67 Ceprotan Performing Art: A Traditional Folkart Based on Urband Legend Bagus Wahyu Setyawan, Kundharu Saddhono Master Program of Javanese Language Education, Postgraduate, Universitas Sebelas Maret, Indonesia Received: April 14, 2018. Revised: May 23, 2018. Accepted: June 10, 2018 Abstract Traditional arts of born and develops from urban society by keeping a manifestation of its and forms are different in the regions. Ceprotan as a traditional arts from Sekar Village, Donorojo Sub-district, Pacitan Regency. Form of this research is qualitative descriptive with focused to describe and explain about Ceprotan performing art in Sekar Village, that source from the local history, that is the story of Ki Godeg and Dewi Sekar. Research object are Ceprotan performing art which held once a year, in Senin Kliwon days, in Dulqokdah month. Data collected technique using observation, noted, and content analysis. Result of research find that Ceprotan is a traditional art performed same time with Bersih Desa ceremony in Sekar Village society. Ceprotan perforiming art held once a year, only in day of Senin Kliwon, month of Dulqokdah in Lunar calendar. Ceprotan performing art performed the sendratari (dramatic dancing art) telling the story of Ki Godeg and Dewi Sekar journies with develop the Sekar Village. In the end of performing, done attraction throwing the young coconuts from some of young people from Sekar Village. Keywords: Acculturation; Kentrung Tri Setyo Budoyo; Cultural change How to Cite: Setyawan, B., & Saddhono, K. (2018). The Acculturation of Kentrung “Tri Setyo Budoyo” in Dayu Village, Nglegok District, Blitar Regency: The Theoretical Study of Cultural Change. Harmonia: Journal of Arts Research And Education, 18(1), 67-73. doi:http://dx.doi.org/10.15294/harmonia.v18i1.9509 Harmonia: Journal of Arts Research and Education 18 (1) (2018), 67-73 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v18i1.9509 reason, it can be said culture and cultu- ral is the product of thinking patterns of a society who believed to be the truth then done is constantly being in some period of time even bequeathed to their generations. The elements of culture are very much, also have very diverse product. Product of the culture that is philosophical and ideological can be seen from society activity that is based on cultural norm from their region (Priyadi & Mulia, 2013). In Ja- vanese society taken a belief that any man who died just their physical who died, but the spirit and their lives were still occur- ring. Javanese people who still life could INTRODUCTION Discuss about culture and cultural wouldn’t have it can be detached with people life in which the cultural was born. A difference in mindset, a social system, trust, genetic, even aspects geographical have the effect culture formation. Seve- ral factors above who made the culture of regions with each other become diffe- rent. This phenomenon because culture is about human knowledge who believed to be the truth by the concerned and who are covered by it feelings and emotions, and thought other (Sutardjo, 2010). For that Corresponding author: Jl. Ir. Sutami No.36A, Jebres, Kota Surakarta, Jawa Tengah 57126 E-mail: bagusws93@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 67-7368 involve spirit of their fathers with certain ways (Witasari, 2015). One of them is by implementing ceremony to the ancestors. Durkheim suggests that this way is a mani- festation of respect to those who are dead and must continue. To respect it cannot be significantly, but can only be achieved symbolically shaped in ritual respect to ancestral, (Hidajat, 2013). The ceremonies of reverence for ancestors is very diverse and almost in every area there are a diffe- rences. Some of them such as the slametan, bersih desa, gugur gunung, larung sesaji, um- bul-donga, etc. The way and packaging of each region are different. Such is the case, bersih desa ceremony that each region is dif- ferent. In Klaten, Central Java, bersih desa ceremony ordinary conducted by cleaning tombs of the ancestors continued with per- formances of wayang kulit in the evening. Bersih Desa ceremony in Ponorogo held in Lake of Ngebel by way of nglarung sesaji into the Lake. As for the region of Pacitan, bersih desa ceremonial packed within show a performaning art called Ceprotan Ceprotan tradition is a ceremony al- ready hereditary doing in there, especially in the Sekar Village, Donorojo District, Pa- citan Region. Ceprotan tradition be done to keep village from the distress and dange- rous thing. This tradition for villager belie- ved containing value of trust, symbol, and magical feeling on the heritage of their cul- ture ancestors. The society of Sekar Village, though they have received Islamic beliefs, but they just kept and uphold culture from their ancestors. It can clearly be seen on particular life, they still do some of cere- mony, like slametan, burning the kemenyan (frankincense), doing sesaji (offering) in particular day regarded as the sacred day, (Wijaya & Supriyono, 2015). Ceprotan ceremony routine doing by the society of Sekar Village once in every year. Even this ceremony also performed in certain event, like when Birthday of Pa- citan City or when there are some visitors for foreign country. This