interviewnesia

Dhian Lestari Hastuti: Ndalem Interior and Self-Identity

2011-10-05T22:16:00.000-07:00

Dhian Lestari Hastuti, S.Sn., M.Sn, is a lecturer of design interior at Indonesis Arts Institute, Surakarta, Indonesia, and Executive Director of Djawa Trails, an heritage organization based in Solo. Besides her research activities, she likes to participate in heritage activities as well in Solo city.

Agung PW:

Your postgraduate’s thesis entitled 'Ndalem Interior at Batik Laweyan Houses’ Merchant in Early 20th-Century, An Aesthetics Studies', is quite interesting. What is your background to choose the case?

Dhian Lestari Hastuti:

The background to the study of aesthetics of ndalem interior in houses of Laweyan campong’s merchants, because dalem for Laweyan people in the early 20-th century was one of several of self-identification as a marginalized cultural communities. The beauty of value housing philosophy, particularly ndalem for Laweyan batik merchants were life meaning they believed.

Agung PW
How do you define the ndalem interior? Does the word of ndalem refers to the typical architecture of Java?

Dhian Lestari Hastuti
Yes, I am referring to the Java architecture. Ndalem Interior is part of a pattern of organizational architecture or Java spatial after the pendopo (the public area and manifestation of masculine area), the peringgitan (a place for puppet show). Ndalem as a feminine manifestation functions to serve the birth, marriage, and death (especially for Laweyan campong people) that is interpreted as a sacred area. Only the owner, relatives, and honorable guests can access it.

Agung PW
How many ndalem interiors did you research? What philosophical aestethetics did you find on them?

Dhian Lestari Hastuti
Actually I have researched more five houses and the ndalem interiors of batik merchant, especially for the ones that their functions still existed. However, I only analyse three ndalem interiors of them for my thesis. They represented the two regions of Laweyan in the beginning of the 20^th century, that are, subdistricts of Bumi and Laweyan. Unfortuntely I did not get permission to do the research at subdistrict of Sondakan.

Agung PW

What is the hallmark of their ndalem interiors? Are they still preserved its until now?

Dhian Lestari Hastuti
Laweyan houses of batik merchans usually have in common, as commom people with the form of roof as pyramids. Because they realized that they were not noblemen, so it was impossible to build joglo architecture of their houses. Templates and spatial organization still uses Java and interior architectural template. In every house there is a different style, depending on the nature of its owner. Their house was originally a wooden constructed, but because of their success in the stamped batik industry, the Laweyan batik merchants built their architecture to be bearing construction with brick wall. They are characterized by the presence of two iron pillars carved on the front side of ndalem area, just opposite to petanen (a place to keep agricultural harvest).
Two ornate iron pole as a form of Javanese identity life, because the Javanese house is always characterized by four main pillars.. The construction using a bearing wall, so they put both ornate iron pillars. They are still using Javanese calendar create architectural space based on parts of the body of household head. They still used the principle of hierarchy of space in the architecture of Java.
Until now the houses that I researched were carefully maintained. But some others have changed. Because Laweyan has been imaged as the batik campong for tourist destination. So, many people compete to renovate their houses into batik showrrom.. This is quite worrying, because the successors do not understand the meaning of houses of their anchestors in the past. Those houses have historical value. They should not renovate them into glassed-showroom. So there is almost no building difference between inside and outside Laweyan area.

Agung PW
Is in the beginning of the 20th century an important momentum for the development of Laweyan Campong region in particular and Solo city in general?

Dhian Lestari Hastuti
Yes, in the beginning of the 20th century could be called the early modern period to Laweyan and Solo. Batik tools brought by Chinese merchants to Kauman campong, it turned out to grow rapidly at Laweyan. The Laweyan area passed by the River Premulung with one of forty-four Bengawan Solo ports have supported the growth of stamped batik. Batik-making system changed from written batik to stamped one. Witten Batik was originally carried out by women, turned into stamped batik by men.
From the time side it runs faster and produces incredible income. Home-based business management system turned into an industry with enterprise systems. Increased revenue due to changes brought batik traders mindset and values and social systems which they believe have created the different cultures. The Javanese , European and Chinese are the three cultures that affect the shape Laweyan culture at the beginning of the 20th century. Further development is the cultural change from river to land culture which impacted to transport system change in the delivery of goods by train that is more popular than the boat. This resulted in changes in spatial structure to modern city of Solo with automotive transport.

Agung PW
How does the influence of Dutch architecture in the ndalem interior? Is it mixed Dutch-Javanese style?

