A grand diplomacy through the beauty of Indonesian dances & music A tribute to our beloved Bapak Sampurno,SH. We present Nusantara Dance Performance and the Javanese Musical Drama. Featuring maestros and well known dancers and musicians.

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PERGELARAN TARI NUSANTARA DAN
MATAYA LANGEN SWARA
Nusantara Dance Performance and
A Javanese Opera
Sasono Langen Budoyo - Taman Mini Indonesia Indah | 28 Januari 2018

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Sebuah diplomasi dengan cara menampilkan budaya seni tari
dan musik Indonesia
Kenangan kepada Almarhum Bapak Sampurno, S H
Dalam Diplomasi Kebudayaan
A grand diplomacy through the beauty of Indonesian dances & music
A tribute to our beloved Bapak Sampurno,SH.
We present Nusantara Dance Performance and the Javanese Musical Drama.
Featuring maestros and well known dancers and musicians.

4. SAMBUTAN PEMRAKARSA PAGUYUBAN SEKAR BUDAYA NUSANTARA
REMARKS FROM THE INITIATOR OF PAGUYUBAN SEKAR BUDAYA NUSANTARA
SAMBUTAN DIREKTUR UTAMA TAMAN MINI “INDONESIA INDAH”
REMARKS FROM PRESIDENT DIRECTOR OF TAMAN MINI “INDONESIA INDAH”
PROGRAM
PROGRAM
TARI MERAK
THE PEACOCK DANCE
TARI PERSEMBAHAN KEPADA AMAI DARI HUTAN RIMBA KALIMANTAN
THE DANCE, TRIBUTE TO AMAI (FATHER) IN THE LAND OF THE SACRED RAINFOREST BORNEO
LEGONG KUNTUL PUTIH
THE WHITE HERONS DANCE
Daftar IsiCONTENTS
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08
11
10
13
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5. MATAYA LANGEN SWARA
JAVANESE MUSICAL DRAMA
TOKOH KONTRIBUTOR KREATIF
CREATIVE CONTRIBUTORS
MANAJEMEN
MANAGEMENT
UNGKAPAN HATI SARASMANI SAMPURNO
WORDS FROM THE HEART OF SARASMANI SAMPURNO
TENTANG SAMPURNO, SH
ABOUT SAMPURNO, SH
PENGALAMAN PERGELARAN DI LUAR NEGERI PELANGI NUSANTARA TAMAN
MINI INDONESIA INDAH
CULTURAL DIPLOMACY MISSIONS OF PELANGI NUSANTARA TAMAN MINI INDONESIA INDAH
GALERI
GALLERY
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27
54
53
56
61
65
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Remarks from The Initiator of Paguyuban Sekar Budaya
Nusantara
SAMBUTAN PEMRAKARSA
PAGUYUBAN SEKAR BUDAYA
NUSANTARA
ertama-pertama saya mengucapkan syukur alhamdulillah
karena panitia peringatan 18 Tahun Swarga Dwijatama
Sampurno S.H. berhasil mewujudkan gagasan menjadi
kenyataan yaitu memberi penghargaan tertinggi atas jasa-jasa
dan dedikasi Bapak Sampurno S.H. sebagai pionir dalam rangka
mengangkat dan memperkenalkan seni dan budaya nusantara ke
mancanegara pada era tahun 80 hingga 90an.
Saya sangat mendukung penyelenggaraan acara ini karena saya
sangat kenal kualitas dan kapasitas beliau. Saya selalu memanggil
beliau dengan “Mas” Sampurno. Kedekatan saya dengan Mas
Sampurno sejak kami ikut dalam tim persiapan pembangunan TMII
yaitu sekitar tahun 1973. Kami selalu berdampingan saat mengha-
dap Ibu Tien Soeharto melaporkan segala persiapan tentang berb-
agai hal terutama mengenai landasan konsep maupun rancangan
tentang majamen TMII ke depan. Mas Sampurno adalah orang
yang sangat perfect, berwawasan luas dan sangat menjunjung
tinggi profesionalisme; yang pada saat itu tahun 80-an tidak ba-
nyak para pejabat yang memiliki kemampuan seperti itu. Oleh
karena itu semua orang menjadi maklum bahwa Mas Sampurno
yang sesungguhnya dianggap jadi orang yang paling penting
dalam rangka memberi landasan dan konsep tata kelola atau
manajeman TMII secara menyeluruh.
Gagasan beliau untuk menampilkan seni dan budaya nusantara
ke luar negeri adalah suatu gagasan yang cukup spektakuler pada
waktu itu. Ide itu sangat cemerlang namun tidak secara tiba-tiba
dilaksanakan. Beliau sudah persiapkan langkah-langkah dengan
membentuk terlebih dahulu Pelangi Nusantara di TMII; sebuah
tempat penggemblengan bakat-bakat seni tari yang berkualitas
First and foremost, I would like to convey my heartfelt apprecia-
tion as the committee to commemorate eighteen (18) years of The
Late Dwijatama Sampurno, S.H.,who has sucessfully formalized
ideas into reality, to give the highest appreciation to Bapak Sam-
purno, S.H for his services and dedication as a pioneer to elevate
and introduce art and The Nusantara Culture to foreign countries
in the 80’s and 90’s
I fully support this event as I know his quality and capacity. I usu-
ally address him as “Mas Sampurno”. My close relationship with
mas Sampurno started when we were together in the preparation
team for the development of TMII, in 1973. We were always hand
in hand when we met the late ibu Tien Suharto, reporting various
concepts and foundation as well as design the future TMII Man-
agement. Mas Sampurno was a perfectionist; has broad insight,
upheld the highest professionalism, which weren’t around during
the 1980 and not all government officers had that capability. It
was therefore quite understandable that everyone regarded Mas
Sampurno to be the most important person to provide foundation
and concept to organize TMII Management as a whole.
His idea to display and present art and our archipelago culture
overseas was one spectacular idea at that time. The idea was so
brilliant; however it was not immediately executed. He prepared
step by step by forming Pelangi Nusantara –“Rainbows of the Ar-
chipelago” at TMII; a place where art and dance talents were nur-
tured to be presented nationally or globally. Eventually the echoes
of the spirit was made into a model an event by the government in
the form of diplomatic culture by displaying quality cultural dances
from the archipelago that we are proud of, to various countries.
P

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untuk ditampilkan secara nasional maupun global. Dan akhirnya
gema semangat itu dijadikan model dan event oleh pemerintah
dengan format Diplomasi Kebudayaan dengan menampilkan ber-
bagai seni tari nusantara yang berkualitas dan dapat dibanggakan
ke mancanegara.
Terus terang, saya banyak menimba ilmu dan pengalaman dari
beliau terutama dalam rangka mengelola seni tari secara modern.
Hingga pada akhirnya pada tahun 2000 segala kiprah dan sepak
terjang beliau menginspirasi saya untuk mendirikan Paguyuban
Sekar Budaya Nusantara, yang bergerak dalam rangka pembinaan
dan revitalisasi seni Wayang Orang.
Sekali lagi, saya menyampaikan selamat kepada panitia, yang
telah berhasil melaksanakan kegiatan ini. Semoga semangat dan
suri tauladan yang telah diberikan oleh Mas Sampurno dapat
terus menyulut ide-ide, gagasan baru dan menginsiprasi setiap
langkah-langkah pelestarian dan pengembangan seni dan budaya
nusantara, terutama dalam format diplomasi budaya nusantara ke
mancanegara, di masa-masa mendatang.
Frankly, I have gained knowledge and experiences from the de-
ceased, especially how to manage modern cultural dances.
Towards the end of 2000, all his gait and lunge inspired me to initi-
ate Sekar Budaya Nusantara Community, in the form, of coaching
and revitalisation of “Wayang Orang”.
In closing, I wish the committee success in their achievement to
implement this activity. May the spirit and excamples projected
by Mas Sampurno ignite new ideas, inspire each step to conserve
and develop art and culture, especially in the diplomatic cultural
archipelago overseas in the years to come.
Jakarta, 10 Januari 2018
Paguyuban Sekar Budaya Nusantara
Nani Soedarsono
(Pemrakarsa/Initiator)
Saya selalu memanggil beliau dengan “ Mas” Sampurno.
Kedekatan saya dengan Mas Sampurno sejak kami
ikut dalam tim persiapan pembangunan Taman Mini
Indonesia Indah yaitu sekitar tahun 1973.
I fully support this event as i know his quality and capacity. I usually address him as “Mas Sampurno”.
My close relationship with mas Sampurno started when we were together in the preparation team for the
development of Taman Mini Indonesia Indah, in 1973.

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Remarks from President Director of Taman Mini “Indonesia
Indah”
SAMBUTAN DIREKTUR UTAMA
TAMAN MINI “INDONESIA
INDAH”
ssalamualaikum Warahmatullahi Wabarakaatuh
Salam sejahtera untuk kita semua.
Puji Syukur kita panjatkan ke hadirat Tuhan Yang Maha Esa atas
limpahan rahmat dan hidayahNya, sehingga bisa mewujudkan
suatu acara yang indah dalam rangka mengenang dan memberi-
kan penghargaan tertinggi atas dedikasi dan jasa-jasa almarhum
Bapak Sampurno S. H. sebagai tokoh pelestarian seni budaya nu-
santara yang berhasil, sehingga dapat memperoleh apresiasi dari
masyarakat baik dari dalam negeri maupun mancanegara.
Kegigihan beliau untuk senantiasa membina dan melestarikan
seni budaya nusantara, semakin nampak ketika menjabat sebagai
Kepala Rumah Tangga Kepresidenan yang juga merangkap se-
bagai Jenderal Manager Taman Mini Indonesia Indah (TMII), Ketua
Umum SENAWANGI, Ketua Umum PEPADI, dan Ketua Umum
Badan Koordinasi Kesenian Indonesia. Dari upaya beliaulah maka
para seniman tradisional dari seluruh nusantara secara bergiliran
dan berkesinambungan dapat pentas di Istana Kepresidenan dan
TMII dan tempat-tempat terhormat lainnya, dalam rangka acara
kenegaraan dan kepresidenan.
Kesadaran beliau bahwa Seni Budaya Tradisional Nusantara meru-
pakan salah satu unsur perekat bagi persatuan dan kesatuan bang-
sa, diimplementasikan dalam bentuk penyelenggaraan event Seni
Budaya Berskala Nasional yang melibatkan seluruh Provinsi di In-
donesia yang diselenggarakan setiap tahun di Istana Kepresidenan
dan TMII yang sampai sekarang masih dilaksanakan. Pengemasan
pola pergelaran dan pemadatan durasi pentas tari tradisional yang
sampai saat ini masih menjadi rujukan, adalah warisan dari hasil
pemikiran Pak Sampurno Juga.
Assalamualaikum Warahmatullahi Wabarakatuh,
Greetings and Peace to us all,
Praised be to Allah for without his blessings, we would not be here
to realize this program, to commemorate and extend our highest
appreciation to the late Bapak Sampurno, for his dedication and
services as a successful pioneer of Arts and Culture in our Archi-
pelago, as well as acknowledgement from both domestic and
international communities.
His perseverance to build and sustain our Archipelago Art and
Culture was seen when he was Head of the Presidential Household
and concurrently as General Manager of Taman Mini Indonesia
Indah, Chairman of SENAWANGI, PEPADI and the Coordination
Board of Indonesian Culture. Through his efforts, traditional
artists from the Archipelago, took turns and sustained to perform
at the Presidential Palace, TMII and other prestigeous venues in
conjunction with the state and presidential events.
His awareness that traditional art and culture of the Archipelago
is one formal bond to unite the nation, was implemented by or-
ganizing a cultural event at a national scale involving all provinces
of Indonesia, scheduled every year at the Presidential Palace and
TMII which to this day is held. The formation of the performance
as well as the duration still being followed are inherited as a result
of Bapak Sampurno’s thoughts.
That which is phenomenal during Bapak Sampurno’s leadership
was the existence of “Pelangi Nusantara or Rainbow of the Archi-
pelago”. Numerous state functions that require spontaneous and
rapid response caused him to form Rainbow of the Archipelago
A

