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[[File:Gelaran budaya Ebeg.jpg|thumb|''Ebeg'' or ''kuda lumping'' dance being performed.]]
[[File:Gelaran budaya Ebeg.jpg|thumb|''Ebeg'' or ''kuda lumping'' dance being performed.]]
# ''Lengger'', is a kind of [[traditional]] [[Dance]] that thrives in [[culture|cultural]]


*[[Ebeg]], is a traditional form of dance typical of Banyumasan with the main property being the ebeg or braided horse. This art depicts the gallantry of horsemen with all its attractions. Usually, ebeg performances are equipped with barongan, penthul & cépét attractions. In the ebeg performance it is accompanied by gamelan which is commonly called bendhe. This art is similar to [[jathilan]] , [[kuda kepang]] and [[kuda lumping]] in other areas.
*[[Ebeg]], is a traditional form of dance typical of Banyumasan with the main property being the ebeg or braided horse. This art depicts the gallantry of horsemen with all its attractions. Usually, ebeg performances are equipped with barongan, penthul & cépét attractions. In the ebeg performance it is accompanied by gamelan which is commonly called bendhe. This art is similar to [[jathilan]] , [[kuda kepang]] and [[kuda lumping]] in other areas.

Revision as of 05:51, 8 September 2023

For other uses, see Banyumasan (disambiguation).
Jawa Banyumasan
Orang Jawa Banyumasan
ꦮꦺꦴꦁꦨꦚꦸꦩꦱꦤ꧀
Wòng Jawa Banyumasan / Tiyang Jawi Toyåjênéan / Priyantun Toyåjênéan
Lengger dance from Banyumas
Total population
9,140,000[1]
Regions with significant populations
 Indonesia (Central Java)
Languages
  • Native:
  • Other:
  •  
Religion
Predominantly Sunni Islam
Minority Christianity (Protestant and Catholic)
Related ethnic groups
other Javanese sub-ethnic such as: Mataram, Cirebonese, Osing, Boyanese, Tenggerese, etc.
This article contains letters from the Javanese script. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Javanese characters.

The Banyumasan Javanese (Ngoko : Wong Jawa Banyumasan ; Krama : Tiyang Jawi Toyåjênéan)[2][3] Indonesian: Orang Banyumasan[4] who are more familiarly referred to as "wong ngapak" with their famous slogan "Ora Ngapak Ora Kêpénak". The Banyumasan area is located in two former residencies, namely (Banyumas and Pekalongan). Although there are slight differences (nuances) in customs and accents, in general these areas can be said to be "the same color", that is, they both speak Banyumasan Javanese.

Language

Main article: Banyumasan dialect
Javanese alphabet.

For the people of Banyumas, the Bayumasan language is the mother tongue which exists as a means of daily communication. This is as said by Koentjaraningrat, the Javanese have a definite view of Banyumas culture besides having distinctive forms of ancient social organization, they also have a different Banyumas accent (Koentjaraningrat, 1994:25).

Banyumasan language, or what is more familiarly known as Ngapak language, is a dialect of Javanese spoken by people in western Central Java . More precisely in two former residencies, Banyumas and Pekalongan.

The former Banyumas Residency includes Banjarnegara, Purbalingga, Banyumas, Cilacap and Kebumen. The former Pekalongan Residency includes Tegal, Brebes, Pemalang, Batang, and Pekalongan. The Banyumasan dialect also reaches Cirebon Regency , Cirebon City and other areas of West Java that border Central Java such as Ciamis ,Pangandaran, though, has been mixed with Sundanese languages ​​and dialects. A number of Javanese linguists refer to the Banyumasan language as the original or early form of Javanese.[5][6][7]

Banyumasan people speak Banyumasan language, a dialect (or variety?) of Javanese. The language were still retaining some of Old Javanese loanwords. Banyumasan did not replace the word "a" with "o" just like standard Javanese do.[8] It is notable for its great number of nearly ubiquitous Sanskrit loans, found especially in literary Javanese.[9] This is due to the long history of Hindu and Buddhist influences in Java.

