HARMONIA : Journal of Arts Research and Education 16 (2) (2016), 192-201 p-ISSN 2541-1683 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2541-2426 DOI: 10.15294/harmonia.v16i2.8783

The Character Adaptation of Masked Puppet Figures in Ruwatan Ritual

Robby Hidajat Department Dance and Music Education, Universitas Negeri Malang, Jl. Semarang No.5, Sumbersari, Kec. Lowokwaru, Kota Malang, Jawa Timur 65145 E-mail: [email protected]

Received: October 21, 2016. Revised: December 1, 2016. Accepted: December 11, 2016

Abstract

One myth that is believed by people living in Duwet village is distress that threatens human beings from when they are born till the day they die. As one way to overcome the distress, people, especially those who are living in Duwet village, hold ritual called as tolak bala. One step in the ritual is self-cleaning oneself from distress or sukerta. In addition to the ritual is a masked puppet as a means of the ritual execution. Thus, this study aims at finding out the functions of the Ruwatan masked puppet. Functional-structural perspective was adopted in the study by implementing observation, interview, and documentation study techniques. Results show that masked puppet has a special function which is to serve as a means of Ruwatan that is specifically to obtain society participation in order to give spiritual support to the process of ritual as a whole tolak bala or distress expulsion process.

Keywords: performing arts; masked puppet; ritual; character adaptation

How to Cite: Hidajat, R. (2016). The Character Adaptation of Masked Puppet Figures in Ruwatan Ritual. Harmonia: Journal of Arts Research and Education, 16(2), 192-201. doi:http://dx.doi.org/10.15294/harmonia.v16i2.8783

INTRODUCTION 15, 2015). As Javanese society in general, peop- Duwet village society lives in a wes- le in Duwet village also believe in Kejawen tern part of Tengger mountain slope. The belief, spiritual, ethical, and moral beliefs people of the village are generally - hold by Javanese (Sunarto, 2009, p. 28). nese, originated mainly from Malang re- Therefore, several traditional rituals are gency. The people are usually known as still performed and preserved. Every once ‘arek’ society as their daily attitude and in a month, on Friday of Jumat Legi, Duwet personality are generally considered spon- village society visits their ancestors’ ceme- taneous and seemed harsh. The language tery (nyadran) and have a ritual named se- they use is Javanese’s Ngoko, the informal lamatan. Furthermore, the society also still form of Javanese. From the mentioned cha- believes in a good day and a bad day in racteristics, the society is often called as in- holding an important event or ceremony digenous , or countryman. as well as good luck and bad luck which However, even though common people depends on the day when a person is born. address the society as a countryman or in- Rituals are then held to fix these bad luck digenous people, some public figures, in- problems caused by an unrelated day of cluding the puppeteers, belove that these birth which is categorized as sukerto. In or- Duwet societies belongs to the descendant der to avoid more problems or bad lucks, of Mataram Kingdom (Interview, March society performs the ritual of tolak balak

