The Wayang Performance of Enthus Susmono: A Resistance of Tegal-Pesisiran Identity in Breaking the Tradition Hegemony

jurnal tari, teater, dan wayang 1 volume 1 number 1, May 2018 Hariyanto page 1 – 12 Ilmu Religi dan Budaya, Universitas Sanata Dharma

Abstract This article aims to reveal and explain the process of cultural resistance appeared as a result of cultural violence conducted by authoritarian government regime in . The standardization process of puppetry style, which was based on the tradition hegemony of Keraton and Ngayogyakarta, in Enthus Susmono’s view, was considered as being a political practice of cultural violence existed during the New Order era – a practice that seemed to eliminate minor puppetry traditions in the culture. It is in the framework of Titon’s model that the appearance of a culture form may result from a historical memory that this article tries to explain the cultural resistance efforts by Susmono, which were represented in his performance of Wayang golek Gagrag Tegalan, in order to articulate the cultural identity of Tegal-Pesisiran. Keywords: Enthus Susmono; wayang golek Tegal; wayang Pesisiran

Abstrak Wayang Gaya Enthus Susmono: Resistensi Identitas Tegal-Pesisiran dalam Mendobrak Hegemoni Tradisi. Tulisan ini ingin mengungkap serta menjelaskan proses resistensi kultural yang timbul akibat praktik kekerasan budaya oleh hegemoni rezim pemerintahan yang otoriter di Indonesia. Upaya standarisasi pedalangan yang berpijak pada hegemoni tradisi dua istana, yaitu Surakarta dan Ngayogyakarta, oleh Enthus Susmono dipandang sebagai praktik politik kekerasan budaya terjadi semasa Orde Baru, yang seolah- olah menghilangkan berbagai tradisi kecil dunia pedalangan di Jawa. Melalui Pandangan Titon bahwa kemunculan sebuah bentuk kebudayaan yang didasari oleh memori kesejarahan, artikel ini menjelaskan mengenai resistensi kultural yang dilakukan Enthus Susmono, yakni melalui karyanya dalam pertunjukan Wayang Golek Gagrag Tegalan, untuk mengekspresikan dan mengartikulasikan identitas budaya Tegal-Pesisiran. Kata kunci: Enthus Susmono; wayang golek Tegal; wayang Pesisiran

Introduction puppetry artist who broke Indonesia puppetry with his works and performance. Susmono During his life, Enthus Susmono inspired could not only perform using wayang kulit many people, such as common people and but also played wayang golek (rod puppets) well, either using Cepak or Sundanese style of especially junior puppetry artist, that made wayang golek officials in Tegal, other Indonesian artists– as a puppeteer who “broke the standard style” of being a controversial yet phenomenal by some more. However,conservative he waspuppeteers. once labeled them lost his figure. He was also well-known 1 Correspondence: Ilmu Religi dan Budaya, Universitas Sanata Dharma Yogyakarta, Jln. Gejayan, Tromol Pos 29, Mrican, Yogyakarta. E-mail: [email protected].

| 1 Received: 5th February 2018 Last revision: 5th March 2018 Hariyanto, Wayang Performance of Enthus Susmono

