174 The Civilization of Sandur Watch’s Transcendence in the Age of Globalization Arif Hidajad1, Ida Zulaeha1, Nur Sahid2, Agus Cahyono1 1Universitas Negeri Semarang, Indonesia 2Institut Seni Indonesia Yogyakarta, Indonesia Submitted: 2022-01-28. Revised: 2022-05-26. Accepted: 2022-06-16 Abstract This research departs from the background that Sandur has a form of sublimation of transcend- ent normativity values conveyed through folk theater products. The main focus of the problem’s formulation in this study is to analyze the symbol system in Sandur, which is to connect to the meaning of transcendence normativity to be associated with the area of civilized society in the era of globalization. The aim is to prove the existence of the normative meaning of transcendence from the symbol system of Sandur’s spectacle and to implement the meaning of the normativity of the transcendence of Sandur as an effort to civilize society to face the negativity of globaliza- tion. The analysis in this study was carried out using descriptive qualitative methods through observation, interviews, documentation, and literature, then described based on the concept of Clifford Geertz’s interpretive anthropology. The results obtained in this study are (1) the sym- bol system in Sandur’s rituals, scenes, and songs has a transcendent normativity in the form of Mutmainah’s attitude and Beyond meaning, as a network of interactions and relationships in the vertical and horizontal dimensions, and (2) the transcendence civilization of Sandur’s spectacle in the era of globalization through Beyond meanings and attitudes Mutmainah to face the negative culture of globalization that allows the occurrence of cultural and moral decadence. The problem that becomes the focus of the transcendence civilization of Sandur’s spectacle in this study is not rejecting the achievement of globalization progress but rather an attempt to internalize the val- ues in the sign of globalization to maintain the mentality of cultural ecstasy of the people born of transcendence normativity. Keywords: Civilization, Transcendence, Sandur, Globalization How to Cite: Hidajad, A., Zulaeha, I., Sahid, N., & Cahyono, A. (2022). The Civilization of Sandur Watch’s Transcendence in the Age of Globalization. Harmonia: Journal of Arts Research and Education, 22(1), 174-186 Harmonia: Journal of Arts Research and Education 22 (1) (2022), 174-186 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v22i1.34803 as a means of relaxation, giving a short res- pite from life’s problems (Sugiharto, 2013). Meanwhile, if it has to be explained funda- mentally, art is related to civilization, civi- lization, and civilization, which often gets debates among artists and academics. The foundation of “civilization” is built through science (science), philoso- phy, religion, and art. The dimensions of INTRODUCTION The issues of art and modernizati- on intersect in redefining their respective functions. Today’s modern society under- stands that the function of art is nothing but additional skills and a means of enter- tainment to relieve fatigue at work, relieve stress, refresh the soul, and at the same time Corresponding author: E-mail: idazulaeha@mail.unnes.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Arif Hidajad, et al., The Civilization of Sandur Watch’s Transcendence in the Age of Glo- 175 knowledge include the art of intervening according to their respective functions. Just as the interrelationship of art and science is capable of creating technology, art and re- ligion formulate beliefs and beliefs, while art and philosophy give birth to a critical view of art. It means that art plays a role as a pillar supporting civilizations that are tied to human life as the subject of driving the pace of modern civilization. Human existence as the driving subject of civili- zation is never satisfied with the network of meanings and experiences; humans will always strive to continue to interpret the reality and experience of their lives from time to time so that modernization is born from the actions of human hands them- selves. Apart from the overlap and debate about the meaning and function of art in modern culture, it is appropriate to return the function of art to a phenomenological perspective. Husserl’s phenomenology argues that life’s first and most fundamental rea- lity is “a life that is experienced, lived, felt, and imagined on a pre-reflective and pre- theoretical level.” The concrete world li- mits its form to the abstract world of scien- ce (science), the ideal world understood by morals, and the dogmatic world of religi- on. Husserl calls the primary world like Lebenswelt and Life World, a world that can be directly experienced and the world of concrete life before being reflected as amorphous and very complex, thus for- ming a supernatural world (Dowling, 2007). That is why art from a phenome- nological perspective is closely related to understanding the nature of life to severe problems between subjects and objects in human life. Art does not always provide solutions like science and religion, but art opens the possibility to see reality and new possibilities. The complexity and depth of human experience can be described freely and vulgarly through art. Based on the phenomenon above, it