A Preview of the Local Dangdut Scene

By: Dominique Staindl

16 July 2009

Crass, cheap-looking, big fake smiles in glittzy shreads of material was my first, somewhat unsympathetic and judgmental opinion of what I saw in front of me when I'd been taken to Indonesia's local dance scene. Dangdut performances were, to me, a clothed version of stripping...and singing.

Of course, there's a lot more to it than that but I challenge anyone to think otherwise when they're first confronted with one, two or maybe three buxom women up on stage clutching at microphones with painted talons wearing wigs and dressed in strips of sequins and polyester frills squawking at a crowd of men who have long forgotten about their (other) female counterparts. It was quite a show. We had managed to arrive 15 minutes before the end, and perhaps that was enough for me.

Dangdut at Purawisata

Dangdut stars are known for their glitzy (and often crass) performances

dangdut is also known as 'musik rakyat' or the music of the masses

The final act was a duo of 20-something year olds dressed in yellow, and these girls were by far the most daring. There was mutual caressing, girating and hip-grinding action thrown in with complex and athletic posing involving spread-eagles and external props. Need I say more? You get the idea.

Dangdut was started in the 70's by the self-proclaimed “King of Dangdut” Rhoma Irama, among working class Muslim youth, but beginning in the late 1990s reached a broader audience following in Indonesia and Malaysia. These days the girls still perform for predominantly blue-collared workers and cross-dressers in need of a few thrills. The theory is that they dance to a heavy, low drumming sound. I could hear a lot more over the drums, I admit, but where my criticisms lay with the style of singing and dancing, they could not extend to the charming performers I had the privilege to meet afterwards, on the insistence of the friendly club owner. As it turns out, these girls are named Anna and Novi and they are both studying law.

The pair, called “Double Ratu Star” (Double Queen Star), both love what they do because it's stress-free and the pay is good. The club owner states that these two are excellent at what they do, which is explains why they are a popular choice amongst the dance venues which hold Dangdut performances. And as they stare out at me under impossibly long eyelashes I wonder whether or not they really want to do this, or whether it's an easy way to pay for their courses. Anna explains through my translators that her mother encouraged her, as it was a family generational tradition. She goes on to say, with the enthusiastic input of her partner, that they don't even need to practice that much because it comes off so naturally! And the law? Is the more self-sustainable option for when the stardom of being one of the best Dangdut dancers eventually wears thin.

Double Ratu Star

with the two dangdut stars

I thank them so much for their time, especially as I hadn't expected an interview from the Queens themselves. They were all too happy to help.

So as we walk out of venue, which had cleared within minutes of the show's conclusion, my more local friends explain to me their own experiences of Dangdut, and what they understood it to mean. Adi, one of our Pathfinder leaders, explains that a show he had seen in a rural area was a little more "wild" and had even, at times, involved the gratuitous use of raw meat. Mmmm. Rachel, one of the Malaysian students from Monash, understood the Malaysian style of Dangdut dancing to be more 'traditional' and more modest in its costumes.

Well, regardless of what is was, or what it was perceived to be through my ever-widening eyes, I couldn't deny the show's popularity nor the energy and enthusiasm maintained by all the girls. But perhaps I'll stick to the more mainstream venues for my own dancing enjoyment.


WRITER'S PROFILE: Dominique or Dom as we all call her, has a mixture of English, Irish and Austro-Hungarian heritage. The Virgo who is pursuing a double major in French and Photography and minoring in Communication hails from Melbourne, Australia. Dom recalls poco-poco or line-dancing in Purawisata and walking blindfolded through the Banyan trees in Alun-alun Selatan as her favorite moments in Yogyakarta.

Sightseeing Prambanan... Storytelling Ramayana

By: Rachel Lai

14 July 2009

There's never a clear line between mythology and reasoning when it comes to basic human understandings. When we question the unknown, there seem to be this indefinite need to include some form of logic that circulates what we were taught to believe is real. The Prambanan Hindu Temple is precisely one of those mysteries of undefined history.

It was said to be constructed during the Sanjaya Dynasty around the 9th Century to represent the role of Hinduism within the Java Province. However, one can't help but question the possibilities to its construction given the preconception of mankind's primitiveness during that era. Hence, a folklore was passed down through generations to describe a love-tale between Bandung Bondowoso and Roro Jonggrang that had contributed to the temple's existence. It was believed that Bondowoso had used the force of spirits to build 999 temples for the princess within 24 hours upon request. Jonggrang's attempt of refusing his love had left her in a curse to be the 1,000th temple, whereby it is now believed to be within the highest temple, Shiva (Nandi).

