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Durasim (1)

Durasim (1)

by | Dec 26, 2023 | Arek-Arek

Anugrah Yulianto Rachman | CEO and Founder of Arek Institute | Anthropologist

Cak Durasim is always placed as a pioneer in the art of Ludruk. His presence is also associated with the early development of this art form, and he is known for inventing Ludruk from its previous forms, namely: Lerok and Besut. Even his legendary name is embedded in a complex of arts and culture in East Java. However, no one has ever known for sure the track record of the journey of his Ludruk group.

Cak Durasim, who is also called Gondoredjo Durasim, is always known through his Ludruk Organisatie (LO) (Supriyanto, 2018). This is the starting point of the development of Ludruk into a complete package of East Java’s art as it is today. Big names in the world of Ludruk are also intertwined with him, such as: Pak Doel, Wakidin, Minin, and Toegi (Soeara Nirom, 1939a). They are the names involved in the broadcast of Durasim’s Ludruk on Nirom radio.

Image 1 Cak Durasim with Minin in the magazine Soeara Nirom

The magazine Soeara Nirom becomes an important library in recording the journey of Cak Durasim’s Ludruk group. This magazine records various titles of Ludruk plays that have been broadcast by it. In the range of Soeara Nirom magazine publication in 1939, there are about 27 Ludruk plays listed in the broadcasts of this group. The titles of these plays are as follows:

Image 2 Collection of Durasim’s Plays based on Soeara Nirom Magazine

The 27 plays of Cak Durasim were broadcast periodically on Radio Nirom (Soeara Nirom, 1939b, 1939a, 1939c, 1939d, 1939e, 1939f, 1939g, 1939h, 1939i). This data represents the titles of the plays and the frequency of broadcasts for each play collected from several archives of Soeara Nirom magazine. In a report about the early development of Ludruk, the magazine Soeara Nirom describes how difficult it was for Cak Durasim to adapt Ludruk performances into broadcast form and to create Ludruk plays. However, Durasim gathered inspiration from readings that were widely provided by Balai Pustaka at the time.

Furthermore, the famous Ludruk plays of Cak Durasim also appeared in broadcasts on Nirom radio. These plays are Mbok Rondho Sakit and Bakar Bakir. Each of them is presented in 4 acts. This division aligns with the postcards published by Odeon Gajah which show the appearance of these plays in the form of vinyl. These postcards not only display recordings of Cak Durasim’s Ludruk but also show the figure of Cak Durasim.

Image 3 The back of the Odeon Gajah postcard regarding the title of Ludruk Durasim’s recording

 

Image 4 The front of the postcard displaying a photo of Cak Durasim

Cak Durasim is also known as a representation of Ludruk Surabaya. However, the data presented in the chart above is based on direct mentions of Cak Durasim’s name both as a leader and the name of the Ludruk group. This is because there are also Ludruk Surabaya group broadcasts without any mention of a leader or the name of Cak Durasim. Some plays presented by the Ludruk Surabaya group also have titles similar to those of Cak Durasim’s plays.

In the broadcast reporting of Soeara Nirom magazine, there are two categorizations directly related to the name of Cak Durasim, namely: “Ludruk Surabaya Group Led by Durasim” and “Ludruk Durasim from Surabaya”. Meanwhile, during the same period, there were several other Ludruk groups that also broadcasted, such as: the Ludruk Surabaya group and Ludruk Sekar Enggal led by Abdoel Hamid.

Cak Durasim’s Ludruk Organisatie Claim The curation and codification of Cak Durasim’s broadcast plays are based on the mention of Cak Durasim’s name in the Ludruk group broadcasts on Soeara Nirom magazine. This is because many Ludruk groups had already started to develop during the 1939 period. Even 10 years earlier, the Ludruk Durasim group was already paired with the Ludruk Genteng group. Although many writers mention that Ludruk Genteng is Cak Durasim’s Ludruk group—less famous (Indonesia Kaya, n.d.; Setiawan, 2020).

At a Java-Instituut conference in Surakarta in 1929, R. Ahmad Wongsosewojo reported on the condition of Ludruk art. He described the early development of Ludruk art in the form of Besut plays during Cak Durasim’s period. The article reported the existence of the quite famous Ludruk Genteng group in Surabaya, and also the Ludruk Durasim group along with Persatuan Bangsa Indonesia (PBI) by Dr. Soetomo (Wongsosewojo, 1929).