can be explained why spiritual and tran- scendent religions often interact with art to explore the depths of the human mind. As Sugiharto stated, art is ultimate- ly a medium of communication from the artist’s thoughts and experiences that are connected to other human thoughts and minds, connected to the deepest mysteries of life, and connected to the dimensions of the Supreme Spirit (for example, God and Gods) behind all things. Incident. That is why art is “religious” and even “mystical” at a deep level. This phenomenological perspective on art can be implemented in Sandur’s traditional art spectacle, which is possible to have a transcendent depth of meaning and function of art. Historically, Sandur art expresses gratitude for the harvest because Sandur is believed to bring blessings to agrarian communities. Blessing is attached to the Sandur function (ritual), which is believed to produce a more abundant harvest so that the Sandur spectacle can be found eve- ry harvest season (Hidajad, 2021). The fun- ction of Sandur as a ritual is closely related to the mechanism of spirituality and mys- ticism, which is indicated by the existence of the Setren ritual before the performance, which aims to nyetrenke or ask for the pro- tection and legitimacy of the ancestral spi- rits (Dhahnyang) to hold a party through Sandur performances (Wibisono, Catur, Sulistiowati, Trisno, As’ ad, 2009). As time goes by, the function of Sandur has shifted; Sandur no longer functions as a ritual for an agrarian society but shifts into a public entertainment spectacle that can be perfor- med at any time according to the request of the responder. The change influences the shift that occurs in generations and chan- ges in people’s lifestyles (Sedyawati, 1981). The shift in the function of Sandur amid globalization also affected the ele- ments of the presentation of Sandur. The shift occurred in the concept of Sandur’s storytelling, which was initially closely re- lated to the life of an agrarian society; now, it has changed to presenting people’s dai- ly stories related to social, economic, and political issues. In addition, a shift has also occurred in the tembang poetry, which is more religious (Islamic). The occurrence of a shift in Sandur functionally and the form of presentation is a form of reconstructi- Harmonia: Journal of Arts Research and Education 22 (1) (2022): 174-186176 on of the community supporting Sandur to preserve the Sandur tradition so that it follows the spirit of the era and can be passed on to the modern generation (Hi- dajad, 2021). Apart from changes in func- tion and various forms of presentation of Sandur, researchers interpret Sandur from a phenomenological perspective, namely as a historical experience and today’s reality. Through phenomenology, a middle way can be taken that Sandur has historical- ly had a series of normative value orders that can be linked to learning according to today’s reality. This study is intended to civilize transcendence in the era of globa- lization. Civilization in this study can be done by first analyzing how the normative va- lues that Sandur has because these values will later become the basis of the civiliza- tion effort. Sandur’s normative values are attached to its structure and characteristics as a cultural system of a society, having a network of components in a distinctively patterned symbol system, which can be called a cultural ethos related to the nor- mative value order of a society. Geertz explains that the ethos of a society is the character, morality, rhythm, quality, and way of life reflected in its behavior (Geertz, 1973). Cultural ethos is influenced by both the physical and social environment also the influence of the individual characteris- tics of the supporting community mem- bers. This fact shows that people who hold to the normative value order no longer live solely in the physical universe, but humans also live in the symbolic universe, language, myth, art, and religion as part of the universe of life. The order of normative values in Sandur can be known through the network of meanings from the elements of Sandur’s presentation, bound to a symbol system that contains logical-analytic qualities or associations in thinking discourse. The symbol system in the Sandur spectacle is formed based on the norms of spirituali- ty and ancestral wisdom, which can sti- mulate or convey messages to encourage the formation of patterns of thought and action for Sandur supporters. The quality of the norms of spirituality and ancestral wisdom in the Sandur symbol system, if it can be directed to the transcendence area to open broader possibilities regarding the spiritual aspect as a unitary human orien- tation that cannot be separated from social, material, and metaphysical aspects so that it can shape human civilization: a noble one. The concept of transcendence used as the basis for the study in this research is directed at the conversion space of hu- man existence, which is superior, subli- me, beyond, and superlative. Beyond hu- man experience relates to what is forever beyond understanding everyday experi- ence and scientific understanding (Audi, 2015). Transcendence will form awareness to want authority outside of oneself and be able to accept Beyond as an effort to overcome