A traditional Betawi performance highlighting the struggles of its artists was the focus of the theatrical performance Soekma Djaja, staged in Jakarta earlier this week.

Soekma Djaja follows the a Betawi family trying to keep a traditional troupe, and ultimately themselves, alive in the metropolis and cosmopolitan Jakarta

Mixing the popular lenong (Betawi comedic show) with musical theater, Soekma Djaja combines spoken dialogue, acting, dance and songs; both traditional and modern. Betawi music, attire and décor fused with the urban and hip.

Brilliant college student Jaelani, or Jay to his friends, comes from a long line of gambang kromong artists.

Gambang kromong is a Betawi ensemble that combines traditional Indonesian and Chinese instruments and styles. The name derives from two instruments: the gambang ' a xylophone ' and the kromong, a set of kettle-gongs on a rack.

Other instruments such as a flute are also incorporated. The core instruments of the ensemble are gongs, drums and bell cymbals.

Similar to real life, Jay's family gambang kromong troupe Soekma Djaja and the performance art are on the verge of extinction because of other more popular, modern and easily accessible forms of entertainment.

The situation is made worse because Jay's dad Abdurahman Jaya, or Babe to his family, is suffering from ill-health and as a result cannot lead the troupe.

Jay, the oldest son, refuses to take the torch from his father and instead focuses on his education; he recently won a scholarship at a prestigious university.

Jay considers gambang kromong a dying art and, therefore, a waste of time and energy to defend. He is sure that education is the only way to lift his family get out of poverty. He does not want any part in the family business and hides his Betawi background from his friends and love interest Nadine. However, Jay finds himself cornered when his friends take interest in Betawi performance as a result of an education project.

Jay's younger brother Yadi, a senior high school student, takes over the reins from his father and begins to lead Soekma Djaja; Yadi ridicules Jay's reluctance to acknowledge his cultural heritage.

With lack of bookings for the troupe, Yadi takes the ensemble busking around the streets with his friends playing ondel-ondel (the gigantic Betawi human puppets) and his foster sister Lia dancing cokek.

Lead character Jaelani (far right), played by Bobtriyan Tanamas, is seen here at the beginning of the musical, which tells of a Betawi youth dilemma concerning dying traditions in cosmopolitan Jakarta.
One day, the group is asked to play at a large festival; the event calls for a more extravagant performance and costumes. All is going well for the troupe until Yadi is stabbed and killed by a student.

The world turns dark for the family following Yadi's departure. The preparation for the festival hangs in limbo and Jay is uncomfortable knowing the group is now in his hands.

Soekma Djaja is the latest production by Abang None Jakarta Alliance (IANTA), whose members are winners and finalists of the Abang None Betawi beauty pageant.

IANTA founder Maudy Koesnaedi and Diatone Asia promoter director Endo Sasongko produced the performance.

Soekma Djaja is directed by Adjie Nur Ahmad and written by Mima Yusuf, both of whom boast a long list of theatrical resumes.

The cast are all Abang None graduates and include Bobtriyan Tanamas (playing Jaelani), Lutfi Ardiansyah (Yadi), Doddy Eriandoko (Babe), Nurfitri Aprilia (Lia), Nissia Ananda (Nadine), Ita Dachrin (Nyak), and Ahmad Bastian Ibrahim (Engkong).

Soekma Djaja is a lively performance and benefits from elements borrowed from lenongshows, where actors are encouraged to improvise and interact with the audience and the musical ensemble.

The musicians give comedic cues throughout the performance; shouts and tones that make the actors respond accordingly with slapstick gestures.

The, mostly, young adult cast means the performance has a generous flow of urban lingo and phrases used for comedic effect. Some of the quips might be missed by audience members of a certain age.

There are some bumps in the otherwise flowing performance. One is the use of formal text-book speech in a few dialogues, which is expected considering that Abang-None is an administration-sanctioned institution.

There are some straight-out-of-soap-opera portions in a small number of scenes.

The performance is full of cheerful and upbeat dance choreography and sounds. Music director Imam Firmansyah deserves kudos for successfully combining modern instruments and urban sounds ' including beatbox and DJ ' with traditional Betawi music and tunes.

Similar to the Betawi culture, which amalgamates and assimilates elements from other cultures, Soekma Djaja is a rich blend of colorful ingredients.

' Photos by Ricky Yudhistira