Folk Theatre of Mamanda

1. The Origin
Mamanda, the native performing art of Banjar people in South Kalimantan Indonesia, was originally brought by some noble entourages to Malacca in 1897 A.D. Establishing trade relationship with the inhabitants of Kalimantan, the entourages introduced a completely foreign art as well. The performing art, known later on as Badamuluk, is originally based on the poems of Abdoel Moeloek. As the time goes by, the local people preferred to call it as Bamanda or Mamanda. Below, the history and development of Mamanda as a performing art in South Kalimantan will be presented.

Beforehand, several traditional performing arts such as wayang topeng and joged were familiar to the South Kalimantan society since the Negara Dipa Kingdom ruled the region. Those arts gained more popularity and developed amidst the people after the coming of Islam, particularly since the establishment of Banjar Kingdom that was supported by Demak Sultanate. Thanks to the kingdom’s policy providing the freedom for its people to show freely their art expression. As a result, some other arts with Islamic feature, such as hadrah, rudat, and zapen Arab, begun to develop.

The 16th century witnessed the beginning of fast development of art in South Kalimantan. By 1620 A.D, during the Panembahan Batu Putih (Sultan Rahmatillah) administration, some dance and music arts were introduced by some Javanese and Malay art experts. Prince Singa Marta, who was ordered to purchase a Bima horse by Sultan Banjar in 1701 A.D., was fascinated by the Princess Bima, a famous female artist. Later on, he asked her for marriage. Both sailed back to the South Kalimantan, familiarizing some original arts of Bima, among which were Jambangan Kaca dance and Pagar Mayang. The art received special attention from the people as well as from the kingdom. During the Prince Hidayat administration (1845-1859 A.D), the art was in the utmost importance and received special attentions.

In 1897 A.D, Abdoel Moeloek entourage, commonly known as Komedi Indra Bangsawan, migrated from the Malacca Sultanate to South Kalimantan. Encik Ibrahim bin Wangsa and his wife, Cik Hawa, presided the group. Despite relatively short time of staying, the group was able to make the Malacca-origin-arts popular among the Banjarnese. In the 19th century, emerged a new performing art named Ba Abdoel Moeloek ar Badamuluk that was introduced by Anggah Putuh and Anggah Datu Irang. The art was inspired by a title of story on Abdoel Moeloek written by Raja Ali Haji’s nephew, Saleha. The popularity of Ba Abdoel Moeloek grew; it was heard to Pasar Lama Margasari, Periuk (Margasari Ilir), Pabaung, Merapian, and Hulu Sungai. Later on, Banjar people preferred to call it as Mamanda.

According to Hermansyah (2007), Mamanda, as other folk theatres, constitutes an art emerging inside the society. It means that the development of Mamanda was inspired by the real need of then society; Mamanda was adapted to be relevant to the fast-growing society. At the onset, the society was in need of entertainment; gradually they were in need of combining the existing ceremony with the entertainment. Then, the Mamanda was created as a result of human creativity and interaction with their environs.

Usually, simplicity is the key feature of folk theatre that emerges as society cultural expression. In Indonesia, such folk theatre, which is performed only by one to three people, can be easily found. Mamanda was a rhythmic expression of literature; later on it was accompanied by sounds of traditional music instruments.

The word “Mamanda” is derived from two combined words: “mama” which means paman (uncle) and “nda” which means the respected. Thus, the word mamanda means the respected uncle. The word “paman”, in Banjar familial system, is widely used to identify someone in father’s age or older; Kings also utilized the word paman to accost his Mangkubumi (Deputy) or Wazir (Minister). In this regard, the kings said Mamanda Mangkubumi or Mamanda Wazir. Besides, poems of Banjar repeatedly mention Mamanda.