the present, overcome joys and sorrows, bring humans beyond the boun- daries of knowledge and experience, and place knowledge and experience in the broader context because transcendence will bring humans to awareness of somet- hing extraordinary and unlimited, both inside and outside humans (Zahar, 2002). Based on the background and analy- sis related to the research object and the stu- dy basis above, the problems to be studied can be formulated into several parts. They are (1) the normativity of transcendence in Sandur’s spectacle, related to the analysis of the transcendence symbol system in ri- tuals, scenes, and songs of Sandur’s spec- tacle, and (2) civilizing the transcendence of Sandur’s spectacle in the era of globali- zation, as an effort to deal with the negati- ve culture of globalization that allows for cultural and moral decadence, which is closely related to greed and conflict in the space of materialism and hedonism. The urgency that is the focus of the transcen- dence civilization of Sandur’s spectacle in this study is not rejecting the achievement of globalization progress but rather an ef- fort to internalize the values in the sign of globalization to civilize and awaken the mentality of cultural ecstasy in society that Arif Hidajad, et al., The Civilization of Sandur Watch’s Transcendence in the Age of Glo- 177 was born from transcendence normativity. Based on these problems, the ob- jectives of this study are: (1) to prove the existence of the normative meaning of transcendence from the symbol system of Sandur’s spectacle; and (2) to implement the normative meaning of Sandur’s trans- cendence as an effort to civilize society to face the negativity of globalization. The novelty offered in this study relates to how to connect the symbol meaning for the San- dur presentation with the transcendence study basis. The implementation of mea- ning in the form of transcendence in this study will be the first finding, which can then be drawn on the discussion related to socio-cultural phenomena as the second finding, namely the transcendence civili- zation of Sandur’s spectacle in the era of globalization. METHOD The qualitative analytical method was chosen for planning a discussion of the phenomena of transcendental meaning in the symbol system of the Sandur spectacle through collecting data obtained from ob- servations, interviews, documentation, and literature related to the traditional theater of Sandur Bojonegoro. The results of obser- vations and literature are then classified into several categories of ritual symbols, scenes, and songs that contain transcen- dental values and meanings. Furthermore, the classification that has been obtained is analyzed according to the concept of Clif- ford Geertz’s humanistic anthropology or interpretive anthropology, which seeks to find the orientation of cultural products as a system of ideas, values , and meanings through the interpretation of behavior and texts (Hendro, 2020). The concept of analysis is applied based on cultural interpretation in seve- ral stages. One of them is finding the pat- tern of meaning expressed in the symbols of Sandur’s performance. According to Geertz, cultural products are patterns of meaning expressed in various symbols. The analysis is carried out by first inter- preting what was communicated by the informants or by reflecting on what they have communicated and starting to orga- nize meaning schemes (Geertz, 1992). The informants in this study refer to the rese- arch subjects, namely the perpetrators and observers of Sandur. The information ob- tained is then compiled through a model (For-Of) to project a Thick Description to describe the object of the problem based on solid facts. The symbol of Sandur’s spectacle, which is composed of rituals, scenes, and songs, is described based on a series of control mechanism concepts (A Set of Cont- rol Mechanism) as a cultural product that contains a set of teachings, plans, recipes, rules, and guidelines to regulate people’s behavior. The phenomenon shows that Sandur’s spectacle can be placed as a set of cultural products that have a series of tran- scendent normativity as a spectacle as well as community guidance in the form of folk theater plays. RESULT AND DISCUSSION The human mind constructs its world based on a symbol system, where the formation of symbolic construction functions as a concept to understand the world that is experienced and as a concept of how humans should live in that world. The symbolic function is formed based on the (Model For) model for the reality of ideas, norms, and beliefs as a model for the cultural system’s teachings, demands, and rules. This reality forms another reality model as the capital of (Model Of) linguis- tic processes, graphics, mechanisms, and so on to express its cultural structure in an alternative medium (Geertz, 2014). The alternative medium as a system of symbolic meaning, according to Geertz, appears to be present in Sandur’s spectac- le as a model of (Model Of) spiritual nor- mativity and ancestral wisdom, which is abstracted through symbols of ritual pro- cessions, scene forms, and the meaning of the songs in Sandur’s spectacle. These symbols can be explained through an ope- Harmonia: Journal of Arts Research and Education 22 (1) (2022): 