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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.

The Poetry from Surabaya’s Red-Light District

The Poetry from Surabaya’s Red-Light District

by | Feb 10, 2023 | Kidung

M.A. Haris Firismanda merupakan mahasiswa S2 Kajian Sastra dan Budaya Universitas Airlangga

Humans always attach themselves to symbolic desires. They are no longer just confined to sexual desires or pleasures. Instead, it’s the drive for luxury, grandeur, or economic stability involving urban spatial planning. One such phenomenon can be observed through the anthropology of poetry titled “A Drop of Water in the Red-Light District” (2008). Moreover, this work is also part of the Javanese Literature Workshop development program.

As a work of poetry, it is written in Javanese. It also represents the group of sex workers because its poets come from the development program for this group. Therefore, this work contains collective memories and class consciousness of these workers. It simultaneously shows that their imagination holds a symbolic desire for a certain completeness.

Further, the poetry work titled “Terminal” is particularly interesting for deeper analysis. As its title suggests, this work harbors a symbolic desire for departure. There’s a desire from the Poet to present their memory of that space. It is interpreted as an initial gateway to a new world. The work reads as follows:

l Akeh tenan wong kang teka-lunga

Akeh wong Ian pawongan kang sliweran

Angel anggonkujalukpitulungan

Amarga wedi yen kapusan

On one hand, the city harbors an imagination of progress and novelty. On the other hand, the poet harbors a fear of urban life. It is seen as a very gray and new world of life. It’s as if entering an unknown jungle. The presence of the city actually stores anxiety memories for its writer.

Unlike the poetry “Terminal”, the poetry titled “Will Never Forget” instead harbors a desire for longing towards the other, namely the figure of a husband. This work harbors an imagination of the subject’s completeness if they could meet or live together with their husband. The fragment of the poem reads as follows:

Gusti

Tulungen awakku iki

Krana aku saiki lagi susah Ian bingung

Amarga ditinggal bojoku megawe adoh banget

Saiki aku dhewekan

Ana papan kene

Aku mung bisa nenuwun

Karo sing Kuwasa

Muga-muga bojoku

Ana papan penggawean

Slamet

Ora ana alangan apa-apa

Aku dhewe nek kene kerja

Aku pengen urip bebarengan karo bojoku

Kaya apa bae

Aku bakal tetep ngenteni bojoku bali

The Poet seems haunted by the anxiety over her husband’s job far from her. She experiences a condition of alienation because she does not achieve completeness in herself. Economic issues underlie the alienation problem of this wife subject. However, that completeness is not complemented by the departure of the other figure. Moreover, her husband has to venture far to fulfill life’s necessities. As a result, she feels a desire to reach her completeness as a subject living together with the other.

The other subject, in this collection of works, is not limited to the wife-husband relationship but also includes the relationship between mother and child. The poetry titled “Love” presents a dimension of alienation for the poet in this work. The starting point of her problem arises because a mother has to migrate far from her village to support her family (the other), including her child. The fragment of the poem reads as follows:

Aku tresna marang anakku

Sampek teka jeroning atiku

Sapa bae ora bakal bisa misahake aku utawa anakku

Aku tresna sampek tekan pati

This work shows the symbolic desire of the mother, which is her child. She goes far from her child to earn a living. Because of that issue, as a subject, the mother does not feel completeness. She expresses her sadness through the poem. She shows her love and feelings for her child, and it also shows that her love extends to her place of origin.

Several fragments of the poem show a view towards urban life. There is a memory about departure. There is also an imagination of alienation. Both fill the minds of their writers in this poetry work. They show an imagination of alienation and also experience failure in completeness regarding their symbolic desire towards the other.

Besides, the emergence of conflicts in several poems arises due to materialistic drives. They have to fulfill their lives. For that need, they try to find a better living space. This, in fact, presents its own trauma and memory for them. They seem to be facing a moment of collapse on themselves.

In short, symbolic desire, in this work, is recorded through the minds of its poets. They all are subjects-the other trying to achieve completeness for themselves, but they instead experience an experience of alienation due to the failure to achieve life completeness.

Nasib Orang Pesisir: Kumpulan Puisi Abdul Hamid

Nasib Orang Pesisir: Kumpulan Puisi Abdul Hamid

by | Dec 1, 2022 | Arek-Arek

Abdul Hamid | Alumni Bahasa dan Sastra Indonesia FIB Universitas Airlangga []

