97 TAYUB AS A SYMBOLIC INTERACTION MEDIUM IN SEDEKAH BUMI RITUAL IN PATI REGENCY Sisca Dwi Suryani State Junior High School of Jaken Pati, Indonesia E-mail: chaca_24cute@yahoo.co.id Received: August 13, 2014. Revised: October 5, 2014. Accepted: November 22, 2014 Abstract This study aims to find, understand, and describe the process of symbolic interaction in Sedekah Bumi ritual and the supporting symbols of Tayub as the symbolic interaction medium in the ritual. This study applies qualitative methods with the holistic approach. The research was conducted in Dukuh Guyangan, Sidoluhur Village, Jaken, Pati Regency. In collecting the data, observation, in- terview, and documentation technique were implemented. Further, the data were analyzed using the technique of data reduction, data presentation, drawing conclusion, as well as verification. The data was validated using the sources triangulation, the technique triangulation, and the time triangulation. Tayub as the medium of symbolic interaction realizes in four interaction processes, as follows: 1) symbolic interaction processes between the ritual actors and the spirits of ancestors reflected in kenduren procession held in Punden, 2) symbolic interaction process between Ledhek and Pengibing that is embodied in Ibingan, 3) symbolic interaction process between Wiraswara and the audiences that is seen during the dance performance, 4) symbolic interaction process between Pengrawit and Ledhek that is reflected in the dance movements and the accompanying music. The meanings of symbol behind the ritual itself are reflected through the realization of symbolic in- teraction. It consists of three elements, as follows: 1) kenduren prayer, 2) offerings and ambeng, 3) Tayub dance. Keywords: sedekah bumi; symbolic interaction; tayub How to Cite: Suryani, S. (2014). Tayub as a Symbolic Interaction Medium in Sedekah Bumi Ritual in Pati Regency. Harmonia: Journal of Arts Research and Education, 14(2), 97-106. doi:http://dx.doi.org/10.15294/harmonia.v14i2.3291 HARMONIA : Journal of Arts Research and Education 14 (2) (2014), 97-106 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v14i2.3291 p-ISSN 1411-5115 e-ISSN 2355-3820 as in wedding ceremony. Tayub dance is performed in both occasions since it is be- lieved that the dance can magically affect fertility. Tayub dance as a symbolic interacti- on medium in the ritual tradition Sedekah Bumi creates the realization of symbolic interaction process between ritual actors and the ancestors and also between dan- cers and the audiences. The meaningful symbols illustrated in Sedekah Bumi ritual cause the symbolic interaction among the society in Dukuh Guyangan, Desa Sidolu- hur, Kecamatan Jaken, Kabupaten Pati. People are always related to sym- INTRODUCTION Historically, Tayub dance came from an ancient kingdom. It was actually a part of religious ceremony which aimed to invoke for safety and as an expression of gratitude. Tayub comes from Javanese words, ‘tata’ which means well-ordered and ‘guyub’ means unity or harmonious. Thus, Tayub means a form of dance which is well-ordered so that it creates harmony or unity (Herawati, 2009, p. 41). According to Hadi (2003, p. 101), Tayub is still often performed in populist ceremony namely Sedekah Bumi as well HARMONIA : Journal of Arts Research and Education 14 (2) (2014): 97-10698 bols. These symbols reflect to the pheno- menon that occurs every day in human life. People are animal symbolism. It means that the symbolic thoughts and behaviors are characteristics that naturally had by human; and all developments occur in life are closely related to those conditions (Endraswara, 2003, p. 171-172). Symbolism in Javanese culture so- ciety is considerably important because they use symbols in everyday life. This habit comprises the interaction between societies as the ritual actors and their an- cestors. The interaction is symbolized by providing offerings placed in a special spot named Punden as well as by holding a special performance in Punden on certain days. Human identity is formed and revea- led in her expression. Symbol is a means of communication for humans, especially in the religious world. Religious fact itself by nature is already symbolic. Because of that, Eliade asserts that the symbol is a way of introduction that is typically religious by nature (Suraji, 2006, p. 67). Javanese symbolic actions are divi- ded into three types, there are: (1) the sym- bolic act of religion which includes safety events, important events (death, birth, and bersih Desa), giving offerings to a sacred object, (2) the symbolic action in traditions such as wedding ceremonies, ngabekten, or sungkeman for Javanese society in Eid Fitr; and (3) the symbolic act in arts (Herusato- to, 