The label given by those conservatives, which called Susmono as uncommon, insane, create his performances on the basis of his and standard-rule breaker also attracted the personal benefits? Did Susmono purposively attention of Sadiah Boonstra. Boonstra, in her Susmono’s performance style and career life disertation, Changing Wayang Scenes, called fromown the views? perspective This paper of cultural tries study. to observe Susmono as a dalang who was good in read- In order to analyze the identity resistance ing situations, creative, trendy, and was also of Tegal-Pesisiran performed by Susmono, able to present refreshing discourse in perfor- two mutual theories were chosen. A theory also regarded as being aware and critical to in Domination and the Arts of Resistence: eithermance nationalarts as well or international as puppetry arts.socio-politic He was Hiddenproposed Transcripts James C.– Scottis employed (2009) to –as observe stated the pattern of resistence interaction as a social was also renowned as a puppeteer who was movement; and another theory proposed by issues (Boonstra, 2014: 193-218). Susmono- Jeff Todd Titon in his Worlds of Music pressing his social criticism or political views used as a Music-Culture Performance Model. brave, confident, and straightforward in ex The data of this research were taken (2009) from is conventional wayang performance in order a number of Ki Enthus Susmono’s wayang to break his audience. the standard He choseinherited to performfor years – non- the performances that had been uploaded to standard that he considered as being a limit Youtube channel since the New Order era until and, thus, eliminated the freedom and inde- pendence in expressing one’s artistry identity. The recorded shows being observed were: Susmono, during his performances, often wayangthe year kulitof 2018. show aired by Indosiar in 1997, performed an expressive style by presenting entitled with Sugriwa-Subali; wayang kulit criticisms, irony, as well as humours mixed with expletives or vulgarism. Beforehand, he Subali play; wayang kulit show aired by East was also famous as a creative, innovative, funny, Javashow TVRI aired station by Indosiar (no exact in 2001, year, of but Sugriwa- there mischievous, critical, and even insane. Those was an information that it was performed images were revealed by several observers or during the occurrence of lumpur Lapindo), researchers; for example, Kathryn Emerson with the story of Pandhawa Gugat; a show of wayang kulit with the play of Petruk Dadi who mentioned him in her disertation, Ratu; a wayang kulit show performed in the Transforming(2016) –more Wayang famous asfor Kitsie Contemporary Emerson– 3rd Audiences: Dramatic Expression in Purbo Bali, with the play of Dewa Ruci; a wayang kulit show International performed Puppets routinely Festival in Taman in Denpasar, Budaya his book Phenomenology of A Puppet Theatre Asmoro’s Style, 1989–2015; Jan Pesta Mrazek, Gado- in play of Subali Lena; a wayang kulit show in Gado” (Mixed Party) in the development of Jawa Tengah, dated 17 March 2011, using the wayang(2005), calledkulit performance his performance arts, especially as “ those Layar; a wayang kulit show in Purwodadi, relayed by an Indonesian private television Rembang, 2017, using the play of Pandhawa channel –Indosiar. Susmono, indeed, often included music, campursari (modern Javanese 2018, with the play of Banjaran Gathotkaca; music), humors, and other performances in his playthe 2018 of Lupit wayang Dadi santri Dhukun; using a the wayang play of santri Lupit sections of Limbukan and Gara-gara. performedDadi Jaksa; thein the 2018 event wayang of Suran santri Tegalrejo- using the attitudes and choices in articulating his typical Pengkhianatan Delilah; a wayang santri with performancesHowever, one is not might without realize any that reasons. Susmono’s Was theMagelang, play of 13 Anjala-Anjali; December 2012 a wayang using the santri play inof it because of the market demand – by offering an alternative wayang performance to certain consumers for popularity or for the sake of Lupitthe event Nulung of General Putri; Speech a show of of Hari wayang Santri golek PKB, 14 October 2015 in Jakarta, with the play of 2 Dance & Theatre Review | volume 1 number 1, May 2018 gagrag Tegalan performed in the closing event performed by a female dance similar to of The World Puppets Day in ISI Surakarta, ronggeng, an energetic dance accompanied by with the play of Kembang Wijaya Kusuma; a dynamic music as the show went to the scene show wayang golek gagrag Tegalan performed of Dhukuh Pakuan hermitage. The female in the event of pesta sedekah laut (an offering dancer in the WGGT show was peculiarly different compared to what had been stated by Garap Akhir.ceremony to ocean) in Tegal Harbor, December Pertunjukan Wayang Golek Sunda: Sajian 2017,The with aspects the play of observations of Resi Adam include Awal – Adamkinds TjetjepCahya (2014: Supriadi, 201) Dede in his Amung dissertation Sutarya, “ dan of performances (wayang kulit–santri–golek Asep Sunandar Sunarya.” Cahya also mentioned tegalan); sources (Youtube, direct observa- that in the wayang golek purwa Sunda show, tion); period/year/events; play performed; after performing the dance of Gugunungan performance structure; duration–play synop- (Kayon, Javanese), it will then be followed by sis–plotting of scenes–accompanying music; a dance (ibingan parekan) of Maktal Citrasena language use; focused scene–focused dialogs or Emban Geulis and Emban Kembu dolls. In or narrations–puppets–kelir and simpingan addition, it could also be observed that the wayang–and, stage layout. pattern of the dance performed in the WGGT differed from those of Sundanese emban Discussion wayang golek.

The analysis of this paper was initiated characters appeared on the stage, Resi SukmaragaWhen theand female his son, dance Raden finished, Cakradewa, some Enthus Susmono in the world of puppetry. On accompanied by their loyal servants, Slentheng based on two significant events related to Ki and Lupit. The characters of Slentheng and Lupit was morphologically similar to the ArtsNovember Institute 6, 2016,Surakarta, in the there closing was sessiona show byof character of Cepot Astrajingga – a character SusmonoWorld Puppetry –a well-known Day 2016 dalang held by from Indonesia Tegal, in the wayang golek purwa Sunda. Those two Central – who performed Wayang golek characters were originally created by Susmono Gagrag Tegalan (WWGT–Wayang golek Tegalan as a transformation of Punakawan (servants) Style). During the two-day event, audience in Tegalese wayang kulit, named as Grubug showed great enthusiasm watching wayang – it has similar appearance to the character performances. It was even greater when of Bagong or Bawor, as stated by Susmono in Susmono gave his performance to indicate that his name brought different attraction to After the appearance of those four characters, the audience. thea book music discussion dropped, event then inthe November puppeteer 2016. read Enthus Susmono, in his speech, claimed janturan (narration to describe the scene) that his WGGT show that night was performed using Tegalan language. Based on the writer’s observation, the manggala (opening) of that the WGGT show had been examined for his janturan used by Susmono was quite identical publicly for the first time. He also mentioned with those used by other puppeteers of State University. In that event, Susmono chose Banyumasan style. toHonoris perform Causa Lakon Doctoral Kembang degree Wijaya in Semarang Kusuma play, a story of carangan play originated from hermitage told about the wary of Ayodya local story, instead of the story taken from peopleThe who first were scene suffering in Dhukuh from various Pakuan Mahabharata or Ramayana story. disasters and moral crimes. Resi Sukmaraga The structure of the WGGT show advised his son, Cakradewa, to faithfully pray performed by Susmono started by a karawitan to God, making some efforts for solving the music Talu Lompong Kèli, a typical music problem of their country. Cakradewa, then, of Tegalan. It was then followed by a dance

