The Attractive and Adaptable Indonesia Traditional Performing Art

A. M. Hermien Kusmayati and Raharja

Faculty of Performing Arts, Indonesia Institute of the Arts Yogyakarta, Jln. Parangtritis km 6.5, Yogyakarta, Indonesia

Keywords: attract, adapt, purpose.

Abstract: Traditional Performing Art is a part of Indonesian society life. It is attractive, lively, and beautiful. It is also

flexible or adaptable. These both natures and the implication are analysed by using the ethno art approach,

especially the performing art approach. The choice to this emic approach comes from the observation to the

collective awareness of the people who support it. Performing art has the agility and the ability to charm us

with its beauty depends on the purpose of the performance. Any kind of performance is expected to give

satisfaction to the audience. In an occasion, the performing art can be used as a means and the legitimation of

some ritual. The same performing art can be used by society as a means of communication too, especially for

men and women. Performing art can adapt to different interests, although the form is not changed. The

questions are how can the performing art be attractive and why and how can the performing art adapt to the

needs of the society. In fact, these both abilities are going hand in hand. Attractive and adaptable comes from

its various development components which show the closeness or even the same meaning.

1 INTRODUCTION

The Indonesia traditional performing art has been

living and leading to fulfill people’s wants or

demands. The performing art here is the performing

art which lives and developed outside the palace. This

research is aimed for a particular performance

originated and developed together in the society that

has rooted in agriculture and fishing culture as

Indonesian in general. The similar form of the

performance is accompanied by various interests

(Bouvier, 2002; Hastuti, 2013; Kusmayati, 2011 and

2014; Murgiyanto, 2003; Soedarsono, 2011; and

Widyastutieningrum, 2007).

The various interests which is supported by one

kind of performing art that has a similar or even the

same form will be presented in this article as in the

area of the East corner of Madura island including in

Kabupaten Sumenep, where there is a performing art

called Karawitan. Karawitan is a group of traditional

musician who played a traditional music instrument

called gamelan, generally uses slendro scale.

A Karawitan group consists of only women or

men or both as the players. A female group write the

group’s name based on the player such as ‘Karawitan

Putri Sri Budoyo’, ‘Karawitan Putri Budoyo’,

‘Karawitan Putri Indah Famili’, ‘Karawitan Putri

Bunga Famili’, ‘Karawitan Putri Melati’, ‘Karawitan

Putri Ken Dedes’, etc.

A Karawitan performance is always completed by

a sindhèn. Sindhèn is a woman who becomes the main

player of the performance. The term karawitan and

sindhèn refer to Javanese language. Sindhèn is a

singer of tembang (Javanese) or kèjjhung (Madura

language). It is also called tandhâ’ as the synonym of

tari (dance) (both in Javanese and Madura language).

Tandhâ’ is also understood as a dancer in the

neighborhood.

Sindhèn as the performer (can be one person or

more), nandhâ’ or dancing and ngèjjhung or singing

a specific song with the local language. The

movement follows the rhythm of gamelan and stress

on a particular lyrics or the end of kèjjhungan. The

nandhâ and ngèjjhung are alone or with the guests on

the stage.

Beside kèjjhungan and nandhâ’, sindhèn looks

stand out in her costume. She wears a long batik cloth

and kebaya (traditional female Javanese gown). She

has a particular hair style, accessories, make-up, with

a shawl on her shoulders. The female players wear a

costume like the sindhèn, but without a shawl. The

male players wear trousers, sometimes sarong, a shirt,

and a hat called odheng.

A man or two men called galandhâng is presented

in the performance. Galandhâng should be able to

Kusmayati, A. and Raharja, .

The Attractive and Adaptable Indonesia Traditional Performing Art.

DOI: 10.5220/0008763402810287

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 281-287

ISBN: 978-989-758-450-3

281

ngèjjhung and nandhâ’ rhythmically with the

gamelan. Some lyrics to welcome, to thank and to

praise the audience are inserted. He also should be

able to create specific lyrics based on the purpose. He

fetches the main guest from his or her seat and invites

him/her to dance with sindhèn or with him. He also

brings the guest back to his/her seat.