9. Yang tidak kalah fenomenal pada masa kepemimpinan Bapak
Sampurno, adalah adanya Pelangi Nusantara TMII. Mengingat
begitu banyaknya acara kenegaraan yang memerlukan pelayanan
yang serba cepat dan mendadak, maka beliau membentuk Pelangi
Nusantara TMII yang beranggotakan para penari pilihan yang siap
setiap waktu apabila diperlukan. Akhirnya Pelangi Nusantara TMII
inilah yang sering ditunjuk oleh pemerintah untuk melaksanakan
diplomasi budaya ke berbagai negara sahabat diseluruh dunia.
Warisan seni budaya bangsa Indonesia sarat dengan makna,
falsafah yang tinggi, indah dan mempesona, oleh karena itu seni
budaya merupakan titik komunikasi yang paling baik antar ma-
nusia dalam mempererat bahkan mendamaikan hubungan antar
TMII with members from those readily available to partake. The
Rainbow of the Archipelago was therefore appointed by the Gov-
ernment to perform diplomatic culture events to various countries
all over the world.
The culture heritage in Indonesia has several meanings: it is highly
philosophical, beautiful, enchanting and because of that, culture
is the most universal point of communication between humans to
strengthen and reconcile relationships between nations. With this
in mind, culture and art should enable us enhance friendship and
tourism; it needs to be sustained and developed through cultural
performance which is part of creative economy.
bangsa. Dengan demikian, seni budaya harus mampu memberikan
kontribusi dalam rangka meningkatkan hubungan persahabatan
dan perkembangan pariwisata, sehingga perlu dilestarikan dan
dikembangkan baik seni pertunjukan dan pergelaran yang merupa-
kan bagian dari ekonomi kreatif.
Saya selaku Direktur Utama mewakili Manajemen TMII menyam-
paikan selamat kepada Panitia yang telah berhasil melaksanakan
kegiatan 18 Tahun Swarga Dwijatama Sampurno, SH, semoga
semangat dan keteladanan Bapak Sampurno, SH menjadi inspirasi
dalam upaya pengembangan dan pelestarian seni dan budaya,
khususnya diplomasi budaya nusantara ke mancanegara dimasa
yang akan datang.
Sekian dan Terimakasih.
Wassalamualaikum Warahmatullahi Wabarokatuh.
As President Director representing TMII Management, I convey my
heartfelt appreciation to the Committee for successfully imple-
menting 18 Years of the late Swarga Dwijatama Bapak Sampurno’s
activities. Hopefully his enthusiasm continues to inspire us all,
develop and sustain art and culture, specifically in the future.
Thank you.
Wassalamualaikum Warahmatullahi Wabarokatuh.
Jakarta, 10 Januari 2018
Taman Mini Indonesia Indah
DR. A. J. Bambang Soetanto
(Direktur Utama / President Director)
That which is phenomenal during Bapak Sampurno’s leadership was the existence of “Pelangi Nusantara Taman
Mini Indonesia Indah”
Yang tidak kalah fenomenal pada masa kepemimpinan
Bapak Sampurno, adalah adanya Pelangi Nusantara
Taman Mini Indonesia Indah
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10. rogramP
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14. 11
Tari
MerakTHE PEACOCK DANCE
eindahan alam Priangan yang mempesona disebutkan
sebagai karya Sang Maha Pencipta yang dibuat ketika
Sang Penguasa Jagad Raya sedang tersenyum. Di tempat
yang indah ini pesona keindahan membuncah dengan semaraknya
kehidupan burung merak yang beterbangan di alam bebas.
Tari Merak telah menjadi suguhan bagi para Tamu Negara Sahabat
semenjak diciptakan tahun 1965, yaitu di masa Presiden Soekarno
dan presiden-presiden berikutn. Gerakan tarinya menyiratkan ger-
ak dan tingkah laku sang burung yang dengan bangga memamer-
kan keindahan bulunya, bermain dan bercumbu dengan
pasangannya.
Diiringi penataan musiknya yang dinamis dari lagu Gendu/Macan
Ucul pada gamelan salendro.
K
It was said that the beautiful land of West Java with its breath-
taking landscape was created when The Creator of Universe was
smilling. The charming beauty was enhanced by the splendor of
colorful peacoks flying around. The majestic bird inspired the Pea-
cock Dance to be created in 1965.
The Peacock Dance has been a special performance for the state’s
guest of honor in the Istana Negara/State Palace, Jakarta, since
the era of President Soekarno until today. The Regal costume and
the dynamic dance movement and music, portray the proud birds
while showing off their beautiful feather while mating. This dance
is still favored by the public until today and become the iconic
dance of West Java in 2006 by the Head of West Java Culture and
Tourism Board.
Penata Tari & Penata Kostum / Choreographer & Costume Designer :
Irawati Durban Ardjo
Pelatih / Dance Trainer :
Wiwin Garniwi
Penata Gending / Gamelan Composer :
Aim Abdurrochim
Para Penari / Dancers :
Anita Hernalita, Sharfina A Salsabila, Naffi Hasanah, Anggraeni, Nisa
Fajriati, Tsanaraa Q Rifayani, Dya Regina W, Elfa Nurhanifa,
Rena Tresnawati
Penabuh / Sundanese Musician :
Atay, Caca, Dana, Tarjo
Rias Kostum / Make Up & Costume :
Ivo Hindayati, Dasta Asyari

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Tari ini disukai masyarakat hingga sekarang. Pada tahun 2006 oleh
Kepala Dinas Pariwisata dan Kebudayaan Jawa Barat tari Merak
diresmikan sebagai tarian ikon Jawa Barat.
This Merak Dance is loved by society up until now. In 2006, by the
Head of Departement of Tourism and Culture of West Java, Merak
Dance was declared as the dance icon of West Java.
On the 50th anniversary of the Peacock Dance
in 13 December 2015, a colossal parade Sarewu
Merak Tandang on Asia Africa Street in center
of Bandung City. About 1500 dancers from all
over West Java joinded the parade and danced
together

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THE DANCE, TRIBUTE TO AMAI (FATHER) IN THE
LAND OF THE SACRED RAINFOREST BORNEO
ari ini mengandung filosofi “bahwa dalam setiap waktu
dan kondisi, seorang Bapak senantiasa hadir dan memberi-
kan dukungan bagi anak-anaknya”.
Bersumber dari tradisi suku-suku Kenyah, Bahau dan Mondang di
Hutan Rimba Kalimantan
T
The dance speaks of the philosophy that an Amai/ Father will
always be present to support his children every single time. Like
the support given by “Amai” Sampoerno to all the younger people
he work with.
The Dance & Music is inspired by Kenyah, Bahau and Modang
tribes in Kalimantan (BORNEO) Rainforests.
Komposisi Tari & Musik / Dance Composition and Music :
Deddy Lutan Dance Company
Penata Artistik / Artistic:
Djarot B Darsono
Penata Tari / Choreographer :
Elly D Lutan
Penata Musik / Music :
Joko Winarko, Anusirwan
Penari / Dancers :
Heri Siswanto, Masda, Barlyanta, Mathiyus, Doni, Triasndesa, Wiwiek HW,
Suryani, Siti Maryam, Rosita, Chikal, Tia, Tika, Bathari
Penata Kostum / Costume :
Upik
Oleh : Elly D Lutan By : Oetari Noor Permadi
Amai
TARI PERSEMBAHAN KEPADA
DARI HUTAN RIMBA
KALIMANTAN

19. Putih
LEGONG
egong yang disebut juga Legong Keraton, adalah salah
satu tari tradisi Bali klasik yang sangat memukau dan telah
ada sejak tiga abad yang lalu. Tarian ini khas dengan busa-
na berwarna keemasan dengan dua rangkaian (bancangan) bunga
pada mahkotanya yang bergetar pada setiap gerakan kepala dan
bahu.
Bagian yang sangat bermakna pada tari Legong adalah Lamak,
sebuah ornamen persegi panjang yang menjulur kebawah dari de-
pan dada. Karena Lamak juga berarti alas sesajian dalam upacara,
maka selain bersifat dekoratif, Lamak juga menunjukkan bahwa
tari Legong, walaupun non-sakral, tetap adalah sesajian atau men-
gungkap rasa syukur atas anugrah Tuhan Yang Maha Esa.
Tari Legong Kuntul Putih menggambarkan sekawanan burung
Kuntul (Bangau) yang anggun dan ceria. Di tepi sungai di pinggi-
ran sawah nan hijau. Burung Kuntul selalu datang untuk minum
dan mengistirahatkan sayap yang lelah.
L
The Legong Dance, also known as Legong Keraton or The Legong
Royal Dance is one of the most fascinating Balinese classical
Dance. Has been known since three centuries ago, the unique
dance costume is glittering in gold painted motifs. The headress
is adorned with two flower bouqets like antennas which tremble
rythmically in accordance with head and shoulder movements.
The dancers also wore a long square ornament covering the
breast and torso, called “lamak”, the same word meaning an altar
covering.
It shows that eventhough Legong Dance is not a sacred religious
ceremonial dance, Legong is still an offering of gratitude for the
bountiful blessings we receive from God the Almighty.
The Legong Kuntul Putih Dance portrays the elegance of white
herons drinking and playing in the water in nearby rice fields.
Herons always come to drink and rest their tired wings
Penari / Dancers :
Bulantrisna Djelantik, Adrienna H. Wallis, Dayu Barali, Cicilia I. Jeno,
Made Getafia, Melanie D. Maharani, Mutiara Prabowo, Nurlya, Nyoman
Trianawati, Putri Minangsari, Renny Triwahyuni
Pegambel / Balinese Musician :
Nyoman Suniarta, Karang, Md Sukasa, Md Suta, Md Swastika, Md Bolo,
Nym Swardika, Pt Putra, Ghenta, Wyn Januarsa, Gde Panca, Wyn Parna,
Gung Panji.
Perias / Make Up :
Meuti Rahima, Irin Junirman, Mila Maelani
Oleh : Bulantrisna Djelantik By : Oetari Noor Permadi
14

21. 15
OPERA JAWA - MATAYA LANGEN SWARA
A Javanese Opera

22. Sinopsis
ebuah kesalahan besar telah diperbuat oleh seorang
MAHA RESI dari Kerajaan Astina saat Ia masih muda. Tan-
pa sengaja ia telah membawa serta seorang puteri agung
Negara Kasipura, Dewi AMBA. Seorang Puteri yang tidak termasuk
dalam sayembara yang sedang berlaku.
Puteri Amba tak mungkin kembali. Maka ia menuntut untuk diperi-
steri Sang Resi. Permintaan ini tak mungkin terjadi, karena Sang
Resi telah bersumpah WADAT (tak akan beristeri dan mempunyai
anak), demi kedamaian Kurawa maupun Pandawa.
Panah yang dipegangnya untuk memaksa Dewi Amba kembali ke
negaranya, tanpa sengaja lepas dan mengenai tepat Dewi Amba,
yang sesaat kemudian menemui ajalnya.
Sebelum sukmanya menghilang Dewi Amba sempat berseru
“Suatu saat nanti, pada waktu Perang Bharata Yudha, saya akan
menjemputmu”.
Sebenarnyalah antara kedua mahluk Dewata ini telah tumbuh
cinta yang sangat dalam. Sang Resi menjadi sangat sedih dan
menyesal, ia menjawab lirih, “saya menunggu”.
Peristiwa ini terjadi berpuluh-puluh tahun silam. Kini Perang Bhara-
ta Yudha sedang berlangsung dengan sangat dahsyat. Banyak
Senapati, Perwira-perwira dan Prajurit yang gagah perkasa telah
jatuh berguguran. Pada saat yang genting ini Kurawa mengangkat
Sang Maha Resi Bhisma sebagai Senapati. Sudah pastilah Sang
Maha Resi tidak dapat terkalahkan oleh siapapun.
Namun Kresna tidak menjadi panik. Dengan kewaspadaan yang
sangat diperhitungkan dia mengangkat Srikandi menjadi Senapati
dari Pihak Pandawa. Hal ini sangat merisaukan Arjuna.
Sebaliknya Sang Resi hanya tersenyum. Dia telah waspada bahwa
saatnya telah tiba. Krisna, selaku penjelmaan Dewa Wisnu telah
menentukan keputusannya sesuai hukum alam. Dua hati yang
lama terpaksa terpisah sudah waktunya dipersatukan.
S
Oleh : Sarasmani Sampurno
SYNOPSIS
16

23. grave mistake was made by the Maharishi of Astina
Kingdom when he was still an adolescent. Long time ago,
in his glorious youth days, Bhisma won the Princesses of
Kasipura Kingdom as the brides for his two brothers in a sayem-
bara. But, Bhisma also took another Princess who was not offered
in sayembara.
It is a point of no return for Princess Amba. No Ksatria will ever
want to marry a Princess that has been declared taken by winner
of a sayembara. So Amba demands Bhisma to wed her. Alas, it is
a pleasure that can not be granted. Because out of his devotion
to Astina Kingdom, Bhisma, the supposedly next King, has vowed
to deny any marriage. So to ensure only the sons of Satyawati, his
stepmother, will be King.
Desperate to drive Princess Amba to return to her palace, Bhisma
threatened with his bow & arrow. Alas, the arrow slipped and
took Amba’s life.
Before closing her eyes, the Princess said:”Wait for our time, Wait
for the great war of Bharata dynasty.Then, I will summon you”.
The tragedy can not conceal the fact that a deep affection has
sprung in Bhisma and Amba’s heart. So Bhisma has to live with
deep regret, he whispered to her, “i am waiting for”.
A
By : Oetari Noor Permadi
Moving fast forward, it is now time of the great war, the Bharata
Yudha. Many great Kings and Ksatrias have perished. The Kurawas
then appointed Bhisma as the General in command. A strategic
decision, since the Maharesi excels in any kind of combat. A truly
dangerous opponent for the Pandawas.
But Kresna stays calm. With his knowledge and wisdom, Krisna
asks Srikandi to take command in the battlefield for Pandawa.
A daring move indeed, to appoint a female General in command
amidst a full blown male dominated war.
Such appointment worries Arjuna.
Yet, Srikandi’s appointment only brings smile from the Maharesi.
He understood that his time has come. Krisna, in essence is Lord
Wisnu himself, has made the right decision, abiding the law of
nature.
After long separation, it is time the two hearts of Amba and Bhis-
ma will be joined again. Forever.
BHISMA DWIJATAMA
17

24. Cerita & SyairSTORY & LYRIC
ADEGAN/SCENE 1
ADEGAN/SCENE 2
Syair Narasi Pathetan Dhemes
Syair Narasi Ada-ada Umangsah
Syair Narasi Ketawang Kapang
Pathetan Dhemes Naration/Lyric
Ada-ada Umangsah Lyric
Ketawang Kapang Lyrical Naration
KERAJAAN KASIPURA (KINGDOM OF KASIPURA)
BLABAR WAJA/ ARENA SAYEMBARA PERANG
(COMPETITION WAR ARENA)
Amba, Ambika, Ambalika sungguh puteri yang cantik jelita. Pribadinya menarik hati, gerak tubuhnya membuat jatuh hati, senyumnya
mampu membuat hati luka. Siapapun yang memandangnya akan jatuh cinta, bermimpi ingin mencumbu dan merayunya. Berharap untuk
menyuntingnya.
Dewabrata datang, memasuki arena
Dewabrata came, entering the arena
Wiragane dhemes luwes saya pantes/
Sang retna ngumala arum/ Rum-binta-
rum temah karya wuyung/ Rinungrum
lir sekar tanjung/ Sulistya ruruh jatmi-
ka tuhu musthikaning kenya.
Jumangkah gumregah gagah/Pra sa-
triya myang narpati/ Mupu sayembara
jurit/ Angebar kaprawiran/ kasudiran
kang den esthi/ Sor prabawa pinrawa-
sa/ Tangkep jaja ing madyaning laga.
Cinarita ingkang winuwus/Ing Kasi-
pura nedheng ngadani/Sayembara
anggelar yuda/Ingkang jaya wenang
njatukrama/Putri edi sekar puri/Dyah
Amba miwah Ambalika/Nyata wano-
dya musthika/Solah slaga tansah mrak
ati/Alelewa tansah nuju prana/Eseme
sengsem angrujit nala/Karya wuyung
kapang kinudang/kapan baya bisa
tansah anyandhinga.
Syahdan ceritera, Di Negara Kasipura
sedang diadakan sayembara dengan
menggelar perang. Yang memenang-
kan, berhak memboyong putri keda-
ton yang cantik jelita.
Once upon a time, at the Country of
Kasipura, a competition has been held
by deploying a war. The winner, is enti-
tled to bring home the beautiful royal
princess.
Gerakan tarinya serba luwes dan
indah. Para puteri nan cantik jelita.
Menebarkan wangi cinta.
Merebak bagaikan bunga tanjung.
Cantik jelita, rendah hati, nyatalah
mereka mustika para wanita utama.
Derap langkah gagah. Para ksatria
pangeran, dan raja-raja, memasuki
arena sayembara. Menunjukkan keper-
wiraan, kesaktian yang unggul. Mere-
ka bersaing untuk saling mengalahkan.
Beradu kesaktian di arena perang.
Their dancical movements are elegant
and magnificent. The beautiful princess-
es. Disseminating the fragrance of love.
Spreading like Tanjung flower. Beauti-
ful, humble, the true jewel of primary
females.
Amba, Ambika, Ambalika are trully beautiful princesses. They bear attractive personalities, body languages that able to make every men fall for them, smiles
that able to hurt anyone’s heart. Anyone who look at their eyes will fall in love instantly, dreaming to be able to flirt-flattery with them. Also, hoping to propose
them.
The gallant march. The knight princ-
es and kings, entering the arena of
competition. Showing their heroism
and supreme divine power. They are
competing to beat each other. Inciting
their power in the battlefield.
18

