Perjalanan Lengger Lanang Ke Tanah Bissu Bugis
Lengger Lanang’s Trip to the Land of the Bugis Bissu
Oleh: Titah AW (Penulis di Tim Otniel Dance Community)
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“Aku ini perempuan atau laki-laki?”
Semula Otniel Tasman mengira pertanyaan itu hanya bercokol di dirinya sebagai seorang Lengger Lanang. Lahir dari kesenian rakyat di Banyumas, Lengger Lanang adalah tarian pemujaan terhadap dewi kesuburan yang ditarikan oleh laki-laki namun mengangkat gerak tubuh gemulai perempuan. Untuk seseorang yang menjalaninya sebagai laku hidup, bukan sekedar atraksi pertunjukan, Lengger lalu memunculkan tarikan tak berkesudahan tentang feminim dan maskulin di tubuh seorang penari. Otniel mengalami itu.
Dualitas gender di tubuh Otniel secara terus menerus muncul dan mempengaruhi hidup, juga karya-karya koreografinya. Dialog tentang batas antara laki-laki dan perempuan, kemungkinan penyatuan keduanya, serta bagaimana Lengger bertahan di gempuran zaman menjadi pondasi kuat dari seluruh karya Otniel selama 10 tahun terakhir. Bagi Otniel, menari Lengger bukan cuma usaha melestarikan tradisi nenek moyangnya di Banyumas, tapi juga perjalanannya menemukan diri sendiri.
Keputusannya berkomitmen melakoni Lengger, pertemuannya dengan Dariah maestro Lengger Lanang, studi koreografinya di Surakarta, hingga pertemuannya dengan beragam panggung dan manusia, adalah perjalanan yang secara berkelanjutan membangun pemaknaan Otniel. Dari perjalanan itu, lahirlah karya-karya seperti “Lengger Laut” (2014), “Barangan” (2013), “Stand Go Go” (2016), “Nosheheorit” (2017), dan “Cablaka” (2018). Di karya terakhirnya, “Amongster #1: Tubuh di Antara”, Otniel bahkan membedah arsip gerak Lenggernya di panggung dengan menggunakan musik noise. Keseluruhan karyanya ini sangat bisa dibaca sebagai usaha Otniel mendefinisikan Lengger di tubuhnya secara personal.
Kini, untuk memperingati 10 tahun perjalanannya, Otniel tengah menggarap satu karya baru berjudul ”Amongster: Voyage of Lengger”. Karya ini seperti rangkuman, napak tilas perjalanan lahir-batin Otniel mencoba memaknai dualitas gender, serta apapun yang liyan di tubuhnya. “Amongster: Voyage of Lengger” juga adalah karya yang sekali lagi mencoba menjawab pertanyaan primer di hidupnya tadi.
Pertanyaan itu juga yang membuat Otniel melakukan perjalanan ke tanah Bugis untuk bertemu Bissu. Entitas yang menurut Otniel berbagi rasa dan beban untuk menjawab pertanyaan yang sama di hidup. Mereka yang sama-sama menghidupi dualitas gender dalam tubuh. Mereka yang sama-sama harus bersiasat untuk bertahan di dunia hari ini.
Bissu pertama yang berhasil ditemui adalah Bissu Angel, Puang Matoa Bissu di Bone. Dalam dialognya, Otniel dan Bissu Angel berbagi tentang perjalanan masing-masing menemukan peran sebagai Lengger dan Bissu. Kepada Otniel, Bissu Angel menuturkan komprominya terhadap agama islam, keharusannya melakoni pekerjaan sebagai indo’ botting, serta kesungguhannya untuk terus mempertahakan laku Bissu di dirinya meski kerap dikenai stereotip buruk oleh masyarakat. “Jadi Bissu itu pengabdian. Meski sering juga dianggap buruk karena saya Calabai, tapi peran Bissu itu penting untuk menjaga keseimbangan alam, terutama di Bugis,” ceritanya.
Meski punya sejarah sosial yang berbeda, obroan bersama Bissu Angel juga mengungkap titik temu posisi keduanya di masyarakat sekarang. Berbeda dengan Lengger yang dualitas gendernya muncul dari kesenian rakyat, Bissu di Bugis sebenarnya punya legitimasi tekstual yang lebih kuat sebab Bissu sendiri adalah satu dari lima gender yang tertulis di kitab La Galigo Bugis. Sementara Lengger mengarungi panggung ke panggung rakyat untuk bertahan, Bissu dirangkul dan punya peran penting di kerajaan. Tapi kini, baik Lengger dan Bissu harus bersiasat untuk bertahan di tengah masyarakat. Baik dengan mengangkat laku Lengger dan Bissu sebagai kesenian tradisi, maupun melakoni pekerjaan harian untuk bertahan hidup ketika posisi mereka tak lagi dijamin oleh siapapun.
