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Malang's mask dances for modern tastes
Dancers wear traditional costumes and masks, such as this performer, who is portaying Prabu Klono Sewandono
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Dancers wear traditional costumes and masks, such as this performer, who is portaying Prabu Klono Sewandono.
With slow, confident steps, a player portraying Prabu Klono Sewandono danced to the stage, passing guests seated at dining tables.
After Sewandon finished his solo performance on stage, Raden Panji Asmoro Bangun, also known as Inu Kertapati, entered.
The two then performed a stylized dance to win the love of Dewi Sekartaji.
It's a glimpse of a traditional mask dance from Malang ' truncated for modern tastes and presented to an audience in a five-star hotel.
In the performance, Dewi Sekartaji was played by Kiki Devi, 24; Supriono, 35, portrayed Panji Asmoro Bangun; and Witanto, 40, portrayed Prabu Klono Sewandono.
The 15-minute dance has been frequently staged at various traditional art events. What made the show different that night was that the artists of Malang Dance Company appeared in Tirta Gangga room in Hotel Tugu in Malang, East Java.
In the following week, the three dancers again performed with another story, Ardhanareswari. This mask dance depicted the story of Ken Dedes, the beautiful Ardhanareswari, or eminent lady; who captivates Ken Arok, seeking to marry Ken Dedes in a quest for power.
Ken Arok eventually defeats Dandang Gendis, ruler of Kadiri, establishing the Singasari kingdom with Ken Dedes as his consort.
'Our hotel appearances, from costumes to movement, are surely different from regular shows,' said Winarto Ekram, 42, head of the Malang Dance Company. 'They're usually held outdoors to cheer up family receptions or art festivals.'
He described the indoor performances as a challenge, as his troupe presents this typical dance of Malang on a routine basis at the hotel.
The stories come from the panji (prince) legends that have inspired mask dances for generations in Malang.
According to Winarto, the storylines of the hotel performances are generally the same as those in the traditional open-air shows. The only difference is in packaging. 'The costumes, movement variations and duration of the episode presented are specifically adjusted.'
There is, of course, a gamelan orchestra. Dancers wear traditional costumes and masks with dance movements synchronized to the layout of the stage and guest tables.
The scene when Dewi Sekartaji runs away, for example, is done as a roundabout movement to the back of the room, behind the tables.
Although the traditional mask dances typically run from 30 minutes to an hour, the hotel shows run from 15 to 20 minutes.
'I just adapt the core episode in a unique and dramatic way so that the audience won't get bored. If the story comes in the 'a-b-c-d' sequence, for example, I can pick the 'a' or 'd' alone,' Winarto, who has been a choreographer since 1994, says.
Shows are self-contained and not serialized, so transiting hotel patrons can fully enjoy the stories. A synopsis is read to the audience in Indonesian and English, while the number of dancers is limited to three.
'Classical stories in several parts of the world mostly present only three central figures,' said Winarto, who that week also played Rahwana in the 'Soka Park' segment of the Ramayana the troupe presented at the hotel.
Winarto says that human resources are the biggest constraint for his troupe, most of who will gravitate to modern dance as they grow older and more experienced.
'It's their right to develop their creativity. Maintaining their consistency is thus the main challenge to regeneration,' Winarto said.
His adaptations are sure not to please everyone. Studios with senior artists too loyal to genuine mask dance standards will find it hard to accept modifications. 'It's all right if performers just appear for regular public shows. But when it comes to exclusive occasions they should portray something different,' Winarto said.