Candi Prambanan by day

Candi Prambanan by night

Today, visitors will notice 6 main structures in the main yard consisting of the Brahma(Angsa), Shiva and Vishnu(Garuda) temples. Unfortunately, the present view of the temple has certainly changed from what it was 3 years ago due to the earthquake tragedy in 2006 that had shattered parts of the ancient temple.

The heavy chattering noises from the crowd was suddenly replaced by a sudden silence, with the echoes of the 'gamelan' (traditional Indonesian music) melody playing from a distance.It is absolutely heartbreaking as you enter the park, only to see stacked up stones everywhere that had been preserved from the destruction. Amidst the mixed feelings of amazement and disappointment, the Prambanan remained beautifully positioned in a serene ambient.

Only 2 of the temples were accessible, while the rest remain bounded behind barriers due to restoration processes. The visitors were not only intrigued by the monuments, but were also taking photographs of the working progress by the local workers. They were attending to the Vishnu Temple by carefully sliding the stones down through wood panels onto the rubber tires on the ground. Along the exit area comes another painful view of damaged but neatly piled up stones around, whereby it makes it hard to imagine how long it will take to reconstruct history.

While some people stood and sat in silence within the corners, staring away into the calmness of the space, others found a special interest in capturing the moment in different ways. It was interesting to note how most of the visitors became so engrossed in their photograph and video sessions. Perhaps it was the symmetrical beauty of the place that had resulted to desirable image shots.

students engrossed in their own photo sessions

The Monash crew took the opportunity to film short videos with Shazwan as the voluntary superstar, expressing some form of reminiscence to the Garuda Temple. The other directions showed some of the tourists posing away for photo shots in funny imitations of the Hindu Gods. It was evident that the undeniable beauty of the area had magically enticed these people to record the unforgettable experience of being there.

The Prambanan's architecture show carvings which depicts the tale of the legendary Ramayana. Thus, most of the temple visitors tend to take interest in the Ramayana Ballet performance, which is held in the Prambanan Temple Tourist Complex that overlooks the back view of the Prambanan. The spacious stage is designed with a mimic of the Hindu architecture as well as the Shiva temple as an almost perfect backdrop. The Ramayana tale has been a popular story-telling favourite that has been passed down from generations. The story revolves around the love between Dewi Shinta and Rama Wijaya that was conflicted with the evil forces of Rahwana who wanted to break the relationship. Rahwana's evil intentions brought upon a range of other misfortunes between various characthers like Jatayu, Hanoman and Subali. These chronological events are presented on stage by the performers through a collaboration of drama (role characterizations), dance (delicate and refined body movements) and music (gamelan) choreographies.

Ramayana Ballet stage with a view of the Prambanan temple

The Monash team was fortunate enough to gain a special access to the backstage which had allowed a preview to the preparation process by some of the performers. Entering the room filled with women who were busy putting on make-up was certainly intimidating for a non-formal interview session. Nevertheless, a few of them had managed to share their pride in being a part of the Ramayana performing crew. Apparently, most of the dancers are usually spotted for their talent from Sekolah Menengah Karawitan as well as the Institute Seni Indonesia (ISI) by the director. Some of them expressed that when they are on stage, they want to satisfy the audience by giving their best performance because it is a way of introducing their theatre culture to the people. This motivation perpetuates them to participate in workshops during the day, whereby they attempt to teach interested individuals the art of the Ramayana dance. What was interesting about these experienced performers was that they've reached a point where they don't necessarily need rehearsals. All they have to do is to come in and prepare themselves into their costumes before show time.

Performers in the first part of the ballet

It is no suprise that the Javanese culture takes honour in the beautiful Ramayana show. The grand performance has an unspoken effect on its audience, especially when the Prambanan Temple is visible from a distance. Though the show may be an elaborated and an expensive one, it is simply one of those investment that is worthwhile. The combination of the Prambanan sightseeing through the day and the Ramayana during the night provides a complete experience into the Javanese art and culture that mirrors the essence of Hinduism.

*View more pictures of the day from our photo album

WRITER'S PROFILE: Rachel Lai is a Malaysian currently pursuing her FINAL year in Bachelor of Arts (majoring in International Studies and Communications) in Monash University Malaysia. A passionate day-dreamer addicted to exploration, she believes that there is nothing in this world that should stop us from fulfilling our dreams.

