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Slamet Gundono dan Opera Suro

07 Jan

Namanya lebih besar daripada tubuhnya, Tapi ia sangat dikagumi banyak orang, di dalam dan luar negeri. Namanya Ki Slamet Gundono. Ia antara lain pernah memperoleh penghargaan ‘the Prince Claus Award’ dari Belanda (2005). 

Tulisan ini pernah ditayangkan di sini pada 20 Januari 2012 lalu. Sehubungan dengan wafatnya Slamet Gundono (5 Januari 2014 lalu), sengaja artikel ini di-renovasi, untuk mengenang sang seniman besar ini. Tulisan bahasa Indonesia ada di bagian bawah. Untuk tulisan dalam bahasa Inggris, Anda bisa merujuk berita dari The Jakarta Post di bawah, atau artikel dalam Wikipedia ini

Ini yang ditulis ‘The Jakarta Post‘ tentang sang tokoh:

Slamet Gundono, the nation’s most prominent contemporary wayang dalang (puppeteer), died in Kartasura, Central Java, on Sunday from complications following a heart attack. He was 47. In 1995, Gundono caused a buzz at a festival of dalang in Surakarta, Central Java, when he presented a pakeliran (Javanese wayang or shadow puppet show) that went outside the rules.

Most Prominent Puppeteer - Slamet Gundono (photo: The Jakarta Post)

Most Prominent Puppeteer – Slamet Gundono (photo: The Jakarta Post)

In front of famous classical puppeteers such as Ki Anom Suroto, Ki Manteb Soedharsono, and Ki Purbo Asmoro, Gundono crossed boundaries, mixing various disciplines from modern and traditional theater, music, dance and even contemporary arts vocabularies. He revolutionized a world of wayang that had been considered stagnant.

Classical dalang were shocked, fans were surprised and protests followed the crazy spectacle. However, renowned figures in the country’s cultural scene found Gundono a breath of fresh air, including poet Goenawan Mohamad, the late author Umar Kayam, art critic Halim HD and Murtidjono, formerly head of the Central Java Cultural Center.

Since then, Gundono’s creative flair had been unstoppable. He created wayang nggremeng, wayang api and wayang air. In 1999, he developed wayang suket or grass puppetry, which became his signature piece. Gundono even named his studio in Surakarta Sanggar Wayang Suket.

He said that wayang suket existed somewhere in between the Western theory of theater and the Eastern puppet traditions. “Like grass, the spirit has to keep growing. Grass does not need a lot of water and sun, but it keeps growing. I learned a lot from the philosophy of grass,” he told The Jakarta Post in an interview several years ago.

The philosophy became the inspiration behind wayang suket. His shows symbolized the grassroots spirit, reflecting on the self rather than on organizing a revolt or a social destruction. “Life is like children playing in the yard. Life is essentially having fun. God sent us to earth with joy, therefore God shall be joyful when we return to Him. Don’t commit graft, don’t steal, don’t gamble and don’t be a womanizer,” he said.

Gundono did not only create a new form of puppetry, but he also adapted the stories to respond to social/environmental problems such as floods, water shortages and environmental destruction. He also delivered moral and religious values in his shows. Gundono was also an avid writer of suluk, the poems recited during puppet shows.

His suluk confronted social problems, such as in Palagan Kurusetra, where he criticized the violence wreaked by different religious groups and different schools of thought in Islam. “Did the Prophet Muhammad never allow his followers to harm enemies who yield? Then why did they act inhumanely toward their Muslim brothers?” Gundono wrote.

In the eyes of his peers, Gundono was among the few who could create original works. Kelingan Lamun Kelangan, Sukesi atau Rahwana Lahir, Limbuk Ingin Merdeka and Bibir Merah Banowati were among his creations that resulted from a prolonged creative process.

He always was energetic on stage despite weighing more than 150 kilograms. With ukelele in hand, Gundono danced with freedom to the music he was playing. In Sanggar Wayang Suket, founded in 1999, he did not only make art but also conducted research and fostered discussions.

In 2005, Gundono received a prestigious award from the Netherlands: the Prince Claus Award. In his note for the award, scholar Philip Yampolsky wrote that Gundono’s work “draws on the stories, characters, music and philosophy of Javanese tradition, but not in their classical, court-sanctioned formulations. Instead, he reassembles the traditional elements in a looser, alternative structure and uses them to affirm the dignity and integrity of the neglected and ignored, the people without power and voice.”

Born on June 19, 1966, Gundono defied his father, a classical wayang puppeteer, refusing to learn how to become a dalang, saying that he saw many puppet masters who were alcoholics and womanizers. Instead, he entered an Islamic school. After graduation, however, he followed his father’s wishes and pursued a career as a dalang. A graduate of the Surakarta Arts Institute, Gundono was hospitalized on New Year’s Eve after a heart attack. For the last two days of his life, Gundono was in coma.