192 Robby Hidajat, The Character Adaptation of Masked Puppet Figures in Ruwatan Ritual 193

(avoiding distress), popularly known as Sumberpucung District, and Gunungkawi ruwatan. in Pujon District. From those districts, the Ruwatan as a Javanese tradition has community that still actively performs the become the Javanese society’s belief since masked puppet is Glagahdowo communi- thirteenth to the fourteenth century. The ty in Tumpang District (Indrawati, 2009, p. evidence is relief carved in Tigawangi 81). Until the 2000s, people in that commu- temple under the leadership of King Raja- nity still held the masked puppet perfor- sawardhana in 1358. In the temple, Suda- mance for the ruwatan ritual. The Masked mala character was carved. The character Puppet Performing Art Group namely As- of Sudamala was purposefully carved as marabangun from Tumpang District was a reminder of soul cleaning done by the often asked to perform the ruwatan ritual only daughter of King Rajasawardhana with a puppeteer named Rasimen (Inter- and Bhre Lasem by doing ruwatan. Accor- view, May, 2, 2015). ding to the tradition, an only child has to Ruwatan was also performed in eve- be cleaned (diruwat) for safety purposes ry born day of a newborn baby. It was kno- (Muljana, 1979, p. 264). wn as tumpak . Interviewee 3 desc- Ruwatan in this study is an ancient ribed his experience in performing masked tradition of soul purification done by puppet in the 1970s. Interviewee 3 was a people who keep having bad luck or ha- puppeteer and had to perform the ritual of ving life at stake because of the less-bela- a newborn baby who was born on the day ted day of born (Rusdy, 2010, p. 23). This when the ritual was performed. The new- tradition is considerably common in Java, born baby was brought to the performance by using shadow puppet performance as a stage. Soon after the ritual, the puppeteer means to conduct the ritual. However, for gave the baby a name and adopted him as people living in Western Malang Regency his children. The phenomenon of giving and Tengger, the masked puppet is used names to the newborn baby by the puppe- instead of the shadow one. Both puppet ri- teer itself was common and was also done tuals, however, perform the story of Mur- by puppeteers from Cirebon. A baby who wakala (laire ). got his name from the puppeteer during The tolak balak ritual which is done by the performance was then called as ‘the villagers living in Duwet village is catego- stage baby’ (Suanda, 2009, p. 50). rized as a threat expulsion ritual to clean Ruwatan ritual is considered as an one’s soul from the bad spirit which puts important and main ritual. The ritual itself one’s life in danger. This ritual is also used is generated from individual awareness, as a prayer ritual for the ancestors’ spirits usually parents who consider their family to give abundant blessings in the attempt member’s bad luck, judging from their bad of the society to repel the bad spirit (Sorjo, born day or bad behavior which cause the et al., 1985, p. 89). feeling of restlessness for the parents. The- When this study was done, a masked re are special times when the ritual can be puppet dancer from Duwet village was ea- performed. For boys, it is when they have ger to hold a ruwatan ritual for his daugh- circumcision, while for a girl is when they ter before she was married. The ritual gave are about to get married. During those ti- the researcher an actual opportunity to mes, the rituals are suggested to be done conduct a direct observation to the ritual as the purpose of the ritual is for the in- as well as the masked puppet performan- dividuals to do social reintegration which ce. naturally brings social immunity (Kusma- In Malang Regency, masked puppet yati, 2013). communities still exist in some places, In addition, Ruwatan ritual is one i.e. Kedungmonggo Village in Pakisaji way for the society in Kedungmangga Vil- District, Glagahdowo and Jabung in Tum- lage to perform spiritual and mental con- pang District, Jambuer and Jatiguwi in dition purification for them to be free from 194 HARMONIA : Journal of Arts Research and Education 16 (2) (2016): 192-201 danger and distress. If the ritual is held, an Bhatarakala gives up his child to pray. individual will be released or reborn and Ruwatan masked puppet with Moch able to act normally as other people do. Soleh Adipramana as the puppeteer is started with the scene of jejer kahyangan. METHOD It was told that Sanghyang Wenang had lived alone by himself without company. This study employed functional- One day, Sanghyang Wenang