25. Tembang Durma Lyric
Tembang Kinanthi Lyric
Perang Raja Panglamar dengan Dewabrata. Semua panglamar kalah. Pangeran Salwa, kekasih Dewi Amba memasuki Arena menantang
perang tanding dengan Dewabrata.
Perang Tanding, Pangeran Salwa kalah. Prabu Darmamuka, Raja Kasipura bersama ketiga puterinya: Amba, Ambika dan Ambaliki menemui
Dewabrata sebagai pemenang sayembara
Ketiga puteri diboyong ke Astina
War between PROPOSED PRINCES and Dewabrata. All of the PROPOSED PRINCES have been defeated . Prince of Salwa, the lover of Princess Amba entering the
Arena challenging war with Dewabrata.
War commenced, Prince Salwa has been defeated. Prabu Darmamuka, King Kasipura along with his three daughters: Amba, Ambika and Ambaliki met Dewabra-
ta as the competition winner.
The three princesses are being brought to Astina
PANGERAN PANGLAMAR/ PROPOSED PRINCES :
DEWABRATA :
AMBIKA :
AMBALIKA :
DEWABRATA (BHISMA MUDA/YOUNG BHISMA) :
PANGERAN SALWA/PRINCE SALWA :
Syair Tembang Durma
Syair Tembang Kinanthi
Heh satriya paran sapa aranira./ Mum-
pung durung ngemasi.
Sayembara wus sun pupu/ Dyah ayu
kula boyongi/ Kang katrinipun sadaya/
Ing Nagri Ngastina nenggih.
Kawula sumangga karsa
Nadyan kula mung sadermi
Ingsun Dewabrata/ Tandhing yuda
lawan sira/ Ingsun ora bakal gigrig
Mara majua/ Kang lena prapteng lalis.
He keparat/ Apa mung sira kang dig-
daya/ Klakon kaprawasa.
Hai ksatria, siapa kau? Sebutkan nama-
mu sebelum ajal menjemputmu!
Baginda, saya telah memenangkan
sayembara ini. Ketiga gadis ini akan
saya boyong ke negara Astina.
Silakan, hamba ikuti sekehendak
paduka.
Hamba hanya berserah diri.
Namaku Dewabrata. Saya ingin
bertanding dengan kalian. Aku tak
gentar menghadapimu, Majulah ka-
lian, siapa yang lengah pasti mati.
Hai keparat Dewabrata, memangnya
hanya kau yang digdaya?
Akan ku hajar kau!
O accursed Dewabrata, don’t you dare
thinking that you’re the only one who’s
unbeatable. I will fight you!
Who art thou, O great knight? Tell me
your name before the death come after
you!
Your Majesty, I have won this competi-
tion. I shall bring all these maidens to
the country of Astina.
Please, I will follow your Excellency’s
wish.
I solely surrender myself.
My name is Dewabrata. I want to
compete with all of you. I will not flinch
in facing you. Move forward all of you,
whoever unguarded will be dead.
19

26. 20
Syair Tembang Kinanti
Syair Tembang Pocung
Syair Tembang Maskumambang
Syair Tembang Megatruh
Tembang Kinanti Lyric
Tembang Pocung Lyric
Tembang Maskumambang Lyric
Tembang Megatruh Lyric
ADEGAN/SCENE 3
TENGAH PERJALANAN KE ASTINA
(IN THE MIDDLE OF THE JOURNEY TO ASTINA)
AMBA :
DEWABRATA :
AMBA :
DEWABRATA :
Adhuh raden sang abagus/ Padu-
ka ingkang mrantasi/ Amupu kang
sayembara/ Amurba anjatukrami/
Kawula amung sumarah/ Pasrah jiwa
raga mami.
Sang Dyah Ayu/ kula namung mundhi
dhawuh/ malakrama kadang/ Citraga-
da lan keng rayi/ Lestaria paduka
jinatukrama.
Dhuh kakangmas Dewabrata tyasing
kapti/ yekti amung paduka/ katresnan
kula sejati/ Yen wurung becik palas-
tra.
Yayi Amba, nadyan pun kakang
kayungyun/ Wus kadhung sumpah
janji/ Urip wadat tan saluyut/ jatining
tresna ra kudu/ Andarbeni waton
ayom.
Duhai Pangeran Dewabrata yang
tampan. Padukalah yang berhasil
memenangkan sayembara ini. Paduka
berhak menyunting diriku. Hamba tak
kuasa lagi menolak. Ku serahkan jiwa
raga hamba untukmu (calon suamiku).
Duhai Amba, puteri yang cantik. (se-
sungguhnya) saya hanyalah seorang
duta./ Bertugas mencarikan calon per-
maisuri untuk saudara saya; Pangeran
Astina, Citragada dan adiknya Panger-
an Citrawirya. Semoga abadi dan
diberkati pernikahan kalian.
Duhai Pangeran Dewabrata, sang
pemenang sayembara. Hanya engkau
yang berhak atas kami. Jujur, aku
terlanjur jatuh hati padamu. Kalau
gagal menikah denganmu, lebih baik
aku mati.
Dinda Amba, tidak aku pungkiri aku
pun tertarik padamu. Namun aku telah
terikat sumpah. Aku terlanjur berjanji
tidak akan menikah selamanya. Dinda
Amba, cinta sejati tidak harus memiliki.
O handsome Prince Dewabrata. You are
the winner of this competition. You are
entitled to propose me. I have no power
to refuse anymore. I hereby submit my
whole self for you (my future spouse).
O Amba, the beautiful princess. (Truth-
fully) I am just an emissary. Having the
duty to find a future empress for my
sibling; Prince of Astina, Citragada and
his little brother, Prince Citrawirya. May
your marriage be eternal and full of
blessings.
Prince Dewabrata, the winner of com-
petition. It is only you who are entitled
for us. To be honest, I have fallen for
you. If I don’t get to married with you, I
would rather die.
O Amba, I would not deny that I am also
attracted to you. However, I have been
bounded by oath. I have promised that I
won’t be married forever. O Amba, true
love doesn’t always have to own each
other.

27. 21
Pareng matur ngarsa nata/ Ingkang
pantes kawisudha senopati/ Sang
Bhisma prayoginipun/ Kang sekti
mandraguna
Syair Tembang Balabak
Tembang Balabak Lyric
Amba tetap mendesak Dewabrata untuk menerima cintanya. Dewabrata tetap teguh pada sumpahnya. Dewabrata menyuruh Amba kem-
bali kepada kekasihnya Salwa, dengan pura-pura mengancamnya dengan panah. Tidak sengaja anak panah menembus dada Amba. Amba
tewas.
Amba insisted Dewbrata in accepting her love. Dewabrata remain unshakable to his oath. Dewabrata told Amba to return to her lover, Salwa, by pretending to
threaten her with arrow. Alas, the arrow unpurposedly went through Amba’s chest. Amba passed away.
SUKMA AMBA :
DEWABRATA :
Satriya gung jejimate para tapa,
emuta/ Benjeng tempuk ing perang
bratayuda, esthine/ Kula sedya mapag
ndika gandheng konca, swargane.
Yayi Amba.. entenana yayiii...
Wahai ksatria agung, pujaan para
pertapa, ingatlah! Kelak di kala pecah
Perang Bharatayuda, sungguh! Aku
akan menjemputmu, aku ingin bergan-
deng tangan denganmu, ke surga.
Dinda Amba… tunggulah aku dinda..
O mighty knight, the adoration of
hermits, remember! Soon when the
Bharatayuda War has commenced, it
is true! I will come after you, I want to
hold hands with you, to the nirvana.
O Amba….. Please, wait for me….
ADEGAN/SCENE 4
Syair Narasi Ada Bratayuda
Syair Narasi Ketawang Bedhayan
Ada Bratayuda Lyrical Naration
Ketawang Bedhayan Lyrical Naration
KERAJAAN ASTINA (KINGDOM OF ASTINA)
Bratayuda perang tatasing prasa-
pa/ Utang kudu nyaur nandur bakal
ngundhuh/ Kukum karma tan bisa
binendung/ Tumpesing angkara
nistip/ ....Perang agung Kurawa lan
Pandhawa.
.... Nenggih/ Sang Prabu Duryudana/
Aneng madyaning pasewakan/ Horeg
regedeg sanggya kang pra nayaka.
Bertahun-tahun kemudian, pecahlah
perang Bharatayuda. Siapa yang
berhutang akan membayar, yang
menanam akan menuai. Hukum karma
berlaku, takdir harus terjadi.
Tumpasnya angkara murka,
perang besar antara Pandawa dan
Kurawa
Syahdan, Prabu Duryudana, tengah
mengadakan sidang akbar di Sitihing-
gil. Penuh sesak dihadari para pajurit
dan nayaka kerajaan.
The next following years, the Bhara-
tayuda war has commenced. Whoever
owes will pay, whoever reap will sow.
The law of Karma prevails, the destiny
must happen. The annihilation of Evil,
the great war between Kurawa and
Pandawa.
Once upon a time, Prabu Duryudana,
are conducting a grand meeting at Si-
tihinggil. Packed with the warriors and
nayaka of the kingdom.
DRONA :
Baginda, izinkanlah hamba menyam-
paikan usulan. Hemat hamba, yang
pantas diwisuda sebagai senopati
agung Astina, hanyalah Resi Bhisma,
yang sakti mandraguna.
Your Majesty, please let me convey a
suggestion. In my very own opinion,
the one deserves to be inaugurated
as the great senopati of Astina, is only
Resi Bhisma, who has almighty sacred
power.
Syair Narasi Pangkur
Tembang Pangkur Lyric

28. 22
Syair Tembang Megatruh
Syair Tembang Mijil
Tambang Megatruh Lyric
Tembang Mijil Lyrics
DURYUDANA :
BHISMA :
Eyang Bhisma, madeg senopati
agung/ Mugi sawega ing gati/ Minang-
ka dadya pepayung/ Para Kurawa
sayekti/ Gya umangsah ing palugon.
Kawruhana, kabeh sira kaki/ Mangsah
ing palugon/ Mung saderma netepi
sumpahe/Tan mentala trah Bharata
lalis./ Muhung hangrungkebi/ Senopa-
ti tuhu.
Eyang Bhisma, Eyang kami angkat
senopati agung. Silakan bersiap siaga/
Paduka sebagai panglima pelindung/
para Kurawa/ Segera maju ke medan
laga
Ketahuilah, wahai cucuku Duryudana.
Saya bersedia maju perang. Semata
hanya karena kesetianku pada sump-
ahku, untuk selalu menjaga wangsa
Bharata dari kepunahan. Saya bersedia
menjadi senopati, hanya karena setia
pada negara Astina.
Eyang Bhisma (Grandfather Bhisma),
we will appoint a great senopati.
Please get ready/ the Excellency as the
commander in chief protector/ the
Kurawas/ immediately charges to the
battlefield.
Behold now, O my grandchild, Duryu-
dana. I am willing to come forward
to the battlefield. Only because of my
loyalty to my oath, to always guard the
dynasty of Bharata from extinction.
I am willing to become the senopati,
general in command, only due to my
faithfulness to the country of Astina.
Nadyan kula rumojong ing karsan-
ipun/ Sang resi Mahatma Bhisma/
enggal saged amrantasi.
Hamba juga mendukung usul ini. Resi
Mahatma Bhisma pasti akan segera
menuntaskan perang besar ini.
I am also supported this suggestion.
The Resi Mahatma Bhisma will be able
to finish this great war.
SENGKUNI :
Resi Bhisma diwisuda sebagai senopati agung Astina
Perang antara Pandawa dan Kurawa. Seta berhadapan dengan Bhisma
Resi Bhisma is appointed as the General in Command of Astina
The war between Pandawa dan Kurawa. Seta confronted Bhisma
ADEGAN/SCENE 5 PADANG KURUSETRA (FIELD OF KURUSETRA)
Syair Narasi
Lyrical Naration
Gumeder geder ing prang/ Pra Kura-
wa lan Pandhawa/ Mrawasa ngrabasa
arebut unggul/ Tandange gumregut
amangrempak/ Sor prabawa silih
ungkih kalindhih/ Rebut unggul/
Mangkrak krodha ngetog daya/ amrih
asoring lawan.
Perang besar Bharatayuda telah
pecah. Perang antara Pandawa dan
Kurawa. Saling menyerang, saling
mengalahkan, berebut kemenangan.
Gegap gempita, membahana..Serang..
terjang…raih kemenangan. Menger-
ahkan segala upaya dan daya, untuk
menghancurkan musuh.
The great war of Bharatayuda has
commenced. The war between Panda-
wa and Kurawa. Attacking each other,
beating each other, fighting for victo-
ry. Booming, Echoing… Attacking…
Assaulting… to reach victory. Exerting
all efforts and power, to destroy the
enemy.