Like other Javanese in Indonesia, most Banyumasan people are bilingual fluent in Indonesian and Banyumasan.[10] In a public poll held circa-1990, approximately 12% of Javanese used Indonesian, around 18% used both Javanese and Indonesian, and the rest used Javanese exclusively.

In some areas especially in northern Cilacap and southern Brebes, Banyumasan people are able to speak Sundanese, due to the historical influence from the neighboring eastern Priangan region and the influx of Sundanese people migrated eastward and married the local people.[11]

The Banyumasan language also commonly written with the a script descended from the Brahmi script, natively known as Hanacaraka or Carakan. Upon Indonesian independence it was replaced with a form of the Latin alphabet.

Culture

In principle, Banyumas culture is an integral part of Javanese culture , but due to the geographical conditions and location, it is far from the center of royal power. Thus the life background and views of the Banyumas people are deeply imbued with the populist spirit which results in various aspects of Banyumas culture being distinguished from Javanese culture (the palace). The soul and spirit of the people of Banyumas culture has brought it to the appearance (behavior) which, when viewed from the perspective of the palace culture, seems rude and low. Banyumas culture takes place in a pattern of simplicity, which is based on a popular spirit, cablaka(open, outspoken) and built from the life of a society with a traditional-agrarian pattern of life. This tendency is due to the fact that the Banyumas region is a fringe region of large empires such as ( Yogyakarta , Surakarta ). This resulted in the development of culture in general taking place more slowly than the culture of the palace palace.[12]

Art

Banyumasan's distinctive arts are influenced by Javanese cultural centers ( the Ngayogyakarta Hadiningrat Sultanate , and the Surakarta Hadiningrat Sunanate ). Arts that grow and develop include:

  • Wayang kulit Gagrag Banyumasan , which is a type of shadow puppet performance art that has Banyumasan in its essence. In this area there are two known gragaks or styles, namely Gragak Kidul Gunung and Gragak Lor Gunung . The specificity of the Banyumasan gragak wayang kulit is its populist breath which is so strong in its performance.
  • Begalan is one of the cultural traditions of the Javanese people, especially in Banyumas which is carried out as part of the wedding procession which is held after the ceremony or at the reception at the bride's place where the first child and the first child, the last child and the last child are married. the first child with the last child, and the first child is a girl.[13]
  • Calung Banyumasan, is a musical instrument made of pieces of bamboo placed crosswise and played by being beaten. Typical Banyumasan musical instruments made of wulung bamboo are similar to Javanese gamelan, consisting of gambang barung , xylophone successors , dhendhem , kenong , gongs & drums . Apart from that, there is also the Sebul Gong, which is named so because the sound that is emitted is similar to a gong but is played by blowing ( sebul ), this tool is also made of bamboo with a large size. In its presentation, calung is accompanied by a vocalist who is commonly called a sinden. The musical arrangements presented are in the form of Banyumasan songs, Banyumasan style songs , Surakarta - Yogyakarta and often re-arranged pop songs are also presented .
  • Tek-Tek, is the main tool, in the form of a piece of bamboo that is given a long hole in the side and is played by being hit with a short wooden stick. Kenthongan is played in groups of about 20 people and is equipped with a drum , flute , kecrek and is led by a majorette. In a group of kenthongan, there are several kinds of kenthong that are used so that they produce a harmonious sound. The songs performed were mostly Javanese and Dangdut songs.
  • Salawatan Jawa, is an Islamic musical art with musical instruments in the form of Javanese flying. This art performance presents songs taken from the book Barzanji .
  • Lengger, is a type of traditional dance that thrives in the Banyumasan cultural distribution area. This art is generally presented by two or more women. In the middle of the show, a male dancer commonly called a clown (clown/bodor) is present. Lengger is presented on stage at night or during the day, and is accompanied by a calung musical instrument.
  • Sintren, is a traditional art played by a man wearing women's clothing. Usually this art is attached to the art of ébég . In the middle of the ebeg show, the players do a trance / mendem, then one of the players cramps his body, then he is pinned down with a mortar and put in a cage. In the cage he dressed up as a woman and danced together with the other players. In some cases, the players do thole-thole, where the dancer carries a tampah and goes around the arena asking for donations from the audience.
  • Aksi Muda, is an Islamic style of art presented in the form of Pencak Silat attractions combined with dance.
  • Tari angguk, namely the art of Islam which is presented in the form of dances. Performed by eight players, & at the end of the show the Trance players (unconscious).
  • Tari aplang or Daeng, an art similar to nod, the players consist of young women.
  • Bongkel, is a musical instrument made of bamboo, consisting of one instrument with four slendro- barreled blades , with notes 2, 3, 5, 6. In Bongkel performances, special pieces are presented - bongkel pieces. This musical instrument is similar to Angklung .
  • Tari buncis, which is a combination of music & dance arts presented by eight players. The show is accompanied by the Angklung musical instrument. The bean players apart from being dancers are also musicians & vocalists. At the end of the dish the players are Intrance Beans or mendem.
Ebeg or kuda lumping dance being performed.
  • Ebeg, is a traditional form of dance typical of Banyumasan with the main property being the ebeg or braided horse. This art depicts the gallantry of horsemen with all its attractions. Usually, ebeg performances are equipped with barongan, penthul & cépét attractions. In the ebeg performance it is accompanied by gamelan which is commonly called bendhe. This art is similar to jathilan , kuda kepang and kuda lumping in other areas.