medita- structural perspective (Poloma, 2010, p. ted. He was then given two boys named 180). This perspective underlines the so- Nurcahyo and Nurrasa. Both were given cial structure and behavior aspects of an their special places. Nurcahyo stayed in actor who does interactive action within the upper world, while Nurrasa stayed at a social process (Ritzer, 2009, p. 112). Data the bottom world. Sometimes, they argued was collected by doing observation, inter- about who were older between them since view, and documentation study. The inter- it was not told when they were both crea- viewees in the study were interviewee 1 (a ted. When their debate was not going to be puppeteer, 64 years old) from Tumpang over, Sanghyang Wenang came to approa- village, interviewee 2 (38 years old, the ch them. Both Nurcahyo and Nurasa were ruwatan organizer), and interviewee 3 (61 merged into one and named as Sanghyang years old, the masked puppet music player Tunggal. specializing in kendang). The three of them After Sanghyang Tunggal became were key informants in this study. Other the sole ruler of the universe, Sanghyang interviewees were technical informants, Tunggal then created its children and interviewee 4 (43 years old, the leader of made them leaders of the universe. The Masked Puppet Community Asmababan- eastern world or eastern universe was li- gun from Kedungmangga Village), in- ved by Sanghyang Puguh, the northern terviewee 5 (58 years old, a puppeteer of part was lived by Sanghyang Jayawilapa, masked puppet from Sumberpucung), In- the western part was by Sanghyang Isma- terviewee 6 (66 years old, leader of Masked ya. From these four sons of Sanghyang Puppet Wirabakti from Jabung Village), Tunggal, a king should be chosen. The- and Interviewee 7 (65 years old, a masked re was no rule to choose the King. There puppet puppeteer from Duwet village). has been just competition in finding Cupu- manik Astagina which was thrown to the RESULT AND DISCUSSION eastern part. The three Sanghyangs were very enthusiast and left Sanghyang Isma- Ruwatan Masked Puppet ya behind because he had no ambition to Ruwatan masked puppet is perfor- be a King. Sanghyang Puguh, on the other med by an experienced puppeteer. The ex- hand, was very excited but failed to get the perienced puppeteer himself has to be one competition. Cupu Manik Astagina rolled who has one or a married children, or is ac- by itself towards Sanghyang Manikmaya. tually the descendant of a ruwatan puppe- Sanghyang Puguh who had the am- teer. Masked puppet in Malang regency is bition to have the cupu manik had a big actually similar or refer to Shadow puppet fight with the cupu manik holder, Sang- puppeteers, like Rusman, Karimen, Kang- Manikmaya. Both of the involved sen, Rusnadi, Sanip, or Soleh Adi Pramana in a fight that pushed Sanghyang Puguh who perform using the story of murwaka- to use all his power. He then ate a small la, the story of the day when Batara Kala mountain called Waja till his mouth got was born. However, each puppeteer also wider and part of the mountain fell on considers the technical aspects, whether Sanghyang Puguh’s body. As a result, the the story of murwakala is told in a comple- body of Sanghyang Puguh turned into fat te version (jankep), started from jêjêralang- and small. Sanghyang puguh was sorry alang kumitir or awang-awang kumitir up to for what he did. But, everything had hap- Robby Hidajat, The Character Adaptation of Masked Puppet Figures in Ruwatan Ritual 195 pened and nothing could be changed. Af- that and Manikmaya pulled out his geni- ter that, Sanghyang Puguh was asked to go tals that turned into ular-ular (a tornado). back to his origin in the eastern part of the Sanghyang Umar turned into a woman world to be a guardian of the people living in a second and named as Batari Uma or there. In this place, Sanghyang Puguh was Umayi. This became the beginning of the given a new name, Togok Tejo Mantri. Be- story of Murwakala (Suyanto, 2002, p. 67). sides Sanghyang Puguh, Sanghyang Jaya- One day, Sanghyang Manikmaya wilopo also had fought against Sanghyang saw a very dark cloud in the western part Manikmaya to get the cupu manik. Because of the world. He went to the dark cloud of the fight, Sanghyang Jayawilopo was ar- and met a hermit in a place named Kedung rested by catching his head and back and Cingkrang. The hermit was asked but ne- was pulled till he could feel the pain. Even, ver answered. Manikmaya pissed off and his body was turned into a dragon. He was kicked the hermit which led to a fierce then known as the King of Dragon or Naga battle