was commanded to find Kembang Wijaya3 Hariyanto, Wayang Performance of Enthus Susmono

kandha-pocapan (the narration spoken by the Cave and was guarded by a spirit, named puppeteer), suluk (songs and lyrics sung by the Silumanflower that Buta was Wadon. believed to grow in Mentala puppeteer) represented the language of Tegal- The next scene narrated the existence Pesisiran. The language of Tegal-Pesisiran in of Siluman Buta Wadon and her guardians the coastal areas of northern Java is widely who guarded Kembang Wijaya Kusuma. The known to have its distinctive features that are arrival of Cakradewa to their place triggered different from other languages and used in . People usually mention it as panginyongan Tegal language or Butaa fight Wadon won by magically Cakradewa. changed When into Cakradewa a beautiful princess,successfully Dewi picked Ambarbulan. the flower, the Siluman as ngapak or Banyumasan dialect (as referring Apart from the structure of WGGT, to(Susmono, the area 2016: of ex-Banyumas i), or more commonlyResidency known which Susmono used different kinds of puppets in the still speaks the language of Ngapak show. Among them were wayang golek Cepak puppets that develop in the coastal areas of dialect has its distinctive linguistic). features. However, northern Java, including Cirebon-Indramayu as explainedBased on by the Widyaningsih observation (2014), during every the show, the WGGT, which could be considered as its facial and head forms and its slight body; a hybrid show, revealed some questions, such wayangto Tegal –golek the puppet purwa could Sunda be which identified could from be as the cultural identity form of the society in the coastal areas of northern Java, especially and carving, and its big body. The puppets of in Tegal (referred later as Tegal-Pesisiran) wayangmorphologically golek Cepak identified were byused its facialmostly form for that was represented in the show of WGGT; simpingan. While for the purpose of sabet, whether the cultural identity of Tegal Pesisiran Susmono used some puppets of wayang golek was formed as a result of the encounter of Cepak and some others from the puppets of different cultures in the coastal areas in wayang golek purwa Sunda. northern Java and the Sundanese indigenous Besides using different kinds of puppets, Susmono also demonstrated various puppet creating new culture form. cultureA day that after were the mutually WGGT show, influencing the writer and movements of wayang golek Cepak, wayang attended an event, the Opening of Wayang golekmovements Menak, atand that wayang night. golek He purwa adopted Sunda. the Exhibition by Enthus Susmono – Enthusiasm, The special movements of wayang golek Menak are ongklèk, ulap-ulap, seblak sampur, and Indonesia Arts Institute Yogyakarta. The event tanjak alsoon November held book discussion9, 2016 in ofKatamsi Susmono’s Gallery books, of Wayang golek purwa Sunda movements who wrote and published two books at that (as being stated by Sukistono, 2013: Wayang as190). used in dance, such as gedig, keupat, galieur, Gagrak Tegal andare characterized godeg by their specific movements oftime. Tegalese The first wayang book entitledthat was with historically The scenes used by Susmono on the WGGT explained using(2016) tellspreceding about the descriptionliteratures. show of Lakon (Cahya, Kembang 2014: Wijaya 149). Kusuma could Moreover, the second book, entitled with be considered to be mixed and adopted from Pakeliran Wayang Gagrak Tegal, Jati Kusuma wayang golek purwa Sunda scene plotting. The plot pattern of Sundanese wayang golek is and procedures (caking pakeliran) to perform commonly called as bedrip, as stated by Cahya Wayang(2016), sharesGagrak information Tegal of Jati about Kusuma guidelines play, including its narration, suluk, or its traditional “The Sundanese Wayang Golek: the Rod Puppet music arrangement. Theatre(2014: 199-205) of ”and Foley, (1979: in her111). dissertation Attended all those events about the works Meanwhile, the language used in of Enthus Susmono, the writer found several Susmono’s puppet show for janturan- interesting phenomena to be further analyzed.

