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Ki Manteb as I see
(resume of interview with Mr. Bambang Murtiyoso, a lecturer of Institute of Art Dance - STSI, Surakarta)
I know Ki Manteb in 1980, when he was awarded as the winner of young dalang contest. His style of performance, was tremendous, like in the movies, full of action - the wayang figure looked alive, not merely leather puppets. As told by Pak Gendon Humardani, since 1980 there was a new trend in wayang performance, i.e. balancing between dialogue and action which made the story vivid.
Around 1982 - 1983, Ki Manteb was a popular local dalang. Starting that time, I was asked to make note on his performance. His name became more popular after his successful wayang performance in Jakarta in 1987 - 1988. The 12 episode of Bima had opened a wide door for his fame as a dalang. In order to improve ability in performing wayang, Ki Manteb contacted some expert to cooperate with him. For the contents and essence of the stories the language used in dialogue and creativity, he has been cooperating with Ki Sridadi, Mr. Sumanto, Mr. K. Suryoputro and me. I have been assigned as his critic. He was very cooperative in accepting ideas for arrangements of music, stories and script to be more innovative. He got advice from Mr. Sudarko, a member of Parliament from FKP functional group on matters pertaining to state affair. The beautifully dynamic gamelan music arrangement, which has been prepared by Mr. Basis Subono, really matched with Ki Manteb unusual speed in moving the wayang. The contemporary tricks used in movies such as light and sound effect where also introduced. The old style language , some has been modified to be easily understood by the majority of the public.
For the performance of a new story, special event and stage on TV, Ki Manteb with support of his experts, were training very seriously. That was the reason why at least until 1994, all his shows were perfect. He lacks in his voice but it could be compensated with his tremendous skill in wayang action. If you would like to enjoy his show, see through his TV performance or directly when he performs on stage, avoid the video and audio tape recorder.
It is not easy to bear a big name for Ki Manteb, almost all the time, he performs during the night and sleeps in daytime. If he does not sleep, than a lot of visitors coming to see him. He almost has no time to reevaluate his show to more mesmerize the audience. He is now getting older, he should not be able to always depending on his lightning speed action, it is natural. He should have time to think and rethink deeply to get an inspiration of what step he has to take to maintain his famous name as a great dalang. Probably a slow inner breathing, which gives result to a dynamic move, could be considered. It is a pity, he has no time for it, but someone got to remind him.
We have to salute Ki Manteb for his patient and ability to improve the mentality of his crew. In stage, he is a sharp but wise social critic through the joke of Ponokawan (Pandawa's servants). But market demands sometime force him into delicate position. The wish of some customers who pay him, is contrary to his. He is really sad, but what can he do? He has to think for the crew's welfare.
On the right moment dalang has to be brave to have a correct attitude and vision. We might take the example of senior dalang, Ki Timbul. In the art of performing wayang, he defends his attitude and integrity to his profession. He keeps the dignity of dalang, in wayang kulit performance.
Mr. Bambang Murtiyoso hopes the present dalangs learn from the late Ki Narto Sabdo of how to lead a correct and successful show, as for Ki Manteb Soedharsono, a very popular dalang or more precisely a celebrity to be consistent in his positive and cooperative measures for innovation to preserve and develop the art of wayang kulit performance.
Resume of interview with MR. Blacius Subono, a lecturer of STSI - Institute of Arts, Surakarta, department Wayang Kulit Performance.
Ki Manteb is one of my favorite dalangs. He is totally devoted his professionalism in his effort to reach his dream goal to be a great dalang. I know him personally, when he joined the activities of The Academy of Art (which latter on became STSI) in Sasono Mulyo, Baluwarti in the 1980. Oftenly he came to participate in the discussions of culture and the art of wayang kulit performance, where myself was a speaker or a participant. He was determined to learn something from our non-dalang colleagues.
Becoming more intimate, he asked me and Mr. Bambang Suwatno to compose new gamelan arrangement to accompany his wayang show. Almost everyday, we trained together with his singers and crew to produce new gamelan arrangement for his wayang performance.
In 1985, Pak Subono joined the team of Ki Manteb for one year. He was also contracted by Banjaran Bima Foundation, which performed wayang kulit every month in Jakarta. (This foundation has members of wayang lovers led by Mr. SUDARKO PRAWITO).
In every performance, Ki Manteb show has to appear with improvement in his action and gamelan music arrangement. I had to work hard in this assignment, in every act there had to be a new composition. In every show there has to be a flash back of story. The gamelan accompaniment prior to every show, always discussed and agreed by Ki Manteb, Pak Sudarko and myself.
A lot of training carried-out in the dalang's house in Solo. Usually he listened with deep feeling while I was training his crew. He could adjust quickly and perfectly the gamelan music arrangement with his action of moving the leather puppets. So, it was the process showing his determination to reach a professional success.
Ki Manteb as a person is very friendly and low-profile. He could easily adjust with my idea. One thing is sure that action, gamelan accompaniment and dialogue are not separable. I always tried hard that gamelan accompaniment did not only function as an ordinary musical illustration, but it had to be something tremendous.
Resume of interview with Ms. Anik Sunyahni, A popular PESINDEN or WARANGGONO, a lady singer of Javanese gamelan orchestra.
A feeling of togetherness in developing traditional art including the art of wayang kulit performance as created by Ki Manteb during his shows must be appreciated. His shows, very oftenly some famous pesindens and jokers take part-as guest-stars to make the show more vivid. Without introducing something new, she is worried if less and less people should watch wayang kulit performance.
To her delight, Ki Manteb show is almost always introducing new gamelan music arrangement, that's mean that she always has opportunities to learn something new. Sunyahni a young sexy pesinden with her attractive voice is proud to stage together with Ki Manteb as she is always given a proper place in his show. The pesindens and the gamelan crew, they knew many songs including the new ones, so they can sing different songs as ordered by Ki Manteb.
Sunyahni support his strong view that pesinden should stick to pattern of wayang show. They should not stand while singing, same as the dalang who sits on the mat during the whole performance.
Resume of interview with Ms. Waljinah, A famous lady singer, specialist of Kroncong beat in Javanese language.
She knew quite well for a long time Ki Manteb as a person as well as a dalang. She appreciate very much Ki Manteb's innovation in the of wayang kulit performance. The most impressive action of this senior dalang is his perfect ability to move the leather puppets with lightning speed, which no other dalang could do as perfect as him.
The second thing is his brave creativity to include some western music instruments in the gamelan music arrangement, which now is being followed by some junior dalangs. Waljinah an attractive middle age singer with beautiful voice, said it is not against the pattern (Pakem) of wayang show.
Commenting on his decision to perform again in classic style, it will not decrease the wish of the society to enjoy Ki Manteb's wayang performance. She is also happy that among other with Ki Manteb innovation, the art of wayang kulit performance is adored by more and more people, young and old, men and women.
The classical style of leather puppet show could be enjoyed as a tuntunan (guidance) and tontonan (entertainment).