because out of a traditional art and culture in Pacitan Re- gion who have a very important role for the community as works of religious art, for example as a means of appendages ce- remony, and as complementary social life needs. In addition, traditional art is also a local culture which always maintained and of cultural values is a traditional in- herited, (Wiratmoko, Djatiprambudi, & Sulbi, 2014). Regardless have different per- forming show, a neat thing to be reviewed of the Ceprotan it is story which constitute the emergence of this ceremony. Head of customary said, that Ceprotan ceremony have function to memorialize the ances- tors of their village, namely Ki Godeg and Dewi Sekar who have discovered Sekar Vil- lage. The wandering story of Ki Godeg and Dewi Sekar this is similar to story of Panji who are very well known in Javanese regi- on. Panji Story derived from one of figures on the kingdom of Jenggala and Kediri, namely Raden Inu Kertapati and Galuh Can- drakirana who have did many wandering as their tapa brata (sacirifice way). Story about Panji scattered on the territory of Java Island have different ver- sions. Panji story evolved into Pacitan area, precisely in Sekar village who believed to be a settlements builder of the Sekar Vil- lage. The story about Ki Godeg and Dewi Sekar version of Pacitan people become the other versions of Lakon Panji (story of Pan- ji) that developing in the Javanese society. Therefore, that story is performed in ballet who telling about wandering of Ki Godeg and Dewi Sekartaji when they’ve created and developed Sekar Village. Ceprotan cere- mony held once every year, in precisely in day of Senin Kliwon in month of Longkang (in Javanese calendar) or month of Dulqok- dah in Lunar calendar. If there are no Senin Kliwon-day in month of Longkang then rep- laced on Sunday Kliwon (Setyawan, 2016). Determination of day and month of cere- mony Ceprotan by villagers because they’re believe that day considered the birth of Dewi Sekar. By commemorating the birth- day of Dewi Sekar, local society in there be- lieve she will give blessing for the people in Sekar Village. This is related to the belief of Javanese people who still believe about the power that comes from outside of the human body, that power from Almighty Bagus Wahyu Setyawan, Kundharu Saddhono, Ceprotan Performing Art: A Traditional ... 69 God, can also be interpreted as supernatu- ral powers such as spirits of the ancestors like the founder of the village, and could also be considered the ancestor’s spirit still provide protection to him and his descen- dants, (Wijaya & Suprijono, 2015). Reference of some description about Ceprotan performing art and background of research, can be formulated that purpo- ses of research of this paper are to describe and explain about Ceprotan performing art as a folk-art from Sekar Village. On this tell about the form of Ceprotan staging. Furt- hermore, description in this paper also tel- ling about journey of Ki Godeg and Dewi Sekar, urban legend from Desa Sekar which being a basis of Ceprotan performing art. METHOD The method used in this article was qualitative descriptive method using an ethnographic approach. Ethnographic stu- dy based on phenomenological view that promotes appreciation of an event. Furt- hermore, the phenomenology tries to de- pict an event in possible detail way. This previously done by Saddhono & Rohmadi (2014a) in his research on the phenomenon of culture and tradition in Java. Ethno- graphic study according to Sukmadinata has particular function to describe and in- terpret the cultural, social group or system. Although the meaning of culture is very large, but ethnographic studies usually fo- cused on activity, language, beliefs, rituals, and ways of living, (Mardoyo, 2008). Eth- nography approach chosen because the re- search object in this study is Ceprotan per- forming arts as traditional folk-art which develop and staged in Sekar Village. Data resource collected by observation when the Ceprotan performing art are showed, in-depth interview with customary chair- man and some Sekar’s society. Data analy- sis technique using flow model of analysis and interactive analysis, step of data ana- lysis are data reduction, presentation of data, and conclusion drawing. In this re- search also using triangulation to test the validity of data. RESULT AND DISCUSSION History of Ceprotan Ceremony Ceprotan own derived from word “ce- prot” that in Javanese language it means ra- diating with hard as if sprayed. The word “ceprot” taken from the sound “ceprot” when the players struck young coconuts in the ceremony. Another argument said the word “ceprot” derived of the story of the past, where the Dewi Sekar deliberately shed coconut water when she was drin- king (Setyawan, 2016). It can be said Ce- protan pertaining to story of Ki Godeg and Dewi Sekar that envolve in Sekar society. Ceprotan ceremony derived from sto- ry Panji Asmarabangun/Panji Waneng- pati with Dewi Sekartaji when they was wandering until in the Donorojo area. Panji Asmarabangun and Dewi Sekartaji in their sacrifice ways often changed their name and wandering for tricked their ene- mies. Names like Andhe-andhe Lumut, Inu Kertapati, Joko Gudhig, and Enthit are some of the pseudonym of Panji