29. 23
RESI BHISMA :
KRESNA :
PANGERAN SETA/SETA PRINCE :
DEWI GANGGA :
Yayi Seta prapteng janji/ Angebar ing
kasudiran/ senadyan tumekeng layon/
nglabuhi nusa lan bangsa
Kawruhana sira yayi./Dhadhal barisan-
ing wadya/ Eyang Bhisma kasektene/
Sun pinta palilahira/Srikandhi magut
ing prang/Sembada angadoni pupuh/
Amunah satru murka
Kakang Bhisma ayonana, Bela pand-
hawa putuku/Sun Kembari kridhanira
Putraningsun Dewabrata/ Haywa
sungkawa ing galih/ Asor yuda lawan
Seta/ Kang sekti jayeng ajurit/ Pun
Ibu arsa peparing/ jungkat panatas
linangkung/ Dadi sipat kandelira/
Mungsuhmu asor kalindhih/ Temah
jaya ing madyaning rananggana.
Dinda Seta, sampailah saatnya kini /
Kita berhadapan mengadu kesaktian./
Hingga salah satu dari kita gugur/ Se-
bagai bakti kepada nusa dan bangsa.
Dinda Pandawa ketahuilah. Pasukan
Pandawa banyak menderita keka-
lahan.Karena kesaktian Kakek Bhis-
ma.Saya minta persetujuan kalian.
Srikandi maju di peperangan. Dia akan
memenangkan perang ini. Menghada-
pi musuh angkara.
Kanda Bhisma, lawanlah aku./Aku
membela cucu-cuku Pandawa/Ayo
akan kuhadapi kesaktianmu.
Anakku Bhisma. Memang sakti Panger-
an Seta. Jangan kau khawatir,
Aku akan memberimu sebuah pusaka
Semoga kau bisa mengalahkan seteru
sakti.
O Seta, the time comes now/ We will
battle each other’s power/ Until one of
us dies/ As the devotion for the nation
and homeland.
Behold now, O Pandawa. The Pandawa
troops has suffered numerous losses.
All because of the power of Grandfa-
ther Bhisma. I would like your approval.
For Srikandi to join the battles. She will
win this war. Confronting our enemy,
the Evil.
O my brother, Bhisma, please fight me
/ I hereby defend the grandchildren of
Pandawa / Let me face your power.
My child, Bhisma. The prince Seta is
mighty. Please do not worry,
I will grant you a heirloom. Hope it will
help you achieve the victory.
Bhisma terdesak sampai di tepi Bengawan Gangga. Dewi Gangga, ibu Bhisma memberikan pusaka sakti Jungkat Panatas
Bhisma maju ke medan lagi, Seta dipanah Bhisma, Seta Gugur
Bhisma is pressed down to the edge of Gangga River. Dewi Gangga Bhisma’s mother, gave him a great heirloom of Jungkat Panatas.
Bhisma enters into the battlefield once again, Seta got hit by Bisma’s Arrow, Seta passed away.
Syair Narasi Lancaran Ngleneng
Syair Tembang Asmarandana
Syair Tembang Asmarandana
Lancaran Ngleneng Lyrical Naration
Tembang Asmarandana Lyric
Tembang Asmarandana Lyric
Kraranta kawlas arsa susah ngresah
pra pandhawa/Nrawang rimang ran-
gu-rangu kaprawasa dening kingkin/
Angles kekes tandhes anggrantes/
Dhuh jawata mayungana parainga
marga
Sedih mendera, derita di Kubu Panda-
wa. Gamang, kesedihan, keprihatinan..
Patah semangat, hilang harapan..
(karena keperwiraan Bhisma, banyak
senopati dan prajurit yang gugur). Du-
hai Dewata, semoga kau memberikan
jalan keselamatan.
Tormenting sorrow, pain in Pandawa’s
side. Giddy, sadness, apprehension…
Losing spirit and hope… (due to Bhis-
ma’s heroic act, a lot of senopati and
soldiers have fallen). O mighty Gods, I
hope you give us the safest path.
ADEGAN/SCENE 6
PESANGGRAHAN BULUPITU, PANDAWA
(PESANGGRAHAN BULUPITU, PANDAWA)

30. 24
ARJUNA :
SRIKANDI :
SRIKANDI :
SRIKANDI :
Kakaprabu, Arjuna datan mahargya/
prasasat lampus dhiri/ Tandhing ey-
ang Bhisma/ kang sekti mandraguna/
lowung kula kang nandhingi/ Umang-
sah ing prang lebur kula andhemi.
Dhuh Pangeran, pinarengna magut
pupuh/ Lumawan sang Brahmacari/
Wus dadya antebing kalbu/jejer praju-
rit sejati/ Nadyan gugur ing palugon.
Jumangkah cancut gumregut/ Seblak
dhadha Dyah Srikandhi/Angolah
gelaring perang/ Cukat trengginas
atrampil/Wanodya kang waratama/
Tatag tanggon amrantasi.
Dhuh Eyang resi minulya/ Kumawani
amba magut/ Angebar ing kapraw-
iran/ kantaran bahu sayekti.
Kakanda Kresna, saya tidak setuju. Ini
sama saja bunuh diri, melawan Kakek
Bhisma, yang sakti mandraguna. Lebih
baik saya saja yang menjadi lawan Ey-
ang Bhisma. Saya akan maju di medan
perang. Walau harus hancur akan saya
rela.
Duhai Pangeran Arjuna, izinkan saya
maju perang, melawan Sang Resi Bhis-
ma. Sudah menjadi tekadku, sebagai
prajurit sejati. Walau harus gugur di
medan laga.
Melangkah tegar bersemangat. Unjuk
diri Wara Srikandi. Memimpin strategi
perang. Sungguh lincah dan terampil.
Panglima wanita wiratama. Sigap,
teguh mampu menyelesaikan masalah
Duhai Eyang Resi yang mulia/ Maafkan
kelancanganku, hamba berani meng-
hadapimu/ Beradu keperwiraan, dan
kesaktian.
My brother, Kresna. I disagree. It is
merely the same as suicide, fighting
grandfather Bhisma, who bear such
mighty power. It woud be better if I
am the one who confront grandfather
Bhisma. I will join the battlefield. Even
if it can destroy me, I am ready.
O Prince Arjuna, please let me join the
war, fighting the Resi Bhisma. It is my
determination, as a true warrior. Even
if I have to die in the battlefield.
Striding tirelessly. Wara Srikandi is
showing themselves. Leading war
strategy. Trully agile and skilled. Female
Comander-in-Chief of Wiratama. Spry,
firm and able to solve problems.
O the noble Eyang (Grandfather) Resi/
Pardon my impudence, for my courage
to confront you/ To compete our heroic
act and divine power.
Syair Tembang Durma
Syair Megatruh
Syair Tembang Kinanthi
Syair Tembang Sinom
Tembang Durma Lyric
Megatruh Lyric
Tembang Kinanthi Lyrical Naration
Tembang Sinom Lyric
Srikandi diwisuda sebagai senopati Pandawa. Pasukan Puteri Srikandi sedang berlatih, datanglah Srikandi memeriksa barisan.
Setelah semua siap, berangkatlah pasukan ini menuju medan perang.
Srikandi mengerahkan keperwiraan Prajurit wanitanya, Perang antara prajurit Astina dengan Bhayangkari Prajurit wanita.
Srikandi has appointed as the Pandawa’s female general in command. The female troops of Srikandi are practicing, Srikandi came to check the line. After every-
thing is ready, this troops moved forward to the battlefield.
Srikandi gave command to all of his female troops, the war between Astina tropps and female troops Bhayangkari.
Bhisma berhadapan dengan Srikandi
Bhisma confronted Srikandi
ADEGAN/SCENE 7 PADANG KURUSETRA (FIELD OF KURUSETRA)

31. 25
BHISMA :
Kulup Wara Srikandi/ mapan wus
dadi dharmamu/ Bela bangsa negara/
sowang-sowang den andhemi. Den
prayitna haywa nganti tidha-tidha.
Cucuku Srikandi. Sudah menjadi
dharmamu. Membela nusa dan
bangsa. Mari kita sama-sama lakukan.
Waspadalah jangan ada keraguan di
hatimu.
My grandchild Srikandi. It is your sole
duty. To protect the country and na-
tion. Let us together do this. Do not let
any doubts in your heart hesitate you.
Srikandi berulang kali terdesak, sementara itu arwah Dewi Amba mengamati
Srikandi got cornered numerous times, while the soul of Princes Amba watches from the distance.
Sang Bhisma tuhu wong sekti/
Prawira anjayeng laga/ Kawula datan
sembada/ Amung pasrah sumarah
mring Sang Resi/ Lebur tumpur sun
andhemi.
Resi Bhima sungguh kau maha sakti.
Perwira tangguh di medan perang.
Aku mana mampu menandingimu.
Aku mengaku kalah melawan sang
Resi. Namun, walau hancur lebur akan
saya hadapi.
Resi Bhisma, you are very powerful. The
toughest warrior in the battlefield. I can
never be able to defeat you. I admit my
defeat in fighting you the Resi, even if I
got destroyed, I will face it
Syair monolog Ketawang Luluh
Ketawang Luluh Monologue Lyric
Pada saat Srikandi terlempar jauh, datanglah arwah Dewi Amba manghampiri dan menyatukan diri dengan Srikandi.
Srikandi bangkit kembali dan menghadapi Bhisma, inilah Dewi Amba yang datang menagih janji.
Bhisma sadar akan karmanya dan telah melepas semua kesaktiannya. Panah Srikandi yang dilepas berulang kali, membuat Bhisma akhirn-
ya terkapar. Para Pandawa, kurawa dan seluruh bala tentara berdatangan memberi hormat kepada Sang Maharesi. Arwah Amba menjem-
putnya.
When Srikandi got thrown far away, the soul of Princes Amba came and merging with Srikandi.
Bhisma realize his karma and therefore has released all of his divine power. Srikandi’s arrow which she took out several times, finally made Bhisma sprawl.
The Pandawas, Kurawas and every warriors came to salute the Maharesi. The soul of Amba came after him.
Syair Penutup
Syair Welasan
Penerjemah/Translator :
Undung Wiyono (Javanese to Bahasa)
Nastasya D. Sampurno ( Bahasa to English)
Closing Lyric
Welasan Lyric
Trenyuh tistis tyas margiyuh/ Sru
nalangsa tansah nglentara/ Raga
nglayung naru napung/ Lir Hyang
Surya taweng hima.
Dewi Amba datang. Dua hati yang
lama terpisah. Kini akan bersatu
Menuju alam abadi
Sungguh sedih menyayat hati. Kesedi-
han yang dalam, mengaru biru. Raga
rebah, melayang limbung. Alam berdu-
ka, Sang surya tertutup mega.
Princess Amba has come
The two long separated souls
Will now unite.Towards the eternal
universe
It is very heartbreaking. Deep sorrow,
mournful. The body has collapsed,
dazed and drifting. The nature is
mourning, The sun is covered by the
clouds.

32. PEMERAN
Cast
PERIAS & KOSTUM
Make Up Artist & Costume
Sutradara / Art Directors :
Sarasmani Sampurno
Sulistyo Tirtokusumo
Sentot Sudiharto
Asisten Sutradara / Assistant Art
Directors :
Teguh Kentus Ampiranto
Koreografer & stage manager /
Choreographer & stage managers :
Nanang Ruswandi
Rury Avianti
Penata Musik / Music Director :
Blacius Subono
Penulis Naskah / Script Writers :
Undung Wiyono
Blacius Subono
Koordinator Karawitan / Karawitan
Coordinator :
Kadar Soemarsono
DEWABRATA/BHISMA :
Wasi Bantolo
DEWI AMBA/SUKMA AMBA :
Sarah Arifin
SRIKANDI :
Ida Lala
ARJUNA :
Ali Marsudi
KRESNA :
Agus Prasetyo
DEWI GANGGA :
Dewi Sulastri
PRABU SALWA :
Teguh Kentus Ampiranto
RESI SETO :
Irwan Riyadi
PUNTADEWA :
Aryo Saloko
WERKUDARA :
Sentot Erwin
NAKULA :
Sigit Sartono
SADEWA :
Adi
DEWI AMBIKA :
Laksmi
DEWI AMBALIKA :
Ayu
RAJA SEWU NEGARA (PASUKAN
KURAWA) / KING SEWU NEGARA/
KURAWA TROOPS :
Hendro Soeroso
Yodia
Ari Wibowo
Misfah Andi
Susiol Ilo
Senthun
Supri
Dewan
Didit
Agung
PASUKAN KRIDHA WANODYA/
KRIDHA WANODYA TROOPS :
Regina Widya Fernanda
Rida Nurhayati
Putri Marsha D
Elizabeth Reissa Binol
Siti Aisyah
Amira
Miftha Putri A
Ruth Fransisca P
Herdhiana K
Sekar Wibawaningrum
Ismunardi
Trimawarsanti (Pelatih/Trainer)
Chrystina Binol (Pelatih/Trainer)
DURYUDANA :
Sigit
SHENGKUNI :
Senthun
DRONA :
Dewan
DURSASANA :
Misfah Andi
KARTAWARMA :
Supri
BEDAYA GAYA
MANGKUNEGARAN :
Rury Avianti
Paramita Chandra Dewi
Yani Wulandari
Pratiwi Wiluyanti
Santi
Wulan
Wiwin
Woro Pujaningtyas
Udiarti
Kadar Soemarsono
Blacius Subono
Sriyanti
Lestari
Lasno
Bagio
Jumadi
Kasyanto
Dhana
Perias / Make Up Artist :
Pak Tyo B
Pak Kirman
Bu Surip
Bu Naning
Angga
Kostum / Costume :
Widuri
Mbak Mut
Sariman
Tikno
Samsi
Pujianto
Putut
Japon
Ramelan
Wakidi
Pono
Bayu
Suroto
BHISMA DWIJATAMA
26
PEMUSIK
Musician