Dhian Lestari Hastuti
The influence of Dutch architecture is in the system interior bearing wall construction and more to interior styling and materials. They brought the materials from Europe to support the style. Special layout and placement of furniture in house, they still attached the Javanese culture Only style atmosphere is a mixture of European, Chinese and Javanese - between Art Nouveau and Art Deco.

Agung PW
Have batik merchants in Laweyan already used the services of an architect? Or Did they deal directly with the contractor to build the architecture of his house, including interior as well?

Dhian Lestari Hastuti
Yes, because my research is to houseses of batik great merchants. They have the ability to directly relate to the architect. One is an Chinese architect.
Agung PW
What is the most important findings of your thesis? Are ndalem interior style of house Laweyan merchants found in other campos in Solo city area?

Dhian Lestari Hastuti
House for them is a residence and place of batik production. My most important findings is Laweyan people to build house, especially ndalem interior as the identity symbol. It is as a form of struggle towards their ideals as marginalized people. in order to obtain the identity (social status) and equal recognition with native nobility. The ndalem interior is a influential form of European, Chinese and Javanese acculturation. Highest social class is Dutch colonial. The native people are among the nobles An the China is higher than natives. They combined the acculturating results to to obtain the recognition of social status.
Their struggle is the real business of teaching Mangkunegara IV in his Javanese literature work entitled Wedhatama, pupuh sinom on 29^th verse as below:

‘Bonggan kang tan merlokena, mungguh ugering ngaurip, Ian uripe tri prakara, Wirya arta triwinasis, kalamun kongsi quiet, saka wilaryin tetelu, telas tilasing janma, aji godhong aking teak, temah papariman ngulandara papa.’

The essence of the teachings is to achieve social status, someone can take it by position. If the position is not owned, social status can be achieved by money and wealth. But if money is not, it can be by education. If someone does not have those three, his or her life will be like dry teak leaves, useless, and unclear fate. The profession of batik merchant who results the wealth exceeding the noble family is the effort of gaining recognition of social identity by money.

Agung PW
Besides interior design research, what other area are you interested to research? And what are your next research plans?

Dhian Lestari Hastuti

Besides interior design I am also interested in anthropology, such as the relationship between the two is very strong. To see and understand the shape of the design will be easier if we observe from anthropology perspective. Moreover, if Indonesia is rich of local wisdom in which each tribe has a product design as part of their daily lives. Basis of these conditions then we will be able to understand the meaning of the designs for their products.

Agung PW
You are also active in heritage activities, what is your advice on heritage preservation in Indonesia?

Dhian Lestari Hastuti

Heritage is entrusted to our children and grandchildren. So, heritage education should be started for children in the early age. From the activities to visit, see, observe, until they can understand. Eventually they will replace us later to take care of this country, Indonesia. The decision makers of this country must also understand the policy, not to destroy and sell it. So the heritage observers can have synergy with government programs and not to work separately.

****

Dhian Lestari Hastuti

Email address: hadomiku@yahoo.co.uk

Eko Edi Susanto: Dreaming of Ludruk Karya Budaya Museum

2011-07-30T23:35:00.000-07:00

Eko Edi Susanto (Nickname: Cak Edy Karya)

Ludruk is a kind of Indonesian traditional theatre existing in East Java Province. From year to year animo of people has decreased to see ludruk. Hoewever, there is still a man managing it seriously. He is Eko Edi Susanto. His nickname is Cak Edy Karya. He has managed Ludruk Karya Budaya, Mojokerto, since June 1993. He is the man having commitment to preserve ludruk and dreaming of Museum of Ludruk Karya Budaya. I is my interview with him.

Agung PW: When was Ludruk Karya Budaya established?

Eko Edi Susanto: Ludruk Karya Budaya was established on May 29, 1969 by Cak Bantoe Karya, a policeman of Police Office of Jetis Sector. It was suggested by some figures of Canggu Village, District of Jetis, Mojokerto Regency, East Java. There were always ludruk group from generation to generation existing at Canggu. The last group was Kartika Sakti, dissolved by New Order Regime in 1965 that was accused as Lekra (Lekra stands for Lembaga Kebudayaan Rakyat, a People Cultural Institution under the auspices of Indonesian Communist Party in 1950)

Agung PW: Why are you interest to manage ludruk?