2001, p. 88). In other words, symbolic forms are categorized into three kinds of action, namely: 1) the symbolic act of reli- gion, 2) the symbolic act of tradition, and 3) the symbolic act in the arts. The main concern in the theory of symbolic interaction is the dynamics of face to face interaction, the close interdepen- dence between the individual’s self-con- cept and the experiences of a small group, negotiations on shared norms and roles of individuals, as well as other processes that covers individuals and patterns of interac- tion on a small scale (Johnson, 1990, p. 4-5). The most fundamental propositions of symbolic interaction are: human behavior and interaction that can be distinguished since they are shown through symbols and their meanings. Finding meaning behind the sensual becomes important in symbo- lic interaction (Muhadjir, 2000, p. 183). There are three core of symbolic interactionism. First, people act against something by meaning owned by some- thing (Sunarto, 2000, p. 36). Symbolic in- teraction from George theory places three basics of human activities in socializing, namely: (1) The characteristics of indivi- dual, (2) interaction, and (3) Interpretation. The substance contains: (1) Human life is surrounded by symbols, they respond to life with symbols as well, (2) Through the symbols, human has the ability to stimu- late others different ways, (3) Through the communication of symbols, meanings and values can be learnt, and in addition to it, we can also learn the actions of others, (4) symbols, meanings and values are always related to human, then, they are used by human to think as a whole and even in a broader and more complex scope, and (5) Thinking is an action of search, it is likely to be symbolic and useful to learn and pre- dict the future things, interpret advantages and relative disadvantages based on indi- vidual judgment, in order to make a choice (Kusumastuti, 2006, p. 185). Based on the description of symbo- lic interaction above, it is concluded that symbolic interaction occurs between indi- viduals from the process of socializing. It is continued to the activity of conveying something symbolically, and in the end to express meaning through the existing symbols. Tayub dance as a medium of symbo- lic interaction in the ritual tradition Sede- kah Bumi is a form of ritual. Soedarsono (1998, p. 57) says that the ritual function is not only related to the important events of life, such as birth, pangur, first haircut, baby’s first step, circumcision, marriage, and death. Performance to support the society’s ritual ceremony symbolizes the relationship between people and God. So that, people more concerned for the pur- pose of the ritual rather than in the form Sisca Dwi Suryani, Tayub as a Symbolic Interaction Medium in Sedekah Bumi Ritual in Pati Re- 99 of the arts. The ceremony is considered as im- portant events. According to Koentjaranin- grat (2000, p. 377-378), there are four im- portant aspects in holding ceremonies: (1) the place where a ceremony is held, (2) the time when a ceremony is held, (3) tools and equipments which are used in ceremonies, and (4) people who lead the ceremony. Ceremony is the unitary series of sharing form and communicating the elements among people with the spirits of nature and the spirits of ancestors. Ritual ceremo- ny can be identified into twelve elements. There are: serving, sacrificing, eating food that has been given a prayer together, dan- cing sacred dances, singing sacred songs, playing sacred drama, fasting, intoxicating or obscuring thoughts by taking anesthe- tic medication to make themselves drunk (Koentjaraningrat, 2000, p. 378). Basically, traditional ceremony is an attempt to be closer to God or ances- tors through supernatural power that are considered to exist around them in order to maintain safety and welfare to live to- gether in a society. Sedekah Bumi ritual as is done in Dukuh Guyangan (a small vil- lage), Sidoluhur Village, is still constantly preserved by the society as an expression of gratitude to Allah SWT. Sedekah Bumi is one of the tradi- tional rituals of society in Java, which has lasted for generations. This tradition is held once a year in order to maintain harmonious relationships between indivi- duals with their ancestors or with nature. Javanese society develops the tradition of Slametan (Javanese grateful ceremony), vi- siting grave yard and visiting other sacred places. This is due to the belief of the so- ciety towards the existence of spirit. It is believed that the person who has died has a magical power to help the living genera- tions. Therefore, in order to respect for the given help, people keep worshipping the spirit of their ancestors (Koentjaraningrat, 1984). At the