Bangsawan

Bangsawan, formerly Wayang Parsi, is a performance art in comedy form that combines drama, music, and dance into a complete aesthetic performance experience. It originated from the outside of Malay Peninsula. According to Ediruslan dan Hasan Junus (ny), the Bengsawan was brought by group of Wayang Parsi artists who were zoroasterians escaped to India since they denied to embrace Islam as their religion. Edirsulan and Junus further said that the group was not from Persia (Iran). The performance art, as a term is usually understood, began to be identified in Malay land in the 1870s with the coming of the descendants of those zoroasterians. They settled in Mumbay, came to Penang Island (1870 C.E), and spread the Wayang Parsi performance among Malay people. From the Penang Island, the Wayang Parsi gradually becomes a popular performing art in Malay culture. The Wayang Parsi is recognized and performed in Malay Sultanates in North Sumatra, Riau, and West Kalimantan, Indonesia.       

It is estimated that the name of Wayang Parsi changed into Bangsawan when the performance art entered Penyengat Island[1] in 1906 C.E. From the island, the Bangsawan proliferates in other areas in Riau Islands. Unlike in the Penyengat Island where the Bangsawan is not so well recognized, the performance art gains its popularity in other areas in Daik-Lingga, and Dabo-Singkep. In addition, the society in both areas claims to be the owner of the Bangsawan. The claim is always repeated as the Bangsawan is performed. Hence, if the word Bangsawan is heard, one will remind about the two areas above.

Abu Muhammad Adnan is believed to be the first person who named the performing art as Bangsawan. Among the repertory theater that he initiated, Abu Muhammad is well known as Mamak Phusi or Phusi Indra Bangsawan of Penang. This folk-art is stambul comedy (one genre of comedy) which portrays high social life usually the kingdom life. This performing art is also called as Wayang Bangsawan or Indra Bangsawan.    

Since the Bangsawan is usually combined with music and dance, it relies heavily on both songs and plot of the story. Typically, during the Bangsawan performance, songs for Joged and Zapin dance are played. Besides those songs, other songs such as Stambul Dua, Stambul Opera, and Dondang Sayang are also used to intersperse the performance. Regarding the plot, several stories are staged such as 1001 Nights story, Indian tales, and Malay stories. Each story is partitioned into several scenes and every scene will be commenced with sret (a prologue describing the upcoming scene). The sret is very pivotal in the Bangsawan as it explains the spectators what the upcoming scene will be about.     

The actors of performance consist of

1. Sri Panggung (the character is played by the most beautiful actress since she will be main actress)
2. Young man
3. King
4. Queen
5. Minister
6. Hulu Balang (Commandant)
7. Saudagar (traders)
8. Inang-Dayang (servants)
9. Khadam (comedian)

The amount of participants is ranging from 20 to 25 people. The conversation usually uses Malay language with Riau Islands dialect. Below is the example of conversation between Dayang and Hadang (name of commandant)

Dayang: “Manelah Panglime Hadang nih? Sudah bermain-main di taman tak ade. Sebentar lagi kalau Tuan Puteri sudah datang kemari pasti akan murke kalau melihat Panglime Hadang tak ade. Bencilah same die. Pak Hadang, Pak Hadang, o…Pak Hadang. Kemane aje wak nih?”

Hadang: “Lagi sibuk betul aku, patik…e salah, e…sesat. Jalan-jalan ke taman larangan nih, nyari-nyari jelutung. Untunglah ada Mak Inang di belakang nunjuk sane tu…tu..hah…baru sampai”.

The hidden message conveyed in the conversation is appreciation, admiration, and respect of people will increase as the wisdom of king increases. The meaning of conversation is similar to that of Malay prominent proverb:     

Raja adil raja disembah, raja lalim raja disanggah dan Hukum adil kepada rakyat, tanda raja beroleh inayat.

(Just King will be obeyed while tyrannical King will be abandoned)

Performed usually in the night around 20 pm, the Bangsawan is purposed to enliven several Malay ceremonies such as the life circle ceremonies (marriage and circumcision), and Islamic sacred days. In addition, the performing art is also utilized to add more color to national big days such as tujuh belasaan (Indonesia Independence Day), and other important special events. The duration of performance depends on the plot of the story and the available time. Nowadays, however, the bangsawan is performed merely in the Indonesian Independence Day.

Unlike modern performing art, the bangsawan is not directed by the director. The performing art is exhibited in a stage where the actors play their roles. The stage is ornamented with background serving as screen called layar stret. The theme painted and portrayed in the layar stret is usually which are correlated to the kingdom such as palace, garden, jungle, panorama, etc. However, the layar stret theme depends on the kind of the story staged on the performing art.       

The performance art of bangsawan can be in any situation that involves four basic elements: music, songs, dances, and action. The musical instruments accompaniments are violin, accordion, drum, and gong. The costume worn is usually bangsawan (high class society) dresses.

The bangsawan performance is divided into three stages:

1. Opening art: usually commenced by the songs and dance which describe the upcoming story. Each group plays their dance and sings the song according to their roles in the story.
2. Shifting themes/scenes: usually the shifting scenes is followed by the change of the layar stret and interspersed with the songs explaining the upcoming story
3. Ending: the bangsawan usually is ended with closing song and dance.  

(HQ/ter/24/7-07)

Source:

1. Amanrisa, Ediruslan dan Hasan Junus. t.t. Seni pertunjukan Tradisional (Teater Rakyat) Daerah Riau.
2. Galba, Sindu dan Siti Rohana. 2002. Peta Kesenian Rakyat Melayu Kebupaten kepulauan Riau, Tanjungpinang: Departemen Pendidikan dan Kebudayaan.
3. Marden, William. 1999. Sejarah Sumatera. Bandung: Remaja Rosdakarya

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