174-186178 rational model to (Model For) describe the normativity of transcendence which is di- vided from the perspective of recognizing human dependence on its Creator. The attitude of feeling enough with oneself by not seeing humans as the center and me- asure of everything so that it can overcome human instincts, such as greed and lust for power. Transcendence also means ack- nowledging the continuity and standard measure between humans and their crea- tors, namely the relativizing of all power, wealth, and knowledge, because transcen- dence is recognizing the superiority of the absolute standard of normativity over hu- man reason (Garaudy, 1982). The Normative Transcendence of the Sandur Ritual The tradition of performing Sandur is affiliated as a mechanism for the spiritua- lity of the people of Ledok Kulon Village. This spirituality is presented through va- rious rituals in Sandur that seek to repre- sent the recognition of human dependence on spiritual energy that is more powerful than oneself and places awareness of hu- man weaknesses. These efforts involve the Setren ritual procession before the perfor- mance and how to project the properties used in the Sandur performance as a me- diating tool for connecting energy from material and non-material dimensions (Norkhosim, Interview 2 September 2010). The property is in the form of a braided horse, discordant rope, and a whip, as well as the names of Jaranan players and Ka- longking players, complete with offerings of Ulu Wetu, Kembang Setaman, and incen- ses that are kept at the tomb of Ki Andong Sari, as ancestral figures (dhanyang) of Le- dok Kulon Village. The Setren ritual procession becomes the norm of respect, requirements, and re- quests for permission to perform Sandur performances against their ancestors, who are considered symbols of strength or figu- res who are given the power by the Maha Ruh (God) to control, protect and protect. After the Setren ritual is completed, the people who support Sandur believe that the Sandur performance has received sup- port, protection, and blessings through the spiritual energy of the ancestors. It has been mediated through the properties used in the stage. This belief involves the transcendence of the Sandur supporters’ dependence on the ancestors’ strength and power as the representative embodiment of the Maha Ruh (God), the owner of ab- solute power and power. They understand that humans are not the center and measu- re of everything because there is a more significant and absolute power outside of humans. Rituals in the Sandur performance also position the venue as a symbol of Java- nese spiritual belief in the concept of Sedu- lur papat limo pancer. The concept means controlling lust or emotions humans pos- sess spiritually and emotionally (Baehaqie, 2014). The spiritual perspective represents Sedulur as an inner brother who accompa- nies and helps humans from the time they are born until their death. Papat means the number of brothers with many terms of mention and is often associated with the four directions of the winds, the four ele- ments of nature, and the weton calculation of human birthdays that indicate specific characteristics and destiny (Macrocosm). At the same time, the limo pancer is inten- ded as the center point of life (microcosm), namely the human body and soul itself (Sari & Muttaqin, 2021). In addition to the spiritual perspecti- ve, the Sedulur papat limo pancer can be lin- ked to a psychological perspective because it relates to human emotional intelligence as the ability to control emotions in dea- ling with everyday problems (Mayer et al., 2007). This concept means that Sedulur pa- pat limo pancer for the Javanese community applies as a rule of emotional management so that conceptually it can be interpreted as a combination of several cognitive abili- ties to feel, integrate, understand, and ma- nage emotions (Naeem et al., 2011). This cognitive ability is culturally influenced by the fabric of the Javanese people’s spiritual norms. Sedulur papat limo pancer’s perspecti- Arif Hidajad, et al., The Civilization of Sandur Watch’s Transcendence in the Age of Glo- 179 ve, spiritually and psychologically, seems to be related to the Sandur performance ve- nue, which is a field bounded by a rope fen- ce in the form of a square with a length of 8x8 meters called Blabar Janur Kuning. The rope is decorated with yellow coconut leaf arches and various market snacks. There are ketupat, and sticky rice cakes or lepet are hung on the rope limiting the perfor- mance arena. At the corner of the meeting between north and east (northeast direc- tion), offerings are complete with incense or incense. Meanwhile, bamboo sticks are attached in the middle of the right and left sides of the performance arena. They have a height of approximately 10-12 meters. Between the bamboos that are stuck on the right and left sides, a discordant rope is at- tached that connects the two bamboos so that the square-shaped performance arena seems to have angles—the center of the top, which will become a cone when used for the Kalongking scene attraction. Figure 1. Arena Blabar Janur Kuning The presentation of the venue is in the form of a square and the upper-middle corner, oriented to the principles of pa- pat qibla and