Sedekah Bumi ceremony, usu- ally, the entire society cook a special dish called tumpeng and come together to the house of a village elder or to the village halls or other places that have been agreed by the entire local society to hold this ritu- al. The elders will give a prayer to the tum- peng. After the praying session is ended, societies are allowed to eat the tumpeng to- gether, or bring the tumpeng back to their house to be eaten by their entire family. METHOD The method used in this study is qua- litative method with a holistic approach. This is a type of qualitative research that will be resulted in descriptive data both in the form of written or spoken words. In this approach, the observed people or behaviors are directed to the background and individuals as a whole (holistic). Data collection techniques conducted by rese- archers consist of observation, interviews, documentation. Data validation technique used is sources triangulation technique. Data will be analyzed using Adshead et al. (cited from Murgiyanto, 2002, p. 9-10) which divides the analysis process into four stages: (1) recognizing and describing the components, (2) understanding the re- lationship between components, (3) doing interpretation based on the socio-cultural concept and background, context of the performance, styles and genres, themes, as well as the concepts of specific interpreta- tion, and (4) evaluating. RESULTS AND DISCUSSION Sedekah Bumi Ritual Tradition in Dukuh Guyangan People in Dukuh Guyangan are most- ly farmers. They cannot be separated from Javanese culture and tradition. They are preserving and regularly doing the exis- ting tradition in every farming activity. Several examples of traditions that are cul- turally preserved are Sedekah Bumi (being grateful for the fertile soil) and miwiti (being grateful for the first harvest). Those traditions are still conducted by the society as a means of preserving and maintaining their ancestors’ heritage. HARMONIA : Journal of Arts Research and Education 14 (2) (2014): 97-106100 The Procession of Sedekah Bumi Ritual Tradition Sedekah Bumi ritual is held once in a year. It is always held on Friday legi (legi is one of the day in Javanese calendar). The procession is begun by reciting istighosah (big praying). When the research was conducted earlier this year, istighosah was held on Thursday evening, June 5, 2014, in the hou- se of the head of Sidoluhur village. Every- body was gathered at the house while the event itself was led by a kyai (a person who has considerably more knowledge about Islam). The kyai also gave the audiences a short lecture about Islam. In addition to that, teenagers of the village also played a special music instruments called rebana during the break time. The societies who gathered at the house were listening to the lecture solemnly as they respected the event, although, several jokes were also gi- ven by the kyai (islamic leader) in order to break the ice and entertain the audiences. On Friday legi, around 10 a.m., the head of Sidoluhur village prepared all offe- rings and ambeng to do kenduren. Offerings prepared in the ritual consisted of: a bunch of bananas, chicken eggs, chilies, rice, trasi, incense, cikalan, brown sugar, gereh (salted fish), mboreh (name of a flower), kendhi, ci- garettes, combs, money, and merang. As for ambeng, it consists of sego bucu, bumbon, ingkung, traditional snacks, such as dumbeg, gemblong, tape, bugis. The offe- rings and ambeng were placed in dundang (basket) then were stretchered together by villagers to the Punden (a special staircase used in ritual ceremony). Both the offe- rings and ambeng are important require- ments for doing the Sedekah Bumi ritual. It symbolizes the ritual that is created as a means of achieving the purpose of Gu- yangan society. This also symbolizes the interaction between the ritual actors and their ancestors through the ritual offerings and ambeng with Danyang in order to ask for blessing from God and their ancestors. The event which was firstly held in ri- tual was kenduren, starting at 10.30 to 11.00 in Punden Mbah Ro and later in Punden Wit Ringin. Kenduren was led by a muezzin as the initial part of the ritual procession. It was a series of prayers to Allah SWT, than- king for His grace and asking for safety and welfare of the society. The main event was held in the after- noon in Punden Wit Ringin by presenting Tayub dance in Dukuh Guyangan. It was started at 12.30 to 16.30. The ritual was started by gepyak which was presenting Gendhing Manyar Sewu. Especially in per- forming klonengan Gendhing Manyar Sewu, it has been done for the last six years, star- ting from 2009 to 2014. At 13.00 am, Tayub dance was per- formed. Ledhek (the dancers) began to per- form