Fellow puppeteer Sri Waluyo said Gundono died on Sunday morning with a smile on his face. His funeral on Sunday was packed with artists from Surakarta and Yogyakarta, including dalang Ki Manteb and actor Butet Kartaredjasa. Dozens of fellow artists also sent condolences through social media, expressing their loss of an important artist who was an inspiration for many others. With his trademark attire — a loose shirt and knee-length pants — Gundono had made a significant mark not only in the world of wayang, but also in the nation’s performing arts. He is survived by his wife, Nuning Rejeki, a Javanese classical dancer, and their two children.

Seniman Ki Slamet Gundono memang bertubuh besar. Beratnya di atas 100 kg. Ahad, 5 Januari 2014 lalu, sang dalang kreatif itu wafat di Solo pada usia 47 tahun, dan meninggalkan seorang isteri dan dua anak.

Meski berbadan tambun, reputasi dalang pendiri Sanggar Wayang Suket itu jauh lebih besar ketimbang tubuhnya. Tak salah jika Pemerintah Kabupaten Tegal kemudian berencana menobatkannya sebagai Pahlawan Kesenian Tegal. Di bawah adalah tulisan mengenai pertunjukan ‘Opera Suro’ karya Slamet Gundono yang sangat unik dan menarik.


Sangat kreatif - Dalang kontemporer yang jarang ada tandingannya.

Sangat kreatif – Dalang kontemporer yang jarang ada tandingannya.

Sebuah pertunjukan seni yang sangat bermakna. Khas Indonesia, oleh artis lokal yang sangat berkarakter.

Kisah ‘Opera Suro’ yang dilantunkan Slamet Gundono ini membuktikan bahwa legenda Sayyidina Husain as sudah berurat berakar di Indonesia — mulai Aceh, hingga pulau Jawa dan Sulawesi hingga Nusa Tenggara (Lombok). Mungkin juga di tempat-tempat lain. Selamat menyimak youtube ini:

Ini keterangan di bawah video itu (saya copast):

CIREBON — Tragedi kesyahidan Imam Husain di padang Karbala, dipentaskan dengan pagelaran seni Wayang Suro dalam Palagan Kurusetra. Pementasan yang digelar di Gedung Kesenian Nyi Mas Rarasantang Cirebon ini, menjadi pagelaran kesenian yang terbilang reflektif.

Tiga dalang, tiga pementasan. Gelar seni wayang suro dalam Palagan Kurusetra tersebut ditampilkan Komunitas Wayang Suket, dengan dalang Ki Slamet Gundono dari Solo, lakon perempuan di ujung air mata, kepala siapa di ujung tombak. Sanggar Seni Puser Langit, dalang MP Ponimin, dengan lakon tragedi Kurusetra. Sanggar Seni Sekar Pandan, dalang E Heri Komarhadi, dengan lakon Bisma gugur.

Setiap dalang dan komunitasnya mementaskan lakon yang berbeda tapi satu alur, karakter dan pesan hampir sama, yakni sepahit dan segetir apapun kebenaran harus ditegakkan. Pementasan yang kreatif, tentang kegetiran, kebengisan, dirasa sangat mengenaskan, sekaligus menggelitik, menyampaikan pesan dan kesan yang cukup mendalam.

Pementasan pertama dilakukan Sanggar Seni Sekar Pandan, dalang E Heri Komarhadi dengan lakon Bisma gugur. Kemudian dilanjutkan dengan pementasan Sanggar Puser Langit, dalang MP Ponimin dengan lakon Tragedi Kurusetra. Pamungkas acara, Komunitas Wayang Suket, dalang Ki Selamet Gundono, mementaskan perempuan-perempuan di ujung airmata, kepala siapa di ujung tombak. Mementaskan tragedi kesyahidan Sayyidina Husain di Padang Karbala. Kepala Sayyidina Husain dipenggal ditancapkan di ujung tombak, dipamerkan di seluruh penjuru kota. Sayyidina Husain harus gugur setelah dikepung pasukan penguasa yang lalim di medan Karbala dalam misi menegakkan kebenaran.

“Pertunjukan ini tidak direfleksikan sebagai Karbala saat itu saja, tetapi Karbala di zaman manapun. Orang yang menegakkan kebenaran, mungkin nasibnya akan sama, yakni dipenggal kepalanya, ditumpas, dibunuh pikiran-pikirannya,” Slamet memaparkan.

Hadir dalam kesempatan itu Bupati Purwakarta Kang Dedi Mulyadi, yang datang sebagai seniman dan perwakilan dari atase kebudayaan Iran. Keduanya menyambut acara tersebut atas undangan dari pihak FKM.(hsn)

http://radarcirebon.com/2011/01/10/pementasan-wayang-suro-pukau-penonton/

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2 responses to “Slamet Gundono dan Opera Suro

  1. saleh

    01/06/2017 at 2:53 pm

    link video youtubenya sdh ngga ada yang itu, diganti dengan ini

     
  2. Robert Raleigh Bosertinos

    10/02/2012 at 3:07 am

    sunan kalijaga aja mesyiarkan agama islam dengan cara media wayang dgn cerita ramayana dan mahabharata.

     

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