A dance arena is prepared in a tèrob. Tèrob is a

impermanent building, built for some occasion

especially for a wedding. Tèrob was built in the front

yard of the main house and dismantled after the event

finished. The arena is often higher for around 0,5 – 1

meter than the guests’ seats. The width is relatively

limited, for around 4 x 5 meter. A set of gamelan is

organized at the back or next to the dance arena.

The guests who are dancing are mostly men.

Sometimes several boys are dancing too, following

the movements of the adults. The women guests are

not dancing but they come to the dance arena to give

money to the sindhèn. Some other guests not only

give money the sindhèn, but also to the galandhâng,

and a specific gamelan player in the arena.

The performance in an occasion is not only

attended by the invited guests but also attended by

many common citizens. Most of them are men,

although there are few women and children. They

come not only from the same village, but also from

the neighboring villages. They sit or stand clustery

outside the gate, blend in the crowded food and toy

sellers.

They follow and watch the next performance,

although the performance is the same as the previous

one. The invited and the uninvited guests are

laughing, complementing, or giving various

comments to some action in the dance arena. The

complements and comments are not only for the

sindhèn and galandhâng, but also to the guests who

are dancing with the dancers.

Most of the Karawitan group and sindhèn and

galandhâng are ètangghâ’ or are hired by the

organizer of the wedding or circumcision. This event

often combined with a ritual called Rokat. Rokat is a

traditional ceremony, which has a purpose to avoid

misfortune suffered by someone with a particular sign

(Kusmayati and Sayuti, 2014). This ceremony is

conducted for the safety of the village.

The ritual often completed by Karawitan

performance with sindhèn and galandhâng to fulfill

the vows. The ritual is organized when some family

member is free from danger or free from a big

problem. The ritual is also conducted when the family

experiences some happiness or something expected is

achieved.

Rokat, fulfilling some vows, and the others

actually do not always use Karawitan as the media.

Still in Sumenep area, the society uses traditional

music ensemble called Saronèn. Several families

conduct Topèng Dhâlâng for it. The oral literature

performance called Mamaca in Kabupaten

Pamekasan area often connected with Rokat,

especially Rokat Pandhâbâ (Kusmayati and Sayuti,

2014; and Dana, Kusmayati, and Prasetya, 2017).

This Karawitan performance, which is supported

by the music players, sindhèn and galandhâng as the

players, is not only developed in the east side of

Madura, but also spreaded to the islands around

Madura like Talango, Gili Genting, Gili Raja,

Kangean, and also Java island. This performing art

was brought in by Madura community who live in

that area.

2 RESEARCH METHOD AND

APPROACH

According to Kaeppler (1993) as also emphasized by

Simatupang (2013) and Murgiyanto (2015), it is very

important to observe a performing art based on a point

of view that can be comprehended by its society. The

society’s understanding tends to become not

universal, but more specific, as the support of

Karawitan performing art, which can be strange,

unique or odd for common people.

Therefore, the concept and the impression of the

observer are avoided, as that has been emphasized by

those three researchers mentioned above (1993, 2013,

and 2015). Kaeppler and the other, Ahimsa – Putra

(2005) have agreed that when do some ethno art

research, in the context of this research, which is

ethno performing art, should use the society’s

thoughts to observe as the point of view (emic) as

what has been mentioned earlier. One of the ways to

gain it is by following the society’s behavior in their

daily basis, especially for those who support

Karawitan and performing art.

However, it is undeniable and become a necessity

for the researcher to explain ethically that can be

understood generally and universally. How is it

possible not to use emic and ethic approach if the

object explained is the uniqueness of the Karawitan

performing art itself. The uniqueness is expected can

be understood not only by its supporters.

This performing art could have attractiveness if

the performance, which is performed almost during a

year, is observed. The performance never loses its

enthusiasts. The continuity of the performance, which

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supports several people’s interests, leads to several

questions. First, what aspects that can be the

attraction of Karawitan performing art and why and

how that attraction can survive. Second, why and how

can Karawitan as traditional performing art adapt to

the needs of the society?

This research uses the data field and the literature

review. The data field were obtained through

observations, the researcher’s experiences, and also

obtained from the information from several sindhèn,

galandhâng, karawitan group members, and the event

organizers. The researcher also obtained the

information from the audience, although it needed

more time and patience because of the complexity of

the data. Part of the information was taken from the

resident’s invitation, and the rest was taken from the

researcher’s initiative. Moreover, the information

was also taken from various social stratum, age, etc.