Di Jawa, tari Lengger Lanang memang kerap didekatkan dengan isu tentang LGBT, lengkap dengan segala stereotip buruknya. Film Kucumbu Tubuh Indahku (2019) yang mengangkat Lengger misalnya bahkan sempat ditolak diputar di beberapa daerah. Otniel sendiri mengalami dampaknya meski memilih untuk tidak terlalu ambil pusing. Hal yang sama ternyata juga dialami oleh Bissu Angel yang sempat memimpin perkumpulan Calabai di Bone. Bissu Angel bahkan juga bercerita betapa dirinya dulu sempat mendapat perlakuan keras dari keluarga ketika ia mengungkap identitasnya sebagai Calabai. Calabai sendiri adalah laki-laki berjiwa dan melakoni hidup sebagai perempuan yang jadi salah satu gender di suku Bugis.
Bissu Yuyun di Bone yang kami temui juga berbagi kisah yang menarik. Dialog antara Bissu Yuyun dan Otniel menjadi sangat terhubung sebab tak hanya berbagi peran dan perjalanan gender, tapi mereka juga berbagi generasi yang sama. Bissu Yuyun berusia 31, sementara Otniel 32. Hal itu membuat keduanya berbagi banyak hal yang sama, terutama soal modernitas dan negosiasi personal mereka untuk menghidupi warisan moyang. Otniel dan Bissu Yuyun saling bercerita tentang bagaimana menyeimbangkan peran sebagai Lengger dan Bissu dengan kehidupan sosial mereka sebagai anak muda.
“Saya masih terus belajar jadi Bissu, tapi untuk saya, jadi Bissu bukan berarti saya menjaga kesucian seumur hidup. Saya juga masih punya kehidupan personal,” tutur Bissu Yuyun yang juga melakoni pekerjaan sebagai pengelola sanggar tari Kawali Soppeng di Lembaga Seni Budaya Arung Palakka di Bone. Bissu Yuyun dan Otniel, misalnya saling bercerita tentang kehidupan asmara mereka, penggunaan sosial media untuk menghidupi Lengger dan Bissu.
Sebagai generasi muda, baik Otniel dan Bissu Yuyun sama-sama cukup berjarak dari peristiwa politik yang banyak berpengaruh terhadap kelestarian Lengger dan Bissu di Indonesia. Pemaknaan keduanya terhadap peran masing-masing lebih didominasi pencarian personal. Ketika pakem Lengger dan Bissu sedikit demi sedikit tergerus oleh zaman, keduanya sama-sama berusaha melengkapinya dengan perjalanan masing-masing. Lengger dan Bissu muda ini kini harus menemukan jalan baru untuk menghidupkan peran yang mereka warisi dari masa lampau.
Tentang bagaimana eksistensi Lengger dan Bissu dengan isu politik, juga ritual tradisional Bissu justru didapat ketika rombongan Otniel bertolak ke Pangkajene. Di kecamatan Segeri, Otniel menemui Bissu Eka. Meski persiapan cukup mepet, Bissu Eka mengajak rombongan ke goa bekas persembunyian Bissu ketika tragedi DI/TII tahun 60’an terjadi. Situs goa tersebut jadi saksi sejarah bagaimana Bissu Bugis harus bertahan hidup dari ancaman tentara Darul Islam yang radikal dan ingin melenyapkan Bissu dan segala kepercayaan tradisional Bugis. Bissu Eka bercerita, di goa itu, seluruh Bissu dari sekitar Pangkajene dan Kepulauan bertemu dan bersembunyi selama beberapa tahun. Beberapa meninggal di sana, beberapa berhasil kembali ke keluarga, sementara di masa itu, Calabai di Tanah Bugis banyak yang dilenyapkan dalam operasi Toba (operasi Taubat). Peristiwa DI/TII bisa dibilang jadi satu tonggak sejarah yang mengubah eksistensi Bissu Bugis hingga hari ini. Hal yang sama terjadi pada Lengger di tahun 1965 ketika perburuan PKI gencar, beberapa Lengger di Banyumas terkena dampak.
Bissu Eka dan Bissu lain yang kami temui pun kini hidup dalam sinkretisme islam-bugis, persis seperti islam-kejawen di Jawa. Suatu hal yang bisa dilihat sebagai kompromi untuk bertahan, tapi juga penyatuan dua budaya yang cepat atau lambat terjadi karena pengaruh lingkungan.
Di situs goa tersebut, Bissu Eka juga mengajak tiga Bissu lain. Membawa beberapa sesajen, para Bissu melakukan ritual dan mengajak Otniel bergabung dalam pakaian Lengger Lanangnya. Otniel sempat mencicipi ritual Manggiri (kebal) para Bissu, “Tadi yang kami lakukan adalah mengenalkan Otniel sebagai Lengger Lanang ini ke dewata, ternyata ada juga yang seperti kami di tanah Jawa,” ujar Bissu Eka.
Diiringi bunyi-bunyian Jalappa dan Lalosu, juga nyayian Bissu, Otniel sempat menari dikitari empat Bissu. Dengan sampur, kemben, dan sanggulnya, Otniel menari gemulai. Dalam satu lingkaran utuh, dua entitas yang sama-sama liyan ini bersatu. Merayakan keterhubungan, pertemuan yang karib, juga barangkali pengertian melakoni beban yang sama untuk menghidupi warisan moyang di tubuh mereka.
Perjalanan selama tujuh hari (6-12 November 2020) ini direkam dan akan diolah jadi film untuk melengkapi karya “Amongster: Voyage of Lengger”. Pertemuan dengan Bissu menjadi salah satu dialog penting dalam perjalanan Otniel melakoni Lengger.