4 Dance & Theatre Review | volume 1 number 1, May 2018

Besides the use of various puppets and the word gagrag is employed in referring to a puppet movements, Susmono also revealed Javanese common expression, kutha mawa tata some intriguing expressions in his book that desa mawa cara (either cities or countryside explains the matter of wayang Gagrag Tegalan, has its own rules and customs). Thus, the its historical and political aspects related to its term gagrag could also be referred as a style identity and existence. In the book, Susmono or distinctness related to culture or local expressed his anxiety about the identities of tradition of a particular place. According to Tegal people (Tegal-Pesisiran) which could be commonly recognized; one of them was the use of panginyongan dialect. Haryanto in his book, Pratiwimba Adiluhung,wayang The so-called Tegal dialect is recognized kulitSejarah dan Perkembangan Wayang wayang (1988: by common societies more in its context kulit48-59), purwa based with on itsits narrativenarrative sourcessources, are from as a humor, mockery, or even parody to Mahabharata in Indonesia and can Ramayana; be classified wayang into kulit arouse laughter; as what can be seen from Menak that gets its story from serat Menak; the phenomena in the society where some wayang kulit Sasak which is originated from Indonesian entertainers, like Cici Tegal, the story of serta Menak and local stories Parto Patrio, and several others gain their of Sasak tribe; wayang purwa Bali, wayang Calonarang Bali; wayang Wahyu and wayang dialect in their jokes. The mockery was often Warta which chronicle the stories of Old and followedpopularities by a and stigma benefits about from Tegal-Pesisiran using the New Testaments, including the death and people, as experienced by Susmono who was ascension of Jesus Christ. Wayang kulit (shadow puppets), based incompetent to perform wayang and lacked of on its local characteristics or gagrag, can well-establishedoften being reviled. habitude, He was attitude, regarded and as ability being to speak good Javanesse language compared gagrag Surakarta, gagrag Yogyakarta, gagrag to people from Surakarta and Yogyakarta, who Banyumasan,also be classified gagrag into several Kedhu, main gagrag traditions: Jawa are concidered better in every of those aspects. Timuran or more commonly known as wayang In other words, the identity of Tegal- Cék-Dongan, gagrag Cerbon, and Dermayon. Pesisiran could be considered as a marginal The gagrag culture that might be resulted from public into smaller traditions displaying distinctive opinion that had been constructed in terms local style, Surakartasuch as canKlathénan, be further Sragénan, classified of standard Javanese cultures referring to Wonogirén, Kasunanan (Keraton Surakarta), two primary traditional kingdoms –Surakarta and Mangkunegaran (Pura Mangkunegara). and Yogyakarta. Moreover, Susmono also expressed his suspicion about the possibility gagrag Yogyakarta can also be categorized into of how the Tegalese cultural identity had been severalLikewise, sub- as gagragstated by: pathok Kayam negara (2001: (Kraton28-58), politically put in dormant by the former ruler Kasultanan style), kidul negara (Bantul areas), kulon negara (Kulonprogo, Purworejo), lor negara (Sleman, Magelang), and étan negara General(Susmono, Review 2016: of18). Puppetry Style in (Gunungkidul areas). Gagrag Kedhu is also Indonesia grouped into several local gagrag, such as Kedhu Wonosaban, Kedhu Temanggungan, and Wayang kulit, which is generally known to Kedhu Kebumenan (now grouped into Gagrag exist only in Surakarta and Yogyakarta, is also Banyumasan). Wayang kulit Jawa Timuran or widespread in other areas than Java island, Cék Dongan is categorized into several sub- such as Sumatera, Kalimantan, and Sulawesi in gagrag in which each particular area has its various styles or gagrag. The term gagrag can own general and local characteristics that can be distinguished one another, such as from its keprak sound, gamelan music arrangement, be defined as ways that are commonly used (Poerwadarminta, 1939: 128). In this paper, 5 Hariyanto, Wayang Performance of Enthus Susmono suluk (songs sung by dalang), puppets, and cak pakeliran. practice in Indonesia, during the New Order Similar to wayang kulit tradition, wayang era,the lifethe of variety traditional of gagrag societies. experienced However, cultural in its golek (rod puppets) can also be grouped into abuse, especially those that developed in the several principal traditions, such as gagrag tradition excluded from two main Javanese Sunda or Parahyangan, gagrag northern traditions, Keraton Surakarta and Keraton coastal areas including Cirebon, Indramayu, Yogyakarta. Brebes, Tegal, Pekalongan, and Batang with its distinctive wayang golek Cepak. In The Idiomatic Cultural Legitimation of addition, there is also wayang golek Menak Keraton Surakarta–Yogyakarta that is grouped into Menak gagrag and Menak gagrag Yogyakarta. In Pasundan In the collective memory of Indonesian areas, wayang golek originates its stories from people, either dalang or wayang has its Mahabarata and Ramayana. Correspondingly, own roles in the society’s lives throughout in the northern coastal areas of Java – Cirebon, Indonesian historical periods, as explained Indramayu, Brebes, Tegal, and Pekalongan – by Kayam in his work, Kelir Tanpa Batas the stories are taken from serat Menak or babad stories which narrate myths or local proposed by Groenendael (Dalang di Balik (2001: 11-13). He summarized the opinion held a socio-religious position within a society, language,stories (Susmono, music accompaniment, 2016: 12). In conclusion, and other especiallyWayang, 1987) the Javanese which claimed societies. that Dalang a dalang was supportingthe wayang means figures, of wayswayang of performance performing, considered for having a narrative skill as have their distinctive characteristics. well as magical or supernatural power that Concluding from various differences of he was able to be a medium of real life and gagrag, the term gagrag, then, can be seen supernatural world, the world of our ancestors as a cultural construction and entity possessed and unearthly life. A dalang was also regarded by a society to articulate its idealisms, life as having a genealogical relation with the kings values, and social relations. Additionally, and their descendants, thus he gained special gagrag can also be regarded as a result from trust from the society where he lived because social interaction and receptions to express of his role as the nature guardian. Therefore, a the existence and cultural identity of a society dalang has been holding a dualism position of their roles and orientations, both to the rulers and to the people. receptionthat engages that multi-science creates a gagrag experts has toengaged define Based on the above explanation, it can it. For example, a process of interaction and be clearly seen that a dalang had a strategic puppets morphology, patterns of sunggingan role and how he interacted with the rulers orsome colorings, experts patternfrom fine of arts wayang (form carvings), shapes – in the past. In history, a dalang was close musicians (gamelan composer) who creates to the rulers, and even the ruler tended to arrangements for particular gagrac, as well as dominate the dalang as his point person of the performers, or dalang, who act as narrators his authority. And it was in this situation that (can also be said as an intellectual actor who there was a possibility of a cultural violence experts in the history of wayang, literature, to the democratic life in Indonesia where the and wayang mythology). A dalang is required dalang and the society became the objects of to comprehend the knowledge to formulate the rulers’ cultural violence. all aspects related to a wayang performance Discussing about the authoritarian procedure as a gagrag. Gagrag, as an articulation of intellectual works and cultural identity of a society, also practice in Indonesia, Wijaya Herlambang expresses various democratic discourses in illustration(2013), in about his composition the situation –“Kekerasan under the Budaya Pasca 1965”, provides an obvious