Once again, the observation and the analysis are

endeavored to approach – although it is not precise –

with the point of view and thoughts of the society.

3 DISCUSSION

The discussion of this research comes from various

questions about Karawitan performing art that has

been mentioned above. First, about the attractiveness

of the performance. The ability of nandhâ and

ngèjjhung for sindhèn and galandhâng, and the skill

of the gamelan players are the main factors of the

performance. As a performance, it is undeniable.

They, especially the sindhèn and galandhâng spend

time to find and practice their body’s capability to

fulfill the expectation of the supporters (Suhadiyah

and Maryamah, 2019)

This behavior is suspected to be the beginning of

human relationship with the world as quoted by

(2013) from Leder (1990). Leder said that body is a

media which is irreplaceable to experience and

interact with the world. Still about body, Barba stated

that body techniques which are used in performing art

came from body techniques from outside (extra –

daily). This statement is applicable to Karawitan

performers, especially sindhèn and galandhâng when

they sing and dance

Along with the body techniques, the

performance’s attraction from the performers is

determined by the costume and the makeup. For

sindhèn, the ability of nandhâ and ngèjjhung should

be supported by balanced costume and makeup. It is

similar for the female gamelan players. They are not

only skillful in playing gamelan, but also skillful in

ngèjjhung. They are also expected to perform

attractively in a costume and makeup. Suhadiyah, one

of the senior sindhèn and also a star, often gives a

strong suggestion for other sindhèn to change the

costume for every performance. This suggestion is

conveyed to karawitan female members, whether to

her own group or other groups which accompany her.

At least three sindhèn have their own female

karawitan group. The groups are ‘Sri Budoyo’ owned

by Suhadiyah, ‘Indah Famili’ owned Hj. Ahwiyani,

and ‘Ken Dedes’ owned by Suhartini. They also have

a set of gamelan instrument which is used for the

performance. Although they have their own

karawitan group, these three women have never

refused to perform accompanied by other karawitan

group, male or female. These three groups try to

perform based on their own attraction and ability.

Some attraction is also performed by galandhâng,

not by the limited costume and makeup, but by the

prime ability of nandhâ and ngèjjhung. The

trousers/sarong, a suit, skullcap, and shawl, which are

worn by a galandhâng cannot support him if he

doesn’t have enough ability of nandhâ, ngèjjhung,

and ability to guide the performance.

The attractiveness of galandhâng is more on the

honor to the guests through compliments. The

compliments are given by the galandhâng. Beside for

the galandhâng himself, he also gives a contribution

in raising the sindhèn’s popularity (Suhadiyah and

Maryamah, 2019).

Therefore, it is understandable if

sindhèn always shares her salary to her partner. She

gives some amount of money to the galandhâng and

to the gamelan players.

Galandhâng should be able to understand what

the host’s desire is. He is demanded to arrange the

dance’s order for the guests, especially the VIP

guests. Generally, the order of the guests based on the

level or the status of the guest in the society or in the

government institution. The higher the level, the

earlier he/she dances. The galandhâng’s mistake in

this matter caused the decrease opportunity for the

galandhâng to perform. Moreover, he should be

ashamed for his lack of ability to organize the

performance.

He should be able to compose lyrics according to

the needs. It is for sindhèn as well. Through the

speakers, the song is heard, contains praises (in

formal Madura language), composed by the guide of

the performance. One of them is as follow

Adhu alèk . . .

Pasèra sè gâgâ’ semak kaula

Angèjjhung atangdhâng lèbur

Sobung sè angalaaghi

Èngghi panèka èngkang sakalangkong kaormatè

Bapak Kalebun Salopèng.

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(Dear brother/sister . . .

Who is the gentleman near me

Sing and dance beautifully

Nobody can compete him

The honorable

The Village Head of Salopeng).

Explicitly it is mentioned by the galandhâng in

the lyrics above that the gentleman who is dancing

/singing near him is the village head of Salopeng who

is vary honorable. The honor is also presented

through the formal language used by the galandhâng.

