REOG PONOROGO

Reog is an artistry of Ponorogo, East Java, Indonesia which using tiger mask and decoration of peacock feathers. It is a very spectacular dance with several dancers wearing bright colorful costumes accompanied by merry gamelan music. The attendant castanets are kempul, ketuk (knock), kenong, genggam (grasp), ketipung, angklung and especially salompret, voicing tone of slendro and pelog which peeping out mistical atmosfir, bizzare, exotic at the same time awaken enthusiasm.

Reog Ponorogo always played in the open terrain, such as in a square, street etc. This dance which always draws a lot of spectators is a traditional art dance combined with magical show or a trance dance. See presented movements all of perpetrator of Reog Ponorogo, passing by quickly mistical impression in it.

The Provenance

There is not only one version narrated provenance of artistry of Reog Ponorogo. A book published by local government of Sub-Province of Ponorogo in the year 1993 mentioning, the history of born this artistry at the time of King of Brawijaya 5^th have throne in Majapahit kingdom.

To insinuate the king which very influenced by his princess, made a barongan rided by peacock by Ki Ageng Tutu Suryo. Furthermore of folklore steming from Chronicle Java express at era power of Batera Katong, penambing named Ki Ageng Mirah assess that artistry of barongan require to be preserved.

Ki Ageng Mirah later make legend story about creation of Bantar Angin kingdom with its king of Kelono Suwandono. This Artistry of Reog first called Singa Barong (Lion of Barong) or Big Lion start on about year 900 of saka and relate to life of follower of Hinduism of Siwa. Entry of Raden Patah to develop Islam around Mount of Wilis including Ponorogo, having an influence with this artistry. Last adapt with existence of Kelono Suwandono and weapon Pecut Samagini (whip of Samagini).

The powerful King Kelono Sewandono of Ponorogo Kingdom was famous with his fighting skills and magical power, accompanied by his Patih (Prime Minister) Bujanganom & his strong soldiers were attacked by King Singabarong, The King of Lions of Kediri Jungle, supported by his army, consisted of Lions and Peacocks.

At that time the Ponorogo's group were on the way to The Kingdom of Kediri guarding King Sewandono to marry Dewi Ragil Kuning, a princess of Kediri Kingdom.

There was a big fight between mighty warriors having magical power. The peacocks flew up and down flapping their wings to support The Lions – Singa Barong.

Bujanganom with his magic whip, supported by some Waroks in black traditional dress defeated The King Lion with all his followers.The King of Ponorogo and his soldiers merrily continued their way to Kediri on horse back. Singa Barong joint the procession The Peacocks kept close to Singa Barong opened their tail feathers which looked like beautiful fan.

Nowadays this artistry not only met just in its birth area. Usually one Reog group consist of a Old Warok, a number of Young Warok, pembarong and dancer of Bujang Ganong (Bachelor of Ganong) and Prabu Kelono Suwandono. The Amount range from 20 - 30 peoples, central role reside in the hand of warok and his Pembarong.

The Performance

The central figure of this dance is The Lion King Singa Barong represented by a dancer wearing a mask of a Lion carrying a large peacock feather fan on top of the mask, this mask is locally called : Topeng Dadak Merak. It weight about 50 kg. The dancer has to use his teeth to hold the mask from inside. He must have a very strong set of teeth and neck to move around the mask Dadak Merak. On top of this, he has also to carry a lady representing Princess Ragil Kuning. Or sometimes, he has to demonstrate his skill and strength by carrying another mask dancer on top of him, and still he could dance with vigorous and fantastic movements.

King Kelono Sewandono wearing a mask and a crown is a stylish dancer, Bujanganom also wearing a mask is an acrobatic dancer.

The Waroks in black costumes,

Jatilan - good looking young soldiers riding flat bamboo horses (Kuda Kepang/Kuda Lumping).

Caplokan - Wears a dragon mask to lure Singa Barong to dance more livelly.

It is important to note that a reog dance group must have at least one "Wong Tuwo" (Old Man) or "Wong Pinter" (Clever Man) dealing with magical matters.

In a certain celebration several reog groups could perform together, sometimes until 100 groups.

There is many mistical matter impressing at the opposite of artistry of Reog Ponorogo. Warok for example, is central figure in this artistry which up to now save many matter which controversy enough. Most of peoples assume profile of warok have generated unfavourable image of this artistry.

Warok is troops relying on the truth in contention between wicked and good in story artistry of reog. Old Warok, is figure of protector, while Young Warok is warok which still in level study. Even that way, life of warok very contrary with role which they play in the stage.

It is said warok till in this time perception as figure which its characterization must have the power of certain occult. Even many ugly story in around life of warok, like its approach with freeman world and liquor.

To become warok, journey which length enough, long, full of meander and million luring. At least that's which said by figure of Warok Ponorogo, Mbah Wo Kucing. To go to there, we have to master what referred as Reh Kamusankan Sejati, real human road.

Old Warok, hitherto still get place as doyen in its society. Its contiguity with world of spiritual often make a warok asked its advise as hold of spiritual and or peace of life. Message which taken from an old warok in fact often heard but secretory words of its mouth energetic likely.

Long time ago, warok recognized have many gemblak, that is boy of teens which sometime more loved compared to his wife and childrens. Look after of gemblak is tradition which have taken root strengthly at artist community of reog. Likely become obligation every warok to look after gemblak so that can maintain its miracle. More over there is strength trust among warok, intimate with woman even with wife himself, can become causes discolour all of his miracle. Loving each other, love and try to make happy is chararacteristic of special relation between gemblak and its warok.

So far ugly perception of warok, confessed to start to be eliminated. Effort return this artistry image done slowly. profile of Warok in this time strarting to be instructed to leadership value which are positive and become society peer. Including look after gemblak which nowadays progressively discolour. ordinary Gemblak personate dancer of jatilan, nowadays its role replaced by girls of teens. Though long time ago this artistry come up without a woman even also.

Besides warok, role of pembarong or lifter of peacock darak, in artistry of Reog Ponorogo, cannot be trifled. More over this artistry rely on strength of body and acrobatic attraction.

Pembarong must have the extra power. He must have strength of good jaw, to detain with its bite of burden of darak peacock namely form tiger head decorated by hundreds of piece of peacock feathers highly two metre which weight can reach about 40 kilogram during a period of show.

The occult strength often weared by pembarong to add the extra strength. For example, by wearing susuk, in neck of pembarong. To become pembarong, insufficient only with strong body

Pembarong even also have to provide with something that named by circle of pembarong with apocalipse. This apocalipse believed by all pembarong as vitally something in their life. If do not bless by apocalipse, dance by a pembarong will not see good and not fitting to look on.

Initialy many old people in Ponorogo worried about the continuity of typical artistry of Ponorogo. Its Section of progress of era will make young man in Ponorogo will not follow reog again. More over become pembarong.

But nowadays have birth many young pembarong, which little by little leave things smelling is mistical. They more rational. A pembarong, have to know precisely theory for attraction dadak of peacock. If not, movement a pembarong can be pursued and result to injure.

Every movement for example wagging barongan there is order how feet position, neck movement and also his arms. Usually a pembarong come up at fresh and young age. Before age about 40 year, usually strength of physical a pembarong start provocated and is slowly he will leave its profession.

Nowadays, many pembarong denying usage of occult strength in staging but in fact occult strength is element of spiritual becoming breath of this artistry. It is same as warok, nowadays even also perception of pembarong shifted. More done with rational approach.