6 Dance & Theatre Review | volume 1 number 1, May 2018

explain the cultural resistance towards the conducted a series of well-systematized cultural violence conducted by the New Order andNew well-structuralizedOrder regime. He claimed cultural that violence the regime in regime, by focusing on the phenomenon practicing its praxes to legitimate the anti- communism through Indonesian literature and Enthusappeared Susmono in Tegal, who Central created Java, his specifically own identity its as well in many cultural aspects, such as separatedwayang performance, from the Mataram reflected culture. in the works of performancefilm. The legitimation, arts, especially furthermore, traditional happened arts The efforts of Indonesian authority to and folk theaters. dominate traditional cultures in Indonesia was The New Order rulers exploited culture as its instrument to practice the power hegemony Pepadi (Persatuan Pedalangan Indonesia by making cultural standardizations; one of –Indonesianalso reflected Puppeteers in the wayang Association) performances. and them was the sacralization of the tradition Senawangi (Sekretariat Nasional Pewayangan symbols of two main kingdoms, Surakarta Indonesia –Indonesian National Wayang Secretariat) as the associations of Indonesian also asserted that the New Order had revived puppetry and puppeteers, during the New and Yogyakarta.sacralized the Pemberton symbols (2003: of Javanese 13-39) Order regimes had also been employed as a culture (Surakarta Kingdom) as an ideal vehicle to strengthen the authority’s hegemony culture for the entire Javanese societies by praxes by making wayang performances means of its symbols, myths, and rites. The and the puppeteers as the speakers of the standardizations indicated how the New government programs. Those can be seen in Order conducted authoritarian practice by some articles published in Cempala magazine. administering cultural violence, which affected In the magazine published by Pepadi from the many aspects of the society’s life, in order to maintain its authority. in 1999, in about 15 publications, some The aspects affected by the New Order’s interestingfirst edition phenomena in 1966 to could its last be publication observed. cultural violence included the social paradigm, Keraton social relation, living pattern, and social Surakarta’s cultural symbols could be discourse. The situation was a result from how For example, the domination of the authority strictly controlled the society for pictures of wayang gagrag Surakarta; writers giving a “secure” life for Indonesian people. ofidentified gagrag fromSurakarta the appearances – either practitioners of the graphic or experts of gagrag Surakarta; plays and plots 5 -9) in his work, Pahlawan-Pahlawan Belia, of wayang referred to gagrag Surakarta; the theAs what Indonesian has been authority stated managedby Shirashi Indonesia (2009: existence of honorable discourse formulated as a family consisting of a father, a mother, from the kingdom’s solo-centric cultural and children. The regime authority acted as sources; and, explicit government programs. the father who controlled and superintended Thus, it can be concluded that during the regime of New Order, Indonesian puppetry control made the citizens’ lives similar to the and puppeteers had been the exploited objects situationthe children’s of an behavior.interrogation The room. fiercely Outside strict of the authority in practicing their power the room, everyone could freely move, but hegemony. The contents of the magazine – inside the glass wall, the father watched all articles, discussions, illustrations– showed the the movements. standardization of Javanese wayang, especially The strict control has triggered some in making the culture of Keraton Surakarta as reactions and resistance. The resistance the ideal standard of national culture. appeared on the areas of a great distance Opinions voiced by people who lived from the center of the authority or from in coastal areas or remote places about the the culture centers being idealized by the puppeteers’ gagrag had never been discussed authority. This article tries to reveal and by Pepadi or even the government. The

