A ‘Reyog’ Dancer’s Dedication
As an artist who has been engaged in the art of reyog Ponorogo (tiger-peafowl mask dance from Ponorogo), Sudirman, 55, has trained many dancers. But to preserve reyog, broader collaboration is needed.
As an artist who has been engaged in the art of reyog Ponorogo (tiger-peafowl mask dance from Ponorogo), Sudirman, 55, has trained many dancers. But to preserve reyog, broader collaboration is needed.
A small spouted pot was dancing on a cambric piece one afternoon. The graceful movement followed the pattern of a tiger head bearing a peafowl with its beautiful feathers. The aroma of liquid wax was pervading the room.
On a wooden bench, painter Guntur Sasono was sitting, holding a book. He was guiding women drawing a new batik motif that in fact is already familiar to Ponorogo’s community life, which takes the form of a tiger and peafowl.
In another place in the same location, a batik painting exhibition was held with reyog as its theme. Ten visual artists from several cities around Ponorogo participated in the display, mostly being art teachers.
It was a glimpse of activity at the residence of Sudirman in Paju village, Ponorogo district, Ponorogo regency, East Java, on Friday (August 30, 2019).
The reyog-motif handmade batik workshop and reyog painting exhibition were part of the celebration of Festival Budaya Bumi Reyog (Reyog Land Cultural Festival) organized by the Ponorogo regency administration. The cultural festival marked Islamic New Year or Grebeg Suro and the 523rd Anniversary of Ponorogo.
The more media are used to apply reyog, the easier this traditional art will be accepted by the various segments of society.
The village activity was personally funded by Sudirman. He also promoted it via social media and other networks. Nevertheless, the concept of the program was not just kitsch. He invited batik makers from Sumoroto batik village.
The activity arranged by Sudirman constituted an attempt to introduce reyog in a broader context. He wishes to broaden the knowledge and horizon of society so as to be aware that reyog can be applied to diverse media such as handcrafted and handpainted batik cloths.
The more media are used to apply reyog, the easier this traditional art will be accepted by the various segments of society. This is expected to bridge the effort to make reyog a concrete part of public life.
Jatil dancer
Sudirman is actually a dance artist that inherited the artistic talent of his parent, Dono Diharjo. His father is a warok (master), a central figure of the local community managing a reyog art group. Since childhood, he has been trained to become a jatil (horse dance) player along with his older brother, Jikun.
After finishing junior high school, Sudirman entered a teacher’s training school, primary school teacher department, and later studied at the Surabaya Pedagogic and Teacher’s Training Institute, dance art department. At the time he was more profoundly acquainted with reyog for studying its movement structure and dance character academically.
The small number of schools in Ponorogo with dance teachers makes Sudirman play a significant role in developing reyog in the educational sphere.
The deeper knowledge further increased Sudirman’s love of reyog. After graduation, he applied his discipline by working as a dance teacher in Pacitan regency for four years and returned to Ponorogo, where he continues to live.
For Sudirman, reyog is his way of life. He feels indebted because he has been brought up by reyog. To return the great benefits he enjoys, Sudirman is determined to safeguard the soul of reyog.
Apart from focusing on reyog dance teaching at State Junior High School (SMPN) 1 Jetis, he also teaches in several other schools beyond his working hours. The small number of schools in Ponorogo with dance teachers makes Sudirman play a significant role in developing reyog in the educational sphere.
He is involved in the writing of a reyog instruction guide book for art teachers in the Ponorogo area. In schools where learning facilities are limited, Sudirman is prepared to use his private property like gamelan musical instruments, dance costumes and barongan or tiger-peafowl masks.
For him, it is better to have his equipment worn out for being used in training than having it shabby out of disuse. All efforts made by Sudirman aren’t meant for material gain but rather for introducing reyog at an early age.
Therefore, his exertions aren’t only limited to schools. The owner of Kartika Puri Dance Studio accommodates children who want to learn dancing outside their schools. He also trains in villages in Ponorogo facing a reyog dancer crisis due to disrupted regeneration from their predecessors.
Dancers should be allowed freedom of expression so that the dances rendered can be enjoyed by both the players and their spectators.
A lot of dancers and trainers have been born out of the studio, schools and villages through Sudirman’s artistic touch. He not only teaches traditional dances but also festival dances. A reyog festival is more complicated as it presents dramatic and dance arts with attractive choreography and musical arrangements.
Based on his experience in traditional art, all residents of Ponorogo have a passion for art, especially that of reyog. However, the potential needs to be honed with proper guidance. Dancers should be allowed freedom of expression so that the dances rendered can be enjoyed by both the players and their spectators.
During Festival Budaya Bumi Reyog, which included the Reyog Ponorogo National Festival, Sudirman chose to be active, although he was not part of the core committee. He was highly enthusiastic about contributing to the program that in his view was capable of promoting reyog at the national level.
Among others, he widely opened the doors to festival participants from other cities who needed temporary lodging. Sudirman happily offered various kinds of reyog dance equipment like tiger-peafowl masks and gamelan instruments to the contingents in need of them.
“As a host, I would feel embarrassed if I couldn’t help. Even those who are non-Ponorogo residents are willing to preserve the reyog art. I’m a native of Ponorogo, I’d be ashamed if I failed to do more than they could,” said Sudirman.
Sudirman
Born: Ponorogo, April 7, 1964
Wife: Rini Sulandari (51)
Occupation: Dance art teacher, SMPN 1 Jetis Ponorogo
Education: Madusari State Primary School, Siman district, 1970-1976; Ponorogo State Junior High School 3, 1977-1980; Ponorogo Teacher’s Training School, 1980; First-degree graduate, Surabaya Pedagogic and Teacher’s Training Institute, Dance Art Department