When Dragon and Lion Dance with the Bull

The Perpetuation of Barongsai and Liong Dances in Bantengan of Malang

"Chinese-Indonesians: Their Lives and Identities"International Conference - Center for Chinese-

Indonesian Studies5-6 February 2015, Maranatha University Bandung -

Jawa Barat, Indonesia

HANIFATI A. RADHIA

RIZKI PRADESTIYAN

PUTRA

ARY BUDIYANTO

Background of Study

There is interesting phenomenon in the last few years, at a big or even small stage, Chinese Lion (Barongsai) and Dragon (Liong) dance are frequently performed

side by side in Bantengan Malang performances.

Leyang-leyong Nagin, Baru

Klinting, Nogo

Bawono, Naga

Sejagat, Suryo Nogo

Transformation of Barongsai and Macanan:

Singo Barong, Barongan Macan, Singo Arema

The Origin: Reog vs Barongsai naga langit

Questions How the reality of inheriting the tradition of dance and

dance Liong Barongsai in Malang Chinese community itself?

Both in the era of the New Order, and currently in the reform era that now seems to seep into the Java community as seen in their Bantengan show.

How does the confluence of two traditions happen?

It can be strongly suspected that Lion and Dragon dance is certainly introduced from Eng An KiongTemple-Malang which is usually well supported from groups of Wushu club in the surrounding Malang, but actually since when the dances are absorbed into the Bantengan society?

What kind of response of the two communities on seeing the engagement of Barongsai and Liong dance in Bantengan performances.

Bantengan Malang

Bantengan art is a blend of dance and martial arts movement accompanied by music in the story of heroism that at the height of the scene ends with trance (trance, kalapan, ndadi).

Bantengan arts is ‘endemically’ found in the mountainous region of East Java, Bromo Semeru, Arjuno, Welirang, Anjasmoro, RaungArgopuro. And recently Bantengan also popular and known in others Java region where there is Jaranan/Jathilan art commonly mixed with with Reyogan

Previous StudiesRuri Darma Desprianto (2013) entitled "Art Studies Bantengan Mojokerto Symbolic Meaning and Moral Values“

Catharina Agnes Dina Sari and Sukarman (2014) entitled "Art Bantengan ing Tlatah Kediri lan Mojokerto ".

Both research on Bantengan art above have not touched on the problems of acculturation.

Reserch method

Qualitative research, ethnography, theory of knowledge dissemination which are the memetic and creativity approaches.

Informant purposive sampling method. Primary data were collected through

observation and data collection techniques open interviews (open interview) and in-depth interviews (depth interview).

Secondary data were obtained through the study of literature and documentation (VCD and Youtube).

Memesis theory says that a meme in this case the art of Lion and Liong Dance of klenteng- spread exclusively by direct demonstration (as well as the learning process directly or nyantrik), or by word-of-mouth transmission or by mediumship: printed, and recently visual media: VCD/DVD & Internet).

Whereas the creative process they have to follow the instincts of the individual cultural habitus. Furthermore, John W. Haefele said, "Creativity is defined as the ability to formulate new combinations from two or more concepts already in the mind .... The concern here is with the creative effort at the level of achievement of Recognized new solid social worth (1962, p. 6). "

Klenteng Eng An Kiong ‘obeyed’ New Order Rezim

Barongsai and Liang-liong dance stil preserved quietly with internal excercises with limitedly recruit new member. 1825 opening ceremony of Store

1965 only few Arek members but in recent post reformation 90% member of Barongsai and Liong dances are Pribumi Arema.

Eng An Kiong & Sasana Wushu

The Guardian of Lion and Liong Dance Tradition

In the New Order pagoda Eng Kiong not perform activities related to Chinese culture and art, but seeks to keep practicing internally and not recruiting so many of members.

After the reform era to the present approximately 90% of the Lion and Liang-dragon is the indigenous people.

A group of Sasana Wushu in Malang popularizing the role of art and the Lion Dance Liong (interview. Bp Anton Barongsai dan Liong- Sasana Naga Sejati Malang). Satriyo Anusopati, Tumpang-Malang.