Eko Edi Susanto: I have been the Head of Ludruk Karya Budaya group replacing my father (Cak Bantoe Karya) since June 1993. I am interested to manage ludruk because since childhood I frequently followed their activities so our breath is ludruk and it flows into our blood, our blood is ludruk. The most interesting is mostly ludruk groups not to have the intellectual men my most interesting to the average ludruk communities do not have the intellectuals to supoort the thinking of ludruk development in the future.

Agung PW: How did ludruk exist in 1970s?

Eko Edi Susanto: In 1970s ludruk had no competitors because there was only one tv station, TV-RI. People still loved to see ludruk performing. Many groups existed. They were managed by Indonesian Military Organization and was to be public relation of New Order Regime such as the porgam of Family Planning, Five-Year Building Plan, Society Guidance, etc. Therefore, Indonesian government took care of them. In 1990s ludruk had many competitors , that is, private tv stations having a lot of interesting entertainment. alternatives. People mostly like to to watch tv than to go to see ludruk performing. So, many ludruk groups were collapsed. Ludruk only performs if there is order in celebration of individual or organization. Absolutely the Indonesian government does not take care of them.

Agung PW: How many members does Ludruk Karya Budaya have?

Eko Edi Susanto: There are 69 members of Ludruk Karya Budaya. They work in various profession such as tailor, cigarette seller, farmer, street vendor, beautician, etc. They appreciate ludruk as hobby and to preserve this Indonesian traditional theatre. They love ludruk due to being really talented and having ludruk blood within their bodies.

Agung PW: Who will continue to manage Ludruk Karya Budaya in the future?

Eko Edi Susanto: Currenly my wife helps me to manage ludruk. And my second son will continue to existence of Ludruk Karya Budaya in the future.

Agung PW: Who is the figure of Indonesian traditional theatre that you admire?

Eko Edi Susanto: I admire Pak Siswondo, the Head of Ketoprak Siswo Budoyo (Ketoprak is other kind of Javanese traditional theatre)

Agung PW: How many groups of ludruk did it exist in 1970s?

Eko Edi Susanto: I don’t know exactly. Maybe there were 70 ludruk groups.

Agung PW: How many performances has Ludruk Karya Budaya been held?

Eko Edi Susanto: Averagely Ludruk Karya Budaya has performed 6,000 times of 150 jobs since the establishment of forty two years ago, not included touring performance in the past. And I don’t remember the number of the original scripts with themes of religion, history, legend, etc.

Agung PW: What is your philosophy in life?

Eko Edi Susanto: Now I am 53 years old and work as Civil Servant in Department of Education and Culture of Mojokerto City. My philosophy is Marsudiyo Wong Cilik Biso Gumuyo (We try hard to make the poor people smile.)

Agung PW: Do you want to establish Museum of Ludruk Karya Budaya?

Eko Edi Susanto: Yes, I am dreaming of having Museum of Ludruk Karya Budaya. I will be happy if there is someone to help and support me to realize it. Because it is very useful for people to know the history of ludruk. (apw)

*****

Postal Address:

Padepokan Pondok Jula Juli,

Dusun Sukodono, Desa Canggu,

Kecamatan Jetis, Kabupaten Mojokerto

Eko Ujang: Malang Mask Dance Needs to Be Preserved

2011-07-24T22:34:00.000-07:00

Eko Ujang

Eko Ujang is a Malang mask dancer from Malang, East Java, Indonesia. He has started to learn dance since six-year old. He is so experienced to dance Malang mask, a mask dance teacher, and a dancer-choreographer. It is my interview with him.

Agung PW: Since what age did you learn Malang mask dance?

Eko Ujang: I started to learn to dance the age of 6 years, but if Istarted to learn dance masks seriously since the age of 16 years when in first class of senior high school. I was too late to learn to dance mask. because I was not initially attracted to dance mask as mask dance group in my village for adults only, no group of children. Initialy I learnt mask dance at Sanggar Asmorobangun located at the village of Pakisaji, Malang Regency, in which the maestro of Mbah Karimun taught there.

Besides joining Malang mask dance group, I also studied Surakartan classical dance style.

For example, Wayang Wong and Ketoprak. Many people around me sneer and scold me because I joined some Malang mask dance groups. But I stay to keep on my principle that by the only way to learn to several traditional art sources I can enhance my knowledge of dance and movement vocabularies.

Agung PW: What is interesting in Malang mask dance movement? Is there similarities with other dance traditions in Indonesia?

