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| Reog |
Reog is a traditional dance from Ponorogo, East Java, generally performed in the open space as a public entertainment, this dance contains magical elements such as the Ebeg or Kuda Lumping Dance in Central Java, the main dancer in this art performance is a lion-headed person with peacock feather ornaments known as Singo Barong, with a mask weighing up to 50–60 kg. Plus some masked dancers and horseback lumping and original Reog from Indonesia. In Indonesia it is known as Reog Ponorogo referring to the place where this artistic creation originates, namely Ponorogo.
Administratively Ponorogo is a part of East Java Province, the state of Indonesia. However, in some cultural aspect the Ponorogo Region is a separate cultural territory, part of Javanese culture, with distinct characteristics that are slightly different but enrich the Javanese culture itself.
From Ponorogo, one of the typical cultural arts was born, in the form of the Reog dance, which became known as Reog Ponorogo. An epic ballet wrapped in magical performances, a color that carries the same cultural message as several performing arts from Indonesia. The closest resemblance to this dance art is the Ebeg Dance from the western part of Central Java, which has a strong magical element, and uses horse puppets as part of the dance, horse puppets being danced as the mounts of the soldiers. So that both are actually an epic dance.
The basic difference between Reog Ponorogo and Ebeg is that Reog Ponorogo has a more standardized storyline than Ebeg . So that it can be said that Reog is a traditional ballet. Even so, the scenario in the reog performance still provides room for improvisation during the show. This is intended so that the audience can participate in the storyline of the show. Just like most traditional performances in Indonesia, like Lenong Betawi for example. Meanwhile, Ebeg places more emphasis on dance and magical performances.
History of Reog
Basically there are some popular story versions which expand in society about the origins of Reog and Warok, but one of the most famous stories is the story about the rebellion of Ki Ageng Kutu, a royal servant at the time of Bhre Kertabhumi, the last King of Majapahit who came to power in the 15th century. Ki Ageng Kutu was angry at the strong influence from the wife of the Majapahit king who came from China, besides that he was also angry with his king in a corrupt government; he also saw that the power of the Majapahit Kingdom would end. He then leave the king and found teacher where he teach young children art of self-defense, science of impenetrability by them self, and perfection science on the chance of that is young children will become seed from evocation again empire of Majapahit later.
Realizing that his troops were too small to fight against the royal troops, Ki Ageng Kutu's political message was conveyed through the Reog art performance, which was a "satire" to King Bhre Kertabumi and his empire. Performance of Reog was become way of Ki Ageng Kutu to develop local society resistance use popularly of Reog. In the Reog show, a mask in the shape of a lion's head known as "Singa Barong", the king of the jungle, is shown which is a symbol for Kertabhumi, and peacock feathers are stuck on top to resemble a giant fan which symbolizes the strong influence of his Chinese counterparts who rule from above almost everything. king's wisdom and decisions.
Jathilan, played by a group of gemblak dancers riding a piggy horse, is a symbol of the strength of the Majapahit Royal troops which contrasts with the strength of the warok, which is behind the red clown mask which is the symbol for Ki Ageng Kutu, alone and supporting the weight of the Singa Barong mask which reaches over 50 kg using only its teeth. The popularity of Reog Ki Ageng Kutu finally caused Bhre Kertabhumi to take action and attack his college, the warok rebellion was quickly overcome, and the college was forbidden to continue teaching warok. However, Ki Ageng Flea's students continued secretly. Even so, the Reog art itself is still allowed to be staged because it has become a popular show among the people, but the storyline has a new plot in which characters from Ponorogo folklore are added, namely Klono Sewandono, Dewi Songgolangit, and Sri Genthayu.
The latest official version of the Reog Ponorogo storyline is a story about the King of Ponorogo who intends to propose to the daughter of Kediri, Dewi Ragil Kuning, but on the way he is intercepted by Raja Singa Barong from Kediri. Raja Singa Barong's army consisted of peacocks and lions, while from the Ponorogo Kingdom, Raja Klono and his Deputy Bujang Ganong, were escorted by warok (men dressed in black in their dances), and this warok had deadly black magic. The entire dance is a war dance between the Kingdom of Kediri and the Kingdom of Ponorogo, and black magic is pitted between the two, the dancers are in a state of "trance" while performing the dance.
Until now the people of Ponorogo have only followed what their ancestral heritage is, which is a very rich cultural heritage. In his experience, Reog art is a human creation that is formed from the existence of a belief system that has been passed down from generation to generation and is maintained. The ceremony also uses conditions that are not easy for ordinary people to fulfill without a clear lineage. They adhere to parental lineage and customary law that still applies.
Reog is still treated as a sacred performing art, like several performing arts in Bali.
Procedures for staging Reog art.
Modern Reog is usually staged in several events such as weddings, circumcisions, and national holidays. The Reog Ponorogo art consists of several series of 2 to 3 opening dances.
The first dance is usually performed by 6–8 brave men dressed all in black, with faces polished red. These dancers depict the figure of a brave lion. Next is a dance performed by 6–8 girls riding horses (mamed Jathil or JAthilan). In traditional Reog, this dancer is usually played by gemblak, a male dancer dressed in women's clothing. This dance is called the jaran kepang or jathilan dance, which must be distinguished from other dances, namely the lumping horse dance.
Other opening dances, if there are any, are usually dances by small children who present funny scenes called Bujang Ganong or Ganongan.