This report illustrates the early development of Ludruk art during the Durasim period. Ludruk plays were still limited to the use of plays and the ritual traditions of Besut art. However, the documentation of Ludruk Durasim as Ludruk Organisatie (LO) was not yet explained. It only writes about Ludruk Durasim. In line with the titles raised in Nirom magazine, the Java-Instituut report also uses the term Ludruk Durasim instead of LO.

The use of the term LO is a term used by Ludruk researchers, such as Henricus Supriyanto, in outlining the development of this art. In research far before Henricus, the term LO Durasim was not widely used (Frederick, 1989; Peacock, 2005). Durasim is only described as an organizer in mobilizing Ludruk art and also as an anti-colonial activist.

In other words, the journey of Ludruk Durasim has been forged in a long journey both on the academic stage and in Ludruk performances. Its tracks have been recorded in various archives and previous studies.

Bibliography

Frederick, W. H. (1989). Pandangan dan Gejolak Masyarakat Kota dan Lahirnya Revolusi Indonesia (Surabaya 1926-1946). PT. Gramedia.

Indonesia Kaya. (n.d.). Ludruk, Kesenian Guyonan Asal Jawa Timur. Indonesia Kaya. Retrieved December 21, 2023, from https://indonesiakaya.com/pustaka-indonesia/ludruk-kesenian-guyonan-asal-jawa-timur/

Peacock, J. L. (2005). Ritus Modernisasi Aspek Sosial & Simbolik Teater Rakyat Indonesia (Miftahuddin (ed.)). Desantara.

Setiawan, A. (2020). Dua Legenda Ludruk Indonesia. Historia. https://historia.id/kultur/articles/dua-legenda-ludruk-indonesia-Dpgrl/page/1

Soeara Nirom. (1939a, January). –Loedroek Tjak Doerasim–Soerabaia. Lakon: ,,Pengaroehnja Senjoeman”. Soeara Nirom. 01

Soeara Nirom. (1939b, January). Loedroek Soerabaja dipimpin oleh Doerasim. Soeara Nirom.

Soeara Nirom. (1939c, February). –Loedroek Pak Gondo a. Tjak Doerasim–Soerabaia. Soeara Nirom.

Soeara Nirom. (1939d, May). –Loedroek Tjak Doerasim–Soerabaia. Soeara Nirom.

Soeara Nirom. (1939e, July). Loedroek Soerabaja. Soeara Nirom.

Soeara Nirom. (1939f, August). Loedroek ,,Tjak Doerasim” (Soerabaja). Soeara Nirom.

Soeara Nirom. (1939g, September). Loedroek (Soerabaja). Soeara Nirom.

Soeara Nirom. (1939h, October 29). Siaran Barat Djawa Tengah Dan Timoer. Soeara Nirom.

Soeara Nirom. (1939i, December). Siaran Barat Djawa Tengah Dan Timoer. Soeara Nirom.

Supriyanto, H. (2018). Ludruk Jawa Timur Dalam Pusaran Zaman. Beranda Kelompok Intrans Publishing.

Wongsosewojo, R. A. (1929). Loedroek. In Java Instituut.

Responsive and Crafting Ludruk Categorisation

Responsive and Crafting Ludruk Categorisation

by | May 4, 2022 | Arek-Arek

Alvianta Virgosa – Komite Pendampingan Arek

The evolution of the times forces the art of Ludruk to adapt to all changes. This adjustment, with the times, is an adaptation in the form of performances. This can be seen through the change from Ludruk Tanggapan (responsive Ludruk performances) to Ludruk Garapan (crafted Ludruk performances). Both have differences because this art form adjusts to the conditions of the times and their environment.

Ludruk Tanggapan is a form of Ludruk performance held in response to specific events, such as weddings, slametan (Javanese ceremonial feasts), or harvest seasons. When these events occur, the performances of this group are always enlivened by the presence of night markets, and the duration of the performance is very long. This performance can start from 9 p.m. until the early morning.