weton, namely east (pasaran Legi), south (Pahing), west (Pon), and north (Wage) while the center of limo pancer in the middle (Kliwon). The cardinal direc- tions and the time of birth are believed to be why humans are born into a world that carries its nature and destiny (Noorwatha & Wasista, 2019). Human destiny has been determined by the Supreme Spirit (God) with four pillars of strength since it was in the form of a fetus, namely Watman as the mother of human strength, a representa- tion of the feelings of love for the mother who had conceived and gave birth to him. Wahman is a blanket and guardian of the fetus (amniotic fluid) since humans are in the womb. Rahman is the incarnation of blood, representing life, life, energy, and the human spirit. Ariman is the incarnation of the fetal brother (placenta) since in the womb, who distributes and maintains hu- man life. Meanwhile, Pancer, as a human spirit and body, represents human awa- reness and behavior towards a life cente- red on the will outside of oneself (Susetya, 2016). Human awareness and behavior are controlled based on emotional and spi- ritual intelligence how humans can put forward the lust of Mutmainah as a repre- sentation of the creation of the Supreme Spirit (God), who carries the characteris- tics of Khauf (Fear), Raja (Hope), Tawak- kal (Passover) and Qanaah (Accepting). In order to suppress the desire of Alumiah lust as a consumptive human manifesta- tion, Supiyah’s lust as a manifestation of the human desire to rule and reign (social status), and suppress the lust of anger as a manifestation of greed, greed, jealousy, and envy of humans if only prioritizing Alumiah lust and Supiah without a balance of Mutmainah’s nature (Simuh, 2002). Meanwhile, various forms of ritual offerings in Sandur become a symbol of communication of gratitude and blessings of the community to the highest power that gives life and is the center of hope for the positive desires of the community (Sholik- hin, 2010: 49). Sandur’s interpretation seeks offerings as a form of normativity for the supportive community that life does not only involve the human body and spirit, but other energies also celebrate life, such as the spirituality of Sedulur Papat, who has been a guardian and protector of hu- mans since birth, as well as spiritual ener- gy in the rule of law. Supernatural beings, he believed. Belief in the existence of the Supreme Spirit (God) as the creator places belief in the supernatural life as the value of the Creator, who is also a supernatural Harmonia: Journal of Arts Research and Education 22 (1) (2022): 174-186180 being. Humans are endowed with reason and mind by him. They need to be able to connect and maintain harmony between their fellow-creatures. Overall, the rituals in Sandur are a form of community spiritual expression for the gift of the Creator to fulfill human life on earth through blessings from the sky to grow all forms of food grown on earth (Agrarian). Therefore, the story presented in Sandur fiber is related to socio-cultural principles. Farming community culture. So, according to Pramujito, Sandur can be called Insan lan Tandur (Sandur), which means humans and plants (Interview, 2 September 2010). Planting (Tandur) in the continuity and development of Sandur cur- rently opens various interpretations apart from the meaning of agriculture, paving the way for Sandur’s spectacle to display various socio-cultural themes of society and no longer bound by an agrarian so- ciety. The entire meaning of the ritual in Sandur involves the normativity of trans- cendence as an acknowledgment of man’s dependence on his Creator. The ritual also means the difference in strength and will between man and the Creator. Finally, the ritual also acknowledges the existence of life forms that need to be carried out as a form of gratitude. Normativity Transcendence Scene and Song Sandur The scenes and songs in Sandur’s spectacle go hand in hand to present a rep- resentation of the conflict in the lives of the people who support it. As the hallmark of traditional theater in general, Sandur of- ten presents socio-cultural, psychological, ecological, and spiritual mystical conflicts accumulated in the relationship between humans and other humans, humans and the environment, humans with themsel- ves, and their relationship with the univer- se (Khampha, 2015). This series of conflicts became the foundation of the big ideas and themes in Sandur’s spectacle, which was divided into eight scenes into three acts, consisting of theatrical presentations, dan- ce, and music. The first act is the opening sequence for Sandur’s performance, the se- cond act is a series of scenes presenting the main story, and the third act is the closing act. Figure 2. Main Elements of Sandur’s Presenta- tion Form The opening act begins with the Pan- jak Ore scene, singing a series of songs led by Germo as the puppeteer of the Sandur performance. The opening theme begins with the phrase “Bismillah” presenting a series of offerings of gratitude based on the intention by mentioning the name of the Creator, which means asking for bles- sings and blessings to the Almighty (God). Likewise, in the song, Aja Haru Biru calls for an appeal to the children of Adam not to cause damage and chaos because the Creator