35. Tokoh
CREATIVE CONTRIBUTORS
Kreatif

36. SULISTYO
TIRTOKUSUMO
ahir di Solo Jawa Tengah 6 Juli 1953. Sejak usia muda
sudah mengakrabi kesenian utamanya seni tari.
Ia belajar pada empu tari R.M. Wignyohambego dan R.T. Ku-
sumokesowo, kemudian bergabung dalam Pawiyatan Kebudayaan
Keraton Surakarta (1966-1971).
Menginjak usia 16 tahun, ia memenangi seleksi menjadi penari
dalam Sendratari Ramayana dan dipersiapkan memerankan Rama
dalam Sendratari Ramayana Prambanan yang diikutkan pada Fes-
tival Internasional Ramayana di Pandaan, Jawa Timur (1971). Sejak
itu ia menjadi pemeran lakon Rama dalam Sendratari Ramayana. Ia
juga menari, di Istana Kepresidenan, Taman Mini Indonesia Indah,
dan tempat lainnya.
Ia belajar tari Bedaya dan Srimpi kepada R. Ay. Laksmintorukmi,
Nyi Bei Pamarditoyo, dan S. Ngaliman Tjondropangrawit.
Tahun 1971, ia, pindah ke Jakarta dan bergabung di kelompok Pad-
neqwara Pimpinan Retno Maruti sebagai asisten koreografer dan
penari. Selain bersama Retno Maruti, Sulistyo juga sering mem-
bantu pergelaran tari karya Sardono W. Kusumo, Sal Murgiyanto,
dan Wiwiek Sipala.
Tahun 1973, Sulistyo, mulai menciptakan koreografi antara lain:
Tari “Catur Sagotro” (1973), Tari “Yudhasmoro” (1973), Tari “Be-
doyo Ratnaningprang” (1974), drama tari “Bisma Gugur” (1975),
drama tari “Aryo Jipang” (1979), tari “Kirono Ratih” (1981), dari
“Diam” (1987), tari “Bedoyo Suryo Sumirat” (1990), tari kon-
L
Born in Solo, Central Java on 6th July 1953. He has been familiar
with his main art talent, which is art of traditional dance.
He learned from the dance expert R.M. Wignyohambego and R.T.
Kusumokesowo, thereafter joined the of Art Assembly of Surakar-
ta Palace (1966-1971).
When he reached 16 years old, he won the selection to become
the dancer in Ramayana Dance Show and prepared to starred as
Rama in Prambanan Ramayana Dance Show which included in the
International Ramayana Festival in Pandaan, East Java (1971). Since
then, he always danced as Rama in such Ramayana Dance Show.
He also performed at Presidential Palace, Taman Mini Indonesia
Indah and other places.
He learned the Bedaya and Srimpi dance from R. Ay. Laksmintoruk-
mi, Nyi Bei Pamarditoyo, and S. Ngaliman Tjondropangrawit.
In 1971, he moved to Jakarta and joined the Padneqwara group
under Retno Maruti as the choreography assistant and dancer.
Aside from Retno Maruti, Sulistyo also assisted the dance show by
Sardono W. Kusumo, Sal Murgiyanto, and Wiwiek Sipala.
In 1973, Sulistyo started to make his own choreography such
as “Catur Sagotro” dance (1973), “Yudhasmoro” dance (1973),
“Bedoyo Ratnaningprang” dance (1974), “Bisma Gugur” dance
show (1975), “Aryo Jipang” dance show (1979), “Kirono Ratih”
dance (1981), “Diam” dance(1987), “Bedoyo Suryo Sumirat” dance
(1990), “ Panji Sepuh” contemporary dance (1993), “Puspo Retno”
28

37. TOKOH KONTRIBUTOR KREATIF
Creative Contributors
temporer “ Panji Sepuh” (1993), tari “Puspo Retno” (1998), tari
kontemporer “Nyai Sambako” (1999), tari “Krisis” (1999).
Ia mementaskan karya tarinya dan sebagai penari di berbagai fes-
tival di luar negeri, diantaranya: Moomba Festival, Australia (1975),
International Festival Ramayana Bangkok, Thailand (1991), Cer-
vantino Festival, Juanajuato, Meksiko (1992), Korean International
Dance Event, Seoul, Korea Selatan (1995), International Ramayana
Festival, Angkor, Kambodja (1996), Indonesian-Japan Friendship
Festival, Jepang (1997), dan lainnya.
Perjalanan karier diantaranya, Sekretaris Pribadi Duta Besar
Indonesia di Vatikan, PNS pada Departemen Pariwisata, Pos dan
Telekomunikasi. Sulistyo juga pernah menjabat sebagai Direktur
Pembinaan Kesenian dan Perfilman Kementerian Kebudayaan
Republik Indonesia.
Karya-karyanya hingga kini terus menjadi bahan diskusi dan kajian
para peminat tari khususnya tari Jawa.
Beberapa komunitas seni sempat pula mendaur ulang karya
Sulistyo. Salah satunya adalah Pentas “Panji Sepuh” bersama Goe-
nawan Mohammad dalam Festival Pembukaan Museum Nasional
Singapore pada tahun 2006.
dance (1998), “Nyai Sambako” contemporary dance (1999), “Kri-
sis” dance (1999).
He performed his dance choreos and as the dance in several fes-
tivals abroad, such as: Moomba Festival, Australia (1975), Inter-
national Festival Ramayana Bangkok, Thailand (1991), Cervantino
Festival, Juanajuato, Mexico (1992), Korean International Dance
Event, Seoul, South Korea (1995), International Ramayana Festival,
Angkor, Cambodia (1996), Indonesian-Japan Friendship Festival,
Japan (1997), and many others.
Some of his career positions are, Personal Secretary of Indonesian
ambassador in Vatican, Civil Worker in Departement of Tourism
and Communication. Sulistyo was also the Managing Director of
Art and Filmography of Ministry of Art Republic of Indonesia.
His works now remain to be materials for research and discussion
of dance enthusiast, specifically in Javanese dance.
Several art communities have recreate his works. One of them are
the “Panji Sepuh” dance show with Goenawan Mohammad in the
Opening Festival of National Museum Singapore in 2006.
Karya-karyanya hingga kini terus menjadi bahan diskusi dan
kajian para peminat tari khususnya tari Jawa
His works now remain to be materials for research and discussion of dance enthusi-
ast, specifically in Javanese dance.
29

38. 30
ARCADIUS SENTOT
SUDIHARTO
ahir di Solo 3 Januari 1945. Belajar tari jawa sejak usia
enam tahun pada beberapa tokoh guru tari di Solo. Ketika
masih usia delapan tahun, ia, dititipkan oleh ayahnya, Ba-
pak Tohiran Sastrokusumo, kepada Bapak Edi Sadali di Yogyakarta
untuk belajar tari. Sebagai penari cilik Sentot punya ke-khas-an
dalam menari: tarian kera (Hanoman), sehingga dikalangan penari
sebayanya di kala itu, ia, sempat dikenal sebagai “Sentot Kethek”.
Setelah mendapat penghargaan dalam Festival Tari Jawa se-Indo-
nesia, ia, pada tahun 1965 hijrah ke Jakarta. Di Jakarta, ia, sempat
belajar ballet kepada Nrtya Sundara, pimpinan Farida Syuman.
Menjadi pegawai Direktorat Kesenian sejak 1969, dalam perjala-
nannya menjabat sebagai Kepala Seksi Tari Kreasi Baru hingga
purna tugas tahun 2001. Dimasa ini, ia, bertugas mengembangkan
dan membina kesenian yang ada di Indonesia dengan memberikan
pengarahan seni ke seluruh daerah di Indonesia. Sebagai Koordi-
nator Laboratorium Tari Direktorat Kesenian yang dalam program-
nya antara lain memberikan kesempatan kepada para penata tari
dari manapun untuk berkarya terutama dari daerah.
Hasil yang telah dipersembahkan dalam membimbing para Penata
Tari:
SAVITRI (Retno Maruti), RATOH (Marzuki), TLENJENG (Supriadi),
RONGGO LAWE (S. Kardjono), SEKAR GADUH (Inspirasi Sisingaan
Subang).
Sejak 1962 hingga 2007 mengikuti berbagai Misi Kesenian
L
Born in Solo, 3rd January 1945. He learned Javanese dance since
6 years old from several renowned dance tutors in Solo. When he
was still 8 years old, he was introduced by his father, Mr. Tohiran
Sastrokusumo, to Mr. Edi Sadali in Yogyakarta to learn dance. As
a young dancer, Sentot has his own signature in dancing, which is
monkey dance (Hanoman), therefore in the dancer groups at that
time, he was known as “Sentot Kethek”.
After obtaining awards in Javanese Dance Festival throughout In-
donesia, on 1965, he moved to Jakarta. In Jakarta, he once learned
ballet from Nrtya Sundara, under Farida Syuman.
He became the employee of Art Directorate since 1969, during his
tenure as the Head of New Dance Creation Section until retired
on 2001. Now, he has the duty to develop and manage the art of
dance in Indonesia by providing art lesson to every region in Indo-
nesia. As the Coordinator of Dance Laboratorium of Art Director-
ate, in which the programs consist of providing chance for dance
tutor in all region to create art works, especially from rural area.
The result which has been obtained in guiding the dance tutors
are:
SAVITRI (Retno Maruti), RATOH (Marzuki), TLENJENG (Supriadi),
RONGGO LAWE (S. Kardjono), SEKAR GADUH (Inspiration of Sisin-
gaan Subang).
Since 1962 until 2007, he has joined several Indonesian Cultural
Mission, such as to France, Thailand, Tanzania, Taiwan, Japan,
Australia, Egypt, Mexico, Jordan, Singapore and Beijing. He joined

39. 31
TOKOH KONTRIBUTOR KREATIF
Creative Contributors
Indonesia, diantaranya, ke Prancis, Thailand, Tanzania, Taiwan,
Jepang, Australia, Mesir, Mexico, Yordania, Singapore dan Beijing.
Bergabung dengan Sardono W. Kusumo dalam “SAMGITA” (1970,
1971, 1972, 1973), Festival Theater di Nancy (1974), “Yellow Sub-
marine” (1975) di Jakarta, Shiraz Festival 1975, “Dongeng Dirah”
(1976) di Jakarta dan Prancis.
Selain itu diapun menjadi penari pada koreografer lain,
diantaranya, pada:
•Huriah Adam “Malin Kundang”, “Payung”, “Saputangan”.
•Farida Utoyo “Gunung Agung Meletus”, “Karmina Burana”.
•Yulianti Parani “Batu Bara”
•I Wayan diya
•Retno Maruti “Damarwulan”, “Sekar Pembayun”,
”Roro Men dut”, “Alap-alapan Sukesi”, “Dewa Brata”.
Selain sebagai Penari, penata tari, penata gerak (juga pada pentas
teater), pengajar oleh tubuh di Institut Kesenian Jakarta, Sentot
juga di kenal akrab di dunia film layer lebar Indonesia era 1970-
1980.
with Sardono W. Kusumo in “SAMGITA” (1970, 1971, 1972, 1973),
Festival Theatre in Nancy (1974), “Yellow Submarine” (1975) in
Jakarta, Shiraz Festival (1975), “Dirah’s Fairytale” (1976) in Jakarta
and France.
Aside from that, he also works as the dancer for other choreogra-
pher, such as:
•Huriah Adam “Malin Kundang”, “Payung”, “Handkerchief/Sapu
tangan”.
•Farida Utoyo “Eruption of Gunung Agung/Gunung Agung Mele
tus”, “Karmina Burana”.
•Yulianti Parani “Coal/ Batu Bara”
•I Wayan diya
•Retno Maruti “Damarwulan”, “Sekar Pembayun”,”Roro Men
dut”, “Alap-alapan Sukesi”, “Dewa Brata”.
Other than his works as the dancer and choreographer (also in
theatres), dance tutor in Jakarta Art Institute, Sentot is also famil-
iar with Indonesian cinema industry in era 1970-1980.
Setelah mendapat penghargaan dalam Festival Tari Jawa
se-Indonesia, ia, pada tahun 1965 hijrah ke Jakarta.
After obtaining awards in Javanese Dance Festival throughout Indonesia, on 1965,
he moved to Jakarta.

40. 32
IRAWATI
DURBAN ARDJO
ilahirkan tahun 1943, Irawati Jogasuria atau Irawati
Durban Ardjo adalah penari yang sejak 1957 telah mengi-
kuti tujuh Misi Kesenian Indonesia ke luar negeri dari tiga
belas Misi Kesenian yang dikirim Presiden Soekarno. Pengalaman
menari di Istana Negara di mulai sejak 1959. Di masa Presiden Soe-
harto, dia adalah penari yang paling sering diminta menari untuk
para Tamu Negara di Istana Jakarta. Walaupun sudah lama lebih
banyak menampilkan murid-muridnya dalam pertunjukan, tetapi
pada masa Presiden Soesilo Bambang Yoedoyono dia khusus turut
menarikan Tari Merak untuk Presiden George Bush tahun 2006 di
Bogor, sebagai peringatan pribadinya yang telah berkecimpung
menari selama 50 tahun dari 1956-2006. Dari tahun 1961-1974an,
selain aktif di bidang tari Sunda, dia pun aktif dalam Grup Viatikara
yang menyajikan tarian Indonesia modern berbasis tari daerah
karya Paul Kusardy. Tarian Kusardy menggabungkan unsur tari
daerah Sunda, Jawa, Melayu, Bali dan balet, dengan iringan musik
diatonis, utamanya piano, band, suling dan kendang. Bersama
grup inipun ia berkeliling Pulau Jawa dan ke luar negeri.
Pada tahun 1967, ia diminta untuk menjadi staff pengajar tari di
Konservatori Tari Indonesia, Bandung (KORI). Kemudian tahun
1970 KORI menjadi Akademi Seni Tari Indonesia (ASTI), yaitu
lembaga pendidikan formal tari dari Kementerian Pendidikan dan
Kebudayaan. Walaupun lulus sebagai sarjana Interior Arsitektur
dari Institut Teknologi Bandung 1975, lalu bekerja di Studio Interior
Widagdo empat tahun, dan menjadi dosen di Jurusan Arsitektur
Universitas Parahyangan (Unpar) selama dua tahun, Irawati men-
yadari bahwa dia adalah satu-satunya pengajar tari puteri Sunda
di ASTI, maka dia memilih untuk berhenti dari kedua pekerjaan-
nya dan mengabdikan ilmu tarinya di ASTI/Sekolah Tinggi Seni
Indonesia (STSI, 1998)/Institut Seni Budaya Indonesia (ISBI, 2014).
Pengalamannya mengajar tidak hanya di Indonesia, tetapi juga di
D
She was born in 1943. Irawati Jogasuria or Irawati Durban Ardjo
is a dancer since 1957 and has joined seven Indonesian Cultural
Mission abroad from 13 Cultural Mission which sent by President
Soekarno. Her experience as a State Palace Dancer had been
starting since 1959. In the era of President Soeharto, she was a
dancer with the most request to dance in front of the guests in
Jakarta Palace. Although it is more often for her to let her stu-
dents perform in showcases, but during the era of President Susilo
Bambang Yudhoyono, she danced for Merak Dance for President
George Bush in 2006 at Bogor, as her personal celebration in
which she has been involved in dance art for 50 years, from 1956
until 2006. From 1961-1974, aside from her activities in the field of
Sundanese dance, she was also active in Viatikara Group which
presents Indonesian modern dance with the basis of traditional
dance by Paul Kusardy. Kusardy’s dance combined traditional
dance of Sundanese, Javanese, Melayu, Balinese and Ballet, with
diatonic music, mainly piano, band, flute and percussion. With this
group, she went around Java as well as going abroad.
On 1967, she was requested to become the staff of dance tutor in
Indonesia Dance Conservatory, Bandung (KORI). Afterwards, in
1970, KORI became Art of Dance Academy Indonesia (ASTI), which
was a formal education for dance from the Ministry of Education
and Culture. Eventhough she graduated as a bachelor in field of
interior architecture of Bandung Institute of Technology, in 1975,
then working at the Widagdo Interior Studio for 4 years and be-
came a lecturer at Faculty of Architecture in Parahyangan Univer-
sity for 2 years, Irawati realized that she was the only sundanese
tutor in ASTI, hence why she decided to resined from both of her
jobs and choosed to become active in tutoring dance at ASTI/
Academy of Arts Indonesia (STSI, 1998)/ Institute of Cultural Art
Indonesia (ISBI, 2014). Her experience of teaching does not only

