The Role of Humor in Ludruk Performance Art

Journal of Critical Reviews ISSN- 2394-5125 Vol 7, Issue 7, 2020

TRADITIONAL STAGE AS A MEDIUM OF SOCIAL CRITICISM: THE ROLE OF HUMOR IN LUDRUK PERFORMANCE ART

1Naily Nur Kholidah*,2 Sahid Teguh Widodo ,3Kundharu Saddhono

Sebelas Maret University, Surakarta, Indonesia Corresponding E-mail: [email protected]

Received: 01.02.2020 Revised: 03.03.2020 Accepted: 05.04.2020

Abstract This article focuses on describing the role of humor in Ludruk as educated performance which is containing social protest to state of society and generating the spirit of the nation's struggle. Ludruk is traditional theater performance that be able to exist in globalization era right now. Humor as the main characteristic of performance art is used as means to reveal social critic. In community of East Java, humor is humor is an expression of a long-depressed condition. Humor in Ludruk performance is a protest and resistance in colonial era as well as a medium to connect the past and the present. The data source used in this study is the humor of the monologue in the form of poem which is sung in traditional ludruk performances, it is usually called by kidungan jula juli. This study used qualitative approach to analyze data by exploration, although it can be gotten the understanding about the form and role of ludruk humor as educated entertainment containing social protest. The scientific novelty of this work lies on the study used to analyze the role of humor in traditional performances as part of a conditional reflection in a nation during the colonial period.

Keywords-- protest culture, traditional stage humor, Ludruk, History of nation, social criticism

INTRODUCTION Waluyo, H. J., Harjoprawiro, K., Saddhono, K., & Anitah, 2007). It In ludruk performance art, humor becomes a dominant part of makes ludruk has a great communication power to the the performance. It can be seen from the enthusiastic fans in community. Even though, the existence of traditional ludruk art every performance (Setiawan, 2014). Ludruk in every experiences ups and downs following the development of performance always displays his trademark humor. The typical changes from fans and times humor of ludruk does not originate from all the elements that accompany it, from the script to the players. One of the ludruk Ludruk art grows and develops rapidly in the East Java region, figures who has a specificity in presenting his ludruk humor is specifically in Jombang, Surabaya, Malang, and surrounding Cak Kirun and Cak Kartolo. Where the two figures still exist to areas. Another distinctive feature of this performance is on jula- maintain the ludruk performance. The packaging of humor juli chants of every element, that is on the remo dance, bedayan containing criticism and advice in ludruk performances is a dance, dagelan (slapstick), and story. Jula juli is ballad that shape special attraction for fans. Humor in ludruk performances is a poem which is sung and accompanied by gamelan music of east packed up in verbal and non verbal forms. Verbal humor consists java (Kumuda and Wrihatni, 2018; Teguh, Suwandi and Eko, of two namely monologue and dialogue. Monologue verbal 2020). humor is in the form of Jula Juli and verbal dialogue humor is in Humor refers to the tendency to experience or express what is the form of conversations between ludruk players. Non verbal fun and funny, accompanied by emotional responses and humor is a physical movement performed by the players. expressions of vocal behavior, such as laughter and smile (Chen, The one role of humor is as an great communication instrument Guo-Hai, 2007; Rod A. Martin, 2018). Humor presents in all and it can be used to delivery massages indeed the social protest human culture (Fry, 1994; Lynch, 2002) and appears in various (Saddhono, 2016; Sumadi, 2017; Hart, 2019). This is the forms in every element of human life. However, people who are interested thing of ludruk performance. Humor becomes the from the different cultural backgrounds see humor in a different interested one of ludruk performance use to delivery critical way. Based on Martin dan Rod’s stated, humor is universal but it massages from condition community which is happen in their can be culturally specific (B. W. Setyawan and K. Saddhono, 2017; era. Because of that, in this article will try to focus on analysis Rod A. Martin, 2018). Humor coming from different cultural form and role of jula juli Ludruk as the educated entertainment backgrounds has different forms and functions (Sahin, 2016). containing the social protest for its community condition and Humor in the traditional stage arises because of the cultural generating the spirit of the nation's struggle. influence inherent in society. As in theater or drama, humor that emerges has a function and special characteristics in each of its METHODOLOGY appearance. There are some functions of humor namely as Ludruk is one form of art that was born from the wombs of entertainment, advice, and even as a medium to convey social commoner’s culture. In the historical record it is mentioned that criticism or new perspectives in democracy (Muhammad Jazuli, through traditional ludruk art, small communities, and lower 2011; Rawski, 2016; Robert and Wall, 2019). Countries with levels entered the era of art modernization (Peacock, 1968). strong and diverse cultural traditions such as China, Japan, India Ludruk performance is one of the excellent arts that presents the and Indonesia have traditional performances that specifically traditional art which has been long waited by community of East contain humor with specific goals, such as Manzai and Rakugo Java (Supriyanto, 2001). The use of simple and egalitarian from Japan, Jamoora from India, Shuochang and Xiangsheng from regional languages containing sarcasm and sharp criticism that is China, Ludruk and Ketoprak from Indonesia. (Davis, 2006; packed up in the form of monologues and dialogues, as well as an Haven, 2013; Attardo, 2014; Kumar, 2014; Moser, 2018; Ping infinite choice of stories is the characteristic of this show Zhu, Zhuoyi Wang, 2019) (Waluyo, H. J., Harjoprawiro, K., Saddhono, K., & Anitah, S.