7 Hariyanto, Wayang Performance of Enthus Susmono discourses of worthy concept narrated in the informally and subsequently maintained will magazine’s articles tended to follow the rulers’ create a resistance. Scott also claimed that the urge for a requirement to preserve the pakem resistance interaction pattern is started by –a standard rule for puppeteer’s performance explaining the interaction of public transcript. in creating their works. The freedom to speak In this pattern, the actor will cover or hide his and democratic discourse formed throughout motives. The subordinates will act as if they the past history on the variety of gagrag were obedient to the rulers, but they start (styles) was being eliminated. The discourse to voice their needs or interest in different was directed to the standard regarded as space; this will develop an interaction pattern being ideal by the rulers, i.e. the cultures of of hidden transcript. two principal Javanese kingdoms, Surakarta The interaction pattern of hidden and Yogyakarta. transcript is represented through discourses Enthus Susmono appeared in the last including utterances, behaviors, and attitudes edition of Cempala magazine, as well as a of the subordinate class which cannot be discussion about his interruption during overtly expressed in public spaces. The the general meeting of Pekan Wayang activities within the interaction pattern may (Indonesian Puppet Week) VII, on January cover anonymous destruction or attack to 9, 1999 that represented the resistance and places or facilities which become the symbol struggle of marginal group, the group of of the ruler’s authority, though they keep it coastal people as voiced by Susmono. This hidden without showing their struggle. Other struggle had found a new beginning to be activities may include language play, such as articulated independently after the fall of New jokes or humor using codes known only by Order regime marked by former President the subordinates. Others may struggle by spreading negative rumors or weaknesses of Another interesting phenomenon was the the rulers to destroy their image – their end pictureSoeharto’s of Enthus resignation Susmono on in Maythat last 22, edition 1998. result is to destroy the domination. wearing a shirt with a character of Lupit, a Susmono, as an Indonesian puppeteer, gagrag –an icon appeared to voice his people’s aspiration to of Tegal-Pesisiran people. The prensence of show their resistance to the ruler’s domination Susmonopunakawan along figure with in theTegalan Lupit icon supported –in this context, it was the legitimation of an assumption that the identity resistance of cultural dominating symbols of Keraton Tegal-Pesisiran voiced by Susmono started to Surakarta and Yogyakarta), without doing gain its momentum. repressive actions. Being dominated and abused, Susmono’s social movements were The Resistance of Cultural Identity of committed as a respond to their history, Tegal-Pesisiran by Enthus Susmono showing the subordinate interaction pattern of the people in Tegal and Coastal areas. The next stage of interaction was building Domination and the Arts of Resistance: Hidden mass communication and power. In this TranscriptsAccording, a resistance to Scott (1990)appeared in as his a result book, from hegemony practice by a group of people political maneuvers covered by art works or or rulers, who conducted many dominating performancesstage, the social to gain movement recognition benefited and to break from activities and legitimation to preserve the domination throughout the time. their authority. Among those practices are The creative activities in art performances repressive actions through exploitation. Either used local tradition symbols and idioms to exploitation or domination practices create show the resistance towards symbols and humiliation and submission, or even abused idioms of the dominance adopted by the of the subordinate groups. The interaction ruler in toughening their hegemony over the patterns among subordinate groups that citizens. In this very stage, certain new idioms

8 Dance & Theatre Review | volume 1 number 1, May 2018 were created by maintaining the spirit of the golek of Slentheng Lupit that was transformed older idioms by giving quite similar meanings from the punakawan character in Tegalan style to them. In accordance with Scott’s theory, –the character of Grubug; using half-circle kelir the resistance efforts conducted by Susmono or backdrop; using forms of wayang Kayon could be considered to pass several stages: stage of movement, stage of building collective srepegnem music arrangement, by inserting awareness by creating communities (Sanggar diatonic(gunungan tones; kreasi); involving using modified shalawat Surakarta’s (Islamic Satria Laras), movements from subordinate chants) into gamelan music arrangement of class (the Coastal people); stage of creative tradition’s music pattern and structure; stand- process by accepting their historical experi- ences, creating new symbols and idioms, such with a giant puppet as tall as the backdrop. In as wayang puppets, music arrangements, additions,ing from his Susmono puppeteer’s also insertedseat and somethen fighting swears gawangan kelir, the costume for dalang; stage or pisuhan during his performance. Pisuhan comes from the word “pisuh”, which means actors–audiences of Surakarta–Yogyakarta cul- swears or offensive words (Poerwadarminta, tures);of influencing and the the stage target of achievements. groups (supporters– 1939: 454). Based on the writer’s observation on the Tegal, as a city of harbor in the coastal recordings of Susmono’s performance while areas in northern Java, after its fall during the playing Subali-Sugriwa story in 1997 aired by Mataram legacy, was under the rule of VOC Indosiar, Susmono was asked to perform in an when it became a trade town which made it event for the preparation of Indonesian General Election in Baki, Sukoharjo, Central Java. The from many other places. In its interactions, event was attended by several government Tegalopen –atto influencesthe boundary and of cultural Cirebon andinteractions Western Java– became a melting point of coastal and In that performance, Susmono still used the rural cultural traditions. Thus, it was possible patternofficials, of and Surakarta also Sinuwun style –his Paku music, Buwono puppets, XII. that the process was followed by cross-cultural stage layout, scene plotting, and procedure process among the cultures of Sundanese, (cak pakeliran). Susmono also informed the Cirebon, Javanese, Chinese, and many others. government program and Dwifungsi ABRI (Bi- Based on this assumption, in order to analyze functions of Indonesian Army). At that time, the identity of Tegal-Pesisiran in the show of Susmono was playing his role in the pattern of public transcript interaction as what is stated in his book Worlds of Music: An Introduction by Scott as commonly employed by political toWGGT, the Music we could of the use World’s, the claim about of Titon the (2009), model elite to build their image and to legitimate of cultural music by stating the interaction their power. Susmono acted like he was part of pattern as follows: Surakarta style, nevertheless, he was trying to enter the hegemony group in order to prepare Memory/ Affect Performance Community his next movements. History In that performance, Susmono not only presented humors using simple and assertive - ngapak language, but also presented other idi- enon of music culture is highly related to oms in form of a puppet character in one of the memoryAccording and historical to Titon (2009),matters. the Meanwhile, phenom scenes. Thus, Susmono conducted the hidden affect is a musical nuance represented in a transcript interaction pattern as what can be music work, thus, Titon claimed that music observed in his other performances. Susmono was born as a result from history and its soci- persisted building new idioms, such as using ety as its supporters, as the society itself was rai uwong puppets, planet puppets, teletub- borne by its historical experiences. Therefore, bies puppets, world famous people puppets, Titon wrote a new scheme in the relation of wayang performance arts: like Saddam Husein and George Bush, 9 Hariyanto, Wayang Performance of Enthus Susmono