There are two mainstreams of Mamanda:
1. Batang Banyu Mainstream is the performing art of Mamanda which is performed on the stage made on the water/river. Then, it is called Mamanda Batang Banyu (banyu means water). This performing art, usually called Mamanda Periuk, came from Margasari; it was the origin seed of Mamanda.
2. Tubau Mainstream (created in 1937 A.D): This kind of performing art originated from Tubau Rantai Village, and constitutes the new upgrading of Mamanda. Compared to the previous type of Mamanda, Tubau is more popular and widely practiced by Banjar people. The theme played on the stage is based on the stories or Hikayat of contemporary script. Overall, the performance follows the common pattern of folk theatre; it is commenced by ladon or konom, kingdom’s meeting, and a monologue. Instead of relying on music or dance, Tubau Mainstream gives priority to the plot of story. Different from Batang Banyu, Mamanda of Tubau is performed on the ground. Some people call it as Mamanda Batubau (batu means rock).

Recently, Mamanda tends to be a pop-performing art. However, it still keeps its original features. Three main things are maintained in Mamanda: Banjar Language, symbols of cultural values, and social messages delivered to the audiences. Thus, the structure and the mainframe of Mamanda remain the same as it was. Other things that experience changes in Mamanda performing art are the dresses, music, some improvisation and art expressions.

The Mamanda reached not only South Kalimantan, but also other regions including Kutai, East Kalimantan, Indonesia. In addition, Mamanda becomes known and performed in one of region in Sumatra Island that is Tembilahan Sub-district, Indragiri Hilir District, Riau Province, Indonesia. The development of Mamanda in Tembilahan is something to do with the history of Banjar community exodus from South Kalimantan to the region. This theme will be discussed in depth in other chapters.

2. Forms of Mamanda
2.1. Players
Like other traditional performing arts, Mamanda is an art expression that shows the character of the players embroiling in the scene. Some of them play as the main player while the rest as supporting ones. The former should present in every scene while the last is expected to show up when the scene needs them.

The main players in Mamanda are:
1. Sultan
2. Mangkubumi (Deputy)
3. Wazir (Minister)
4. Perdana Menteri (Prime Minister)
5. Panglima perang (Commander)
6. Harapan I and Harapan II
7. Khadam/Badut (Joker)
8. Sandut/Putri (Princess)
The players who acted as Sultan should be good looking, interesting and have clear voice. The role of Sultan, to manage the whole sultanate administration, will be played by Mangkubumi provided that the Sultan is sick or has activities outside the palace. For the sultanate’s affairs, the Sultan consults Wazir (Minister). Harapan I and Harapan II, in charge of security affairs and meeting administration, are under the monitor of Perdana Menteri. Khadam or badut is to entertain to the people especially to putri/sandut.

The supporting players in Mamanda are:
1. Anak Sultan
2. Anak muda (Young man)
3. Dayang (Ladies)
4. Komplotan bial/penyamun (Robber)
5. Raja jin (King of genie)
6. Orang miskin (The needy)
7. Orang tua (Wise man)

2.2. The Order of Performance
The stage appearance of Mamanda players is codified chronologically. Prior to the Sultanate meeting, some dances and songs, usually called baladon or ladun, are performed. The number of players in baladon is uneven; one of them, act as the leader while the others as the followers. Afterwards the players will go to the stage one after another. Below is the order:

1. Harapan I and Harapan II
Harapan I and Harapan II appear in the stage, walking to the center, right beside the table court of Sultan. Both of them will mention their names, positions and their ability.

2. Perdana Menteri
Perdana Menteri will walk forward and stand behind the Harapan I and Harapan II . As previous, the Perdana Menteri states his name and duty. Then, he inspects works of both Harapan.