with Manikmaya was out as a win- Raja and lived in the southern part of the ner. After losing the fight, the hermit told world. His place was known as Kayangan Manikmaya that he wanted to be the King Saptapratolo, the Kingdom of satan and of nirvana. The willingness of the hermit gin. became true after Manikmaya gave him a Ismaya, on the other hand, who had chance and named him Sanghyang Nara- no ambition to have cupu manik was for- da. ced by Manikmaya to have it. Manikma- Sanghyang Manikmaya did not go ya tortured him, hoping that he wanted to back to the nirvana, or Kayangan, but he have the cupu manik. As a result, Ismaya’s continued his journey to a place who was body became swollen. Knowing Ismaya’s now known as the island. This island body condition, Sanghyang Tunggal gave was ruled by a cow named Andini. When him clothes and asked him to live in the Manikmaya came, Andini was preparing western part of the universe known as Ka- to attack Kayangan because she had a yangan Klampis Iring to accompany and dream to become the King of every Gods take care of Javanese knights and nobles. and Goddess. Again, Manikmaya fought Ismaya was also given a new name that her and won it. Manikmaya, however, was Badranaya. gave her a chance to rule Kayangan with In the end, Manikmaya who had had him by using her as his official ride. the cupu manik was asked to stay at Kayan- Soon after that, Jejer Kayangan, Sang- gan Jungring Salaka and entitled as King hyang Manikmaya and Batari Uma rode of Gods and Goddess. The new name gi- Andini, who was a cow, to go around the ven by his father was Bhatara Guru. After universe. Unfortunately, in the middle of becoming the new king for a few days, the journey, the desire of Sanghyang Ma- Manikmaya wanted to have a spouse or nikmaya for sex rose and his sperm was ta- company who could give him children. ken by the tornado to the south ocean. The He wanted the world to have a new baby sperm fell into the ocean and was eaten by born after the love of the parents. After the Gangga fish causing her belly to grow that, Manikmaya meditated and soon af- and shine, causing the universe to shake. ter that he pulled out his right ribs that Narada who was in Nirvana or Ka- turned into a baby and named the baby yangan at that time felt worried and asked Sanghyang Umar. Sanghyang Umar was all Gods to go to the south ocean. They very handsome that made Manikmaya fell were asked to calm ocean. On the contra- in love into him. But, because Both Manik- ry, after arriving at the ocean, the chaos maya and Sanghayang Umar shared the turned worse. The Gods threw their wea- same sex, Sanghayang Umar rejected the pons to the fish. All of a sudden, a giant love and run far away from Manikmaya. rose from the ocean and beat all the Gods. Sanghyang Umar was caught soon after It was told in the story that after bea- 196 HARMONIA : Journal of Arts Research and Education 16 (2) (2016): 192-201 ting all the Gods, the giant then ran after Batari Uma also gave Batara Kala the Gods. In the middle of his way, he plenty of foods including all human who stopped and confused because he had no were walking alone at noon, baby who felt idea who he was. During his uncertainty, down from his mother’s arm, and human he found a tree trunk. He kicked the trunk who cooked rice but dropped the pan. This until there was a spirit out of the trunk and lets Sanghyang Manikmaya’s anger and he pissed at him by saying, “Kala, kurang ajar turned Batari Uma into a giant known as (Damn it, Kala)!”. The giant was not mad Batari . In masked puppet, she was but happy to hear that because he had fi- known as Wadhal Werdhi (Interview, June nally had a new name, Ajar Kala. 2 2012). Ajar Kala continued his journey to Bhatara Kala’s habit to eat caused find his parents to the east. In the middle of him to feel hungry easily. While starving, his way, he was tired and mad then kicked he went to a village and met Sanghyang a piece of stone and broke it into two se- Manikmaya there. Could not resist his parated parts. The stone is now known as starving, he held Sanghyang Manikmaya Selo Mertangkep and still at its initial place and was about to eat him, but Manikmaya in Ngersopada, the eastern part of Malang. was able to stop Batara Kala. Manikmaya Ajar Kala was continuing his jour- told Batara Kala that he wanted to shower ney while he was finally captured by before he was eaten by Batara Kala. He Vishnu. Ajar Kala was broken into wanted Batara Kala to eat the clean body two pieces by Deva Vishnu, tied up and of him. Batara Kala agreed to it and wai- went