Time and Susmono performed more freely exploring Music Performers Audience Space mixed puppetry styles by including several oher sub-styles, such as gagrak Yogyakarta, Referring to Titon’s opinion, in this Banyumasan, Pesisiran, and Jawa-Timuran article, the elements of performing arts are (Cek-Dongan). It was in the later period that transformed into the relation among: Susmono created many creative works – puppets, music accompaniment sheets, and WGTT Performers performance concept – a concept referred as (the Identity Time and Audience “standard breaking” by the conservatives. of Tegal- Enthus Space Pesisiran) Susmono The performance styles as referred by “standard breaking” could also be observed through his performance that included that WGGT which represented the identity elements of gambus (a six-stringed Arabic of Tegal-PesisiranFrom both relations, was itperformed can be concluded by Ki musical instrument) music from Middle-East, Enthus Susmono as the puppeteer. In the the use of song lyrics taken from shalawat (Islamic chants), and consistently mixed interaction between memory and history language. Susmono was also consistent beingfirst scheme, presented the by performance the audience’s showed support. an eschewing the use of Javanese puppetry Meanwhile, the audience itself borne by its language in his performances, which he history and its interaction with its history. The considered too archaic. Instead, he used a Affect showed the identity formed as a result combination of different languages, such from their reception of the social phenomena panginyongan, Sundanese, ngoko Javanese and history sentiment, as seen in the use of (the lowest level) the puppets, the puppets movement pattern, languages; pisuhan (Javanese expletives, such the language, the music accompaniment, and as bajingan, lonthé, jancuk, and some others); the musical instruments used. Therefore, it and for expressing his could be clearly seen that the process of social social or political view. Therefore, it appeared movement conducted by Ki Enthus Susmono that Susmono’s performance was a part of showed a resistance against the domination resistance effort against the two dominating of the cultures of Keraton Surakarta and cultures from two kingdoms: Keraton Yogyakarta legitimized by the New Order Kasunanan Surakarta and Keraton Kasultanan rulers during their authority. Yogyakarta –the cultures appointed as the ideal standard of Javanese culture. Conclussion The practice of articulation as a resistance effort conducted by Susmono through Reading Susmono’s opinion on his his WGGT performance found its political suspicion that the identity of Tegal-Pesisiran Tegal- possibly was made dormant politically by Pesisiran Indonesian rulers, especially as what was momentum in defining the identity of . His position as a Regent and his is interesting to look into the background regardedHonoris Causa as a symbolDoctoral of degree the recognition from Semarang and ofreflected Susmono’s in thecareer wayang in the performances, puppetry arts. it supportState University from the insociety, the year especially of 2016 the could coastal be Based on the observations on the recordings of Susmono’s performances in the periods of to voice the identity of Tegal-Pesisiran society the New Order era, post-reformation, to the insociety, his wayang towards performances, his resistance effort. especially His effort the WGGT, was regarded as being successful in differences and movements. In the New Order forming it as a competitor of the dominating era,year Susmono of 2017, tended there to were perform some using significant gagrag cultures (the cultures of Keraton Surakarta Surakarta; whereas, after the reformation era, and Yogyakarta). The identity articulated in