on stage that was placed in kloso (a special mat made by bamboos) in front of Punden. Gambyong Tayuban was performed to show the skill of the dancers to the au- diences. In addition to demonstrating their skills in dancing, they also sang several Ja- vanese Gendhing. There were two types of Ledhek per- formances but belonged to the same dan- ce performance, namely Gambyongan. The opening Gambyongan Tayuban was danced by three dancers that were belonged to Cipto Laras, a Karawitan group. The next part was Ibingan. In this part, the dancers were dancing with three men while also singing certain Gendhing. The next event symbolized respect for the head of the village by asking the Head to dance together with the Ledhek. However, because the head of the village was a woman, her role was replaced by one of her worker. The performance was ended around 16.30 p.m. Religious Component in Sedekah Bumi Ri- tual Tradition There are several components nee- ded to complete the ritual ceremony: a place to do the ceremony, the time, the ce- remonial equipment, the ritual actors. In this study, the ritual ceremony was held in Dukuh Guyangan, in both Punden Mbah Ro and Punden Wit Ringin on Friday Legi, June 6, 2014. Sisca Dwi Suryani, Tayub as a Symbolic Interaction Medium in Sedekah Bumi Ritual in Pati Re-101 bolized in the offerings and ambeng that was created to bring the spirits of ancestors to communicate with the ritual actors. Kemenyan (incense) and merang are media that are used to interact with the ancestors’ spirits. Incense and merang need to be burnt first in order to send the scent into the spirit of the ancestors. Besides the incense and merang, other offerings also need to be burnt, there are: a bunch of ba- nanas, chicken eggs, chilies, rice, trasi, cika- lan, brown sugar, gereh (salted fish), mbo- reh (name of a flower), kendhi, cigarettes, combs, and money. There are meanings symbolized in every single offering prepared in Sedekah Bumi. A bunch of banana symbolizes har- mony or unity of the people in Dukuh Gu- yangan to be together praying to God as a form of gratitude for the harvest. Chicken egg symbolizes unity (one), togetherness (round) and as a seed, it symbolizes a be- ginning of the future generations. A spicy chili symbolizes courage to organize the future life. Rice symbolizes the daily basic food eaten by Dukuh Guyangan society. They hope by serving rice, their daily need will be is always fulfilled. Cikalan (a coco- nut) symbolizes the civilized future gene- rations of Dukuh Guyangan. Brown sugar symbolizes the sweetness of life in Dukuh Guyangan in the future. Gereh symbolizes the side dishes that are served with rice. Mboreh flower symbolizes fragrant flowers that are used to invite the spirit of ances- tors or danyang to come to the ritual. Kendhi (a water jug which is made of clay) symbo- lizes a life that can give another life, mea- ning that we have to help each other in life. Comb symbolizes tool for styling the hair. Money symbolizes tool that is used in eve- ry sale and purchase. Besides offering is the presence of ambeng in the ritual ceremony. Ambeng consists of sego bucu, bumbon, ingkung, and snacks such as dumbeg, gemblong, tape, bu- gis. Gemblong is a food made from glutino- us rice as the basic ingredients, mixed with grated coconut and wrapped in banana leaves. Dumbeg is food made from several ingredients, such as: rice flour, granulated As for the ceremonial equipment as- pect, this ceremony is equipped with offe- rings and ambeng. The offerings consisted of: a bunch of bananas, chicken eggs, chi- lies, rice, trasi, incense, cikalan, brown su- gar, gereh (salted fish), mboreh (name of a flower), kendhi, cigarettes, combs, money, and merang. As for the ambeng, it consists of sego bucu, bumbon, ingkung, traditional snacks, such as dumbeg, gemblong, tape, bugis. The offerings and ambeng were placed in dun- dang (basket) then were stretchered toget- her by villagers to the Punden Mbah Ro and Punden Wit Ringin. Ritual actors in this ceremony are Mbah Sukemi, the muezzin of Dukuh Gu- yangan, Mrs. Pariyem, the head of the vil- lage, and Samiun who was assigned to as- sist the muezzin. Tayub Dance as the Symbolic Interaction Medium The Origin of Tayub in the Ritual Traditi- on Sedekah Bumi Tayub has been performed in this ri- tual ceremony for a long time according to the tradition that is inherited by the ances- tors. According to the community leaders and head of the village, Tayub is performed in Sedekah Desa in order to avoid dangero- us disasters. Another reason is because Tayub is one of the favorite dances of the Danyang (the spirits) in that village. It is believed that the spirits receive the offerings through Tayub dance as the medium. Here, Tayub has