On the other hand, Ludruk Garapan is a performance that usually appears in government agendas, festivals, or competitions. This performance is arranged to suit the market and to shorten the time. In an interview, Arimbi–a Ludruk artist–explained that the structure of Ludruk Tanggapan performances has a longer duration than Ludruk Garapan. The structure of the Ludruk Tanggapan performance is as follows: (I) Opening with Remo dance attractions, (II) Snake dance (III) comedy sketches, (IV) Presentation of the main story or drama, which is the core of the performance.

Unlike the structure of Ludruk Tanggapan, Ludruk Garapan has a shorter duration. This is shown by cutting some parts of the Ludruk Tanggapan structure, including: removing the snake dance performance and reducing the duration of the performance. As a result of this time reduction, this type of Ludruk has a duration of only two to three hours.

The classification of Ludruk Tanggapan and Ludruk Garapan is not new. This phenomenon has been ongoing since the New Order government in the 1990s. At that time, the government had many agendas involving the Ludruk art community. These agendas included festivals, competitions, and government performances.

The numerous events were more directed towards Ludruk Garapan performances. This was marked by a shorter performance duration than Ludruk Tanggapan. This time reduction was adjusted to the sequence of events arranged by the New Order Government.

On the other hand, Ludruk Tanggapan performances were rarely found. Because every Ludruk performance in that period was always under military supervision. This resulted in their inability to perform as freely as before. Ludruk at that time was only emphasized to show the main event, namely the comedy sketches and the presentation of the drama.

After the New Order fell, from the 2000s to 2010, the art of Ludruk once became a favorite entertainment for the public. Ludruk Tanggapan performances became a frequent sight due to the many celebrations inviting Ludruk art. Here, the art activists began to return to the traditional elements of Ludruk art like in the old days. These elements included the Remo dance given a long time, snake dance, comedy sketches, and the presentation of the drama.

The resurgence of this art began to be felt during this period. This is shown through the high enthusiasm of the public to host Ludruk in an event. Although not as massive as in the previous period, this art began to be favored by many modern youths and the elderly because it became a catharsis for the romance of past entertainment.

However, from 2012 to the present, the art of Ludruk has experienced ups and downs in its performances. Ludruk Tanggapan began to lose its appeal to the public. This was caused by the transition in the evolution of the times. The development of various forms of entertainment and spectacles such as television, radio, the internet, and others made Ludruk lose its function as a modern ritual (Azali 2012).

In his writing, Azali shows that the enthusiasts for the art of Ludruk began to decrease due to the development of various forms of entertainment and spectacles. People prefer forms of entertainment that do not require energy to leave the house such as watching television, listening to the radio, and playing on social media. From this change in public habits, Ludruk artists are forced to brainstorm to innovate their performances again, especially artists in urban communities.

Upon closer examination, the phenomenon of Ludruk Garapan is a phenomenon of Ludruk groups in urban areas. Because, Ludruk Garapan groups appeared due to government programs such as festivals or cultural events. The limited performance time at these events causes changes in the structure and duration of performances from Ludruk Garapan groups.

Garapan is one of the forms of Ludruk groups that has most developed in urban areas, especially in Surabaya.

Overall, the phenomenon of Ludruk Tanggapan is a form of adaptation by Ludruk artists to their conditions and environment. This leads to adjustments in the performance style of Ludruk, such as cutting down on the duration and adjusting the structure of the performance.

Luntas: The New Wave of A Ludruk Troupe

Luntas: The New Wave of A Ludruk Troupe

by | Feb 28, 2022 | Arek-Arek

Anugrah Yulianto Rachman–Nugi. Peneliti Arek Institute.

The art of Ludruk is always undergoing updated. This doesn’t mean that this art form is like an ornament that can’t be enhanced or changed. Change is something absolute in its essence because Ludruk is like an organism. It will evolve and grow according to the conditions of the times and its environment. This is demonstrated by one of the pioneering Ludruk groups, Luntas.

Luntas is a Ludruk group that emerged in the post-New Order (Orba) era, roughly born in 2016. The age of this Ludruk group can be marked through its 6th anniversary, titled “Anniversary Nemta6en,” held on January 23rd recently. To commemorate it, a celebration event was held at Mbah Cokro’s eatery in Surabaya, and the play staged was titled “Babad Alas Surabaya: Jaka Jumput.”