Sightseeing Kraton

By: Abeer Yusuf

14 July 2009

Our visit to Kraton, like any other tourist attraction, started with an impressive line of souvenir stalls and persuasive peddlers. Our 6th day in Yogyakarta, was dedicated entirely to doing 'the tourist thing'.

The first thing you notice about Kraton, the Sultan's Palace, is how massive it is, yet how the vibe of minimalism and not opulence runs through you. Sprawling far and wide and divided into 7 parts, never once are you overcome by the simplistic grandeur of the premises, yet surprisingly pleased with the calming effect of the whitewashed walls.

I must admit, my own preconception of Kraton was that it would be a fancy place, gilded walls with gold lavatories and whatnot, but I was more than satisfied when I saw the same down-to-earth-ness reflected in the palace grounds as in the people of the city.

Rini, our guide for the day, led us from the 1st part outside for coronations, to the 2nd part (which was where we met her) to the 3rd which is a waiting hall and where the gamelan (traditional Javanese music) is played every Sunday. The 4th part was still under reparation, as it had been badly damaged during the 2006 earthquake, so it was from the 5th till the 7th part in which we really understood the Kraton and its entirety. The first thing that greets you as you make your way into the Kraton is a pair of giant gupalas, monstrous looking statues which are said to be the guardians of the entrance. One statue represents all that is good, while the other represents all that is bad. The reason why both good and bad are represented is to display basic human nature, which includes both, the power of good and evil. Throughout the tour, we were informed about many deep symbolisms around the palace's elements. One that got everyone's attention was the intelligent way in which the Javanese year 1853 was 'written'. In Bangsal Manis, the dining area, one can find 2 red snakes with heads moving in opposite directions. Closer inspection (and a guide's help) will tell you that the swirls add up to the number 8, the crown atop the snakes represents the number 1, the face of Ravana represents the number 5 (because it is believed that every bad person has 5 characteristics, which include promiscuity, theft, alcoholism, and drugs)and the leech on the face number 3, all of which very conveniently adds up to 1853.

Gamelan music playing softly in the background

The snakes at Bangsal Manis, representing number 1

Yet another set of 'signs' was shown to us by our guide when she was leading us to the 6th part of the palace- the male and female residences. As per rule, as soon as the royal children reach the age of 17, they are separated into girls'(“keputrian”) and boys'(“kesatrian”) quarters, and what better way to show that than to use 2 dragons, one male the other female, both looking away but intertwined, to deliver this message? Ingenious I tell you.

Besides that, we all got a chance to look at various 'bangsals'- pavilions. Among them was Bangsal Kotak, where dancers wait in line before performing in front of the Sultan, another was Bangsal Mandolo Sono, where the Sultan listens to various types of music and most importantly, the Bangsal Pochono, where any type of important ceremony, from Muslim religious festivals to the receiving of official dignitaries, weddings and deaths are held.

Finally, we were led into a museum holding the previous Prince's, Sri Sultan Hamengku Buwono IX's vast memorabilia. There, we discovered, in our search of Yogyakarta, another interesting fact that set Yogyakarta apart from all other Indonesian cities.In 1945, the first President of Indonesia, President Sukarno passed a decree that allowed the reigning Sultan to simultaneously be the Governer. Many students also giggled at a cage-like playpen for young royals, while admiring intricate artwork on various sedan chairs made for the royals.

Our trip was filled with many bits of interesting information; for example, older abdi dalams (servants of the Sultan) who help out with the Dutch tourists, since most of them are quite fluent in Dutch. Another thing we were told was that there are distinguishing features in terms of the length of service to the Sultan where abdi dalams who have been working for 3 years or less are not allowed to wear a kris, a traditional weapon, though the senior members of staff are often seen wearing them tucked on the backs of their sarongs. Also, the current Sultan Hamengku Buwono X, has only one wife and no sons (only 5 daughters), a stark comparison to his father, Sultan Hamengkubuwono the IX, who had 5 wives. Still, that is not half as shocking as when we found out that Sultan Hamengku Buwono VIII, had 8 wives and 42 children through the genealogy showcased in the museum.

Posing with two Abdi Dalams (royal servants)

Being an Abdi Dalam is considered an honour

All in all, it was a fantastic lesson in Javanese culture, insight into the royal life behind the walls of Yogyakarta's palace and further evidence of the simplicity of the people of Yogyakarta. We were also intriguied that the ground one walks upon in the Palace is actually soil brought in from Mount Merapi, the active volcano in the Yogyakarta.

