque. This simultaneously provided an economic stimulus to the surrounding merchant group. Their performance also attracted visitors to shop for snacks and drinks in the merchant area. The PKL, usually quiet of visitors on that day, had their merchandise swept clean.

In short, the presence of the Warna Budaya Ludruk group represents a phenomenal emergence and is like an oasis. This group marks the re-emergence of the village Ludruk group, which once occurred in the 90s, but at that time, it was in the form of village theater groups scattered in the Arek environment. This simultaneously heralds a new wave in Ludruk art, namely village Ludruk.