Asmarabangun. The journey of Panji Asmarabangun is one of symbolizing that to become a King must have requires experience and sacrifice. By doing the journey, Panji could see the suf- fering of his people who are facing. The ot- her source said that the journey to finding his wife (in this context is Dewi Sekartaji) was a symbol of the king who looking for his people (read: Ghozali, Fianto, & Arwa- na, 2015). Related to some versions of the story about the journey of Panji, intervie- wees also said that when he’s wandering in to region of Donorojo, Panji Asmaraban- gun renamed to Kyai Godeg and Dewi Se- kartaji called Dewi Sekar. Ceprotan ceremony itself comes from urband legend of Sekar Village that is a sto- ry when Kyai Godeg at that time were open agricultural land in Sekar Village. Because it was lunch, he was resting under a tree while waiting for a consignment of Dewi Sekartaji. When a rest he complained to God closed is as follows “ingsun iki among salugune titah ing donya” because the tree used to lean at that time is no name then by Kyai Godeg was given the name trees Harmonia: Journal of Arts Research and Education 18 (1) (2018): 67-7370 “glugu” which is another name of coconut trees. When looked up and said “ingsun iki ning donya ora duwe apa-apa, ora nyekel apa- apa” looking toward to the fruit that then the fruit was named “klapa” in Javanese language. After he sat under a “glugu”, suddenly his head downfall by young fruit and he “Aku kok krasa kelegan atiku ya bareng ketibanan woh iki” then younger coconut fruit was named “degan”. Naming the ob- jects by taking partially syllables from the name of event or term scene being regar- ded as having aptness called Kereta Basa (Sofwan, 2011). The story continues when Kyai Go- deg drank some of young coconut water and leaving some water for his wife. Af- ter his wife come for ushered the lunch for him, Ki Godeg give some of coconut water. However, not even to give it to his wife, suddenly appear the unpermitted sense of Ki Godeg. In the end, there is a conflict between Kyai Godeg and Dewi Sekartaji. The events that formed the basis of the Ce- protan show who use young coconut from main media, which is based on the story. After stay for a long time in Sekar vil- lage, Kyai Godeg founded reside school and many people who want learned in there. As for the requirement for learned, Kyai Godeg should bring, cengkir, meny- an, kembang setaman, pitik putih mulus, pitik ireng, mori, beras pari, beras ketan, and ayam panggang. All terms proposed by Kyai Go- deg not refers to true, but rather had taken in symbolize of something or in Javanese language called “sasmita”. This make some applicants make a wrong interpreted, so many of the student bringing the real re- quirement which reserved by Kyai Godeg. After having explained the true meaning, Kyai Godeg ask someone to gathering all of their ayam panggang (baked chicken) and divides flattened to all students. But, the divider had the trait of not fair or in Ja- vanese language this character called “can- gak”. This justness activity seen in when he divide ingkung and the other food, he is taken out the part many for him. This indi- rectly teach about the importance of fairly character when given the mandate (Sety- awan, Saddhono, & Rahmawati, 2017). Aware of behavior his students is un- fair, Kyai Godeg ask his wife to divide the roasted chicken with flattened. After divi- ded shared equally to all students there are still the remaining two roast chicken, then Kyai Godeg said “Sapa wonge sing wani mlayokake panggang sisane iki mengko banjur balangana nganggo cengkir sing mbok gawa kuwi.” After that, there is a student who courageous to running out the roasted chicken, then the other student pelt with the young coconut. This event as the be- ginning form of Ceprotan ceremony which used the young coconut already soaked Procession Ceprotan ceremony Ceprotan done or held in a space land, starting in the afternoon at about 06.00 pm or could be called time of Surup. This reasons, election time of “surup” to start this ceremony because that time be- lieved changing time for new day, whet- her it is from view Islamic and Javanese perception. The show begins with praying by elders in Sekar village, in this is done by Iman Tukidjo, former head of Sekar village. Figure 1. The Anchestor of Sekar Village and His Wife After praying have finished, then followed by entering some people who Ja- vanese customary dress with bringing the offering (sesaji) that are ingkung (roasted chicken), jadah ketan, beras, and some of local foods which formed like the moun- tain or be called “gunungan”. Sesaji like kembang, dupa, and kemenyan has not chan- ged, because sesaji believed being a sacred Bagus Wahyu Setyawan, Kundharu Saddhono, Ceprotan Performing Art: A Traditional ... 