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TRADITIONAL STAGE AS A MEDIUM OF SOCIAL CRITICISM: THE ROLE OF HUMOR IN LUDRUK PERFORMANCE ART

This study uses textual analysis that is supplemented by experience of language owned by someone by exploiting general formalist analysis with knowledge of specific details of history, truths that are already known to people; changing constituents language and literature to examine and interpret jula juli poem with language experience; intentionally put wrong pronouns; related to Indonesian history. The source of the data used in this convey something incomplete; switch various languages; giving study is the humor of the monologue in the form of parikan responses that are not related at all; exploiting language (poem) which is sung in traditional ludruk performances, loopholes to distort their meaning; convey something that is commonly called kidungan jula juli. unnatural, absurd, even seemingly controversial (Saddhono, 2017; Yuwana, 2019; Yuwana, Santosa and Sumarlam, 2019). The poem used came from a collection of Javanese poetry books compiled by Koesalah Soebagyo Toer, the younger brother of a This form of humor is more commonly found in verbal humor. famous writer, Pramoedya Ananta Toer. He was the founder of Apart from everyday conversation verbal humor can be found in the Indonesian Translation Organization (OPI, 1959-1961). several media both print and direct. Verbal humor in print can be Koesalah explained in his introduction that the parikan (poem) in in the form of magazines, comic books, comedy books, novels, or his book was the result of data collection in 1980. The data naska dramas. Direct verbal humor can be found in traditional or collection was carried out from the results of listening and asking modern performances, either through sound media, or voice and Javanese people living outside Java. Parikan (poem) was given by images directly or indirectly (Suaib et al., 2019; Ulwan Fakhri people who came from Surabaya, Gresik, Mojokerto, Madiun, Noviadhista, 2019). Jember, Banyuwangi, Bojonegara, Ngawi, Blora. Those areas are the right place to flourish in a ludruk show. The book was Traditional verbal humor in Indonesia can be found in parts of published by Felix Book in 2011 is one of the books that traditional theater such as dance, jokes / jokes, music, or print documents the collection of parikan in ludruk shows. media such as magazines, newspapers or books. Traditional verbal humor has different characteristics and functions. Humor RESULTS in traditional performances functions as a medium of criticism or Humor in social life is used as a medium to awaken society by anxiety about the problems of life in the neighborhood where providing a new perspective on reality and sharpening people live. Traditional verbal humor uses more the local understanding about injustice so that it can be used as a dialogue language where the humor was born. provocation and action to humanize all parties in the struggle Traditional and modern verbal humor in Indonesia have the (Sugiarto, 2016; Ramsey and Meyer, 2019; Wandi, 2019). Besides same function of voicing anxiety and problems being experienced humor is used as a social life construction everyday. Because by the people. The difference lies in the language used and the unconsciously, humor is tucked in social life to avoid a tension. form of humor itself. Although it does not rule out the many Humor in history is explained as a form of media to convey similarities of traditional and modern verbal humor (Hermawan, historical events that have been experienced by a nation. Humor Waskita and Sulistyaningtyas, 2017; Kurnia, 2018; Moses Glorino is spread in various forms, such as comics, memes, stage humor Rumambo Pandin, 2019). and etc (Davis, 2006; Sahin, 2016; Moser, 2018; Yuwana, Santosa and Sumarlam, 2019) Kidungan Jula Juli is a poetry (poem-shaped) that is song and accompanied by the typical gamelan music of East Java. The form Humor is one of the language arts that is able to penetrate every of a parikan or rhyme according to the number of rows consists corner of a person's life with variations owned (Dai, 2018). The of a single and double rhymes which are composed of sampiran language used in humor is colloquial language based on the and contents.