Karya “Amongster: Voyage of Lengger” sendiri adalah karya kolaboratif multi-disiplin, dimana pertunjukan tari berbasis Lengger yang dikoreograferi oleh Otniel akan ditampilkan berselang-seling dengan film karya Zen Al Ansory, serta musik oleh Bagus TWU dan Mahamboro. Dibagi dalam tiga babak, “Amongster: Voyage of Lengger” akan ditampilkan pada 27 November 2020 mendatang di Surakarta. Sebuah penanda setelah 10 tahun berjalanan, sebuah perhentian untuk melihat ulang dan kembali menata langkah ke depan.
Tapi tak hanya untuk bertemu Bissu, Otniel Tasman juga akan membawakan karya “Amongster #1: Tubuh di Antara” di Rumata Art Space pada 11 November 2020. Selain sebagai pamungkas perjalanan di Sulawesi Selatan, di kesempatan ini Otniel ingin mempresentasikan karyanya kepada khalayak seni pertunjukan di Makassar. “Amongster #1: Tubuh di Antara” sebelumnya telah dipentaskan di Surakarta pada 2 Oktober lalu. Karya ini kemudian dikembangkan dan akan jadi bagian babak kedua di “Amongster: Voyage of Lengger”.
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“Aku ini perempuan atau laki-laki?”
Semula Otniel Tasman mengira pertanyaan itu hanya bercokol di dirinya sebagai seorang Lengger Lanang. Lahir dari kesenian rakyat di Banyumas, Lengger Lanang adalah tarian pemujaan terhadap dewi kesuburan yang ditarikan oleh laki-laki namun mengangkat gerak tubuh gemulai perempuan. Untuk seseorang yang menjalaninya sebagai laku hidup, bukan sekedar atraksi pertunjukan, Lengger lalu memunculkan tarikan tak berkesudahan tentang feminim dan maskulin di tubuh seorang penari. Otniel mengalami itu.
Dualitas gender di tubuh Otniel secara terus menerus muncul dan mempengaruhi hidup, juga karya-karya koreografinya. Dialog tentang batas antara laki-laki dan perempuan, kemungkinan penyatuan keduanya, serta bagaimana Lengger bertahan di gempuran zaman menjadi pondasi kuat dari seluruh karya Otniel selama 10 tahun terakhir. Bagi Otniel, menari Lengger bukan cuma usaha melestarikan tradisi nenek moyangnya di Banyumas, tapi juga perjalanannya menemukan diri sendiri.
Keputusannya berkomitmen melakoni Lengger, pertemuannya dengan Dariah maestro Lengger Lanang, studi koreografinya di Surakarta, hingga pertemuannya dengan beragam panggung dan manusia, adalah perjalanan yang secara berkelanjutan membangun pemaknaan Otniel. Dari perjalanan itu, lahirlah karya-karya seperti “Lengger Laut” (2014), “Barangan” (2013), “Stand Go Go” (2016), “Nosheheorit” (2017), dan “Cablaka” (2018). Di karya terakhirnya, “Amongster #1: Tubuh di Antara”, Otniel bahkan membedah arsip gerak Lenggernya di panggung dengan menggunakan musik noise. Keseluruhan karyanya ini sangat bisa dibaca sebagai usaha Otniel mendefinisikan Lengger di tubuhnya secara personal.
Kini, untuk memperingati 10 tahun perjalanannya, Otniel tengah menggarap satu karya baru berjudul ”Amongster: Voyage of Lengger”. Karya ini seperti rangkuman, napak tilas perjalanan lahir-batin Otniel mencoba memaknai dualitas gender, serta apapun yang liyan di tubuhnya. “Amongster: Voyage of Lengger” juga adalah karya yang sekali lagi mencoba menjawab pertanyaan primer di hidupnya tadi.
Pertanyaan itu juga yang membuat Otniel melakukan perjalanan ke tanah Bugis untuk bertemu Bissu. Entitas yang menurut Otniel berbagi rasa dan beban untuk menjawab pertanyaan yang sama di hidup. Mereka yang sama-sama menghidupi dualitas gender dalam tubuh. Mereka yang sama-sama harus bersiasat untuk bertahan di dunia hari ini.
Bissu pertama yang berhasil ditemui adalah Bissu Angel, Puang Matoa Bissu di Bone. Dalam dialognya, Otniel dan Bissu Angel berbagi tentang perjalanan masing-masing menemukan peran sebagai Lengger dan Bissu. Kepada Otniel, Bissu Angel menuturkan komprominya terhadap agama islam, keharusannya melakoni pekerjaan sebagai indo’ botting, serta kesungguhannya untuk terus mempertahakan laku Bissu di dirinya meski kerap dikenai stereotip buruk oleh masyarakat. “Jadi Bissu itu pengabdian. Meski sering juga dianggap buruk karena saya Calabai, tapi peran Bissu itu penting untuk menjaga keseimbangan alam, terutama di Bugis,” ceritanya.