The same lyrics are often used by sindhèn. Similarly,

the lyrics used by sindhèn can be used by galandhâng

as the lyrics below. In the lyrics, which was created

in everyday language (same level of communication),

contains the meaning of longing or expecting the

presence of the guests.

Sampèr sarong kabâbâna

Mon ményak nompa kapelar

Pèkèr kerrong karobâna

Ènga’ rassa ta’ kellar

(A long cloth with sarong underneath

If some oil spilled, can’t be hold

Longing for his face

It is unbearable).

Basically, the lyrics sung by sindhèn and

galandhâng uses the pattern of mamaca (Madura) or

macapat (Java). However, sometimes several

deviations happen. For instance, the end of the lyrics

should have a certain vocal, not always have to follow

the standard guidance. Another deviation is the

amount of syllables in every line is not suitable with

rule of the lyrics. Besides, occasionally, there are

some Indonesian vocabularies and Javanese

vocabularies are included in the lyrics. However, the

performer of the lyrics does not deviate from the

meaning or purpose.

In the performance similar to Karawitan, R.M.

Soedarsono has a particular view. He stated that a

performance which is not prioritized the form, but

more on its purpose, is the extension of the prehistoric

root of tradition. Furthermore, the difference is not

only on the aspects of one form of the performance,

but also in the different kind of performance, which

is performed for the same purpose (2011). The

prehistoric background among others is recognized

from the pilgrimage done right before the

performance, especially the performers visit the

cemetery to ask for blessing to the ancestors.

On its long journey and in time, the culture root

found itself as some agent to serve the host’s taste.

The elaboration to the deviated form is done to satisfy

the host and also the audience. Besides, the desire of

the hosts, audience and the performing art itself is

tried to be fulfilled. (Kusmayati and Sayuti, 2014).

Barba’s statement is in line with Gell’s view. He

said that the technique built in art has the meaning for

enchanment. It appears because the technique has a

specific level of difficulties, so it is indeed enchanting

(in Simatupang 2013). Not many who is willing to

become sindhèn and galandhâng. If he/she is capable

to become nandhâ’ and ngèjjhung, perhaps the power

and courage to perform in front of the audience

–especially as a sindhèn— needs a careful

consideration. As stated by Suhadiyah, she planned to

resign as a sindhèn in 1 – 2 years ahead. It is related

to her appropriateness and duties as a moslem and due

to her family problems. She also feels that she is not

young anymore and she suffers some health issue.

Her ups and downs for her achievement as a star will

be put aside in accordance to the norm in the society.

However, her experiences and her long journey as a

star for more than 20 years make her pondering

(2019).

Based on the explanation above, then it is

understood that karawitan group –with sindhèn and

galandhâng who has the ability above— is highly

demanded by many hosts. The higher cost than the

others must be spent by the host if the performer is a

famous sindhèn and galandhâng. The host’s prestige

overwhelms the cost that should be spent. However,

bargaining which leads to the agreement for both

parties –as one of the characteristics of Indonesian–

is applied here.

The invitation will be delivered to the guests.

Several ways are used to invite them. Most of the

ways is to send food and groceries. Whatever the

form and the way, it conveys the specific

performance, especially the karawitan group,

sindhèn, and galandhâng orally or written.

Dry season after the harvest season, especially the

harvest of rice and tobacco is the time to show off as

a host. Wedding, circumcision, fulfill the vows are

conducted by the society for the individual need.

Although it is for the individual need, jâk ajâk or jâk

ngajâk, which means inviting to help, is seen in the

process of the occasion. This invitation occurs

especially when some neighbor is seen holding some

work (Rifai, 2007), as when conducting a wedding

ceremony, circumcision, etc. Along with it is

upacara bersih desa (clean the village together), sea

harvest, and various rokat– they can be used

together— is conducted by jâk ajâk or jâk ngajâk.

The time and place are based on the agreement. Also

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for the kind of performance and the cost, they are

discussed together in advance.

When conducting a performing art, it appears that

agriculture society, which is rooted from the tradition

of togetherness in the rice field and the fishermen go

to sea collectively, still continue the tradition in their

daily life. Among them are known as bâbbhu’ or po

seppo or someone who is considered as an elder.

Bâbbhu’ or po seppo becomes a person to ask and as

the balancer of life.