(1) Dagang nang Kutuarjo Selling at Kutuarjo Berjuang nglawan Landa Fighting against the Dutch(Puisi Abadi-Tunggal, verse 38) (2) Gedhong papak Paremana The Papak Paremana building Nang Jombang tokone Cina To Jombang to a Chinese shop Mbok-bapak idinana Mother and father, allow it Aku berjuang ngusir Landa I struggled to expel the Dutch (Puisi Abadi-Ganda, verse 32)

Rhyme (1) is an example of single rhyme and (2) is an example of rhyme contained in the humor section imply that the message double rhymes. Single rhyme consists of two sound lines, the first contains an invitation or direct criticism in the rhyme is line is sampiran and second is content. Double rhymes consist of important as shown in the example (1). four sound lines, the first and second lines are sampiran and third and fourth are content. Parikan (rhyme) in Javanese culture is a poem of ordinary people born in the middle of people's lives, therefore the words in The form of rhyme has individual portions in ludruk parikan (rhymes) are simple and honest words (Toer, 2011). The performance. Single rhyme or short rhyme often appear on parikan in jula juli ludruk is included in the contextual parikan, it humor and double rhymes appear in all part of ludruk. Single is meant that parikan has a connection with the social situation rhyme that appear in a part of humor is intended so that the and condition of the Javanese society that was happening at that audience or the public listening to the rhyme can easily time. remember the message to be conveyed. In addition, the single

(3) Golek uyah nggo lawuh mangan Looking for salt for side dishes to eat Dhek isih dijajah urip kecingkrangan In the past time I was still struggling to live in poverty (4) Mangan bikang gaweyane randha Eat bikang made by widows Ayo berjuang ngusir wong Landa Come on, fight against the Dutch (Puisi Abadi-Tunggal, verse 60-61)

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TRADITIONAL STAGE AS A MEDIUM OF SOCIAL CRITICISM: THE ROLE OF HUMOR IN LUDRUK PERFORMANCE ART

Parikan (3) up to parikan (4) is the single rhyme from Dutch rhyme that mentions the Dutch name contains an invitation to colonial times. The content is on parikan (3) called about the fight and expel the Netherlands without mentioning the suffering condition of colonial era. Although, it is not explained in detail, of the people. Mention of life deficiencies in the contents line of but it is quite representative of what was felt by the people at parikan (3) can lead to the Dutch or Japanese times. This is that time. The interesting thing is that the Netherlands is one of different from the parikan (rhyme) of the Japanese colonial era, the countries that has been perched for a long time in Indonesia the courage to mention the suffering experienced by the nation is clear with a period of more than three hundred years, but this single

(5) Bekupon omahe dara Bekupon is pigeon house melu nipon tambah sara Joining Nippon was even more miserable (6) Lampu gaspon lengane kletik Gaspon oil lamp is cooking oil Jaman Nipon larang dhuwik In the Nippon era money is expensive (Puisi Abadi-Tunggal, verse 272-273) (7) Kenthang karo kubis Potatoes and cabbage Jepang menang wong Jawa ngemis Japan wins the Javanese begging (Puisi Abadi-Tunggal, verse 30) (8) Nisor1. penirop, dhuwur pagupon Under the hood, above pagupon Awak mlarat dijajah nipon We are poor colonized by Nippon (Puisi Abadi-Tunggal, verse 275)