*View more pictures of the day from our photo album


WRITER'S PROFILE: Abeer is pursuing Writing and International Studies at Monash University Sunway Campus. Being especially talkactive and chatty, Abeer is also part of the blog team that is in charge of this blog and In Search of Yogyakarta's facebook.

Local Music: The Pulse of the City

By: Natasha Tan

14 July 2009

If Mount Merapi, Kraton, Borobudur and Prambanan were the heart and soul of Yogyakarta then music would be its pulse.

During my first night in Yogyakarta, one of the many sounds I heard were the sounds of guitar strumming, drum beats, tambourine's ringing and melodious harmonies streaming together as one, creating a sound of harmony juxtaposed within the sound of the city's busy streets of motorcyclists zooming down the street to the sounds of vehicles honking at the slightest traffic hold-up and becak (trishaw) drivers offering their services towards just about anywhere.

Students sitting on the streets of Yogyakarta strumming their guitars

To the uninitiated, it would have been a symphony of the most cacophonous. The sights and sounds of this vibrant city might not be seen anywhere else but here, especially along Malioboro Street, a busy street filled with vendors selling their wares ranging from batik clothing and flip-flops to T-shirts that say “I Heart Yogya” to stalls selling funky and colourful accessories to food stalls displaying their array of mouth watering local delicacies. All in all, it is a street filled with pretty souvenirs to bring back home to remind yourself of the wonderful times you had in Yogyakarta and great local street food that will definitely stimulate your taste buds.

However, one of the most striking sights in the streets is that of the pengamen or buskers. They are a dime a dozen here and yet they are respected by the people. They may be busking for the money but many of them are seen to be doing it for the passion and art of music itself. Along the streets of Malioboro, you can find youths hanging out with their friends, singing and strumming their guitar. It seems to be the favourite past time for these youths.

a pengamen playing music for the crowd

My first encounter with the ngamen was when I was walking past the lesehans, a place similar to the mamaks Malaysia but the difference is that customers of the stalls at lesehans sit on mats on the ground. The ngamen would perform at the sides and the group consist of one, two or more performers. The guitar is one of the most popular instruments used by the ngamen to make ends meets. However, there are those who are more elaborate where they have a band consisting of a vocalist, a guitarist, a drummer and a bassist,the whole make-up of a band. I was mesmerized by the amount of ngamen who could be found along the streets. They are well-accepted by the people with many obliging passers-by giving them a token sum for their performance.

I would think that the only venue to be serenade with great music would be whilst dining in a fancy restaurant but little did I know that such an event is also possible while I am sitting down at the lesehan digging in to the local nasi goreng (fried rice).

Rashaad and Shazwan, my fellow travelers and musicians mentioned that the ngamen here are a fresh change from Malaysia and claim that it is a pleasant experience to be able to see the pengamen being able to do what they do without being harassed by the authority. They also commented that the ngamen give the streets of Malioboro more life and makes it a much more cultural experience as it conveys the image that Yogyakarta is not only popular in the arts but also musically inclined, not inhibiting the abundance of talents. Intrigued by the chance at gaining the experience of being a pengamen, Shazwan and Rashaad tried their hand at busking at the Parangtritis Beach, a beach we visited and proved successful at scoring approximately Rp.15 000 from the passers-by.

Rashaad and Shazwan trying their luck as pengamens

I managed to speak to Sapti, a 30-year-old ngamen who performs along the streets of Malioboro. She has been playing her flute for 3 years. She plays every night along Malioboro Street starting at 6.30pm till 10pm or beginning at 8.30pm if she plays in front of the Malioboro Mall. Playing in front of Malioboro Mall sometimes comes with risks as security from the mall restricts this activity. If that happens, she will walk around until the security are out of sight before she resumes her music. Sapti mostly plays Javanese music and Indonesian pop songs. She plays-by-ear where she listens to the song on the radio and then learns the chords from there. Such is the dedication to one's art. Being visually impaired does not stop Sapti from performing and doing what she loves to do even though she does it mainly to make ends meets.

Yogyakarta is truly a place where the city is alive with the sound of music.


WRITER'S PROFILE: Natasha is in her final year pursuing a degree in the Bachelor of Arts majoring in Communications and Writing. She is from Subang Jaya and in this trip, she will be seen lugging the unversity's camera being a part of the photography team, as we embark on a journey in search of Yogyakarta.