double func- tions. First, it is functionalized as the ritual medium. Second, it is used as an entertain- ment medium for the society in Dukuh Gu- yangan. Symbolic Interaction Process between Ritual Actors and the Ancestors The Symbolic Interaction Process in the Offerings The symbolic interaction process is also illustrated in the set of offerings used in Sedekah Bumi. Symbolic interaction sym- HARMONIA : Journal of Arts Research and Education 14 (2) (2014): 97-106102 sugar, brown sugar, it is wrapped in young coconut leaf that has been folded as a cone. Tape is food made from glutinous rice that has been mixed with yeast and wrapped in banana leaves. It has to be left for a few days before it is served. Bugis is food made from glutinous rice paste and mixed with coconut milk, salt and filled with nuts or grated coconut, brown sugar, granulated sugar, shaped like a small ball and wrap- ped in banana leaves. Ambeng and offerings are used as a symbol to interact with the spirits of the ancestor or Danyang upon the kenduren ri- tual. This is a means of achieving the pur- pose of ritual ceremony and as an offering to the spirits. It is important to be done so that the society may obtain a blessing. Procession of Kenduren Symbolic interaction is also seen when head of the village burns merang (the dried rice plant’s stem). Then, muez- zin leads the procession by reciting prayer in Islam, witnessed by the village head, vil- lage elders, and Dukuh Guyangan society. They pray with the palms of their hands lifted, solemnly following the lead from the muezzin. Once the prayer is finished, peop- le take the ambeng-ambeng served at the event. It is believed that ambeng-ambeng will bring safety, welfare and prosperity to them. Through offerings and ambeng as a media to invite the spirits of ancestor, in- teraction appears to be exist between the ritual actors and the spirits. By reciting prayers, it is believed that the ancestors are pleased and willing to pray for the welfare of the society. This is the process of symbolic in- teraction illustrated in kenduren as one of the ritual procession in the ceremony. Alt- hough interaction appears to be between the society and the spirits of their ances- tors, however, they devote the prayers to their God. The Opening Procession of Tayub Dance The opening procession of Tayub dance is not giving much attention to the technique and beauty of the movements, but more to expression illustrated from the movements. This dance lasts for approxi- mately six minutes with Gendhing Beksan Pareanom as the accompanying music. Before dancing gambyong tayuban, master of ceremony invites the dancers by saying “monggo poro kadang sutrisno kito sesarengan ningali gambyongan rumiyin, monggo mbakyu sing ayu-ayu kulo sumangga- kaken” (Let us see the dance together. For the dancers, the time is yours). After that, the dancers stand and start to dance Gam- byongan Tayuban with one dancer sings Ja- vanese Gendhing. Tayub dance begins when the invi- tees (the village board) are invited to join the dancers. It is started by symbolically giving sampur (a piece of cloth used by the dancers to dance) to the invitees. Af- ter that, the dance is started with the local music or Tembang Irama Tayub used as the music accompaniment. Gambyong Tayuban dance performed in the opening procession of Tayub dance is also one of symbolic interaction between the societies to the spirits. It is hoped that by presenting the dance, the spirits will be pleased. Meanwhile, the societies are also amused by the dance and feel relief kno- wing that they can honor their ancestors by pleasing them with the dance. The Symbolic Interaction Process be- tween the Dance Ritual Stakeholders (Dancers, Musicians, Master of Ceremo- ny) and the Audiences The Symbolic Interaction Process between the Dancers with the Audiences As it has been said earlier before, in Tayub dances, we usually call the dan- cers as Ledhek, the audiences as Pengibing, and the master of ceremony as Wiraswara. A symbolic interaction also occurs when the dancers have an opportunity to invite some of the audiences to dance. It is per- formed in Punden, under a big tree whe- re all audiences are gathered and stand in a circle. The symbolic interaction occurs when Wiraswara invites several audiences Sisca Dwi Suryani, Tayub as a Symbolic Interaction Medium in Sedekah Bumi Ritual in Pati Re-103 to dance with the Ledhek. Audiences who want to dance need to queue. Besides dan- cing, they also can request a song to be sung by the Ledhek. Symbolic interaction also occurs in Ledhek and audiences’ performance. Pen- gibing and Ledhek are symbolized through the dance movements which is in a form of paired-dancing based on the music ac- companied it. The