71 formances. Figure 3. Dewi Sekartaji bringing a young coconut Ceprotan as Traditional Ceremonies Sourced from Urban Legend Like has been discussed before, that Ceprotan is traditional ceremonies sourced of story of Panji. Panji story already kno- wn in the Javanese society, especially in East Java. As stated by Raffles, Panji Sto- ry started to be known since the days of Majapahit era who takes background the kingdom of Kediri and Jenggala. The main figure is Panji Asmarabangun and Dewi Sekartaji. In the progress of Panji Story spread to various regions in Indonesia and even until to Southeast Asia region by displaying variant different, (2008). Story of Panji is a local story which have been re-interpretation (disanggit) into various version, for examples story Timun Emas, Keong Emas, Cinde Laras, Kethek Og- leng, Enthit, Klething Kuning, Jaka Kembang Kuning, and the others, (Bagyo, 2005). Some of Panji Story developed in many regions and still alive to now for being an icon of that area. Story of Kethek Og- leng derived from Wonogiri, Central Java is also sourced from Story of Panji. The name Kethek Ogleng take from one figu- re in Panji Story who tell about son of the Jenggala’s King named Panji Gunung Sari. At the time of his father are told to look for his broter’s wife, Dewi Sekartaji who lea- ve the Kingdom. To ease in finding Dewi Sekartaji, Panji Gunungsari using “Kethek Ogleng” as his pseudonym. After looking for a long time, finally he met with Sekar- taji (disguised as Rara Tompe) in Dhada- things and have doing from a while by an- cestors, (Setyawan, 2016). After that follo- wed by the entry of accompaniment who led by the head of customary bringing cha- racter of Kyai Godeg and Dewi Sekartaji, who played by his wife. This way followed by a group of young people and residents who described students walk behind him. They’re display ballet performing that is confided the journey of Kyai Godeg and Dewi Sekartaji while discovered Sekar vil- lage. Figure 2. Entering the sesaji The convoy of Kyai Godeg before perform a dramatic-dance first take the of- fering thing to gate which already decora- ted by janur (young coconut-leaf). Around the place of Ceprotan ceremony also have been prepared some coconut which alrea- dy soaked before and placed in a basket. After dramatic-dance have about Kyai Go- deg and Dewi Sekartaji have been done, young people as students of Kyai Godeg divide themselves into two groups. Ac- cording to explanation before, there is someone who running out the ingkung or commonly called “pitik cangakan” then the carrier of ingkung pelted with the coco- nuts by the other. So on each other throw young coconuts between one groups to the enemies group until the coconut used up. They all believe in that whoever affected by splashing water of coconut can get bles- sing (Saddhono & Supeni, 2014b). After all process just finished jointed with the dance together and reading invocations by elders of Sekar village. A ceremonial procession Ceprotan closed by the distribution of the offerings such as roast chicken (ingkung), jadah ketan, rice, and other local foods to the citizens who is in the area of ceprotan per- Harmonia: Journal of Arts Research and Education 18 (1) (2018): 67-7372 pan village on Mbok Randha Dhadapan’s house, (Warto, 2014). Figure 4. The dramatic dance art telling the Journey of Ki Godeg and Dewi Sekar Figure 5. Some of people throwing the young coconut Another version of Panji Story who became a legend in Pacitan, specifically in the Sekar Village, is story about Kyai Go- deg and Dewi Sekar. Story about journey of the married couple to lime mountainous areas and still quiet population. After de- veloped the village and set up hermitage, slowly the area being rural crowded. Then, rural area given names Sekar Village, taken from one of the founder village, namely Dewi Sekar. Until now, villagers of Sekar village to respecting the honor of their an- cestor and they’re held Ceprotan ceremony which is celebrated once time every year. The story Kyai Godeg and Dewi Sekarta- ji that flourished in Sekar Village must be unchanged from the ancestors until now. Parents are telling the same story to their children, to keep ancestral tradition. This is because inheritance tradition an ances- tor as one important thing which showing authentically identity of culture in certain society. Authentically of cultural is im- portant to become identity of people who have and develop it (Ambarwangi, 2014). For that reason, packaging forms as well as Ceprotan ceremonies unchanged and re- main the same from time to time. CONCLUSION Bersih desa ceremony performed by different in every region. In Pacitan regi- on there is bersih desa ceremonies which packed with arts performance called with the term “Ceprotan”. Ceprotan ceremony done once time every year, in the day of Senin Kliwon on the month of Longkang (in Javanese calendar) to commemorate the birth of Dewi Sekar, one of the ancestral in Sekar Village. In Ceprotan ceremony also means re-actualizing of local history in that village. This can be seen from depicti- on the journey of Kyai Godeg and Dewi Se- kar when discovered Sekar village. Story of Kyai Godeg and Dewi is one kind of Panji Story. Panji Story dominant tells about the story of wandering Panji Asmarabangun and Dewi Sekartaji. It can be said story of Kyai Godeg and Dewi Sekar that develops in the Sekar village can add the diversity version of Panji story. Until now the sto- ry of Kyai godeg and Dewi Sekartaji still believed by Sekar society as well as not changed in the least the story. It was be- cause the society of Sekar Village these as cultural heritage of their ancestor. 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