In 2000 Eng An Kiong held a workshop for their Barongsai and liong nucleus team with athletes of Sasana Lima Benua (previously known as Wushu Elang Sakti, 1998)

Originality + Autenticity

Vs Creativity + Inovation-----------------------------------------Acculturation - Hybridization

Bp. AntonMamat / Dul

Bp. Anton, the doyen of Sasana Naga Langit, Lion Dance performances Vs. Reog was first featured in the TNI Day event during exercise along with the NA of Korean (circa 2005). This performance begins with concern at the lack of a culture of tolerance in Indonesia which is actually multicultural. The performance story is about the meeting of Lion with Reog that begins with a quarrel because they feel more powerful with each other, but in the end they make friends and play together.

This collaboration dances seems to be the inspiration of the creative process of the popularization of Liong Vs. Bantengan. Nevertheless, this art of Liang-liong does not instantly become a new mass-creation within Bantengan in the region of Malang in 2-3 years ahead.

When Liong dances with the Bull

WHEN MACAN TRANSFORMS INTO SINGA

Original Bantengan performance only have Macanan that’s played by 1 person Sesingoan + Barongsai [2 players] Barongsai Macanan Barongsai Sesingoan Singo Arema

Bantengan: Memesis Creativity & Innovation information+ technology+Material+Finance and freedom

CONCLUSION Creativity Dispensing Harmony

Creative imitation on Dragon and Barongsai dance in groups of Bantengan Malang, at least have shown that harmonization and tolerance to respect each other in order to [co-]exist and everlasting [sustain]

The Chinese Barongsai and Liong are now able to dance together with their clones brothers: White Tiger Barongan , Macanan, or Arema Singo in Bantengan performances and getting along with them to reap the ‘provision’ of the art performances.

References

Cahyono, Agus. Dkk. 2014. Pertunjukan Barongsai dalam Pendekatan Etnokoreologi.Jurnal Seni Budaya MUDRA, Volume 29, Nomor 1, Pebruari. 1 – 10.

Desprianto, Ruri D. 2013. Kesenian Bantengan Mojokerto Kajian Makna Simbolik dan Nilai Moral. E-Journal Pendidikan Sejarah UNESA AVATARA. Volume 1, No. 1 Januari. Diambil dari http://ejournal.unesa.ac.id/index.php/avatara/article/view/1132/830 diakses pada 05 Nov. 2014.

Haefele, John W. 1962. Creativity and Iinnovation. New York : Reinhold Publishing Corporation Chapman & Hall, Ltd., London

Hidayat, Yessica Christiana. 2013. Mengenal Barongsai Vihara Eng An Kiong - Peran, Makna, dan Simbolisasinya. Essai Tugas Kuliah Dasar-dasar Filsafat Tionghoa. Tidak diterbitkan.

Sari, Catharina A. Dina, dan Sukarman. 2014. Kesenian Bantengan ing Tlatah Kabupaten Kediri lan Kabupaten Mojokerto. Jurnal Online Unesa Baradha, Volume 2 No 3. Fakultas Bahasa dan Seni Program Studi S-1 Pendidikan Bahasa dan Sastra Jawa. Diambil dari http://ejournal.unesa.ac.id/article/11749/20/article.pdf diakses pada 05 Nov. 2014.

Simatupang, Lono. 2013. Pergelaran: Sebuah Mozaik Penelitian Sosial Budaya. (Yogyakarta: Jalasutra)

Spradley, James P. 2006. Metode Etnografi. (Yogyakarta: Tiara Wacana).Wahyudiarto, Dwi. 2009. Perubahan dan Kontinuitas Seni Barongsai di Surakarta

Pasca Reformasi. Jurnal Penelitian Seni Budaya Acintya. Volume 1 No 2 Desember. 193-201.

-------- “Memetics and Society” diakses pada 4 November 2014 dari http://library.thinkquest.org/C004367/ce4.shtml

-------- Barongsai dan Liong Naga langit (2009). Diakses pada 8 November 2014 dari http://Barongsai nagalangit.wordpress.com/

-------- Kesurupan dalam Permainan Bantengan (2014). Diakses pada tanggal 5 November 2014 dari http://www.halomalang.com