Tari kuda lumping (jaran kepang) ini identik dengan pertunjukan magis, karena disetiap adegan buto lawas, penari selalu menari kesurupan.terkadang penonton juga ada yang kesurupan mengikuti menari nari di iringi musik monoton namun berasa terbalut nuansa magis.kesenian rakyat kuda lumping atau jaran kepang ini di kulonprogo mirip dengan tari angguk. Barong 18 ribu, Reog 18 ribu, Buto ijo 45 ribu, Kuda Lumping 15 ribu,' katanya. Hatinya bungah lantaran jajan mainan tradisional dengan harga terjangkau. Ia pun bisa mengajari anak-anak mengenai.

1. Musik Kuda Lumping Ponorogo Hotel Transylvania 2

Embleg/Jaran Kepang is a Javanese”s art especially in Wonosobo and surround. Later, this cultural tradition has spread more into the Indonesian mainstream.

Grounded in history, the Jaran kepang was born to symbolize that the society had the power to face the enemy or fight the power of royal armies. Besides that, it also acted as a form of merry entertainment.

The Embleg is a form of dance that uses ”horses” made from bamboo: it is accompanied by the gamelan orchestra, which uses instruments such as: the gong, kenong, kendang, and slompret. The Embleg amazes the audience with the dancing Embleg riders. The traditional Embleg dancers are performed by girls, wearing the uniform of the royal men-at-arms. Nowadays, the Embleg actors are male. The sounds of a big whiplash that whip these dancers, symbolizes the input of mystical powers that can take control of the players” consciousness. By riding the horses ? with bells on their ankles ? the actors straddle the horses, jump up, and roll on the ground. Besides jumping up, the Kuda Lumping dancers perform other stunts, such as eating the shards of the lamp bulbs, and stripping the coconut fiber by the. They eat the shards of the lamp balls eagerly. They don”t feel pain, and there”s no blood when they eat the glass shards.

As the sound of the whip cracks over the Kuda Lumping players, the players grow more frenzied. Every lash that the rattan lash strikes their body increases the frantic behavior of the actors. The Kuda Lumping dancers will feel stronger, more powerful, and more invulnerable. Commonly, in that condition, they grow wild and frenzied enough to attempt the impossible.

The Kuda Lumping players are also fire breathers. The flame is fed by gasoline kept in their mouth which is then spewed out on a heated element: a little piece of iron. The end of the iron is made specifically so that that the fire doesn”t go out as the gasoline is sprayed from the mouth of the entertainer. The Kuda Lumping players also use colours to communicate specific meanings in their dance. The dominant colours for this attraction are red, white, and black. Red signifies a brave and spirit. The white is for the purity of heart and mind that can reflect five senses, so it can be a guide for the black.

As an attraction full of mysticism and danger, the Kuda Lumping dance is led by a supernatural leader, perhaps a shaman or a witch doctor. This leader is someone who has a lot of supernatural knowledge and the ability to bring the dancers to a sober, conscious state. He also has the responsibility for the attraction and heals their painful wounds after the performance. However, if seen from the psychological view, the players are known as a medium. These peoples are just a vector for the power of another spirit. Related to the medium is the trance condition, where a person is dissociated from reality, is no longer aware of his surroundings, and acts in an uncontrolled manner.

However, the actor needs to be aware that the sharp things that are swallowed can rupture the GI (Gastrointestinal) tract, and perforate (injure) the abdomen. The intestine is the most commonly injury organ because the limited space of the intestines makes it susceptible to being sliced and punctured by the swallowed shards of glass. If the perforated is on the upper side, for example in gastric area, serious peritonitis symptoms will quickly be manifested. If it occurs on the lower GI tract, like the colon, there are no immediate symptoms because the microorganisms need the time to proliferate. However, after 24 hours occurs, acute symptoms become obvious due to abdomen because of the stimulation of the peritoneum. (The Peritoneum is the membrane that lines the abdomen and pelvic cavities.)

From colonial times until today, Indonesia”s local cultures are continually threatened by the greater wealth and prestige of alien cultures. So, the youth of today must continually reevaluate their place and society, and work hard to retain what is valuable in their native cultures, less everything distinctively Indonesian is swamped by the dominant Western/Global culture. The government and society must rediscover their own native arts, which are hardly ever heard on national media. So, these cultures can be developed and deepened to root Indonesians firmly in their native soil.

Kuda Lumping (Javanese: Jaran Kepang or Jathilan, Indonesian: Kuda Lumping or Kuda Kepang, English: Flat Horse) is a traditional Javanesedance depicting a group of horsemen from East Java, Indonesia. Dancers 'ride' horses made from woven bamboo and decorated with colorful paints and cloth. Generally, the dance portrays troops riding horses, but another type of Kuda Lumping performance also incorporates trances and magic tricks. When the 'possessed' dancer is performing the dance in trance conditions, he can display unusual abilities, such as eating glass and resistance to the effects of whipping or hot coals.

Although the dance is native to Java, Indonesia, it also performed by Javanese communities in Suriname, Malaysia and Singapore which is more commonly called Kuda Kepang.