Meski punya sejarah sosial yang berbeda, obroan bersama Bissu Angel juga mengungkap titik temu posisi keduanya di masyarakat sekarang. Berbeda dengan Lengger yang dualitas gendernya muncul dari kesenian rakyat, Bissu di Bugis sebenarnya punya legitimasi tekstual yang lebih kuat sebab Bissu sendiri adalah satu dari lima gender yang tertulis di kitab La Galigo Bugis. Sementara Lengger mengarungi panggung ke panggung rakyat untuk bertahan, Bissu dirangkul dan punya peran penting di kerajaan. Tapi kini, baik Lengger dan Bissu harus bersiasat untuk bertahan di tengah masyarakat. Baik dengan mengangkat laku Lengger dan Bissu sebagai kesenian tradisi, maupun melakoni pekerjaan harian untuk bertahan hidup ketika posisi mereka tak lagi dijamin oleh siapapun.
Di Jawa, tari Lengger Lanang memang kerap didekatkan dengan isu tentang LGBT, lengkap dengan segala stereotip buruknya. Film Kucumbu Tubuh Indahku (2019) yang mengangkat Lengger misalnya bahkan sempat ditolak diputar di beberapa daerah. Otniel sendiri mengalami dampaknya meski memilih untuk tidak terlalu ambil pusing. Hal yang sama ternyata juga dialami oleh Bissu Angel yang sempat memimpin perkumpulan Calabai di Bone. Bissu Angel bahkan juga bercerita betapa dirinya dulu sempat mendapat perlakuan keras dari keluarga ketika ia mengungkap identitasnya sebagai Calabai. Calabai sendiri adalah laki-laki berjiwa dan melakoni hidup sebagai perempuan yang jadi salah satu gender di suku Bugis.
Bissu Yuyun di Bone yang kami temui juga berbagi kisah yang menarik. Dialog antara Bissu Yuyun dan Otniel menjadi sangat terhubung sebab tak hanya berbagi peran dan perjalanan gender, tapi mereka juga berbagi generasi yang sama. Bissu Yuyun berusia 31, sementara Otniel 32. Hal itu membuat keduanya berbagi banyak hal yang sama, terutama soal modernitas dan negosiasi personal mereka untuk menghidupi warisan moyang. Otniel dan Bissu Yuyun saling bercerita tentang bagaimana menyeimbangkan peran sebagai Lengger dan Bissu dengan kehidupan sosial mereka sebagai anak muda.
“Saya masih terus belajar jadi Bissu, tapi untuk saya, jadi Bissu bukan berarti saya menjaga kesucian seumur hidup. Saya juga masih punya kehidupan personal,” tutur Bissu Yuyun yang juga melakoni pekerjaan sebagai pengelola sanggar tari Kawali Soppeng di Lembaga Seni Budaya Arung Palakka di Bone. Bissu Yuyun dan Otniel, misalnya saling bercerita tentang kehidupan asmara mereka, penggunaan sosial media untuk menghidupi Lengger dan Bissu.
Sebagai generasi muda, baik Otniel dan Bissu Yuyun sama-sama cukup berjarak dari peristiwa politik yang banyak berpengaruh terhadap kelestarian Lengger dan Bissu di Indonesia. Pemaknaan keduanya terhadap peran masing-masing lebih didominasi pencarian personal. Ketika pakem Lengger dan Bissu sedikit demi sedikit tergerus oleh zaman, keduanya sama-sama berusaha melengkapinya dengan perjalanan masing-masing. Lengger dan Bissu muda ini kini harus menemukan jalan baru untuk menghidupkan peran yang mereka warisi dari masa lampau.
Tentang bagaimana eksistensi Lengger dan Bissu dengan isu politik, juga ritual tradisional Bissu justru didapat ketika rombongan Otniel bertolak ke Pangkajene. Di kecamatan Segeri, Otniel menemui Bissu Eka. Meski persiapan cukup mepet, Bissu Eka mengajak rombongan ke goa bekas persembunyian Bissu ketika tragedi DI/TII tahun 60’an terjadi. Situs goa tersebut jadi saksi sejarah bagaimana Bissu Bugis harus bertahan hidup dari ancaman tentara Darul Islam yang radikal dan ingin melenyapkan Bissu dan segala kepercayaan tradisional Bugis. Bissu Eka bercerita, di goa itu, seluruh Bissu dari sekitar Pangkajene dan Kepulauan bertemu dan bersembunyi selama beberapa tahun. Beberapa meninggal di sana, beberapa berhasil kembali ke keluarga, sementara di masa itu, Calabai di Tanah Bugis banyak yang dilenyapkan dalam operasi Toba (operasi Taubat). Peristiwa DI/TII bisa dibilang jadi satu tonggak sejarah yang mengubah eksistensi Bissu Bugis hingga hari ini. Hal yang sama terjadi pada Lengger di tahun 1965 ketika perburuan PKI gencar, beberapa Lengger di Banyumas terkena dampak.
Bissu Eka dan Bissu lain yang kami temui pun kini hidup dalam sinkretisme islam-bugis, persis seperti islam-kejawen di Jawa. Suatu hal yang bisa dilihat sebagai kompromi untuk bertahan, tapi juga penyatuan dua budaya yang cepat atau lambat terjadi karena pengaruh lingkungan.