3. Sultan and his Staff
After receiving report from the Perdana Menteri, the Sultan enters the courtroom followed by his staff including Mangkubumi, Wazir, and Perdana Menteri. Sitting on the chair, the Sultan moves his stick and appraises the works of Harapan. Like Harapan and Perdana Menteri, the Sultan also mentions his name, position and responsibility. He also sings a song that commended his Sultanate. Some of the examples of the songs are:
a. Dua Mamanda Banyu Song
Batari yadan wayuhai lanya pangbastari yadan sayang saying
Angkaumu dangar, kasian banarai barpai sayang lanya pang barpari yadan sayang sayang
Salama saya dinagni pang dinagni
Salama lanya pang la sayang, yadan sayang sayang
Ramai bagaimana, ramai bagaimana, waduhai Ayahnda Wazir nang kusayangi nagri, dalam lanya pang, la nagri yadan sayang sayang
Ramai bagaimana, Ayahnda, Mamanda Mangkubumi nang kusayangi nagri di dalam lanya la nagri yadan sayang saya

b. Dua Mamanda Tubau Song
Aduhai wazir
Usullah Darmawan
Aduhai wazir
Usullah Darmawan
Cukup atawa bukan
Waduhai uang pemberian
Yalan yalan yalan
Dengan sabanar jua wayuhai nang
Lamak sadang mangatakan
Betalah mangatakan, katakan,
betalah mangatakan
Yalan yalan yalan
The Sultan, together with his staff, sing and dance. The stage is full of laugh and happiness. Sultan, then, expresses his thank to the audience.

4. Panglima Perang
If the Sultan has sons, they should go to the stage before wards. They will be accompanied by several ladies. Sultan, after that, orders Harapan I and Harapan II to pick Panglima Perang up to the courtroom. At the end of meeting, the players will walk backside of the stage. Occasionally, some dances and songs are performed to fill the time.

5. Other Players
In this scene, the players will go to the stage in order, according to the main script.

6. Anak (Son of ) Sultan “Kurang Satu Empat Puluh”
This scene constitutes the last part of Mamanda folk theatre. The main performance is babujukan, asking for marriage conducted by Anak Sultan “Kurang Satu Empat Puluh”. Babujukan is mainly the dialogue mixed with dances and songs. Besides, Anak Sultan will try to get his loved princess through flattery.

Each player going to the stage will be introduced by different monologues, according to their roles. The monologue will give brief information about the players, his name, position, competency, duties, and responsibilities.

2.3. Language
In Mamanda, language is a means of communication to conduct a dialogue. There are two kinds of languages used in Mamanda
1. Language Used in the Sultanate Meetings
It is Malay Language with Dutch dialect and structure. It is so since the Mamanda first emerged in the colonial time.

2. Language Used outside the Sultanate Meetings
Outside the Sultanate meetings, Banjar Language is used to communicate between the players. Banjar Language is the combination between Malay language and old Java Language.

2.4. Clothing
The main clothing of Mamande folk theatre is the traditional costume of Banjar, consisting of clothes used for formal events such as meeting, court and informal events. Those clothes are used by the Sultan, noblemen, officials, prominent figures and commoners. Those clothes are:
1. Laung (headband).
2. Kamban naga balimbur.
3. Seluar singkat berliris tepi.
4. Belt, made of woven fabric with gold embroidery, like ukal belt, miring belt, and long belt used above the knee.
5. Main clothing, consisting of cloth used inside and outside. The last is usually knitted with gold yarn. The clothing for men is different from that for women. The women players usually wear baju kurung (Malay traditional clothing like dress), covered the chest and its length till the knee. They also use glove, long kebaya with gold yarn in its fringe; small droplets about three to five are put in its sleeve
Besides, the women also use the adornment of Banjar like:
1. Cucuk baju: pancar matahari, bulan saliris, and bulu ayam made of gold and silver.
2. Bracelet: kelana bracelet, jepon bracelet, marjan bracelet, and gelang rantai (chained bracelet).
3. Cucuk galing: daun, kembang sisir, and kembang goyang.
4. Necklace, such as cekak necklace, madapun necklace, marjan necklace, and tabu-tabu karawang.
5. Galung decoration: kembang goyang and untaian kembang melati (string of jasmine)..
6. Ring: agar mayang ring, batu ring, etc.
7. Rawing: rawing bulus, baitan, kili-kili, and bonil berumbai.

