Nowadays, if we ask an Indonesian about ludruk, most of them would assume that ludruk as one of the traditional art performances. After the Indonesian independence, particularly during the Soeharto period, ludruk is apparently "retreated" became traditional theatre. Before that, ludruk was an art performance that finds its way to modernization. The researchers admit that during colonialism, ludruk in Surabaya, East Java, Indonesia, was a part of "the culture of modern society". This study analyzes ludruk in the colonialism era, particularly the transition from the Dutch to the Japanese colonialism in Indonesia, since, ludruk could reach its peak of development at that time. Ludruk no longer holds its ritual values, even it evolves from an entertainment to a performance that served as a political movement.
This study is based on several articles, journals, essays, dissertations, and books. Art and culture in the Indonesian archipelago have been researched quite a lot, not only by Indonesian scholars but also by foreign researchers. Ludruk itself has been also widely researched. James L. Peacock (1968) in his book Rites of modernization studies widely about ludruk. His research focuses on ludruk in the pra-Soeharto era. Another source is a study about religion in Java by Geertz (1959). His study focuses on the Javanese ritual ceremony—slametan. He also mentions that ludruk, like any other the Javanese theatrical forms, is based on the religious ritual ceremony. Another interesting source is from J. Ras (1979) Javanese literature since independence. It is a collection of articles in Javanese languages. One of its articles reported a chronologically ludruk history and its developing, which is written by Ki Soemadji Adjiwongsokoesoemo.
Table of Contents
1. Introduction to Ludruk
2. Indigenous Theatrical Forms and Ludruk
3. The Dagelan
Objectives and Topics
This study aims to analyze the history, development, and cultural significance of the traditional Indonesian folk theatre known as "ludruk" during the colonial period. It specifically examines the transition of ludruk from a ritualistic performance to a form of social entertainment and a political tool, while investigating its relationship with other indigenous Javanese theatrical traditions like wayang.
- Historical evolution of ludruk from pre-colonial times through the colonial era.
- Comparative analysis between indigenous folk theatre (ludruk) and court-based art (wayang).
- The influence of Javanese social structures and worldviews (alus vs. kasar) on theatrical expression.
- The role of key performance elements such as gamelan music, dance, and the comic character "dagelan".
- The socio-political function of ludruk as a platform for nationalist expression during the colonial occupation.
Excerpt from the Book
The Dagelan
Since it has much in common with the dagelan concept on ludruk, punakawan or panakawan in wayang play is often correlated with dagelan. Punakawan is a clown character in one of wayang play, Mahabarata. Mahabarata is played frequently in recent wayang, As Geertz ((1959) p. 263) interviews with a dalang as follows, “My dalang informant said that although he knew the Ramayana stories, he almost never got a contract to perform them.“ Mahabarata narrates a war between the five brothers Pandawa and their cousin Kurawa brothers, who numbered a hundred people. Kurawa’s brother seized the state of Astina from Pandawa. This war is known as Bharatayudha. Pandawa is accompanied by Punakawan; Semar, Petruk, and Gareng. Punakawan is portrayed as funny servants, who not only entertain Pandawa but also give advice wisely. Unlike Pandawa and Kurawa, who are members of the royal family, Punakawan seems unrelated to court neighborhood. In many studies, these Punakawan often refer to clown. They impersonate foolish ugly looking guys with mastery to joke, yet they have such a decent and wise personality. Indeed, they play an important role in wayang. Their personage has a number of interpretations. Punakawan can be the incarnation of gods, as a “little people” representatives (proletariat), or as friends, as kawan from punakawan literary means friend in the Indonesian language. Punakawan is not just a clown, they are important messengers.
Chapter Summary
Introduction to Ludruk: This chapter provides an overview of the origins of ludruk, identifying it as a traditional folk art that evolved from ancient mystical ritual performances into a modern theatrical form.
Indigenous Theatrical Forms and Ludruk: This section compares the folk-based ludruk with the royal court art of wayang, highlighting how different social classes and ideologies shaped these distinct performance cultures.
The Dagelan: This chapter explores the function and history of the comic character "dagelan" (or punakawan), illustrating its role as a witty social messenger and a vital element in ludruk performances.
Keywords
Ludruk, Indonesia, Javanese culture, Wayang, Colonialism, Gamelan, Dagelan, Kidungan, Punakawan, Folklore, Performance, Social status, Nationalism, Modernization, Theatre history.
Frequently Asked Questions
What is the primary focus of this academic work?
The work focuses on the history and development of the Javanese folk theatre known as "ludruk," particularly how it transformed during the colonial period in Indonesia.
What are the central themes explored in the study?
The central themes include the evolution of theatrical forms, the cultural tension between "court art" (wayang) and "folk art" (ludruk), and the use of art as a means of political and social expression.
What is the main research objective?
The objective is to understand how ludruk shifted from a ritualistic performance to a tool for social and political commentary, and how it maintained its distinct identity despite external influences.
Which scientific methods are employed?
The study utilizes a comparative analysis approach, examining historical records, existing literature, interviews with performers, and theatrical theory to analyze the development of ludruk.
What does the main body of the text cover?
The main body details the historical timeline of ludruk, analyzes musical components like gamelan and song styles like kidungan, and discusses the sociological distinctions between "kampung" dwellers and the aristocratic "prijaji."
Which keywords characterize this research?
Key terms include ludruk, Javanese culture, wayang, colonialism, gamelan, dagelan, and nationalism.
How does the author define the "dagelan" character?
The author defines the dagelan as a comic performer who serves as a vital bridge between the audience and the narrative, often representing the "little people" or proletariat through satire and humor.
What is the significance of the "kidungan" poetry in ludruk?
Kidungan is a poetic form used for verbal improvisation, allowing performers to express critical social and political commentary in a way that remains culturally resonant yet indirect to avoid overt conflict.
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- Umi Maisaroh (Autor:in), 2019, History and Development of Aspects on Ludruk Setting During the Colonial Period in Indonesia, München, GRIN Verlag, https://www.grin.com/document/914894