Di situs goa tersebut, Bissu Eka juga mengajak tiga Bissu lain. Membawa beberapa sesajen, para Bissu melakukan ritual dan mengajak Otniel bergabung dalam pakaian Lengger Lanangnya. Otniel sempat mencicipi ritual Manggiri (kebal) para Bissu, “Tadi yang kami lakukan adalah mengenalkan Otniel sebagai Lengger Lanang ini ke dewata, ternyata ada juga yang seperti kami di tanah Jawa,” ujar Bissu Eka.
Diiringi bunyi-bunyian Jalappa dan Lalosu, juga nyayian Bissu, Otniel sempat menari dikitari empat Bissu. Dengan sampur, kemben, dan sanggulnya, Otniel menari gemulai. Dalam satu lingkaran utuh, dua entitas yang sama-sama liyan ini bersatu. Merayakan keterhubungan, pertemuan yang karib, juga barangkali pengertian melakoni beban yang sama untuk menghidupi warisan moyang di tubuh mereka.
Perjalanan selama tujuh hari (6-12 November 2020) ini direkam dan akan diolah jadi film untuk melengkapi karya “Amongster: Voyage of Lengger”. Pertemuan dengan Bissu menjadi salah satu dialog penting dalam perjalanan Otniel melakoni Lengger.
Karya “Amongster: Voyage of Lengger” sendiri adalah karya kolaboratif multi-disiplin, dimana pertunjukan tari berbasis Lengger yang dikoreograferi oleh Otniel akan ditampilkan berselang-seling dengan film karya Zen Al Ansory, serta musik oleh Bagus TWU dan Mahamboro. Dibagi dalam tiga babak, “Amongster: Voyage of Lengger” akan ditampilkan pada 27 November 2020 mendatang di Surakarta. Sebuah penanda setelah 10 tahun berjalanan, sebuah perhentian untuk melihat ulang dan kembali menata langkah ke depan.
Tapi tak hanya untuk bertemu Bissu, Otniel Tasman juga akan membawakan karya “Amongster #1: Tubuh di Antara” di Rumata Art Space pada 11 November 2020. Selain sebagai pamungkas perjalanan di Sulawesi Selatan, di kesempatan ini Otniel ingin mempresentasikan karyanya kepada khalayak seni pertunjukan di Makassar. “Amongster #1: Tubuh di Antara” sebelumnya telah dipentaskan di Surakarta pada 2 Oktober lalu. Karya ini kemudian dikembangkan dan akan jadi bagian babak kedua di “Amongster: Voyage of Lengger”.
By: Titah AW (Otniel Dance Community Writer)
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"Am I a girl or a boy?"
At first, Otniel Tasman thought that this feeling dwelling inside him was just a Lengger Lanang. Born from folk art in Banyumas, Lengger Lanang is a dance in worship of the goddess of fertility, which is performed by men but demonstrates the graceful gestures of women. For someone who lives Lengger as a way of life, it is not just a spectacle, it creates irresistible forces of femininity and masculinity in a dancer's body. Otniel was experiencing that feeling.
Otniel's gender duality continues to emerge and influence his life, as well as his choreographies. Dialogue about the boundary between male and female, the possibility of uniting the two, and how Lengger survived the onslaught of time has become a strong foundation for all of Otniel's work in the last 10 years. For Otniel, dancing Lengger is not only an attempt to preserve the traditions of his ancestors in Banyumas, but also a journey to find himself.
From his decision to commit to doing Lengger, his meeting with Dariah, the maestro of Lengger Lanang, his choreography study in Surakarta, to his encounters with various performance stages and people, Otniel has been on a journey that continually builds his inner meaning. In that journey, he created works such as “Lengger Laut” (2014), “Barangan” (2013), “Stand Go Go” (2016), “Nosheheorit” (2017), and “Cablaka” (2018). In his last work, "Amongster # 1: Bodies between the Body", Otniel even dissected the archives of his Lengger movements on stage with a musical accompaniment. Otniel's entire work can be read as his personal attempt to define the Lengger in his body.
Now, to commemorate 10 years of his journey, Otniel is working on a new work entitled "Amongster: Voyage of Lengger". This work is like a summary, tracing Otniel's inner and outer journey of trying to interpret gender duality, as well as anything else in his body. Amongster: Voyage of Lengger is also a work that tries to answer the primary questions in his life once again.
That question also made Otniel travel to Bugis land to meet some Bissu. The Bissu, according to Otniel, share the feeling and burden of answering the same questions in life as him. They also live with gender duality in their body. They too must strategize to survive in today's world.
The first Bissu that Otniel successfully encountered was the Angel Bissu, Puang Matoa Bissu, in Bone. In their dialogue, Otniel and Angel Bissu shared their respective journeys to find roles as Lengger and Bissu. Angel Bissu explained his compromise with Islam to Otniel, his obligation to perform indo 'botting, and his determination to continue to maintain his traditional Bissu obligations even though he is often subjected to bad stereotypes by society. "So, to be a Bissu requires dedication. Although it is often considered bad because I am a Calabai, the role of the Bissu is important to maintain the balance of nature, especially on Bugis land,” he said.