Through this performance, Luntas continues to show its consistency as a pioneering Ludruk group. For 6 years of creating, this group has brought so much freshness to the world of Ludruk art, especially in Surabaya. The refreshment in their anniversary performance is shown in the promotion of the performance and comedy on stage.

They actively promote and introduce through social media. They package it differently from old-style Ludruk groups. If, in the past, before the arrival of this group, Ludruk art was promoted using megaphones—by going around the village—or written on a bor board—the term used by Ludruk artists for a blackboard advertising the play to be staged—then Luntas presents it differently.

This Ludruk group uses audio-visual media in the form of promotional videos for the play they will perform. They frame it with action film-style videos and very contemporary style. This can be seen on the Facebook page of one of Luntas’ founders, Roberts Bayoned. The one-minute video presents information about the play to be performed at the event.

Moreover, this Ludruk group has also frequently documented every performance they have. Then, they upload the recordings to digital media, especially YouTube. These recordings can be accessed through the YouTube channel of SMC Mediavisitama or Ludruk Luntas Indonesia Channel. There is so much documentation of this group’s performances on both channels.

The promotion and documentation pattern of this Ludruk group’s performances have shown a change within this art form. Ludruk artists are not only starting to follow the current of the times, but they also still keep this art form enjoyable for a wide audience. Thus, Ludruk can broaden its audience reach to the virtual public.

Additionally, this renewal is not only manifested through these aspects, but this group also continuously renews its comedy style. Because, based on the acronym of this group, they carry the slogan, “Ludrukan Nom-noman Tjap Arek Suroboyo” (Luntas). This slogan also brings forth a comedy style that is very attached to this group.

This comedy style was also presented in this performance. Luntas presents a very contemporary comedy style and outside the usual conventions of Ludruk groups. In an interview, Robert explained that he was inspired by Japanese comedy style that uses a blackman to provide background effects in each of its shows. This figure wears black clothing, blending with the stage background, as if invisible as a character in the play.

He gave effects to the robes worn by one of the characters in his performance. For example, in a scene where Jaka Jumput is tempted during his meditation, this blackman figure provides an effect with the writing saying “Waduh digudo setan”. The scenario occurs when Jaka Jumput is meditating, and a demon wearing a black robe is disturbing his meditation. Then the Blackman places this writing above Jaka Jumput’s head.

In addition to the Japanese-style comedy figure, such as the use of a Blackman, the ambiance of this play’s performance is filled with unusual costumes and surprises compared to most Ludruk plays. Again, in the midst of his meditation, a transgender woman comes and teases Jaka Jumput. Then, the blackman provides another writing effect like: “Jancok! Banci Pisan Melok2 Nggudo”. Interestingly, the transgender character in this play does not wear the typical cross-dressing costumes of old-style Ludruk groups. She wears a Japanese anime costume, Sailor Moon, wearing an orange wig—exactly like one of the characters in that anime.

Even during a battle scene of Prince Sumenep in the play, it is presented in a very unique and different way. This Ludruk group chose to provide the background sound effects of that battle with songs from that anime. The song adds a dimension of tension as well as humor to the battle scenario because not many Ludruk groups use a comedy concept like this group.

The renewal of both the play and the promotional pattern turns out to be a form that has indeed been made a character of this Ludruk group. This was stated by Robert during the opening of this event. He mentioned that Luntas has been striving for 6 years to create a generation of audience because Ludruk art, in the present time, needs to have an audience reach from the current generation.

Therefore, Luntas adopts the slogan that it is a young and modern Ludruk group styled like Surabaya. This is because, in their performances, they always incorporate the cultural language of the Arek community, which is characterized by Surabaya terminology. This is also marked by the comedy style of this Ludruk group, which is not the same as most Ludruk groups. Luntas presents a comedy dimension that is far different from other Ludruk groups.

In short, the Ludruk group Luntas is an oasis in the midst of the Ludruk art world. This group brings a breath of fresh air in all its Ludruk art activities. This renewal has proven capable of making this Ludruk group a group with its own unique characteristics and identity.