Nasib Orang Pesisir

Dulu kami merdeka, menikmati seluruh hasil jerih payah yang kami punya

Panen bandeng-lele sebanyak-banyaknya

Bebas dari segala aturan

Sebelum hari ini, seolah telah menjadi hak mereka

Nasib kami menggantung karenanya

Sungguh kemalangan nasib, tak bisa kami tolak lagi

Ribuan penghidupan kami, direbutnya dengan semena-mena

Sudah kami berusaha melawan, tapi

Lebih pandai mereka, meski kami yang punya

Mungkin ini sudah menjadi ketetapan-Nya

Mau gimana lagi

Saat ini kami

Hidup segan-mati takmau

Ini Kotaku

Ini kotaku beraspal gelombang

jalan-jalan banyak lubang

dan asap kendaraan, tiap hari

jadi oksigen parapejalan

kotaku ini, ladang investor

bercocok tanam uang

gedung-gedung menjulang

jadi pemandangan

tiap musim politik, para pejabat daerah

berebut kursi

memperbaiki jalan rusak

sampai dengan beri janji basi

agar rakyat memilih

Setelah jadi, eh malah kena kasus korupsi

Pada Suatu Masa

bumi akan tetap berputar

dan kita laju di dalamnya

sampai pada waktu yang ditentukan

pagi sampai pagi

segala aktivitas telah diatur

kita akan berjalan sampai pada titik lelah

dan akan ada kantuk yang mengistirahatkan tubuh sejenak

jangan kita lupa

bahwa waktu itu mahal

kita tak sadar telah lalim melupakannya

akan sampai pada satu masa mata tutup nyawa tiada

dan semua tak berharga

selain sesali waktu yang sudah lewat

dan kita akan ada pada rasa sesunyi sunyinya sunyi

tak bergerak, dihilangkan waktu

yang sempat kita lupa

The C4 Playwright

The C4 Playwright

by | Nov 28, 2022 | Kidung

Nuzula Maghfiro | Mahasiswa Bahasa dan Sastra Indonesia Universitas Airlangga []

Literary works never emerge from a void. Their presence stems from critical reasoning. Through their works, writers radically unveil matters often considered taboo in life. They question, challenge, and debate normative views that obscure other meanings of life. Thus, literary works are capable of transcending taboo perspectives and understandings in life. They go beyond normative meanings that settle in the shroud of human consciousness.

Furthermore, the dimension of human existence has “consciousness” not only in awareness of what happens around them but also in self-awareness and their existence. Existence is a new Archimedean point where humans attach the world and themselves. For Kierkegaard, humans are beings always challenged to choose and make decisions in the struggle of their lives. However, many uncertainties are difficult to understand rationally, uncertainties that make humans doubt and feel anxious about their future.

Similarly, the script “C4,” the third script from the head of the Saung Teater Adnan Guntur, presents a dimension of defection from majority reasoning. Looking back at Adnan Guntur’s previous work like “Body at 11:11,” this script seems to present differently from its predecessors. The choice of “C4” as a title appears as a marker and symbolic code that can evoke various interpretations among its readers.

If delved into deeper, the code “C4” has different meanings based on various fields. In military terms, C4 is a code for a specific type of explosive used by special forces. This explosive has an effective blast power to destroy something. Meanwhile, “C4” also has another meaning in the medical field. C4 is a code for a complement compound. In other words, it can also be understood as a compound in the blood that synchronizes with the immune system. This means that an increase or decrease in C4 can cause health disorders. Therefore, C4 is expected to always be in a stable (synchronized) condition to prevent health issues in the human body.

The concepts of explosion and synchronization have led to discoveries about creation and the formation of novelty. The creation myth in the Big Bang theory, for example, explains how the explosion will form dimensions of space and time. It presents a singularity point that explodes with such force. Then, it produces matter that continues to collide and rotate until it forms again into something that expands as a result of the explosion.

In Aristotle’s cosmology, he considered his ideas to form a perfect system, where each part logically follows another. For him, the activity of movement is always caused by a certain mover. As a series of cause-and-effect laws in the universe that must end at the first cause.

Moving towards human existence, Kierkegaard introduces his philosophical understanding of human existence that seriously considers human subjectivity, emphasizing passion and grappling with their life and existence as an individual. Kierkegaard’s thought becomes the starting point for new contemplation on the meaning of human existence as a person committed to being themselves. Through this basis, Kierkegaard proposed the concept of existentialism, emphasizing the issue of divinity or godliness at the peak of his thought.

Questioning the existence of divinity always finds a potentially infinite root because humans have a tendency to acknowledge a transcendent dimension. Understanding God or the transcendent rationally is nothing but a human effort to comprehend the visible and the invisible nature. It also solidifies their belief in the existence of a god considered to influence the intricacies of life. At the same time, humans who claim not to believe in transcendence also have a desire to rationalize such non-existence. They deny because they are unable to grasp its existence. In other words, any aim to understand and reject the transcendent is proof that its presence has truly influenced human life.

A sequence of searching, explosion, creation, dimensions of space and time, and matters of divinity share a common thread that melts together. The stage of existence becomes a dimension where the souls and bodies of humans reside. Searching within the human brain will hatch novelty. Explosion will shape emotions that explore problems, leading to new creation. Then, at the point of transcendence, humans are brought to something higher, mystical, and complex.

In short, the script “C4” was born as a dimension of social criticism on existence. The poet presents how the concept of explosion and destruction can push humans towards the search for their existence. They always strive towards awareness of the transcendent dimension, and it also leads to creation and the Creator. “C4” emerges as questions never accompanied by answers to any certainty.

Sanepa Kecowa Kota: Manjing Ajur Ajer

Sanepa Kecowa Kota: Manjing Ajur Ajer

by | 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.