Although they have different social histories, the discussion with Angel Bissu also revealed the meeting point of two positions in today's society. Unlike Lengger, whose gender duality emerged from folk art, the Bissu actually has a stronger textual legitimacy in Bugis culture because Bissu itself is one of the five genders written in the Bugis book La Galigo. While Lengger had to cross the artistic stage to the stage of the public to survive, the Bissu were embraced and had an important role in their kingdom. But now, both Lengger and Bissu must adopt a strategy to survive in society. Either by adopting Lengger and Bissu practices as traditional arts, or doing daily work to survive when their security is no longer guaranteed by anyone.
In Java, the Lengger Lanang dance is often linked to LGBT issues, complete with all the bad stereotypes. The film Kucumbu Body Indahku (2019), for example, which raised the issue of the Lengger, was even banned from being screened in several regions. Otniel himself experienced the impact, although he chose not to be too concerned about it. The same thing was also experienced by Angel Bissu who had led the Calabai association in Bone. Angel Bissu even explained how he had received harsh treatment from his family when he revealed his identity as Calabai. A Calabai is a man with the spirit of a woman, another one of the genders in the Bugis culture.
The Bissu Yuyun in Bone that we met also shared interesting stories. The dialogue between Bissu Yuyun and Otniel has become very connected because they not only share gender roles and a journey, but they also come from the same generation. Bissu Yuyun is 31, while Otniel is 32. This means they share many things in common, especially their own personal adaptations to modernity and desire to live up to their heritage. Otniel and Bissu Yuyun talked about how to balance their roles as Lengger and Bissu with their social life as young people.
"I am still learning to be a Bissu, but for me, being Bissu does not mean that I maintain chastity for the rest of my life. I also still have a personal life,”said Bissu Yuyun, who also works as the manager of the Kawali Soppeng dance studio at the Arung Palakka Cultural Arts Institute in Bone. Bissu Yuyun and Otniel, for example, talk to one another about their love lives and the use of social media to support Lengger and Bissu communities.
As part of the younger generation, both Otniel and Bissu Yuyun are quite distant from political events that have had a lot of influence on the resilience of Lengger and Bissu in Indonesia. The meaning that both of them seek to find in their respective roles is first and foremost a personal journey. After the standards of Lengger and Bissu performances were gradually eroded with time, they both tried to improve them during their respective journeys. These young Lengger and Bissu must now find a new way to live up to the roles they have inherited from the past.
Political issues regarding the Lengger and Bissu, as well as the traditional Bissu rituals, were encountered when Otniel's group left for Pangkajene. In Segeri sub-district, Otniel met Bissu Eka. Even though the preparation time was quite reduced, Bissu Eka invited the group to the cave where Bissu hid when the DI / TII tragedy in the 60s occurred. The cave site is a historical witness of how Bugis Bissu had to survive the threat of the radical Darul Islam army that wanted to eliminate Bissu and all traditional Bugis beliefs. Bissu Eka said that in the cave, all Bissu from around Pangkajene and the Islands met and hid for several years. Some died there, some managed to return to their families, while at that time, the Calabai living in Bugis land were mostly eliminated in the ‘Repentance operation (operation Taubat). The DI / TII incident can be considered a milestone that changed the lives of the Bugis Bissu to this day. The same thing happened to the Lengger in 1965 when the Indonesian Communist Party hunt was intense, several Lenggers in Banyumas were affected.
Bissu Eka and other Bissu we met now live in a bugis-islamic syncretism, just like the Islam-kejawen system in Java. This can be seen as a compromise to survive, but also as the unification of two cultures that sooner or later must occur due to environmental influences.
At the cave site, Bissu Eka also invited three other Bissu. Bringing some offerings, the Bissu performed a ritual and invited Otniel to join them in his Lengger Lanang outfit. Otniel had a chance to experience the ritual of Manggiri (immunity) for the Bissu. "Earlier what we did was introduce Otniel to the gods as a Lengger Lanang, apparently there are also those like us in Java," said Bissu Eka.
Accompanied by the sounds of Jalappa and Lalosu, as well as the chants of Bissu, Otniel danced around the four Bissu. With his sampur and kemben traditional dress and hairbun, Otniel danced gracefully. In one complete circle, these two different types of beings were united in celebrating connectedness, intimacy, perhaps understanding as well as carrying the same burden to live up the legacy of their ancestors.
This seven-day trip (6-12 November 2020) was recorded and will be processed into a film to complement the work of "Amongster: Voyage of Lengger". The meeting with the Bissu was one of the important dialogues in Otniel's journey in carrying out his Lengger duties.
The work "Amongster: Voyage of Lengger" is a multi-disciplinary collaborative work, in which Otniel's choreographed Lengger-based dance performances will be shown alternating with Zen Al Ansory's footage, acocompanied by the music of Bagus TWU and Mahamboro. Divided into three chapters, "Amongster: Voyage of Lengger" will be performed on 27 November 2020 in Surakarta. It’s a marker after 10 years of travelling and a milestone to look back on to plan Otniel’s next steps.
Besides meeting up with Bissu, Otniel Tasman will also present the work "Amongster # 1: The Body in Between" at Rumata Art Space on November 11, 2020. As an end to his travels in South Sulawesi, on this occasion Otniel wants to present his work to the performing arts audience in Makassar. "Amongster # 1: The Body of Between" was previously performed in Surakarta on 2 October. This work has been developed further and will be part of the second half of "Amongster: Voyage of Lengger".