41. 33
Amerika Serikat yakni: di Center for World Music, Berkeley (1974)
dan di Universitas California Santa Cruz (1988, 2000, 2005, 2014),
dan di Belanda (1989). Tahun 2008 ia menerima pensiun dari STSI.
Untuk meluaskan kiprahnya dalam dunia tari, Irawati membentuk
perkumpulan Pusat Bina Tari Irawati Durban (Pusbitari ID) tahun
1986 dengan aktifitas: membuka kursus tari, membuat karya tari,
dan mengisi acara maupun menyelenggarakan pergelaran besar.
Bersama grupnya ia tetap mengisi acara di Istana Negara, Gedung
Pakuan, serta undangan pentas lain di dalam dan di luar negeri.
Sekarang Pusbitari ID berkembang menjadi Yayasan Pusat Bina
Tari pada tahun 2009, dengan tiga bidang kegiatan yaitu: Pusbi-
tari ID, Pusbitari Press (menerbitkan buku tari), dan Pusbitari Pro
(menyediakan kebutuhan pentas dan latihan). Tempat kursusnya
di Bandung ada di tiga tempat yaitu: Studio Museum Sri Baduga
di Jl. BKR; Studio Post Aura di Setrasari Mal; dan di Studio Gerhil,
Jl. Gegerkalong Hilir. Pada tahun 2016, Pusbitari ID dikembangkan
lagi menjadi Pusbitari ID Bandung.
Di luar studio, dia pun meraih guru-guru tari dari sanggar tari dan
sekolah SD, SMP dengan memberikan bimbingan belajar-mengajar
Tari Sunda dengan sistem mudah dan cepat, bekerjasama dengan
sekolah, Disbudpar Propinsi dan Kota, Dinas Pendidikan Propinsi
dan Kota. Adapun materi tari yang diajarkan ada dalam Paket Tari
Kawit untuk SD dan pemula, serta Paket Mindo untuk tingkat
SMP. Materi tari yang diajarkan dalam kedua paket itu, dia buat
koreografi baru khusus untuk mereka, dilengkapi karya tari Rd.
Tjetje Somantri dan Rd. Nugraha Sudiredja.
Masa pensiun lebih memberinya waktu dan ruang untuk menu-
lis beberapa buku tentang tari Sunda yang dikuatirkannya akan
lenyap karena dilindas perubahan zaman. Dia menulis banyak buku
yaitu buku: Kawit (Pusbitari Press 2003); Tari Sunda 1880-1990,
Melacak Jejak Rd. Tjetje Somantri dan Tb. Oemay Martakusuma
(Pusbitari Press 2007); Tari Sunda 1940-1965, Rd. Tjetje Somantri
dan Kiprah BKI (Pusbitari Press 2008); 200 Tahun Seni di Bandung,
bersama 10 pakar seni Sunda lainnya (Pusbitari Press 2011), “ Tari
Sunda baru untuk panggung baru”, dalam Ahli Waris Budaya Dun-
ia, Menjadi Indonesia 1950-1965, oleh 17 penulis dari lima negara
(KITLV Jakarta, 2011) - (“New Sundanese Dances for New Stages”,
dalam Heirs to the world Culture, Being Indonesian 1950-1965,
KITLV Leiden, 2012), Teknik Tari Sunda Klasik Puteri (Pusbitari Press
2013), dan Tari Merak Sunda (Pusbitari Press 2017).
TOKOH KONTRIBUTOR KREATIF
Creative Contributors
come from Indonesia but also United States of America, such as:
at the Center for World Music, Berkeley (1974) and at Universitas
California Santa Cruz (1988, 2000, 2005, 2014), and at Netherlands
(1989). In 2008, she retired from STSI.
To expand her involvement in art of dance, Irawati built an associ-
ation named Irawati Durban Dance Education Center (Pusbitari ID)
in 1986 with the activities of: opening dance classes, making chore-
ographies, and performing in several huge events. With her group,
she performed at Presidential Palace, Pakuan Building, as well
as many other domestic or foreign shows. Now, Pusbitari ID has
developed became Foundation of Dance Education in 2009, with
three main activities: Pusbitari ID, Pusbitari Press (releasing dance
books), and Pusbitari Pro (providing equipments for dance perfor-
mances). The dance courses are located in three places such as:
Studio Museum Sri Baduga at Jl. BKR; Studio Post Aura at Setrasari
Mal; and at Studio Gerhil, Jl. Gegerkalong Hilir. In 2016, Pusbitari ID
has developed once again and became Pusbitari ID Bandung.
Outside the studio, she also reach through other dance tutors
from dance studios and from elementary, junior highschool and
highschools by providing dance classes of Sundanese Dance with
easy and fast system, by coordinating with schools, Art and Cultur-
al Division of provinces and municipality. The dance material which
introduced contained in the Kawit Dance Package for elementary
and beginners, as well as Mindo Package for junior highschool
level. The dance material which taught in both of the packages has
special choreographis for them, completed with dances created by
Rd. Tjetje Somantri and Rd. Nugraha Sudiredja.
Her retirement has given her more time and room to write several
books regarding Sundanese dance which are concerned to be
extinct due to modern era. She wrote a lot of books such as: Kawit
(Pusbitari Press 2003); Sundanese Dance/Tari Sunda 1880-1990,
Tracking The Trail of Rd. Tjetje Somantri dan Tb. Oemay Martaku-
suma /Melacak Jejak Rd. Tjetje Somantri dan Tb. Oemay Martaku-
suma (Pusbitari Press 2007); Sundanese Dance/Tari Sunda 1940-
1965, Rd Tjetje Somantri and gait of BKI/Rd. Tjetje Somantri dan
Kiprah BKI (Pusbitari Press 2008); 200 Years of Art in Bandung,
with 10 Sundanese Cultural Figures/200 Tahun Seni di Bandung,
bersama 10 pakar seni Sunda lainnya (Pusbitari Press 2011), “New
Sundanese Dance for New Stage” in Heirs to The World Culture,
Becoming Indonesia 1950-1965, by 17 writers from 5 countries
(KITLV Jakarta, 2011) - (“New Sundanese Dances for New Stages”,
in Heirs to the world Culture, Being Indonesian 1950-1965, KITLV
Leiden, 2012), Female Classical Sundanese Dance Technique/Teknik
Tari Sunda Klasik Puteri (Pusbitari Press 2013), and Sundanese
Peacock Dance/Tari Merak Sunda (Pusbitari Press 2017).

42. 34
AYU
BULANTRISNA
DJELANTIK
yu Bulantrisna Djelantik, yang oleh para murid tarinya
disebut “Biyang Bulan”, adalah penari sejak usia anak.
Pada usia 12 tahun ia pertama kali dipanggil menari di
Istana Merdeka Jakarta. Masa mudanya dipenuhi pementasan tari
Bali klasik baik di desa Peliatan, kota lain di Bali, Jakarta, maupun
dalam lawatan ke manca negara sebagai anggota misi kesenian
bersama seniman dari berbagai daerah, antara lain EXPO 70 di
Osaka. Setelah lulus SMA, ia pindah ke Bandung untuk kuliah
Kedokteran hingga meraih dokter spesialis tht dan dosen bergelar
Doktor dari Antwerp University Belgia (1996) Walau sibuk dalam
profesinya sebagai dosen dan konsultan kesehatan pendengaran,
ia tak pernah berhenti menari dan mengajar tari di waktu luangn-
ya.
Melalui Komunitas Bengkel Tari AyuBulan yang bersemi di Bandu-
ng dan Jakarta sejak 1994, bersama generasi muda terus menga-
sah kemampuan menari, dan penciptaan melalui pengayaan
ekspresi dan eksperimen gerak, tanpa meninggalkan pakem dasar
tarian Legong gaya Peliatan yang merupakan fokusnya. Gubaha-
nnya antara lain Drama Tari Legong Asmarandana (1996), Legong
Witaraga (2003), Topeng Sitarasmi (2005), Bedoyo Legong Calona-
rang berkolaborasi denga Retno Maruti (2006), Legong Mintaraga
(2007), Sitayana (2011), dan Sang Panji (2014).
Karyanya dipentaskan di dalam maupun luar negeri, antara lain
Drama Legong Asmarandana di Bandung, Moskow, St Petersburg,
Paris pada th 1997, Topeng Sitarasmi di Amsterdam th 2010, Be-
doyo Legong Calonarang di Espalane Singapura 2007. Tahun 2013
ia menari dan melatih di Tong Tong Festival Belanda dan program
A
Ayu Bulantrisna Djelantik, which by her student are usually called
as “Biyang Bulan”, is a dancer since young age. When she was 12
years old, she performed for the first time in Presidential Palace
Jakarta. Her adolescent time was full of classic Balinese dance per-
formance, whether in cities other than Bali and Jakarta of going
abroad with other dancers from other regions, such as EXPO 70 at
Osaka. After she graduated from highschool, she moved to Band-
ung to go medical school until she became a doctor specialized in
ears, nose and throat and became a lecturer with Doctoral Degree
from Antwerp University Belgia (1996). Eventhough she is busy
with her position as the lecturer and health consultant, she never
stopped dancing and tutoring dance in her spare time.
Through AyuBulan dance community established in Bandung and
Jakarta since 1994, with young generation she keeps developing
dance skills and creation through expression and movements,
without leaving the base of Legong dance, focused on Peliatan
style. The shows are Asmarandana Legong Dance Drama (1996),
Legong Witaraga (2003), Sitarasmi’s Mask (2005), Bedoyo Legong
Calonarang collaborated with Retno Maruti (2006), Legong Mint-
araga (2007), Sitayana (2011), and The Panji (2014).
Her works are preformed domestic of non-domestic, such as
Legong Asmarandana Drama at Bandung, Moscow, St. Petersburg,
Paris in 1997, Sitarasmi’s Mask in Amsterdam in 2010, Bedoyo
Legong Calonarang at Espalane Singapura in 2007. In 2013, she
danced and tutored at Tong Tong Festival Netherlands and Dances
Creation World Museum, Vienna. In 2013, Biyang Bulan obtained
MURI award (Indonesia Record Museum) as a tutor and active

43. 35
TOKOH KONTRIBUTOR KREATIF
Creative Contributors
Danced Creations World Museum Vienna. Pada tahun 2013 Biyang
Bulan mendapat penghargaan MURI (Museum Rekor Indone-
sia) sebagai pelatih dan penari aktif selama 55 tahun lebih tarian
Legong dan Goak Legong. Pada bulan November 2014, biyang
mejadi pengarah artistic dan scenario pada “Legong Sampek En-
gtay”, sebuah kerja sama dengan Republic Polytechic Singapore,
serta menari sebagai Gayatri dalam karya kidung tari “Rajapatni”
di Candi Berahu dalam rangka 721 tahun Majapahit garapan Heri
Lentho bersama Restu Imansari K dan Cokorda Ratih Iryani. Tahun
2015 membuat koreografi “Panji Inu” bersama Dewi Sulastri, Arju-
na Dibiasakti suatu kolaborasi Legong –Bharatanatyam bersama
Sindu Raj, koreografi prembon “Satua Calon Arang”, koreografi
kolaborasi Opera Wayang “Panji Semirang” bersama Swargaloka
, Agustus 2017. Pada awal tahun 2017, Biyang membuat Konsep
tarian Rejang Shanti”, dengan koreografi Ida Ayu Ani Arya dan
composer gending oleh I Bagus Made Wiadnyana.
Setelah pensiun sebagai Dosen FK Unpad Bandung, biyang Bulan
yang telah mempunyai empat cucu tinggal di Jakarta. Ia masih
terus meluangkan waktunya untuk menari, berkreasi dan menga-
jar. Melalui Bengkel Tari AyuBulan, Tunas Tari AyuBulan dan Lestari
AyuBulan. Ia menjadi editor dan penulis buku “Tari Legong,
dari Kajian Lontar Hingga Panggung Masa Kini” yang diterbitkan
Pemkot Denpasar (2015). Bersama tim Dirjenbud Depdiknas, dan
anggota Bengkel, ikut memperjuangkan Sembilan tari tradisi Bali
untuk tercatat sebagai warisan budaya dunia tak benda ke UNE-
SCO. Program Bengkel Tari “Kembalikan Jogedku”dan melatih
serta pementasan “Rejang Shanti” di berbagai forum, adalah
untuk meningkatkan apresiasi masyarakat sebagai tindak lanjut
penetapan Unesco ini.
dancer of Legong Dance and Goak Legong for 55 years. In Novem-
ber 2014, Biyang became a artistic and scenario choreographer in
“Leong Sampek Engtay”, a collaboration with Republic Polytech-
nic Singapore, as well as danced as Gayarti in “Rajapatni” show at
Candi Berahu for commemoration of 721 years of Majapahit by Heri
Lentho with Restu Imansari K and Cokorda Ratih Iryani. In 2015,
she created “Panji Inu” choreography with Dewi Sulastri, Arjuna
Dibiasakti a Legong collaboration –Bharatanatyam with Sindu Raj,
“Satua Calon Arang” Prembon Choregraphy, “Panji Semirang”
with Swargaloka, Agustus 2017. In the beginning of 2017, Biyang
membuat Konsep tarian Rejang Shanti”, with choreography by Ida
Ayu Ani Arya and gending composer by I Bagus Made Wiadnyana.
After she retired as a lecturer at Medical Faculty of University of
Padjajaran, Bandung, Biyang Bulan has four grandchildren who
live in Jakarta. She still spare her time to dance, create and teach
through AyuBulan Dance Community, Tunas Tari AyuBulan dan Le-
stari AyuBulan. She became the editor and writer of the book “Le-
gong Dance, from Lontar Studies until Current Stage/Tari Legong,
dari Kajian Lontar Hingga Panggung Masa Kini” which published
by municipality government of Denpasar (2015). Alongside with
Team from Departemen of Cultural from Ministry of Education
and Culture, also members of the Workshop/Bengkel, she fought
for nine Balinese dance traditions to be registered as non-tan-
gible world heritage by UNESCO. Dance Workshop/Bengkel Tari
program called “Bring Back My Dance/Kembalikan Jogedku” and
teach as well as performed “Rejang Shanti” in several forums, is
a way to increase the society’s appreciation as the next step for
stipulation by UNESCO.
Pada tahun 2013 Biyang Bulan mendapat penghargaan
Museum Rekor Indonesia sebagai pelatih dan penari aktif
selama 55 tahun lebih tarian Legong dan Goak Legong
Biyang Bulan obtained MURI award (Indonesia Record Museum) as a tutor and
active dancer of Legong Dance and Goak Legong for 55 years.