oversees human actions and wants humans to call for goodness according to the guidance and instructions of his mes- senger. Temabang Bismillah, Aja Haru Biru, and Mendung Sepayung also embed sacred sentences as a remembrance in Islamic reli- gious teachings such as “Lahaula Wala Kuta Kersaning Allah,” which means the power and greatness of the Creator, that all affairs run according to his will. Meanwhile, the song Mendung Se- payung is intended as a request to the po- wer to prevent rain that night, followed by the song Udeng Gadhung as a song to celebrate the Sandur game as a medium of entertainment for players and spectators (Pelipuran). After the songs are sung, the Jaranan dancers present a dance that ac- companies the role players to the makeup place, usually done at the responder’s house. The cast of Cawik, Balong, Pethak, Arif Hidajad, et al., The Civilization of Sandur Watch’s Transcendence in the Age of Glo- 181 and Tangsil will be picked up by makeup artists, followed by Jaranan dancers out of the Blabar Janur Kuning arena to the ma- keup area. When the Jaranan dance scene begins to be presented, a series of songs are sung, which is believed to be a form of offering to mediate with spirit energy (ndadi). For example, the Jaranan dance scene (Mbesa) is accompanied by the song Kembang Le Li Le Lo Gempol, and then the Jaranan begins to circle the outside arena (Mubeng Blabar) accompanied by the Kembang Johar song, which serves to limit the pressure of the audience from the sacred arena. Next is the Jalok Ngombe in Jaranan scene accompanied by the song Kambang Jambe and the Jalok Leren scene accompanied by the Kembang Duren song. While releasing energy (awa- reness), the Jaranan players are accompa- nied by the song Kembang Jambu which me- ans Jaranan asks for sleep. Figure 3. Jaranan Dance Scene (Jaranan dance, according to people’s beliefs, moves because of the influence of supernatu- ral beings) It did not stop there; various series of songs were continuously sung to ac- company the makeup procession of the players, who also believed in the collabo- ration of the material nature and the spi- rit world. Kembang Gambas represents the actors when they are starting to do the makeup. The song Pitik Lancur represents powder to use, and the song Kembang Ka- wis represents the eyebrows. The song Kembang Laos represents the mustache. The song Pitik Lurik represents the use of jarik cloth. The song Jaran Dhawuk repre- sents wearing a belt, and the song Kembang Semboja represents the moment. By using Konca, and the song Kembang Terong repre- sents the players wearing Irah-Irahan. After the songs were sung, the cast prepared to return to the performance arena. Then the cast of Jaranan left Blabar Janur Kuning to pick up the actors who had made up. All the role players entered the arena stage accompanied by the song Kambang Otok with their heads covered with cloth, guided by makeup artists who carried tor- ches as a guide to enter the arena. Then the torch was handed over to Pimp to circle Blabar Janur Kuning in a clockwise directi- on until he reached the north side facing east. In the next scene, Pimp starts Nggund- hisi, the mastermind, who tells of the des- cent of 44 female holy spirits (goddesses) down to earth. Some are believed to have any involvement in shaping the characters in Sandur, becoming a kind of incarnati- on, or possessing the bodies of Sandur’s role players. Among them is the incarna- tion of a goddess named Wilutomo, who entered the body of Pethak, Drustonolo entered the body of the Balong character, Gagar Mayang entered the body of Tang- sil, and Suprobo entered the body of the Cawik figure. The incarnation of Irim-irim possessed Pimp, Panjak Ore, Panjak Kend- hang, Panjak Gong, Kalongking, Craftsman Njaran, and other figures. The characters of the goddesses are believed to be incar- nated in the body of the role players. This performance relates to the characters in the epics Ramayana and Mahabharata, which are often performed in wayang stories. Figure 4. Pimp Nggundhisi scene (Mendalang tells of the descent of the holy spirit “goddess” totaling 44 down to earth) Harmonia: Journal of Arts Research and Education 22 (1) (2022): 174-186182 Pimp performs the scene of Nggund- hisi summoning the holy spirits of the goddesses by facing the southwest; each narration told will be greeted with the answer “Nggih” by the Panjak Hore as the vocalist of the song. After the Nggundhisi scene, Pimp removes the head coverings of the role players, accompanied by the song Kembang Corn, representing the holy spirit of the goddesses who incarnate in the role players starting to show their faces. Pimp then guides and places role players in eve- ry corner, Tangsil’s character is in the sout- heast, Balong is in the southwest, Pethak is in the northwest, and Cawik’s character is in the northeast. With the presence of the role players in their respective positions, the song Bismillah Golek Gawe began to be sung as a sign of the start of the main scene, presenting story plays with significant the- mes of agriculture, cultivating rice fields, livestock, and social interactions of agra- rian communities. The song sung at the beginning of the narration brings public testimony that all forms of work are a form of grace and