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"Am I a girl or a boy?"
At first, Otniel Tasman thought that this feeling dwelling inside him was just a Lengger Lanang. Born from folk art in Banyumas, Lengger Lanang is a dance in worship of the goddess of fertility, which is performed by men but demonstrates the graceful gestures of women. For someone who lives Lengger as a way of life, it is not just a spectacle, it creates irresistible forces of femininity and masculinity in a dancer's body. Otniel was experiencing that feeling.
Otniel's gender duality continues to emerge and influence his life, as well as his choreographies. Dialogue about the boundary between male and female, the possibility of uniting the two, and how Lengger survived the onslaught of time has become a strong foundation for all of Otniel's work in the last 10 years. For Otniel, dancing Lengger is not only an attempt to preserve the traditions of his ancestors in Banyumas, but also a journey to find himself.
From his decision to commit to doing Lengger, his meeting with Dariah, the maestro of Lengger Lanang, his choreography study in Surakarta, to his encounters with various performance stages and people, Otniel has been on a journey that continually builds his inner meaning. In that journey, he created works such as “Lengger Laut” (2014), “Barangan” (2013), “Stand Go Go” (2016), “Nosheheorit” (2017), and “Cablaka” (2018). In his last work, "Amongster # 1: Bodies between the Body", Otniel even dissected the archives of his Lengger movements on stage with a musical accompaniment. Otniel's entire work can be read as his personal attempt to define the Lengger in his body.
Now, to commemorate 10 years of his journey, Otniel is working on a new work entitled "Amongster: Voyage of Lengger". This work is like a summary, tracing Otniel's inner and outer journey of trying to interpret gender duality, as well as anything else in his body. Amongster: Voyage of Lengger is also a work that tries to answer the primary questions in his life once again.
That question also made Otniel travel to Bugis land to meet some Bissu. The Bissu, according to Otniel, share the feeling and burden of answering the same questions in life as him. They also live with gender duality in their body. They too must strategize to survive in today's world.
The first Bissu that Otniel successfully encountered was the Angel Bissu, Puang Matoa Bissu, in Bone. In their dialogue, Otniel and Angel Bissu shared their respective journeys to find roles as Lengger and Bissu. Angel Bissu explained his compromise with Islam to Otniel, his obligation to perform indo 'botting, and his determination to continue to maintain his traditional Bissu obligations even though he is often subjected to bad stereotypes by society. "So, to be a Bissu requires dedication. Although it is often considered bad because I am a Calabai, the role of the Bissu is important to maintain the balance of nature, especially on Bugis land,” he said.
Although they have different social histories, the discussion with Angel Bissu also revealed the meeting point of two positions in today's society. Unlike Lengger, whose gender duality emerged from folk art, the Bissu actually has a stronger textual legitimacy in Bugis culture because Bissu itself is one of the five genders written in the Bugis book La Galigo. While Lengger had to cross the artistic stage to the stage of the public to survive, the Bissu were embraced and had an important role in their kingdom. But now, both Lengger and Bissu must adopt a strategy to survive in society. Either by adopting Lengger and Bissu practices as traditional arts, or doing daily work to survive when their security is no longer guaranteed by anyone.
In Java, the Lengger Lanang dance is often linked to LGBT issues, complete with all the bad stereotypes. The film Kucumbu Body Indahku (2019), for example, which raised the issue of the Lengger, was even banned from being screened in several regions. Otniel himself experienced the impact, although he chose not to be too concerned about it. The same thing was also experienced by Angel Bissu who had led the Calabai association in Bone. Angel Bissu even explained how he had received harsh treatment from his family when he revealed his identity as Calabai. A Calabai is a man with the spirit of a woman, another one of the genders in the Bugis culture.
The Bissu Yuyun in Bone that we met also shared interesting stories. The dialogue between Bissu Yuyun and Otniel has become very connected because they not only share gender roles and a journey, but they also come from the same generation. Bissu Yuyun is 31, while Otniel is 32. This means they share many things in common, especially their own personal adaptations to modernity and desire to live up to their heritage. Otniel and Bissu Yuyun talked about how to balance their roles as Lengger and Bissu with their social life as young people.
"I am still learning to be a Bissu, but for me, being Bissu does not mean that I maintain chastity for the rest of my life. I also still have a personal life,”said Bissu Yuyun, who also works as the manager of the Kawali Soppeng dance studio at the Arung Palakka Cultural Arts Institute in Bone. Bissu Yuyun and Otniel, for example, talk to one another about their love lives and the use of social media to support Lengger and Bissu communities.
As part of the younger generation, both Otniel and Bissu Yuyun are quite distant from political events that have had a lot of influence on the resilience of Lengger and Bissu in Indonesia. The meaning that both of them seek to find in their respective roles is first and foremost a personal journey. After the standards of Lengger and Bissu performances were gradually eroded with time, they both tried to improve them during their respective journeys. These young Lengger and Bissu must now find a new way to live up to the roles they have inherited from the past.