44. ELLY D. LUTAN
erlahir dengan nama Indah Harie Yulianti di Makassar
pada tanggal 27 Juli 1952. Elly dikenal akan ketekunan
dan pengabdiannya yang begitu tinggi kepada mas-
yarakat, khususnya dalam bidang seni tari. Boleh dikatakan bahwa
sebagian besar masa hidupnya diabadikan untuk kepentingan
masyarakat dunia tari. Menari dan menata tari adalah pengabdian
hidup Elly. Sejak tahun 1970 mengabdikan diri sebagai penari dari
para tokoh tari terkemuka seperti, Huriah Adam, Bagong Kussudi-
ardjo, Sardono W. Kusumo, Gusmiati Suid, Retno Maruti, Sulistyo
Tirto Kusumo, dan tentunya Dedy Lutan (suami Elly)—seorang
maestro tari tradisi dan doktor pada bidang karya tari.
Pengalaman yang Ia peroleh bersama tokoh-tokoh tersebut, yang
memberikan banyak inspirasi, kemantapan dan keinginan men-
ciptakan karya-karya tari seperti “Kunti Pinilih”, “Drupadi Mulat”,
”Tjut Nyak”, “Gendari” yang kemudian menjadikan dirinya sebagai
salah satu koreografer wanita Indonesia yang diperhitungkan. Se-
lama kurun waktu 15 tahun terakhir ini Elly telah melahirkan beber-
apa repertoar tari yang mengangkat masalah perempuan maupun
simbol-simbol perempuan. Dan ini yang menjadikannya berbeda
dengan para koreografer lainnya. Elly menjadi koreografer yang
selalu konsisten berbicara tentang perempuan, sampai sekarang.
Pada tahun 2014 Elly menerima penghargaan dan pengakuan dari
Kementrian Pendidikan dan Kebudayaan “Anugerah Kebudayaan
dan Maestro Seni Tradisi, sebagai penerima Anugerah Kebudayaan
Kategori Anugerah Seni” sebagai maestro tari Indonesia. Pengala-
T
Was born with the name Indah Harie Yulianti at Makassar on 27th
July 1952. Elly was known for her high perseverance and devotion
to society, especially in the field of art of dance. It is possible to be
stated that most of her life is dedicated for the sake of society in
the field of dance art. Dancing and making choreographies are El-
ly’s life. Since 1970, she has been active as dancer along with other
well-known dancer such as Huriah Adam, Bagong Kussudiardjo,
Sardono W. Kusumo, Gusmiati Suid, Retno Maruti, Sulistyo Tirto
Kusumo, and definetely Dedy Lutan (Elly’s spouse)—a maestro
and doctoral degree bearer in the field of traditional dance.
Her experience obtained with such other dancrs has given her a
lot of inspiration, certainty and wish to create dance shows such
as “Kunti Pinilih”, “Drupadi Mulat”, ”Tjut Nyak”, “Gendari” which
also made her as one of the Best Indonesian female choreogra-
pher. During these 15 years, Elly has produced many dance reper-
toire which bring female issues of female symbols which this dif-
fers Elly from other choreographer. Elly is a choreographer which
always consistent in speaking about female rights, up until now.
In 2014, Elly has obtained awards and acknowledgement from the
Ministry of Edcuation and Culture “Endowment of Cultural and
Traditional Art/ Anugerah Kebudayaan dan Maestro Seni Tradisi,
as the recepient of Endowment of Cultural and Traditional Art/
Anugerah Kebudayaan Kategori Anugerah Seni” as dance maestro
from Indonesia. Her other experiences is not only in the field of
dance but also acting in theatre and movies.
36

45. TOKOH KONTRIBUTOR KREATIF
Creative Contributors
man lainnya yang Ia miliki tidak hanya didunia tari saja namun juga
di seni peran baik di teater ataupun film.
Sebagai seorang seniman karya-karya tari Elly D. Lutan telah
mendapat apresiasi yang sangat baik, diantaranya Karya Ramaya-
na dalam Festival Ramayana Internasional di Bangkok Thailand
pada tahun 1998, Kunti Pinilih yang dipentaskan di Het Muziek
Theatre, Amsterdam Belanda tahun 2002 dan Tjut Nyak yang
dipentaskan dalam Art Summit Festival tahun 2004.
Telah banyak Karya yang dihasilkan, dicatat terakhir di TAHUN
2016; Suara-Suara Mati, dengan sutradara Slamet Raharjo dalam
rangka pementasan Teater Populer sebagai Koreografer, pada
tanggal 1-2 December 2016 di Teater Salihara, Jakarta; Latar Jem-
bar, sebagai Art Director dan Koreografer dalam rangka Solo In-
ternational Performing Art (SIPA) 2016, pada tanggal 11 September
2016 di Benteng Vastenburg, Surakarta; Keumalahayati, sebagai
Konsultan Artistik, dalam rangka Pementasan Persembahan Ulang
Tahun Taman Mini Indonesia Indah (TMII) pada tanggal 20 April
2016 di Theatre Bhineka Tunggal Ika, TMII; Latar Jembar, sebagai
Art Director dan Koreografer dalam rangka the 10th Anniversary
World Dance Day, Insitut Seni Surakarta pada tanggal 29 April
2016; Impian, sebagai koreografer dalam rangka “The 2nd Jakarta
Dance Carnival” World Dance Day, pada tanggal 14 Mei 2016 di
Taman Ismail Marzuki; TAHUN 2015, Biyung, sebagai Koreografer,
dalam rangka Malam Anugrah Budaya Kementerian Budaya dan
Pariwisata.
As an artist in making dance choreographies, Elly D. Lutan has
obtained great appreciations such as Karya Ramayana in the
International Ramayana Festival at Bangkok Thailand in 1998,
Kunti Pinilih which performed at Het Muziek Theatre, Amsterdam
Netherlands in 2002 and Tjut Nyak which performed at Art Summit
Festival in 2004.
There are a lot of her works which have been produced, last
registered in 2016: Voices of Death/Suara-Suara Mati, with the Di-
rector Slamet Raharjo with regard to the performance of Populer
Theater/Teater Populer as the Choreographer, on 1-2 December
2016 at Teater Salihara, Jakarta; Latar Jembar, as Art Director and
Choreographer Solo International Performing Art (SIPA) 2016, on
11th September 2016 at Vastenburg Fort, Surakarta; Keumalahaya-
ti, as the Artistic Consultant, with regards to the Performance for
Anniversary of Taman Mini Indonesia Indah (TMII) on 20th April
2016 at Theatre Bhineka Tunggal Ika, TMII; Latar Jembar, as the
Art Director dan Choreographer with respect to the 10th Anniver-
sary World Dance Day, Surakarta Art Institute on 29th April 2016;
Impian, as the choreographer with respect to the “The 2nd Jakarta
Dance Carnival” World Dance Day, on 14 Mei 2016 at Taman Ismail
Marzuki; in 2015, Biyung, as the Choreographer, with respect to
the Malam Anugrah Budaya of Ministry of Culture and Tourism.
Selama kurun waktu 15 tahun terakhir ini Elly telah melahirkan
beberapa repertoar tari yang mengangkat masalah perempuan maupun
simbol-simbol perempuan.
During these 15 years, Elly has produced many dance repertoire which bring female
issues of female symbols
37

46. RURY AVIANTI
ahir di 28 Feb 1977, beliau mengenyam pendidikan
terakhirnya di STSI Surakarta. Rury mempelajari Tari
Klasik Mangkunegaran di Surakarta. Kesenian karyanya
dan pengalamannya antara lain sebagai berikut; pada tahun 1991
sebagai penari freelance untuk beberapa acara dan menarikan
tarian tradisional dan kontemporer; 1997 Misi Kebudayaan dengan
Mangkunegaran Palace di Kobe, Japan; 1998 sebagai penari den-
gan Universitas Seni Surakarta hadir di Manila, Philippina untuk
Misi Kebudayaan; 2000 - 2001 Penari di ‘Labyrinth’ pagelaran tari
dengan penata tarian oleh Sen Hea Ha (Korea) pentas di Berlin
dan Singapore dan tarian yang beliau perankan lainnya di Makas-
sar, Solo, Yogya and Jakarta; 2002 mendapatkan kontrak 6 kerja
sebagai penari di Izumo, Japan; 2004 Misi Kebudayaan Kemen-
trian Kebudayaan dan Pariwisata di Cina; 2005 Misi Kebudayaan
Keraton Mangkunegaran di Maroko, Kolaborasi dengan Sen Hea
Ha (penata tari, South Korea) untuk ‘Wahyu’, pentas di Singapore
dan Korea Selatan, ‘Infinita’ dan ‘Bebrayan’ dipentaskan di Jakarta
dan Surakarta; 2006 Misi Kebudayaan Keraton Mangkunegaran
di Paris, Perancis, ‘’Doa Untuk Pengungsi” kerjasama dengan Sen
Hea Ha (South Korea) dipentaskan di Jakarta, Misi Kebudayaan
Indonesian di pertemuan SOCI meeting Cambodia, Misi Kesenian
dan Kebudayaan Jawa Tengah di Kamboja, ‘Panji Sepuh’ suatu
tarian yang diarahkan oleh Goenawan Mohamad, dengan penata
tarian oleh Sulistyo Tirto Kusumo, dipentaskan di Jakarta dan
Singapura, 2007 bersama Surakarta sebagai penari di Misi Kebu-
dayaan untuk World Mask Dance Festival di Andong, Korea (28
September - 8 Oktober 2007), Memulai kariernya sebagai pelatih
dan instruktur penari freelance untuk tarian tradisional (sampai
saat ini); 2008 Penari dalam ‘Wayang’ dengan penata tari oleh Ma-
ziah Omar, dipentaskan di Nottingham (Lakeside Art Centre); 2010
Perwakilan Indonesia dalam ‘Training Workshop on Preservation
of Intangible Cultural Heritage: Traditional Dance Patern 2010’ di
L
Born in Surakarta 28 Feb 1977, his last education is from STSI Sura-
karta. She studied Mangkunegaran Classical Dances in Surakarta
as well. Her art working and experience are among others, 1991 to
present Freelance dancer for various event in traditional and also
contemporary dances; 1997 Mangkunegaran Palace art mission
in Kobe, Japan; 1998 As a dancer for Art University of Surakarta
art mission in Manila, Philippina; 2000-2001 Dancer in ‘Labyrinth’
dance project choreographed by Sen Hea Ha (Korea) performed in
Berlin and Singapore and also her other dance pieces performed in
Makassar, Solo, Yogya and Jakarta; 2002 6 months work contract
as a dancer in Izumo, Japan; 2004 Indonesia Culture and Tourism
Ministry art mission in China; 2005 Mangkunegaran Palace art
mission for Marokko, Collaboration work with Sen Hea Ha (chore-
ographer, South Korea) for ‘Wahyu’ a dance piece, performed in
Singapore and South Korea, ‘Infinita’ and ‘Bebrayan’ performed in
Jakarta and Surakarta; 2006 Mangkunegaran Palace art mission
for Paris, French, ‘Prayer for Refuge’ dance collaboration with
Sen Hea Ha (South Korea) performed in Jakarta, Indonesian
art mission at the SOCI meeting in Cambodia, Central Java art
and cultural mission for Cambodia, ‘Panji Sepuh’ a dance piece
directed by Goenawan Mohamad, choreographed by Sulistyo Tirto
Kusumo, performed in Jakarta and Singapore, 2007 With Surakarta
art mission as a dancer at World Mask Dance Festival in Andong,
Korea (September 28th - October 8th 2007), Start become free-
lancer dance instructure and manager for traditional dance for
various event (until now); 2008 Dancer in ‘Wayang’ piece choreo-
graphed by Maziah Omar, performed in Nottingham (Lakeside
Art Centre); 2010 Indonesian delegate on ‘Training Workshop on
Preservation of Intangible Cultural Heritage: Traditional Dance
Patern 2010’ in Nay Pyi Taw, Myanmar (11 - 15 February 2010), Danc-
er and choreographer in ‘Beyond Bedaya’ performed in Udine,
Italy; 2011 ‘Panji Sepuh: Apa Gerangan Dosa Tubuh?’ a dance piece
38