Eko Ujang: Malang mask dance has its own distinctive characteristics when compared with other areas of dance, first in the shape of his mask, the mask poor form is the union between the human form and shape of the puppet. Another characteristic that appears in the Malang mask dance is the direction of motion tend not on a single frontal plane, although both legs spread out would happen crosses the line direction, where the right foot slightly forward while the left foot more of the load bearing body weight. right foot rested somewhat liberated in body weight due to be shaking ‘gongseng’ (pieces of small metallic bell) mounted on the ankle of dancers, serving to regulate the rhythm of motion and also turn on the dance. similarities with the character style Cirebon mask, for example, there are figures, klono, and banners, but for distinctly movements.

Figures of Malang mask dances have similarities with the character of Cirebon mask style, for example, Klono, Panji etc. But for distinctly movements. in dancing mask required exceptional balance of the body with a view of the limited and must bring an energetic dance movement. Many Malang mask dance movements lift right foot up so the left foot menggangkat support the body in full. As a mask dancer we are required to be able to make the mask alive in orderder to suit with each charater. Malang mask dance has different styles such as Pakisaji, Jambuwer and Glagahdowo.

Agung PW: What is Malang mask dance philosophy?

Eko Ujang: When we see the story episode played in the style of Malang puppet mask, we can read the wisdom inside that The Goodness conquers the Badness. In this case, subtle character OF Panji symbolizes the goodness and the figure of Klono is the badness.

Agung PW: Why do you become a dancer? What is the purpose of your life?

Eko Ujang: Why do I become a dancer? I am also confused he...he...he.... Since childhood I have really liked to see when people were dancing and wearing dance costume. Even the wall of my bedroom was filled with puppet paintings. An I like collecting paper puppet on two big boxes. I used to play them with friends around the house athe the age of 5. And for some reason I never have went out from home and not to dance and interact with artists. But I could not keep, eventually I returned to dance again.

If you ask me what my life purpose is. I am also somewhat confused to answer it, because so far I feel the flow of time bringing me to this day. I assume that all have been set up. Although we tried to run away but if our field is in dance we stay towards dance. We only can make a plan but still God who decide what to be. I initially want to work in the office formally but I am not happy. I just want to dance and promote Indonesian traditional dance abroad, however I stiil do not have opportunity.

Agung PW: How is the animo of youngsters in Malang towards Malang mask dance? If they are not interested, what will you do?

Eko Ujang: There are still a lot of youngsters who like Malang mask traditional dance. Based on my training experience to them, the important thing is how to tran them by the right way. Don’t teach kids by the difficult movements. Train them by simple and enjoyable movements. If the they have been so good at dancing we give them basic movements of Malang mask dance. In March 2011, I perfored my my work titled “Malangkucuceswara’. All dancers were high school students who just knew traditional dance. I simplified the movements but they are still rooted on traditional dance in order to make them enjoyble when dancing.

Agung PW: Does Malang mask dance need to be preserved? If yes, how?

Eko Ujang: For me, Malang mask dance is the identity and pride for Malang people. So it needs to be preserved, but unfortunately this process is very difficult. For example, many Malang mask dance groups in villages is not active anymore because of the difficulty in regenerating mask dancer. I used to have many friends as old as me in the village but they had to work in city. Those the female dancers did not continue to dance after getting marriage. Now some dancers of different groups often to perform together to enhance togetherness for sharing ideas and experience. Besides, I try to perfrong wayang topeng by music CDs or tape to save the budget.

Agung PW: What is your latest dance work now?

Eko Ujang: All my works are based on Malang mask dance. In December 2010, I create new work entitled Bedhaya Surya and it has been successful to be selected the ten best performing in the Jawa Timur Bedhaya Festival 2010. I explore Malang mask dance rooted on Jambuwer style in my works, the idea on the greatness of Majapahit Kingdom. I would like to introduce and promote Malang mask dance to domestic and worldwide public as preserving activity.

Agung PW: Are you interested in making dance works in collaboration with choreographers or dancers, both from Indonesia and overseas?

Eko Ujang: Yes, I do want to collaborate with domestic and worldwide dancers to increase my experience and knowledge in dance. If there is someone who is interested, he or she can contact to me.

Blog: http://ekotopengmalang.blogspot.com

Email: topengmalangdance@gmail.com

Margaret Chan: Indonesia, a Treasure Chest for Research

2011-07-19T23:03:00.000-07:00

Margaret Chan

Margaret Chan, PhD. is a pioneer of English Language Theatre in Singapore and was a journalist. She is Practice Asst Professor of Theatre/Performance Studies in the School of Social Sciences, and also teaches Creative Thinking for the Lee Kong Chian School of Business at SMU where Creative Thinking is a core module in the SMU curriculum. At SMU, Margaret also teaches Ethnography, Cultural Identities and the Art and Theatre.