Notable persons

See also

References

  1. ^ "Java Banyumasan in Indonesia". Joshua Project. Retrieved 2021-01-30.
  2. ^ Kamus Pepak Basa Jawa,Sudaryanto/Pranowo, 2001, #1359
  3. ^ Pramono, S.B. (2013). Piwulang Basa Jawa Pepak. Grafindo Litera Media. ISBN 978-979-3896-38-0.
  4. ^ Harjawiyana, Haryana; Theodorus Supriya (2001). Kamus unggah-ungguh basa Jawa. Kanisius. p. 185. ISBN 978-979-672-991-3.
  5. ^ Budiono Herusasoto (2008) Banyumas: Sejarah, Budaya, Bahasa Dan Watak
  6. ^ Orang Ngapak Bukannya Kasar, Tapi Blak-blakan dan Apa Adanya[1]
  7. ^ Politik Mataram yang Membentuk Bahasa Jawa Banyumasan[2]
  8. ^ Robson, Stuart; Singgih Wibisono (2002). Javanese English dictionary. Tuttle Publishing. ISBN 0-7946-0000-X.
  9. ^ Marr, David G.; Anthony Crothers Milner (1986). Southeast Asia in the 9th to 14th centuries. Institute of Southeast Asian Studies. ISBN 9971-988-39-9.
  10. ^ Errington, James Joseph (1998). Shifting languages: interaction and identity in Javanese Indonesia. Cambridge University Press. ISBN 0-521-63448-2.
  11. ^ Media, Is Ariyanto-Solopos Digital. "GAGASAN: Bahasa Ibu Bukan Bahasa Daerah". Archived from the original on 2014-10-06. Retrieved 2014-10-02.
  12. ^ Sap, Tono (2010) Kebudayaan sebagai identitas masyarakat Banyumas. ISI Denpasar
  13. ^ Begalan, Tradisi Pernikahan Rakyat Banyumas[3]
  14. ^ Bob Sugeng Hadiwinata & Christoph Schuck (2007). Democracy in Indonesia: The Challenge of Consolidation. Nomos. p. 338. ISBN 978-3-8329-2374-7.
  15. ^ Julius Pour (2007). Benny: Tragedi Seorang Loyalis. Kata Hasta Pustaka. p. 5. ISBN 978-979-1056-10-6.
  16. ^ Lia Nuralia & Iim Imadudin (2010). Randi Renggana (ed.). Kisah Perjuangan Pahlawan Indonesia. Ruang Kata. p. 104. ISBN 978-602-8389-21-1.
  17. ^ Barbara Hatley (2015). Performing Contemporary Indonesia: Celebrating Identity, Constructing Community. BRILL. p. 33. ISBN 978-90-04-28493-7.
  18. ^ Philip Hirsch & Carol Warren (2002). The Politics of Environment in Southeast Asia. Routledge. p. 44. ISBN 1-134-69045-2.
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