If a person doesn’t want to be preceded by others,

that person, who wants to hold an event with

karawitan performance, should prepare the event well

in advance. The host chooses a popular karawitan

group. The prestige, which is reflected through the

performing art, does not only occur from the host, but

also from the guests and the karawitan performer.

In her research in Indramayu West Java, Hastuti

stated that the prestige in some hosts becomes the

actualization or pride for someone or family through

a certain performing art by honoring important

symbols in it (2006). In Sumenep, a medium which

carry the important symbols chosen by the society is

karawitan group with its performers. A prestige that

is related to the pride in Sumenep, even along

Madura, appears in the circle of race cow owners.

They make some effort in any ways to win the cow

race, which is called Karapan Sapi. It is similar to the

host of karawitan performance. The realization of the

prestige is more prominent than the cost that should

be spent as the consequence to be in the circle of that

activity.

During harvest time is also understood as the time

to earn money for the gamelan players, sindhèn, and

galandhâng. During that time, in tèrob-tèrob, from

the performance, a voice’s chant was heard, graceful

movement of the sindhèn was seen, especially

Suhadiyah and Suhartini. Both of them are favorite

sindhèn nowadays. Their beautiful voice and

movement accompanied by one or two among

Mohammad Halqi, H. Abdulrachman, and

Mohammad Hasan. These names are the more skillful

galandhâng compared to the others.

Although she is no longer showing her beautiful

dance, Hj. Ahwiyani is also the most wanted sindhèn.

Her limited vision , which has been suffered for about

5 years, reinforces her to choose to become sindhèn,

that accentuates her ngèjjhung ability with her golden

voice. She’s not only praise the guests or the host, but

also gives some advice through the existed traditional

song lyrics or through her own creation. The lyrics are

as follows:

Kabânjirân sagârâ maddhu, kanak

Bâddhâ sagârâ cellot, jâ’ kalopaèn

Mon ta’ namen, ta’ anyè,

Jâ’ ngala’ karebbâ dibbhi’, kanak.

(Flooded by the sea of honey [happiness], child

There is the sea of mud [difficulties], do not forget

No grow, no reap

Don’t just do what you want, child).

The lyrics above present some wisdom to the

agricultural societies who know honey, mud, and the

relation between growing and reaping or harvesting.

The emphasize on the word ‘child’ at the beginning

and at the end of the lyrics shows to whom the lyrics

is pointed to, adolescent. Besides, Ahwiyani puts

herself as an older person who should give some

advice. With her condition, she is hired by many hosts

as a sindhèn who has a particular purpose. Although

her amount of her performance is less than the two

sindhèn who has been mentioned above, she

continues to do so today. (Suhadiyah and Marzuki,

March 2019).

The feeling and act, which become the expression

of prestige, also appear from part of the guests. Part

of the guests who can nandhâ and ngèjjhung will

make some effort to do it and use longer time than the

others. These guests will also request a certain song

to the karawitan group by giving more money. The

money given to the sindhèn, galandhâng, and the

karawitan members, is hold or shown in their hands

while nandhâ and ngèjjhung when they are in the

performance arena. The giving is the expression of

gratitude and also to show the pride of the giver in

front of the audience.

Sindhèn, galandhâng, and the gamelan player as

the performer accompany the act with their own ways

as what has been mentioned earlier. The attraction is

maintained continually. As the performer, technology

of enchanment actually attached to the performer

him/herself. This technique based on the concept that

stated that work of art basically is an artificial beauty.

It was created by art performers by implementing a

set of particular techniques through some aesthetic

experiences gained which is different with natural

beauty. Technology of enchanment can also be said

as a strategy implemented by art performers to create

a particular attractiveness for their work of art.

(Simatupang, 2013). Part of the karawitan performers

are aware of it, moreover if the performer has

performed in a long period of time. Experiences

become the learning which is very useful to continue

the journey of the art.

Besides maintaining the quality of the voice, the

female performers should cultivate their body and

make it beautiful in such a way without ignoring the

politeness (Suhadiyah and Maryamah, 2019). The

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beauty created is not apart from society’s term, which

is related to performing art, that is ‘lèbur’. Someone,

who is watching or has just finished watching a

performance, can share it with another friend who is

also watching it. Lèbur means good, fun, entertaining.