Specifically, below are the details of Banjar clothing used by the players:
1. Sultan
The Sultan wears seluar bersirit tepi (cloth with small droplets) He puts crown, adorned with fur of white bird, on his head.
2. Prime Minister
The clothing worn by the Prime Minister is quite similar to that worn by the Sultan with slight difference. The Prime Minister, different from Sultan, doesn’t put the crown on his head; sometimes he doesn’t use any headgears.
3. Wazir (Minister)
The Wazir usually wears the inside cloth that is longer than the outside. He covers his head with the headgear with circle brim.
4. Panglima Perang
Panglima perang uses clothing with small droplets and he is equipped with sword. Lotus made of gold yarn is put on his shoulder. His headgear is laung, or like what is used by the other polices.
5. Harapan I dan Harapan II
Harapan I dan harapan II wear the clothing similar that used by cowboy, but with some small droplets. Both bring weapon and headgear.
6. Princess
The princess usually puts kebaya (blouse) or Baju Kurung (Malay traditional dress for women) on. She also wears crown.
7. Raja Jin (King Genie)
Commonly, Raja jin has mask on. If not, the Raja jin will cover his face with charcoal or red chalk.
8. Robber
The robbers use a headgear similar to the hat used usually in the western theatre. In addition, they use black glasses.
9. Young man
The young man usually uses white t-shirt with black bow tie.

2.5. The Performance
The performance of Mamanda is basically simple and quite spontaneous. The instruments needed can be easily found, the point is the suitability with the need of Mamanda scenario. Regarding the place, Mamanda can be performed anywhere; it needs only stage and spaces for the audiences.

The main equipments are chair and table, which are arranged according to scenario and plot. The performance is usually opened by emitting sounds to tell the audiences that the Mamanda will be commenced soon. The players will introduce themselves, interspersed with songs and dances. Afterwards, they will act like what has been written in the script. Each player will appear in the stage according to the scenario. Not only dialogue, but also dances and song that are shown in the stage. All of which are combined to vary the atmosphere. Some satires and constructive critiques are also conveyed within the dialogue. The players in Mamanda are demanded to improvise their role during the performance.

2.6. Stories in the Script
The scenario of Mamanda is varied; it can be history, romantic, critique, social, and information. It is written from various sources and is adapted usually from hikayat, syair, 1001 night story, romantic books, history books, folk story, or it can use the common problem of current society as its main background. From those sources, the main story is created to be clear-cut message, white and black, good and bad, or angel and devil. The scenario in Mamanda, therefore, is simple and easily digested by the audiences. They can tell difference between what is accepted and is rejected. The audiences will not find any difficulties in comprehending the whole story and also find it easy the very moral message that is being delivered.

2.7. Accompanying Music
During the performance, the folk theatre of Mamanda is combined with music, in forms of pantun (quatrain), syair (poem), hikayat (story), and dialogue, all of which are presented in arranged rhythm. The often songs chanted during the Mamanda are:
1. Dua Harapan Song
2. Dua Raja Song
3. Dua Gandut Song
4. Raja Sarik Song
5. Tarima Kasih (Sultan) Song
6. Baladun Song
7. Mambujuk Song
8. Danding Song
9. Nasib Song
10. Tirik Song
11. Japen Song
12. Mandung-mandungan Song
13. Stambul Song.

3. Cultural Values
Not only for entertainment, the Mamanda is also performed for delivering some moral messages to the audiences. Like other performing arts, Mamanda took the setting of society as its main frame. It narrates and questions everyday life in form of artistic performance and dialogue. According to Hermansyah (2007), folk theatre functions, besides as a means of expression of artists and entertainment, it is also educational tools for the society.

Looking at the plot of Mamanda, it can be found that most of stories used in the theatre are related to the human life. Those stories convey some important moral messages which one can take it as a guidance; they tell us about certain chapter of human life and teach us how to take it as an example. Even those stories reveal the worldview of society and their traditions. It means that, through Mamanda, the audiences can feel the beauty of Mamanda. At the same time, Mamanda also calls them to comprehend the experiences and suggestions presented in the performing art; that all bad deed, disloyalty, dishonesty, all of which will end in failure at last. What presented in Mamanda, more often than not, be the moral reference for the society.