Political issues regarding the Lengger and Bissu, as well as the traditional Bissu rituals, were encountered when Otniel's group left for Pangkajene. In Segeri sub-district, Otniel met Bissu Eka. Even though the preparation time was quite reduced, Bissu Eka invited the group to the cave where Bissu hid when the DI / TII tragedy in the 60s occurred. The cave site is a historical witness of how Bugis Bissu had to survive the threat of the radical Darul Islam army that wanted to eliminate Bissu and all traditional Bugis beliefs. Bissu Eka said that in the cave, all Bissu from around Pangkajene and the Islands met and hid for several years. Some died there, some managed to return to their families, while at that time, the Calabai living in Bugis land were mostly eliminated in the ‘Repentance operation (operation Taubat). The DI / TII incident can be considered a milestone that changed the lives of the Bugis Bissu to this day. The same thing happened to the Lengger in 1965 when the Indonesian Communist Party hunt was intense, several Lenggers in Banyumas were affected.
Bissu Eka and other Bissu we met now live in a bugis-islamic syncretism, just like the Islam-kejawen system in Java. This can be seen as a compromise to survive, but also as the unification of two cultures that sooner or later must occur due to environmental influences.
At the cave site, Bissu Eka also invited three other Bissu. Bringing some offerings, the Bissu performed a ritual and invited Otniel to join them in his Lengger Lanang outfit. Otniel had a chance to experience the ritual of Manggiri (immunity) for the Bissu. "Earlier what we did was introduce Otniel to the gods as a Lengger Lanang, apparently there are also those like us in Java," said Bissu Eka.
Accompanied by the sounds of Jalappa and Lalosu, as well as the chants of Bissu, Otniel danced around the four Bissu. With his sampur and kemben traditional dress and hairbun, Otniel danced gracefully. In one complete circle, these two different types of beings were united in celebrating connectedness, intimacy, perhaps understanding as well as carrying the same burden to live up the legacy of their ancestors.
This seven-day trip (6-12 November 2020) was recorded and will be processed into a film to complement the work of "Amongster: Voyage of Lengger". The meeting with the Bissu was one of the important dialogues in Otniel's journey in carrying out his Lengger duties.
The work "Amongster: Voyage of Lengger" is a multi-disciplinary collaborative work, in which Otniel's choreographed Lengger-based dance performances will be shown alternating with Zen Al Ansory's footage, acocompanied by the music of Bagus TWU and Mahamboro. Divided into three chapters, "Amongster: Voyage of Lengger" will be performed on 27 November 2020 in Surakarta. It’s a marker after 10 years of travelling and a milestone to look back on to plan Otniel’s next steps.
Besides meeting up with Bissu, Otniel Tasman will also present the work "Amongster # 1: The Body in Between" at Rumata Art Space on November 11, 2020. As an end to his travels in South Sulawesi, on this occasion Otniel wants to present his work to the performing arts audience in Makassar. "Amongster # 1: The Body of Between" was previously performed in Surakarta on 2 October. This work has been developed further and will be part of the second half of "Amongster: Voyage of Lengger".
Tentang Rumata'
Rumata’ ArtSpace adalah rumah budaya yang resmi berdiri 18 Februari 2011, dijalankan secara independen dengan pendanaan yang sebagian besar berasal dari sumbangan publik. Selain menawarkan fasilitas yang bisa diakses secara luas khususnya bagi seniman dan komunitas di Makassar, Rumata’ dikenal dengan program-program unggulan yang telah menjadi bagian penting pengembangan kebudayaan dan kesenian, antara lain Makassar International Writers Festival (MIWF) dan SEAScreen Academy. Ratusan seniman dan relawan telah terlibat dalam berbagai kegiatan di Rumata’ dan ribuan pengunjung telah mengikuti berbagai kegiatan Rumata’. Perluasan kerjasama, peningkatan kualitas kegiatan dan upaya melebarkan jangkauan audiens adalah tiga hal mendasar yang akan terus dikerjakan Rumata’ Artspace.
About Rumata'
Rumata’ ArtSpace is a cultural institution officially established on the 18thof February 2011. It operates independently and receives most of its funding from public donations. Apart from offering facilities that can be widely accessed, especially by artists and the Makassar community, Rumata’ is famous for its featured programs which have become an important part of cultural and artistic development, for example the Makassar International Writers Festival (MIWF) and SEAScreen Academy. Hundreds of artists and volunteers have participated in various activities at Rumata’ and thousands of visitors have also got involved. The three objectives that Rumata’ ArtSpace will continue to strive for are extending its collaborations, increasing the quality of its activities and growing its audience.
Informasi
Jika ada saran, masukan dan informasi yang perlu kami ketahui, Anda dapat mengunjungi Rumata' ArtSpace dan menghubungi email serta nomor telefon yang tertera:
Lokasi | Location
Jl. Bontonompo No.12A, Gn. Sari, Tamalate, Kota Makassar, Sulawesi Selatan 90221. Indonesia
Information
If you have suggestions, feedback or information that we should be aware of, you can visit Rumata’ ArtSpace and contact us via email or the telephone number listed here:
Contact Information
+62 813-8801-5211
+62 813-8801-5211
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Perjalanan Lengger Lanang Ke Tanah Bissu Bugis - Otnie Dance Community