Origin[edit]

The origin of Kuda Lumping is uncertain. Two main hypotheses have been proposed. The first suggests that Kuda Lumping may have arisen out of Diponegoro's war against the Dutch colonial forces, as a ritual reenactment of battles. The second argues that it is based on Mataram-era troops riding against the Dutch.^[1]

Kuda Lumping is known under different names in different areas. While Kuda Lumping is the most common name in West Java, in Central Java it is known as Jaran Kepang or Jathilan in East Java; in Bali, it is known as Sang Hyang Jaran.^[2] In Bali Sanghyang dance refer to the type of dance involving trance by spirit identified as hyang.

Performance[edit]

Kuda Lumping may be performed in celebration of a special event, such as a boy's circumcision or rite of passage.^[3] It may also be performed as entertainment, in a busker style.^[1] It is generally performed in a cordoned-off area, with the audience separated from the dancers.^[4]

Kuda Lumping is traditionally performed by a group of men drawn from the local community; this group can number from two to eight.^[2][4][5] The performers mount rattan horses and dance while traditional instruments such as the angklung, gongs, and dog-dog drums are played.^[1][4][5] This portion of the performance ends when a dancer enters a trance, which is traditionally said to be caused by spirit possession.^[1] In Sang Hyang Jaran, the audience may participate by forming a chorus and singing.^[2]

During their trances, the dancers may pretend to eat grass or drink water, while another performer or shaman uses a whip to direct them. In some performances, dancers may walk on coals or eat glass or fire, which can cause various injuries. The dancers also interact with the audience; in busker performances they may ask for money. In some areas the dancers serve as oracles to deliver prophecies. After awakening from their trances, performers claim not to remember anything done while performing.^[1][2]

In East Java, the similar dance is called Jathilan, and is a part of Reog Ponorogo performance. A Jathil is the youthful handsome horsemen riding horses made of weaved bamboo. Unlike common jaran kepang however, jathil never performed trance dances and stunts such as eating glass or walk on fiery charcoal. Traditionally jathilan dance was performed by gemblakan, today Jathil usually performed by female dancers.

Equipment[edit]

Dancers perform using rattan horses, generally colourful and decorated with beads and sequins. Adults use larger horses than children. Children's horses may also be cut from bamboo mats.^[6] Performers wear colorful clothes and may occasionally dress as soldiers. The costume may also include small bells strung around the ankle.^[1] In comparison to the shaman, the dancers' costumes are more feminized.^[7]

Symbolism[edit]

Henry Spiller suggests that Kuda Lumping represents spiritual power and masculine virility, which is 'wild and uncontrolled ... yet ultimately a good thing'.^[8] Max Richter notes that the erratic movements of the 'feminized' dancers may 'draw on ideas about the subordinate 'irrational' female', while the slower, more deliberate movements of the shaman 'may be seen as masculine and potent'. However, he considers this secondary to the conflicts of science versus magic, and good versus bad.^[7] He also notes that it serves as a way for young boys to release energy in a non-violent manner.^[9] These, of course, are the interpretations of Western academics and do not reflect the views and intentions of the native dancers.

Reception[edit]

Kuda Lumping is widely popular. But, individual observer opinions vary. Some view it as being related to Satan and thus evil, while others see it as being a good influence. A shift in meaning, from a mainly spiritual ritual to entertainment, has been noted.^[9]

Kuda Lumping has been used as the basis for a dangdut song of the same name.^[5]

See also[edit]

References[edit]

Footnotes

1. ^ ^abcdefMardiyati, Ade (16 March 2010). 'Kuda Lumping: A Spirited, Glass-Eating Javanese Game of Horse'. The Jakarta Globe. Archived from the original on 29 August 2011. Retrieved 31 July 2011.
2. ^ ^abcdBandem 2008, p. 2
3. ^Hellman 2003, p. 16
4. ^ ^abcRichter 2008, p. 170
5. ^ ^abcSpiller 2008, p. 199
6. ^Epstein 2008, p. 219
7. ^ ^abRichter 2008, p. 172
8. ^Spiller 2008, p. 200
9. ^ ^abRichter 2008, p. 171

Bibliography

• Bandem, I Made (2008). 'Performing Arts of Indonesia (Performance Education and Archive)'(PDF). Wesleyan University. Retrieved 31 July 2011.
• Epstein, Irving (2008). The Greenwood Encyclopedia of Children's Issues Worldwide. Volume 1. Westport, Connecticut: Greenwood Press. ISBN978-0-313-33620-1.
• Hellman, Jörgen (2003). Performing the Nation: Cultural Politics in New Order Indonesia. Copenhagen: NIAS Press. ISBN978-0-7007-1678-4.
• Richter, Max (2008). 'Other Worlds in Yogyakarta: From Jatilan to Electronic Music'. In Ariel Heryanto (ed.). Popular Culture in Indonesia : Fluid Identities in Post-Authoritarian Politics. London: Routledge. pp. 164–181. ISBN978-0-415-46112-2.
• Spiller, Henry (2008). Focus : Gamelan Music of Indonesia. New York: Routledge. ISBN978-0-203-93099-1.

Musik Kuda Lumping Ponorogo Hotel Transylvania 2