will from the Creator; humans must mention the name of the Creator be- fore carrying out all activities as gratitude for the blessings that have been given. In each scene, the storytelling is inter- spersed with Jaranan accompanied by the song Salur Pandan as a spell to summon the spirits that inhabit the four cardinal di- rections. The scene of Jaranan (ndadi) per- forming dances and attractions represents the normativity of controlling human lust based on the Muthmainah rule over Alumi- ah, as a consumptive human embodiment, Supiyah’s lust as a manifestation of the human desire to rule and reign, and sup- pressing anger as a manifestation of greed. Humans are envious and envious if they only prioritize Alumiah and Supiah’s lust without any control from Mutmainah’s na- ture. Then the story will be closed with the song Sampun Completed with all players facing east. The song represents the social normativity of society to create peace on behalf of fellow creatures as brothers who need to remind each other of kindness, and humans should respect their ancestors as their predecessors who have started and opened life up to the life that is felt today. After the storytelling scene is finished, the closing scene presents the Kalongking (Nda- di) attraction, believed to be the incarnati- on of the bat spirit in the body of the cast, presenting a beautiful scene on a rope con- nected by two bamboo sticks 5 to 10 meters above the ground. The acrobatic attraction is performed with the eyes closed, climbing on the east bamboo pole and dancing in a bat-style movement which then hangs on to hook its legs on a rope with its head down and will descend on the west pole. All scenes shown through Kalongking represent every human being in the center (pancer) of life which is connected to the vertical pancer and horizontal pancer dimensions. Figure 4. Kalongking Attractions (Action of Kalongking, according to public be- lief, moves because of the influence of super- natural beings) Overall, the scenes and songs in Sandur’s spectacle present much normati- vity, how humans can actualize themsel- ves by wanting authority outside of them- selves (Beyoud), and the will of altruism and spirituality (Evans & Evans, 2008). Maslow called this ability transcendence, a higher level of holistic human awareness in behavior and relationships. This aware- ness has been attached as a goal for oneself, other people, fellow human beings, other species, nature, and the cosmos (Maslow, 1978). As far as the actualization of the tran- scendent will is embraced, in the presenta- Arif Hidajad, et al., The Civilization of Sandur Watch’s Transcendence in the Age of Glo- 183 tion of Sandur’s storytelling scene, humans remain human beings who cannot be sepa- rated from the hierarchy of human needs, according to Maslow (Cloninger, 2004). It is divided into physical needs such as eating, drinking, air, sleeping, and sex (Physiological Needs). They need security, protection, and freedom from fear (Safety Needs). They need relationships with fa- mily, friends, friends, lovers, or social re- lationships in society (Belongingness and Love Needs). It also explains the need to be appreciated and respected by others (Es- teem Needs) and the highest needs related to potential, talents, and abilities (Need for Self-actualization). However, through the actualization of transcendence as a cultural norm, hu- mans are adhered to by society. It is also possible to present humans intertwined with the need to live together and merge in the world that surrounds them because the journey of human life is related to its main characteristics and talents. Making humans feel victorious in the competiti- on they make, feeling satisfied with their achievements without seizing the will of others. This actualization puts humans in a state of feeling sufficient without lacking in their life circumstances (Ventegodt et al., 2003). Therefore, the existence of tran- scendence normativity in the system of scenes and songs of Sandur can become public awareness in merging the hierarchy of human needs in a balance of life born of Javanese culture and Islamization, adhe- ring to the transcendence teaching “Hablu- minallah wa Habluminannas.” Sandur’s Transcendence Civilization in the Era of Globalization Sandur’s transcendence civilization is intended as a form of control mechanism (A Set of Control Mechanism) in rituals, scenes, and songs as a cultural product of the Ledok Kulon Village community, which has a set of normative awareness to regulate human behavior based on trans- cendence principles. As in the Setren ritual, offerings, Blabar Janur Kuning, and all the attributes used in the Sandur performance place the meaning of transcendence as the normativity of consciousness, that humans are not the center and measure of everyt- hing because outside of humans, there is more significant and absolute power and power. Humans have been endowed with reason and mind by the Creator and should put forward his wisdom to maintain the harmonization of life among his fellow- creatures. So humans must maintain an attitude by prioritizing the lust of Mutmai- nah as a representation of the creation of the Supreme Spirit (God), who brings the nature of Khauf (Fear), Raja (Hope), Ta- wakkal (Passover), and Qanaah (Accept). In order to suppress the desire of Alumiah lust as a consumptive human manifesta- tion, Supiyah’s lust as a manifestation of the human desire to rule and reign (social status), and suppress the lust of anger as a manifestation of greed, greed, jealousy, and envy of humans if only prioritizing Alumiah lust and Supiyah without the ba- lance of the nature of Mutmainah. Likewise, Sandur’s scenes and songs present a series of transcendent normativi- ty, how humans can actualize themselves by wanting an authority outside themsel- ves (Beyoud). A high level of holistic or in- clusive human awareness in behavior and relationships, where holistic awareness is not only used as a tool but also as a goal for oneself, other people, fellow humans, other species, nature, and the cosmos, hu- man relations. with vertical and horizontal dimensions. The inclusion of belief in the power of the Beyond establishes continuity and a standard measure between the Crea- tor and humans, recognizing the superiori- ty of absolute norms that transcend human reason so that the norms adopted by the people who support Sandur can relativize all forms of power, wealth and knowledge in the material dimension. Harmonia: Journal of Arts Research and Education 22 (1) (2022): 174-186184 Table 1. The Transcendence of Sandur’s Spec- tacle Sandur’s Transcendence Norm Mutmainah attitude Beyond Meaning Khauf (Fear) Holistic King (Hope) Inclusive Tawakkal (Submit) Vertical Relations Qanaah (Receive) Horizontal Relations This relativity becomes an area of purification of the mind and awareness that negative culture must be cleaned by recalling human nature’s spiritual dimen- sion (transcendence). Negative culture is believed to be inherent in the lifestyle of globalization towards hedonism, mate- rialism, and cultural decadence (Kunto- wijoyo, 2008). Because globalization is a worldwide diffusion, the expansion of the hegemonic power of capitalism is to inc- rease the power of capitalist organizations and superpowers (Ritzer, 2012). In line with the Marxist theory, one of the biggest drivers of globalization are companies that make profits and hold long-term economic control and control over profitability by increasing cultural hegemony worldwide (Litowitz, 2000). The negative interpretati- on of globalization is focused on forms of the global expansion of the general code and homogeneity, which are often asso- ciated with cultural imperialism or inter- national intervention (capitalism power) in influencing the cultural values of third- world class societies (Bohle, 2016). The fact is that globalization in the grip of the power of capitalism can produ- ce millions of panoramas of panic. Condi- tions accompanying daily activities in the discourse of capitalism, postmodernism, and cyberspace produce an “ecstasy men- tality” as a celebration of excitement and peak speed (Pilliang, 2004). The accelera- tion of globalization in Indonesian society has led to material madness; economic madness, politics, commodities, fashion, and cyberspace madness. This state of madness pushes humans into a state of no ego, no identity, no territory, and no mea- ning. This idea is further exacerbated by the acceleration of the pace of information technology (digital) which is increasingly drowning humans in the madness of signs, trend madness, lifestyle madness, and prestige madness without internalizing the values in these signs (Giddens, 2000). Table 2. Globalization Negativity Negativitas Globalisasi Cultural deca- dence Moral Decadence No ego Supiyah (Domination of arbitrari- ness) No Identity Alumiah (Hedonism, Materialism) Territorial Ab- sence Amarah (Greed and envy) Meaninglessness The issue that is the focus of the tran- scendence civilization of Sandur’s spectac- le is not how to resist the acceleration of the pace of globalization but rather an at- tempt to internalize the values in the sign of globalization to maintain the mentality of cultural ecstasy of society that was born from transcendence normativity. This idea means that the existence of a transcendent meaning system in Sandur’s spectacle can be civilized, an effort to raise awareness and civilize society to reflect on the norms of spirituality and ancestral wisdom in order to internalize the symbols of globa- lization according to Mutmainah’s attitude and the meaning of Beyond so that there is no cultural or moral decadence. This transcendence awareness does not imply a backward and backward group of people but rather a form of cultural strength and bulwark against the expansion of capita- lism which is closely related to greed and conflict in the space of materialism and he- donism. CONCLUSIONS Sandur’s spectacle through rituals, scenes, and songs places the meaning of transcendence as the normativity of Arif Hidajad, et al., The Civilization of Sandur Watch’s Transcendence in the Age of Glo- 185 Mutmainah’s attitude, the recognition of the dependence of man and his Creator, the difference in strength and will come between a man and the Creator, human relations with other humans and the rela- tionship between fellow creatures, as well as recognition of the existence of norms. Norms of life need to be carried out as a form of gratitude to the Creator. 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