Parikan (6) up to parikan (9) is an example of single rhyme from presented previously, it can be seen that there are differences in Japanese colonial era. On content rhyme (7) and (9) are provided perception of the Dutch colonial era and the Japanese Colonial. that money is expensive and society becomes bigger. Expensive Both colonialisms have policies that are equally detrimental to money is meant is the occurrence of inflation due to Japanese the people of Indonesia. But with the difference of tenure in policy. Japanese financial policies that undertake to maintain the Indonesia, there is a different impression attached to Japan that value of the Dutch East Indies guilder or rupiah in order to was in Indonesia for three and a half years. This can be seen from maintain the price of goods to be maintained as before the war the contents of a single parikan that has been found and and to monitor the flow of capital and credit ineffective. There analyzed. was severe inflation in Indonesia. Mention of suffering, poverty is stated straightforwardly and At this time the exchange rate of money becomes smaller boldly. This is because in a short time Japan made a lot of because more money is made so that the exchange rate decreases changes in various fields through the policies it made especially as a result the price of goods increases dramatically. In fact, relating to the lower classes. Resulting in a felt impact for the because of the small exchange rate at that time due to inflation, small people in rural areas such as agricultural land expansion the salary received by Indonesians working in the Japanese policies, regulation of sales of agricultural products, the delivery government in every month was equal to the price of a jackfruit of valuables or taxes on the pretext in the interest of war. (Perdana, 2011). Whereas the Dutch which had been in Indonesia for more than This makes people unable to buy their daily needs and feel poor. three hundred years did not create the impression of deep Although the parikan (rhyme) was not described in detail the suffering in the hearts of the people compared to Japan. This poverty as what happened to the people, but if you look back at indicates the 'normalcy' process. Where the existence of the the function of a single parikan (rhyme), the message will be Netherlands which has been too long in Indonesia is considered directly understood by the audience and listeners who normal. Likewise with the policy. experienced the colonial period. The message of suffering and poverty that befalls the people is Indonesian people through many doctrines believe that the conveyed briefly and directly in the single parikan (rhyme). One Indonesian nation has been controlled by the Dutch for more of the parikan caused Cak Durasim as one of the guerrilla figures than three hundred years. In fact, it was a construction of in the Japanese colonial period was imprisoned and killed. But colonial politics in the interest of the Dutch. The three decades the spirit of his struggle continues to be fueled to voice rejection referred to in the doctrine were more about the Dutch effort to of the injustice of Japan that colonized at that time. The four unite the entire region and form the Netherlands Indies State verses that contain the parikan (poem) are a brief description then to become the Republic of Indonesia (Gertrudes Johan that illustrates the effect of Japan's policy of occupying Resink, 1968; Saddhono, K. and Supeni, 2014; Absiroh, 2017). Indonesian territory in a short period of time, which is The Europeans, especially the Dutch who were present in the approximately three and a half years. country of Indonesia for a period of three to fifty years, made the Indonesian people familiar with the presence of the Dutch. The scientific novelty of this work lies in the study used to analyze the role of oral literary works that contain humor in 1942 was the year that the Dutch government ended and the traditional performances as part of a conditional reflection of a Japanese position in Indonesia ended. Japan came to Indonesia nation during the colonial period. The Art works becomes an using guile by carrying the motto of Movement 3A and important tool for propaganda because they directly touch the recognition as an 'older brother' so that the Indonesian people minds and empathy of the reader or audience. With a short span could accept the arrival of Japanese troops. After Japan was of time, the impression of Japan was a cruel invader had clung to warmly received by the Indonesian people, then Japan adopted a the minds of the people. This can be seen from the parikan that policy that made people forget the Dutch government and was conveyed, although the parikan could not be the main introduce Japan through various fields. In addition, policies were historical evidence, but it could be a form of public honesty about also adopted that made people feel more miserable compared to their condition during the Dutch and Japanese colonial periods. the Dutch era (Purnomo, 2020)

In the analysis of single and double parikan data that has been

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TRADITIONAL STAGE AS A MEDIUM OF SOCIAL CRITICISM: THE ROLE OF HUMOR IN LUDRUK PERFORMANCE ART

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