10 Dance & Theatre Review | volume 1 number 1, May 2018

Susmono’s performance that covered stage India. layout, puppets, music accompaniment, stage Pahlawan- acts, plays, and fashion style was imitated and Pahlawan Belia. Jakarta: Nalar. adopted by young puppeteers –either those Sasaki Shiraishi, Saya.Domination 2009. and the Arts from Surakarta style or those from Yogyakarta of Resistance: Hidden Transcripts. London: style, as well as puppeteers from Pesisir Scott,Yale James University C. 1990. Press. Pantura, such as from Indramayu, Brebes, Senawangi. 1999. Majalah Cempala, Jagad Pemalang, to puppeteers of wayang golek Pedalangan dan Pewayangan (Kumpulan purwa West Java. Edisi Lengkap). Jakarta: Studio Delapanpuluh. References Golek Menak Yogyakarta, Bentuk dan Sukistono,Struktur Dewanto.Pertunjukannya”. 2013. Dissertation. “Wayang Golek Sunda: Sajian Tjetjep Supriadi, Cahya.Dede 2014. Amung “Garap Sutarya, Pertunjukan dan Asep Sunandar Wayang Arts Study, Gadjah Mada University Sunarya”. Dissertasion. Yogyakarta: Yogyakarta.Yogyakarta: Performing Arts and Fine Pakeliran Wayang Gadjah Mada University Yogyakarta. Gagrak Tegal: Jati Kusuma. Prambanan: Performing Arts and Fine“Transforming Arts Study, Susmono,Rumah Enthus. Empu. 2016. Wayang for Contemporary Audiences: Wayang Gagrak Tegal. Emerson,Dramatic Kathryn. Expression 2016. in Purbo Asmoro’s Prambanan: Rumah Empu. Style 1989-2015”. Dissertation. Leiden: Susmono, Enthus. 2016. Worlds of Music: An Universiteit Leiden. Introduction to the Music of the World’s “The Sundanese Wayang Titon,Peoples Jeff Todd.. Boston: 2009. Cengage Lerning. Golek: The Rod Puppet Theatre of West Foley,Java”. Kathy. 1979. dan Mentalitas Orang Banyumas: Widyaningsih, Rindha. 2014. “Bahasa Ngapak Dissertation. Hawaii: UniversityDalang ofdi BalikHawaii. Wayang . Jakarta: Pustaka Utama UltimaTinjauan Humaniora dari Perspektif Filsafat Bahasa Groenendael, Victoria M.C. 1987. Hans-Georg Gadamer” in the Journal of Pratiwimba Adiluhung, Recorded Performances. September 2014. SejarahGrafiti. dan Perkembangan Wayang. HaryantoJakarta: S. Djambatan. 1988. Wayang Kulit (Leather Puppet Shadow) show Kekerasan Budaya aired by Indosiar in 1997, playing the Pasca 1965: Bagaimana Orde Baru story of Sugriwa-Subali. Downloaded Herlambang,Melegitimasi Wijaya. Anti-Komunisme 2013. Melalui Sastra dan Film. Serpong: Marjin Kiri. Kelir Tanpa Batas. playingfrom Youtube: the story 10 April of 2018.Sugriwa-Subali. Yogyakarta: Gama Media. Wayang Kulit show aired by Indosiar in 2001, Kayam, Umar. 2001.Phenomenology of A Puppet Wayang Kulit aired in TVRI East Java (no exact Theatre: Contemplations on the Art of years,Downloaded but there from is Youtube: an information 10 April that 2018. it Mrazek,Javanese Jan. 2005. Wayang Kulit. Leiden: KITLV was performed at the same time of the Press. incident of Lumpur Lapindo), playing the “Jawa” on The Subject story of Pandhawa Gugat. Downloaded of “Java”. Yogyakarta: Mata Bangsa. Poerwadarminta,Pemberton, John. 2003.WJS. 1939. Baoesastra Wayang Kulit show with the story of Begawan Djawa. Batavia: Percetakan J.B. Wolters. from Youtube: 10 April 2018. Doing Research in Cultural Studies. New Delhi: Sage Publications WayangDawala. Kulit Downloaded show in the from event Youtube: of Puppet 10 Saukko, Paula. 2003. April 2018. 11 Hariyanto, Wayang Performance of Enthus Susmono

, Denpasar Bali, playing the story of Dewa Ruci. Downloaded from Festival 2009 of 2015 playing the story of Samson Wayang Kulit routinely performed in Taman WayangDelilah. Santri Downloaded show with the from story Youtube: of Anjala- 10 Youtube: 10 April 2018. April 2018. story of Subali Lena. Personal Recording. Budaya Central Java, 2015, playing the Anjali. Downloaded from Youtube: 10 playing the story of Pandhawa Layar. PKB”April 2018.playing the story of Lupit Nulung Wayang Kulit in Rembang performed in 2017, Wayang Santri show in the event of “Hari Lahir Wayang Kulit show in Purwodadi performed Downloaded from Youtube: 10 April 2018. WayangPutri. Golek Downloaded Gagrag Tegalan from Youtube: in the closing 10 April of Gathotkaca. Downloaded from Youtube: 2018. in 2018, playing the story of Banjaran with the story of Kembang Wijaya Wayang Santri show playing the story of Lupit World Puppets Day 2016 in ISI Surakarta, Dadi10 April Jaksa. 2018. Downloaded from Youtube: WayangKesuma. Golek Downloaded Gagrag Tegalan from in Youtube:the event 10 of Wayang Santri show playing the story of pestaApril 2018.sedekah laut Pelabuhan Tegal, in Lupit10 April Dadi 2018. Dhukun. Live Performance in Adam Awal-Adam Akhir. Downloaded Wayang Santri show in Magelang in the year Desember 2017, playing the story of Resi Jatinegara, in March 2018. from Youtube: 10 April 2018.

12