Her research interest is in the field of Chinese spirit medium worship and Chinese Popular Religion. Her book, Ritual is Theatre, Theatre is Ritual: Chinese Spirit Medium Worship published by the Wee Kim Wee Centre, SMU and SNP Research represents a seminal investigation into the practice of tang-ki spirit medium worship, a signifying cultural practice of the Hokkien people. Although the worship is widespread in the major communities of the Chinese diaspora in Taiwan and South East Asia, the subject has received scant scholarly attention, so that Margaret’s research has contributed to world knowledge in this field. Her investigation covers Singapore, Fujian in China, Taiwan, Malaysia, Thailand and in particular, over the past two years, she has researched in Indonesia. It is my interview with her.

Agung PW: Why are you interested in ritual theatre? What is ritual definiton
in your perspective?

Margaret Chan: I have been a theatre practitioner for 50 years. So perhaps, as an anthropologist I am naturally inclined to research performances/theatre in the field. I am particularly interested in ritual theatre. The term ritual is a subject of much scholarly discourse, but perhaps a simple definition with regard to my personal research might be performances that have meanings and purposes (often sacred or spiritual) beyond entertainment.

Agung PW: Does Indonesia have ritual theatre? Would mind giving me some examples?

Margaret Chan: All Asian theatres have ritual roots. Indonesian theatre such as wayang kulit, wayang topeng: The dalang prays before he begins his show. It is sometimes, held that the dalang is Semar. In wayang topeng, there is the belief that there is a spirit in the mask which moves the actor. It is also believed that there are spirits in musical instruments, and of course there are trance dances such as kuda lumping.

Agung PW: How many times have you researched ritual theatre in Indonesia?
What have you got? And what is the output for human being?

Margaret Chan: I have researched the Capgomeh (fifteenth day of Imlek) parade in Singkawang West Kalimantan, Nini Towok in Yogjakarta, jailangkung, and am now research trance possession performance of kepercayaan groups worshipping Semar.

Agung PW: Singapore is a hybrid culture. How do you define identity of
Singaporean culture?

Margaret Chan: Perhaps hybrid is not the best adjective, perhaps multicultural is a better choice. The salad metaphor might be applied. Different cultures coming together to make a whole.

Agung PW: There is no native culture in Singapore? How do you define native
culture in the context of Singaporean cultural heritage?

Margaret Chan: What is native? We know that Hinduism, Buddhism, Islam has come to Indonesia and greatly influenced Indonesian culture, is there an ur-ancestor? For example, is there an essential "Javanism", and would this be argued as an essential "Indonesianism" since Java is the centre of government? The Balinese, Sumatrans and others would not agree. I think multiculturalism is a major attribute of being Singaporean.

Agung PW: You teach social studies at Singapore Management University. What
does the social problem arise in Singapore due to multicultural people?

Margaret Chan: Ethnic and religious beliefs and value systems are strongly held and serve as boundary markers of being "inside" and "outside" groups. Differences too often lead to conflict. In Singapore, this reality is not taken for granted; we have laws that ensure racial and religious harmony.

Agung PW: Why do you like wayang beber? And what is the most interesting of
wayang beber?

Margaret Chan: Wayang beber is proposed as the oldest of Indonesian theatre, though of course this is arguable. But certainly wayang beber should be the subject of scholarship for it is under-researched.

Agung PW. You have frequently visited Indonesia. What do you think about

Indonesian culture and people?

Margaret Chan: I feel that Indonesia is like a treasure chest. Researching in Indonesia is like constantly uncovering fascinating gems.

Agung PW: What is Indonesian heritage do you like the most?

Margaret Chan: I am Peranakan, my ancestors came to Southeast Asia hundreds of years ago. A lot of the cultural traditions practised in my family have Javanist roots, for example, we call our aunties mbuk. And in our kitchen the lesong and batu are always kept together because my mother told me that if you separate the mortar and pestle, the pestle will cry for its mother. So researching in Indonesia almost feels like a coming home to family.

Agung PW: How does Singapore government to manage heritage currently? What
is your suggestion to Indonesian heritage communities?

Margaret Chan: Singapore is an urban hub. As a node in a network, we have to bring to our metropolis, the cultural traditions of the world. Indonesia, on the other hand is a vast country, every island, every region, every place and space has its own communities, each with their special traditions. Your country is, like I have said, a treasure chest. It would be a pity if the individual gems are all thrown away for a single bland whole such as Western pop culture.(apw)