Besides, Mamanda functions as a means of social critics. The players of Mamanda always provide satire and critique of social imbalance, injustice, and crime occurred in the society. Therefore, this form of performing art can be also interesting media for the society to convey their aspirations and hopes. In other words, Mamanda is a means of democratization within the local culture.

4. Mamanda in Tembilahan
Besides in South Kalimantan, the folk theatre of Mamanda is also popular amongst the population of Tembilahan Sub-district, Indragiri Hilir District, Riau Province, Indonesia. How the Mamanda could win the heart of Tembilahan people? The main reason for that is the wave of Banjarnese migration from South Kalimantan to Tembilahan that happened in the 19th century.

Looking at the exodus of Banjarnese, the next question is why such intriguing phenomenon happened? Problem and circumstance in South Kalimantan had encouraged some people to leave the region and find the new one.

There are at least 11 ethnics of Banjarnese living in Tembilahan, Indragiri Hilir District namely Banjar Keluak, Banjar Amuntai, Banjarnegara, Banjar Kandangan, Banjar Barabai, Banjar Kuala, Banjarmasin, Banjar Pamengkeh, Banjar Martapura, Banjar Alabio, and Banjar Rantau. Among those ethnics, only three of them dominated the population of migrant that are Banjar Keluak, Banjar Amuntai, and Banjar Kandangan. Those people, along with their move, carried the art of Mamanda and developed it in the new homeland.

The first wave of migration happened in 1859 A.D. The travel from Banjar to Tembilahan, which took long time, was motivated by the increasing pressure of the Dutch colonialism. The situation worsened as the Dutch succeeded at conquering the Banjarmasin Kingdom. The colonialists stipulated unpopular policy, called in Banjarnese irakan. This policy, same to kerja rodi, coerced the people into labor-intensive work. Hoping the better future, those people migrated to several areas, most of them to Tembilahan.

Why did they choose Tembilahan? At an onset, they were about to settle either in Malaysia or Singapore. According to the 1824 A.D. London Treaty, both countries were under the rule of Great Britain. Those Banjarnese thought that the life under British’s rule was better than Dutch’s, popular as their inhuman treatment to the inlanders. However, desperate to the same circumstance under Britain, they continued the journey, and arrived in Indragiri Hilir in 1885 A.D. Perigi Raja was their first area to settle.

One of ethnics in Tembilahan, Arbain, had ever organized an association of Mamanda, Perkumpulan Mamanda Parit Empat Belas. It is estimated to happen prior to 1950 A.D (between 1947-1949 A.D.). In 1950 A.D., Encik Arbain handed over the leadership of Perkumpulan Mamanda Parit Empat Belas to Encik Usman Ancau. His period marked the fast development of Mamanda. The story used in Mamanda still based on old literature such as Hikayat and Syair. In 1960 A.D., there was a shift amongst Mamanda artists to use the stories of people surrounding them. The musical instruments used in Mamanda was combined the modern instruments like violin, guitar, and accordion.

The activities of arts were banned following the incident of G 30 S/PKI/1965. Encik Abdul Hamid restarted the Mamanda Parit Empat Belas in 1967 A.D. By then, about 12 associations of Mamanda were established. However, those associations were lost in the mists of time. Up to now, only two associations, Mamamanda Parit Empat Belas Association headed by Encik Ardani, and Mamanda Pulau Palas Association, that still exist.

References
Asmuni, F Raji. “Mamanda Nasibmu Kini”, in http://www.banjarmasinpost.co.id/content/view/7438/92/, retrieved on January 28th 2008.
Hermansyah. 2007. Mamanda Sebuah Teater Eksodus. Yogyakarta: Balai Kajian dan Pengembangan Budaya Melayu in cooperation with Adicita Publisher .
“Mamanda yang Makin Pudar”, in http://www.indomedia.com/bpost/052005/1/ragam/ragam2.htm, retrieved on Desember 24th 2007.