47. TOKOH KONTRIBUTOR KREATIF
Creative Contributors
Nay Pyi Taw, Myanmar (11 - 15 Februari 2010), penari dan penata
tari untuk ‘Di Balik Bedaya’ dipentaskan di Udine, Italia; 2011 ‘Panji
Sepuh: Apa Gerangan Dosa Tubuh?’ pementasan yang diarahkan
oleh Yudi Ahmad Tajudin, dengan pengarah tari Sulistyo Tirto Ku-
sumo, dipentaskan di Teater Salihara, Jakarta; 2012 Sebagai asisten
koregrafi untuk pembukaan Morotai dengan 1000 penari, Ternate
(September 2012), sebagai penari dan asisten sutradara untuk ‘Ing
Raga’, karya Sulistyo Tirto Kusumo, dengan sutradara Yudi Ahmad
Tajudin, dipentaskan di teater Salihara, sebagai penari di ‘Javanese
L’Histoire du Soldat’ karya Gerard Mosterd, dipentaskan di Teater
Tropen, Amsterdam dan Teater De Flint!, Amersfoot, Belanda; 2013
sebagai penata tari untuk ‘Saujana Jakarta’, parade kebudayaan
untuk hari kemerdekaan Indonesia di Jakarta (18 Agustus), sebagai
penari untuk Keraton Mangkunegaran, pentas pada September di
Vienna, Austria; 2014 sebagai penata tari untuk ‘Keajaiban Topeng
Nusantara’, parade kebudayaan untuk hari kemerdekaan Indone-
sia di Jakarta (18 Agustus); sebagai penari di ‘Javanese L’Histoire
du Soldat’ karya Gerard Mosterd, dipentaskan di teater Salihara
(11 - 12 Juli); 2015 sebagai penari untuk Sekolah Seni Jaya Suprana’s
School, dipentaskan di Sydney Opera House (23 Februari); sebagai
manager dan penari untuk Soerya Soemirat Mangkunegaran
Palace, dengan Dewan Inggris dalam Discover Indonesia project,
dipentaskan di London, Glassgow dan Cardiff (2 – 21 Septem-
ber), sebagai penari dan manajer untuk Soerya Soemirat Keraton
Mangkunegaran, dipentaskan di Dans Festival Esplanade, Sin-
gapura (9 - 13 Oktober), sebagai penaru untuk Sekolah Seni Jaya
Suprana, dipentaskan di Carnegie Hall, New York (22 - 24 Oktober);
2015 – hingga saat ini sebagai pendiri dan pemimpin untuk Sanggar
Tari Sekar Tanjung; 2016 sebagai manager untuk Soerya Soemirat
Keraton Mangkunegeran, dipentaskan untuk A Tapestry of Sacred
Music di Esplanade Singapore (16 - 17 April); 2017 sebagai penari
dalam ‘A Javanese L’Histoire du Soldat ‘ karya kontemporer oleh
Gerard Mosterd di Belanda (5 Maret- 29 April).
directed by Yudi Ahmad Tajudin, choreographed by Sulistyo Tirto
Kusumo, performed in Salihara theatre, Jakarta; 2012 As assistant
choreographer for opening Sail Morotai with 1000 dancer, Ternate
(September 2012), As a dancer and director assistant in ‘Ing Raga’,
a piece by Sulistyo Tirto Kusumo, director by Yudi Ahmad Tajudin,
performed in Salihara theatre, As a dancer in ‘Javanese L’Histoire
du Soldat’ a piece by Gerard Mosterd, performed at Tropen The-
ater, Amsterdam and De Flint! Theater, Amersfoot, Dutch; 2013 As
choreographer for ‘Saujana Jakarta’, a cultural parade for Indone-
sia’s independent day parade in Jakarta (18th August), As a dancer
for Mangkunegaran Royal Palace, performed on September in
Vienna, Austria; 2014 As choreographer for ‘The Wonder of Archi-
pelago’s Mask/Keajaiban Topeng Nusantara’, a cultural parade
for Indonesia’s independent day parade in Jakarta (18th August);
As a dancer in ‘Javanese L’Histoire du Soldat’ a piece by Gerard
Mosterd, performed at Salihara theatre (11th - 12th July); 2015 As a
dancer for Jaya Suprana’s School of Performing Arts, performed
at Sydney Opera House (23th February); As manager and dancer
for Soerya Soemirat Mangkunegaran Palace, with British Council
in Discover Indonesia project, performed in London, Glassgow and
Cardiff (2nd – 21st September), As manager and dancer for Soerya
Soemirat Mangkunegaran Palace, performed in Dans Festival
Esplanade, Singapore (9th - 13th October), As a dancer for Jaya
Suprana’s School of Performing Arts, performed at Carnegie Hall,
New York (22nd - 24th October); 2015- presentAs a founder and
leader for Sekar Tanjung Dance Company’; 2016 As manager for
Soerya Soemirat Mangkunegeran Palace, performed in A Tapestry
of Sacred Music at Esplanade Singapore (16th - 17th April); 2017 As
dancer in ‘A Javanese L’Histoire du Soldat ‘ a contemporary piece
by Gerard Mosterd for Netherland performances tour (5th March -
29th April).
Rury mempelajari Tari Klasik Mangkunegaran
di Surakarta.
She studied Mangkunegaran Classical Dances in Surakarta
39

48. 40
NANANG
RUSWANDI
terlahir dari keluarga seniman panggung tradisional,
dan bergabung di Paguyuban Wayang Orang Bharata di
pertengahan tahun 1980. Belajar dan belajar dari banyak
guru membuat Nanang segera menguasai berbagai tarian
Nusantara dan menjadi bagian tak terpisahkan dari seni tari Tradisi
Nusantara.
Selain aktif di Wayang Orang Bharata, kiprahnya sebagai ko-
reografer pun di akui oleh berbagai pihak, terutama penari dan
koreografer senior, terbukti dengan berbagai pergelaran yang di
garapnya dengan kolaborasi bersama sutradara “Teguh Kenthus
Ampiranto” baik bagi organisasi pemerintah maupun swasta,
pelangi Nusantara, Sekar Budaya Nusantara maupun WO Bharata
sendiri.
Beberapa pergelaran yang di garap bersama “Karya Anak Panggu-
ng Bharata” , seperti:
1. Wayang Kakung “Bambang Pramusinto” (2009)
2. Salya Wiratama (2010 & 2012)
3. WO Tunas “Gareng dadi ratu” (2011)
4. Sang Sumantri (2013)
5. Banjaran Gatot Kaca (2010)
Penghargaan yang pernah diterima:
1. Juara 1 Karya tari Muda (DIKBUD-RI) pada thn 1991, “Krapyak”
2. Juara 1 Koreografer muda bidang tradisi (DIKBUD-RI) 1992,
”Karna Tanding”
3. Juara 1 penata tari Muda (Dinas Kebudayaan RI) 1993, ”Wiyata”
4. Koreografer muda terbaik dalam “Festival Koreografer GKJ”
1995, “Sakera”
5. Penghargaan MURI sbg “Pemrakarsa Wayang Orang Regenera-
si (Generasi ke5) 2011
Selain sebagai Koreografer Nanang juga penari tradisi yang handal
dan sering menjadi duta seni / mengikuti misi kesenian sejak tahun
1993 – hingga saat ini, ke berbagai Negara seperti, beberapa Nega-
ra di Eropa, Australia, Jepang, Korea dan negara2 ASEAN.
D
Was born from an artists family in the field of traditional culture,
and joined the Human Wayang Bharata Community/Paguyuban
Wayang Orang Bharata in the mid 1980. Studied from lots of dance
teachers has made Nanang able to master lots of kind of tradition-
al dances and he has become an inseparable part of the National
dance art tradition.
Aside from his activities in Human Wayang Bharata Communi-
ty/Wayang Orang Bharata, his job as choreographer has been
acknowledged by senior choreographers, evidenced by lots of
performances made by him in collaboration with the director
“Teguh Kenthus Ampiranto” for government or non-government
organization, Pelangi Nusantara, Sekar Budaya Nusantara or WO
Bharata itself.
Several performances created along with “Creation of Bharata
Stage Children/Karya Anak Panggung Bharata”, such as:
1. Wayang Kakung “Bambang Pramusinto” (2009)
2. Salya Wiratama (2010 & 2012)
3. WO Tunas “Gareng dadi ratu” (2011)
4. Sang Sumantri (2013)
5. Banjaran Gatot Kaca (2010)
Several obtained awards:
1. 1st Winner of Young Dance Choregraphy (DIKBUD-RI) in 1991,
“Krapyak”
2. 1st Winner of young choreographer in field of tradition (DIK
BUD-RI) 1992, ”Karna Tanding”
3. 1st winner of young choreographer (Dinas Kebudayaan RI) 1993,
”Wiyata”
4. Best young choreographer in “Festival Koreografer GKJ” 1995,
”Sakera”
5. MURI award as the founder of Wayang Orang regreneration
(5th Generation) 2011
Aside from being a choreographer, Nanang is also an excellent
traditional dancer and often became ambassador of art/joined
cultural mission since 1993 until now to countries such as Europe
countries, Autralia, Japan, Korea and ASEAN countries.
TOKOH KONTRIBUTOR KREATIF
Creative Contributors

49. DEWI
SULASTRI
ilahirkan di Jepara pada 15 Maret 1966. Berawal dari
mengenal seni suara Tembang Jawa dari Ki Sutrisno pada
umur 10 tahun ketika masih duduk di bangku kelas IV SD
tahun 1976 di sebuah desa yang berada di tengah-tengah
hutan Jati dan perkebunan Karet yakni desa Bumiharjo kecamatan
Keling Kabupaten Jepara. Dewi cucu dalang terkenal Ki Mustajab
mengawali karir menjadi pesinden ketika duduk dibangku kelas VI
Sekolah Dasar. Pesinden kecil itu sering pentas keliling mengikuti
dalang-dalang laris di Kabupeten Jepara hingga lulus SMP.
Dewi bertekat meningkatkan bakat seni yang dimiliki dengan
melanjutkan Sekolah Seni di SMKI Surakarta. Di Sekolah tersebut
Dewi menetapkan jurusan tari sebagai pilihan studinya meskipun
seni suara tidak ia tinggalkan. Perpaduan kemampuan antara seni
suara dan seni tari inilah yang menjadikan Dewi Sulastri mempu-
nyai kemampuan yang berbeda dari siswa yang lain hingga selalu
terpilih untuk mewakili sekolah pada berbagai acara dan lomba.
Tidak hanya dibangku sekolah Dewi belajar kesenian tetapi ia juga
tekun mengikuti berbagai aktivitas pelatihan seni diantaranya
belajar Wayang Orang dari dalang terkenal Ki Anom Suroto yang
sering mementaskan Wayang Orang yang diprogamkan oleh
Komite Nasional Pemuda Indonesia (KNPI).
Selepas dari SMKI Dewi melanjutkan studi ke Institut Seni Indo-
nesia (ISI) Yogyakarta mengambil progam studi Komposisi Tari.
Dibangku kuliah ini Dewi dituntut tidak hanya sebagai penari
namun harus dapat menciptakan tari dan memproduksi pertunju-
kan. Bebarapa karya tari lahir dari proses studi bahkan beberapa
karya diabadikan oleh perusahaan rekaman PT. Ira Record untuk
disebar luaskan. Di Yogyakarta Dewi mulai mengenal beragam
seni dan berbagai tokoh seniman dari seni tari, musik, teater dan
film. Dewi terlibat dalam beberapa produksi sinetron TVRI dan
Film antara lain ; Trah, “Tayub” bersama Gito Rolies dan Teledrama
Angkring TVRI Yogyakarta. Dewi terlibat dalam beberapa karya
Didik Nini Thowok dan yang sangat mengesankan pernah diajak
ngamen di sepanjang Malioboro untuk menentramkan masyarakat
di kawasan Malioboro yang saat itu dalam situasi memanas.
Di Yogyakarta Dewi giat menghidupkan karya-karya seni yang me-
madukan unsur tari dan tembang. Melalui Yayasan Puspo Warno
D
Was born at Jepara on 15 March 1966. Beginning to known art
of Javanese song from Ki Sutrisno when she was 10 years old at
4th grade of elementary school on 1976 at a village in the middle
of Jati woods and rubber plantation which is Bumiharjo village,
Sub-district of Keling, District of Jepara. Dewi is a granddaughter
of a famous Wayang puppeteer, Ki Mustajab, started her career
as a Javanese singer when she was still in 6th grade of elementary
school. Such young Javanese singer often performed with the
famous Wayang puppeteers throughout Jepara District until she
graduated from junior highschool.
Dewi was determined to develop her art skill by continuing her
education in an Art School at SMKI Surakarta. In that school, Dewi
choosed dance as her major eventhough she did not completely
leave the art of singing. The combination of her skill of Javanese
singing and dancing skill has made Dewi Sulastri having the dif-
ferent ability from other students hence she often chosen as the
representation of the school on various events and competitions.
Not only learning art at school, Dewi joined numerous art activi-
ties outside such as learning to perform Human Wayang from the
famous puppeteer Ki Anom Suroto which he regulary performed
Human Wayang pregrammed by National Committee of Male
Youth (Komite Nasional Pemuda Indonesia/KNPI).
After she graduated from SMKI, Dewi continued her study to
Indonesia Art Institute (ISI) Yogyakarta to take the major of Dance
Compositions for her studies. In this college, Dewi wasn’t also
demanded to perform as a dancer but also creating dance chore-
ography and making shows. Several works born from her studies
has been recorded by PT. Ira Record and has widely published. In
Yogyakarta, Dewi began to become familiar with various art and
renowned artists from art of dance, music, theatre and cinema.
Dewi involved in several production of TVR movies and soap
opera such as Trah, “Tayub” along with Gito Rolies and Teledrama
Angkring TVRI Yogyakarta. Dewi also involved in several Didik Nini
Thowok’s creation which very memorable where she performed at
Malioboro street during the conflict to reassure the people there.
In Yogyakarta, Dewi has liven up her art works which combined
dancing and singing. Through Puspo Warno Foundation lead by
TOKOH KONTRIBUTOR KREATIF
Creative Contributors
41