After the opening dance is over, the main scene is displayed, the contents of which depend on the conditions in which the Reog art is displayed. When it comes to marriage, what is shown is a love scene. A hero's story use to tell for khitanan's or sunatan's party.
Scenes in Reog's art usually do not follow a rigid scenario. Here there is always interaction between the performer and the puppeteer (usually the group leader) and sometimes with the audience. Sometimes a player who is performing can be replaced by another player if the player is exhausted What is more important in staging Reog art is giving satisfaction to the audience.
The final scene is Singa Barong, where the perpetrator wears a mask in the shape of a lion's head with a crown made of peacock feathers. These masks can weigh up to 50–60 kg. This heavy mask is carried by the dancers with their teeth.
The ability to wear this mask is not only obtained through strenuous practice, but is also believed to be obtained through spiritual practices such as fasting and meditation.
Figures in Reog art
Warok
"Warok" which comes from the word wewarah is a person who has a holy determination, to provide guidance and protection selflessly. Warok is wong kang sugih wewarah (a person who is rich in wewarah). That is, a person becomes a warok because he is able to give instructions or teach others about a good life. Warok iku wong kang wus, pursuant to saka sakabehing behavior, lan wus ing ing rasa (Warok is a person who is perfect in his life practice, and has reached inner deposition).
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| Warok |
Warok is a character/characteristic and soul of the Ponorogo people which has been ingrained since long ago which was passed down by their ancestors to the next generation. Warok is a display part of the Reog art that is inseparable from other displays in the Reog Ponorogo art unit. Warok is a person who really masters knowledge both physically and spiritually.
Jathil
Jathil is a mounted warrior and is one of the figures in Reog art. Jathilan is a dance that depicts the dexterity of a horseman who is training on a horse. This dance is performed by dancers where the dancers are paired with each other. Dexterity and expertise in fighting on a horse is shown by the expression or spirit of the dancer.
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| Jathil |
At first, this Jathil was danced by gemblak, men who are refined, handsome in appearance or similar to beautiful women. The dance moves tend to be more feminine. Since the 1980s when the Reog Ponorogo art team was about to be sent to Jakarta for the opening of the PRJ (Jakarta Fair), the jathilan dancers were replaced by female dancers on the grounds that they were more feminine. The impression characteristics of the Jathilan dance movements in the Reog Ponorogo art tend to be smooth, agile, and dexterous. This is supported by the rhythmic pattern of dance movements which alternate between mlaku rhythms (innocent) and ngracik rhythms.
Bujang Ganong
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| Bujang Ganong |
Bujang Ganong or Patih Pujangga Anom is an energetic, funny character who also has expertise in martial arts so that in every performance he is always exhibited by 2 people in general who are always eagerly awaited by the audience, especially children. Bujang Ganong depicts the figure of a young governor who, although physically tends to be ugly, is nimble and willing hard, smart, witty, and powerful. The Bujang Ganong mask is bright red with bulging eyes, a large nose, and protruding teeth. The mask is made of dadap wood, while the hair on the mask is made of horse tail.
Prabu Klono Sewandono
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| Klono Sewandono |
Prabu Klono Sewandono or King Klono is a powerful king who has a reliable heirloom in the form of a very powerful whip called the Samandiman Whip wherever he goes this handsome and young King always carries this heirloom with him. Inheritance is used to protect himself. The King's valor is depicted in his agile and authoritative dance moves, in a tale that King Klono Sewandono managed to create beautiful art from the results of his creativity to comply with requests by his daughter (his girlfriend). Because the King was in a state of intoxication, his dance moves sometimes depicted someone in love.
Singo Barong
Singo Barong is a tiger-headed figure and dancer with a peacock decoration, this figure is the most dominant figure in the Reog Ponorogo art. Singo barong is symbolized by a large mask of a tiger's head covered peacock feathers.
The parts of the mask include; tiger head (caplokan), made of wood, bamboo, rattan and covered with kingpin tiger/Javanese tiger skin.
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| Singo Barpng |
Dadak Merak (Merak mean Peacock), a frame made of bamboo and rattan as a place to arrange peacock feathers to depict a peacock spreading its feathers and biting a string of beads.
Krakap made of black velvet embroidered with monte (a kind of bead), is an accessory and a place to write the identity of the Reog group. This peacock suddenly measures about 2.25 meters long, about 2.30 meters wide, and weighs up to 80 kilograms.
Spread of Reog and its controversy.
According to data from the Ponorogo Reyog Archives Institute, Reog can be found in various countries such as the United States, Australia, Germany, Saudi Arabia, Lebanon, Suriname, Hong Kong, Macau, Taiwan, Korea, Japan, Singapore, the Philippines, Brunei Darussalam and Malaysia. Reog in Malaysia has existed for more than 100 years and has the most presence outside Indonesia.
Several years ago, the art of reog became controversial when news spread that Malaysian cultural institutions wanted to claim Reog as their country's original type of dance.
Large protests occurred from among Reog artists in Indonesia and their sympathizers. Thank goodness that small problem has now been resolved as the Malaysian Embassy has stated that of course they would not dare to claim that Reog is their original art. Although similar arts have been played by Malaysian citizens since before Indonesia's independence. Those who played were Javanese people from the Ponorogo area who migrated to Malaysia when Indonesia was still in the grip of the Dutch colonialists.
The wisdom behind this is that this is proof that the two neighboring countries come from the same family. We're in the same family. State differences are only a formal consequence of geopolitics. Thank you.