accompanying music that is used usually Gendhing Asmarandana, Palaran, and Dhandanggula. Besides, the in- teraction is also symbolized by the process of giving the dance cloth from the Ledhek to the audiences, and from the audiences to the Ledhek when they have finished the dance. Direct interaction was also seen shortly before the audiences perform on stage. Ledhek who has known the audi- ences, call the audiences and ask them to dance by calling their names, for examp- le, “Kamto, iki lho sampure!” (“Kamto, this is the sampur!”). It means they ask a man named Kamto to dance with them. The in- teraction also attracts the other audiences to see the performance. In mengibing scene, when the dancers are dancing with the audiences, the posi- tion of main Pengibing is face to face with the Ledhek, while Pengguyub are behind the Ledhek. After that, Ledhek, Pengibing, and Pengguyub move their bodies to the right side clockwise. One round consists of two rambahan. Every rambahan has two Gandhian that is played. In total, there are four Gendhing in one round. In each rambahan, the Pengibing moves around the Ledhek 180 degrees. Led- hek is following the move by moving their body 180 degrees. Thus, Pengibing and Led- hek who were firstly standing face to face will stay to stand face to face in the end of the dance. Ibingan is part of Tayub dance when the Ledhek is dancing with men audiences. Symbolic interaction is shown when Led- hek hands sampur to the audiences accom- panied by Pengguyub. the appearance of the man along with Ledhek. Symbolic interaction between Led- hek and Pengibing is also shown through smiles and applause. This is symbolic inte- raction contained in Ibingan, there are Led- hek and Pengibing. Ledhek and Pengibing are the symbol of ritual that contain meaning and value. The Symbolic Interaction Process between Pengrawit (Instrumentalist) and Ledhek Symbolic interaction also occurs bet- ween Pengrawit with the Ledhek at the time of the performance. The interactions occur through the presence of music accompa- nying the dance and tembang-tembang that would be sung by Ledhek. Before the main performance begins, usually instrumenta- lists play klonengan Gendhing Manyarsewu or could be called as gepyak session. This is the session when the instrumentalists play Gendhing-Gendhing Jawa. It aims to invite the villagers to gather to watch the show, entertain the audiences, and also as a di- version while waiting for the dancers to finish their make up. Gendhing-Gendhing Jawa that are usu- ally played are Dhandanggula, Asmaradho- no, Pangkur, Palaran, and Sinom. Whereas Gendhing played in klonengan Gendhing is Manyarsewu. All of tone in Tayub is begun with Laras Slendro. Symbolic interaction is also pre- sented when Ledhek sings Gendhing-Gend- hing Jawa. Thus, interaction between Led- hek and Pengrawit is shown through the music. Pengrawit have their own way to tell Ledhek when they should sing. It is usually marked by kendang beats. When singing, Ledhek is unconsciously communicate with Pengrawit through the symbol of music. The Symbolic Interaction Process between Wiraswara (Master of Ceremony) and the Audiences Symbolic interaction is seen from Gendhing-Gendhing that were requested by the audiences. Here, the requested Gend- hing is the symbol that can be heard and has meaning. For example, one of the au- dience asked Gendhing Kinanti to be sung, the lyric is as follows: “Nulada laku utama, tumrape wong Tanah HARMONIA : Journal of Arts Research and Education 14 (2) (2014): 97-106104 Jawi, Priyagung ing Ngeksiganda, Panem- bahan Senopati, kepati amarsudi, sudane hawa lan nepsu, pinesu tapa brata, tanapi in siyang ratri, amamangun karenak tyasing sesame.” Direct interaction was also seen when the Wiraswara took a note and called every audience who are asked to dance. Another interaction occurred when the Wiraswara took a note every song that is requested by the audiences. As for example, Ari, one of the audiences shouted aloud to the master of ceremony, “cong… cong… kembangrawe CHS cong…” (Hi, I request Kembangrawe from CHS). The master of ceremony then announce that the next song is Kembangra- we . The explanation above illustrates the symbolic interaction between audiences and the master of ceremony. The sequen- ce of events led by the master of ceremony indicates the smoothness of life that occur- red in Dukuh Guyangan, namely keguyub rukunan (harmony) and peace. In general, it symbolizes harmony as illustrated by Ledhek and the audiences who were dan- cing together. Symbols that support Tayub as the Sym- bolic Interaction Medium in the Tradi- tion Sedekah Bumi Tayub dance performance has mea- nings that are illustrated in symbols. It supports the performance of Tayub as a means of