Specifically, lèbur’ is a positive response to the

performing art when it is performed (Bouvier, 2002).

An entertainment, which brings out the feeling of

lèbur or fun because it is beautiful and good (Bouvier,

2002), is expected by all society.

They also understand that they should compete to

get the opportunity to perform. The competition is not

only in the same form of performing art, but also in

the different form of art. The quantity of the

performance between karawitan group with sindhèn

and galandhâng and Topèng Dhâlâng, Saronèn, and

Mamaca is chasing each other. This competition is

clearly seen between Karawitan and Topèng Dhâlâng

from the schedule of the performances in a month.

There are more than 75% performances for various

occasion performed by both of them with the equal

amount of performances. The rest have become part

of other performing arts. In a decade, before and after

2000’s, the performance’s and Topèng Dhâlâng’s

schedule sometimes more than days in a month. In a

day, especially on Sunday, they can perform more

than one (Suhadiyah and Marzuki, 2019).

There is no difference in the performance whether

it is for Rokat or for some entertainment. Even many

gamelan players do not know about the purpose of the

performance. For them, the most important thing is

they can perform according to the lead of their group

leader and of course to get payment. They do it to help

and to fulfill their family needs. (Suhadiyah,

Maryamah, Marzuki, and Suparno, 2019).

The Sindhèn as the performer, galandhâng, and

the karawitan group are ready to across the border of

Kabupaten Sumenep and Pulau Madura. They are

invited to perform away from their family and the

various purposes become wider. The purpose of the

performance including wedding ceremony,

circumcision, national big day or religious day

celebration. The performance is not always related to

Rokat or to fulfill some vows.

In regards to Shills’ view, who stated that the life

sustainability of a traditional society has never

stopped (1981), it can be said that one of the pillars of

the sustainability is traditional performing art of the

society itself. Karawitan with its supporters in

Sumenep is limited only as a traditional performing

art. There is a big possibility that traditional

performing art also occurs in other form of

performing art, that is developed in other regions.

4 DISCUSSION

Indonesia traditional performing art shows the

dynamic of its development for its supporter’s

interest. The various interests among others can be

performed by a form of performing art called

Karawitan in Kabupaten Sumenep, Madura.

This performing art, with its aspects, has a strong

attractiveness. The attractiveness is organized or

developed by emphasizing the ability to ngèjjhung

and nandhâ’. The ability to perform through

movement and voice from the body, which go hand

in hand with the appearance of costume and

accessories, is maintained by the karawitan

performers. They continue to compete with other

karawitan groups and other form of performing art.

The target of the continuity leads to the continuity to

earn money. The competition does not only occur in

the performing art, but also among its performers.

In one side, some attraction is raised by a

karawitan group to encourage future hosts to hire

them or nangghâ’. On the other side, the attraction is

aimed to invite guests. Two purposes above are

realized by both parties. Alongside the effort to earn

money, the performance is the realization of the

prestige of the performers, the host, and the guests

who are invited to dance in the arena.

Karawitan as a traditional performing art follows

the interest of the society. Various interests can be

accommodated by this performing art. A request to

perform with a purpose that related to some rituals,

has never been refused. A performance for a wedding

ceremony or circumcision, with or without Rokat is

often conducted. The performance is often conducted

as an entertainment as written in the invitation card.

The society also needs Karawitan to support spiritual

value as sung by Hj. Ahwiyani.

The performing art can support three interests of the

people who come to the performance. First, it is a

means of the ceremony for the host or the organizer.

Second, the performing art can become a means of

communication and entertainment. They take the

opportunity to show their skill and ability and also to

entertain themselves. Many guests feel entertained

with the performance. A strong root that performing

art, whatever the form, is a means for various

interests, is maintained and preserved until today.

5 DISCUSSION

Thank you for our fellow sindhèn, galandhâng,and

Karawitan group, especially the woman who accepted

our visit again after more than three years. The same

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gratitude is given to our old friends from Topèng

Dhâlâng group and Mamaca, who was very

cooperative in giving the data. The openness and

togetherness have touched us to continue our

communication. Thank you also to our friends in

Indonesia Institute of The Art and several collages as

partners who has worked so hard to realize Iconarties

as a part of the academic activity tradition.

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