symbolic interaction to honor the village ancestors. Tayub dance becomes the main event in the ritual tradition Sedekah Bumi. Meanings and values contained by the dance are part of symbolic interaction in the ritual tradition. These symbols are contained in kenduren prayer, ambeng and offerings, as well as in the Tayub dance it- self. Kenduren Prayer Part of ritual ceremony Sedekah Bumi that is called kenduren, is actually an activi- ty of praying together in Punden or other sacred places. While praying, they use the offerings and ambeng that has been prepa- red before as the media that symbolizes their wishes. Essentially, kenduren prayer that is re- cited by the muezzin aims to ask for safety and fortune to people in Dukuh Guyangan. Through the muezzin who lead the prayer as well as offerings and ambeng as the communication symbol or interaction between the ritual actors and the spirits of ancestor, people in Dukuh Guyangan belie- ve that the spirits will give their blessing. Ambeng and Offering Offerings are an important require- ment for the ritual, as a means of asking for safety of life. Offerings in Sedekah Bumi con- sist of: a bunch of bananas, chicken eggs, chilies, rice, trasi, incense, cikalan, brown sugar, gereh (salted fish), mboreh (name of a flower), kendhi, cigarettes, combs, money, and merang. This offering is a symbol dedicated to the ancestors. Ancestors who are pleased with the offerings will give safety and bles- sing to the society. Offerings are placed in a sacred place which is called Punden. A bunch of bananas symbolizes people in Dukuh Guyangan that will always be uni- ted and live in peace. Besides, white rope in the offering symbolizes people in Dukuh Guyangan who will help each other to sol- ve their problems. In addition to the offering is ambeng. Ambeng is a variety of food served to the spirits. It consists of dumbeg, gemblong, tape, and bugis. It symbolizes that people in Du- kuh Guyangan have the same purpose of life. Together, they want their ancestors to bless their life. Tayub Dance The movement of Gambyong Tayuban is basically taken from Gambyong dance, while for Ibingan, it uses free-style movement that is following the accompa- nying music. Tayub dance movements are actually unstructured. It doesn’t have any fixed movements yet. This because Tayub is a kind of free-style dances that is done by the dancers spontaneously by doing se- veral improvisations. Sisca Dwi Suryani, Tayub as a Symbolic Interaction Medium in Sedekah Bumi Ritual in Pati Re-105 Tayub as a populist dance has a natu- re of spontaneous, rough, and very simple movements. This is the reason behind the free-style movements done by Pengibing. Movements in Tayub are mostly improvi- sation results. The nature is spontaneous. Especially when the dancers are dancing with the audiences, the free-style move- ments symbolize the overflowing of hap- piness. Tayub dance emphasizes the move- ments on certain parts of body to make it beautiful to be seen. Hip movement is fre- quently done in Tayub since it may arouse the sexual desire of the audiences. Thus, symbolic interaction occurs. Ledhek who are pretty and dressed in beautiful costu- mes attract the audiences. Besides, a dazz- ling smile, beautiful body, and melodious voice also have its own charm to attract people to see them. Tayub dance is performed in the ritu- al tradition Sedekah Bumi has its own spe- cial meaning. People in that village believe that by performing this dance, the spirits of their ancestor will be happy so that the- re will be no obstacles during the processi- on of the ritual. CONCLUSION The symbolic interactions in Tayub dance performance in Sedekah Bumi ritual are reflected through four interaction pro- cesses. Among them are: 1) symbolic inte- raction process between the ritual actors and the spirits of ancestors reflected in ken- duren procession held in Punden, 2) sym- bolic interaction process between Ledhek and Pengibing that is embodied in Ibingan, 3) symbolic interaction process between Wiraswara and the audiences that is seen during the dance performance, 4) symbolic interaction process between Pengrawit and Ledhek that is reflected in the dance move- ments and the accompanying music. The meanings of symbols behind the ritual it is reflected through the realization of symbolic interaction. It consists of three elements, as follows: 1) kenduren prayer, 2) offerings and ambeng, 3) Tayub dance. REFERENCES Andaya, B. W. (2006). The Flaming Womb: Repositioning Women in Early Modern Southeast Asia. Honolulu: University of Hawai Press. Ariani, C. (2003). Seni Pertunjukan Tradis- ional. Yogyakarta: Kementrian Kebu- dayaan dan Pariwisata. Arikunto, S. (2006). 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