down into Candradimuka crater. ted. When Manikmaya finished showe- All of the weaponry had by the Gods was ring, the sun was in the west already that thrown into the crater as well, hoping made his attempt to eat his father failed. that Ajar Kala would be destroyed faster. He continued his journey, then (Interview, In fact, Ajar Kala was not destroyed and August 11, 2015). even grew stronger. He went after all Gods Bhatara Kala arrived at a village and not to mention to Deva Vishnu. Deva where a masked puppet was performed. Vishnu ran all the way to save his life till The puppeteer was Batara Vishnu with Kayangan and met Sanghyang Manikma- Bathara Kanakaputra (Narada) and Batara ya. On the other side of the universe, Ajar Brama as the music players. Before doing Kala met Narada along his way who final- the rituals, an offering was placed in front ly told him everything about the sperm of of the stage. In the middle of a performan- Sanghyang Manikmaya story and how he ce, Batara Kala was able to catch one of was finally born. Hearing the story, Ajar sukerta child, but the child ran and hide in Kala wanted to meet his father desperate- the middle of the masked puppet perfor- ly. But, Narada did not let him go. Instead mance. But because of the performance, he gave Ajar Kala a pair of shoes and a Batara Kala could not get the child, instead set of Nirvana clothes for Ajar Kala to go he stopped, sat, and watched. Suddenly, seeing his father. Soon after that, Ajar Kala the puppeteer stopped his performance met Sanghyang Manikmaya and asked and Batara Kala asked him why he stop- for a name and food from him. Manikma- ped. The puppeteer told him that the per- ya named him Batara Kala and gave him formance had actually been over. It had fi- food. All food given to Batara Kala had to nished. The puppeteer wanted to go home. be cut by using special Nirvana weapon- Batara Kala wanted the puppeteer to con- ry called as Bedama. Bedama was actually tinue his show, he did not want the puppe- Batara Kala’s own tusk which was pulled teer to stop. The puppeteer did not want out by Deva Vishnu when he beat Batara to replay his performance without any fee. Kala earlier. Sanghyang Manikmaya also Then, Batara Kala gave him all golds and introduced Batara Kala to his mother, Bet- pearls from his Nirvana clother for the hari Uma. puppeteer, but it was rejected. A puppe- Robby Hidajat, The Character Adaptation of Masked Puppet Figures in Ruwatan Ritual 197 teer could not accept any golds nor pearls. and Murwakala.The are scenes called sa- In the end, Batara Kala gave the puppe- brang when the character of Raden Gu- teer his weapon, bedama, to the puppeteer, nungsari is replaced with the character which was accepted. of Batara Kala and the character of Raden While the show was on, the child Guungsari is manifested as the character who was Batara Kala’s prey, showed up of Deva Vishnu or the puppeteer. It is exa- and caught by Batara Kala. But, when Ba- mined closely, the aspect of adaptation is tara Kala was about to have him, Batara clearly seen. For instance, the character of Kala realized that he had not had his wea- Raden Gunungsari is the adaptation from pon with him, he had given the weapon character Deva Vishnu and the character to the puppeteer. He asked the puppeteer of Kalana Sewandana is adapted to build for his weapon but the puppeteer refused the character of Batara Kala. to give it back. Batara Kala was the son of Three are aspects of the performan- a God, thus, all of his words could not be ce which are interesting to be studied as taken back. adaptation measures. First is the presen- The puppeteer gave Batara Kala cho- tation structure of the masked puppet ices. If Batara Kala wanted his weapon performance which belongs to the aspect back, he could have it for once, but then of transmission. The transmission here he could not eat any more human because is the bridge to relate the existence of the puppeteer had the weapon with him. Murwakala’s story elements as an integra- But, if Batara Kala wanted the puppeteer ted part of a new form of puppet perfor- to return the weapon to him for good, he mance. Second is the existence of sabrang was not allowed to eat human forever. Ba- scene to build the character of Batara Kala tara Kala preferred the weapon and gave under consideration of identical factor po- the child to the puppeteer. Soon after that, sition which is the similarity nature of the Batara Kala left after promising that he character of keras (rough). Keras (rough) would never eat any more human, espe- here can be interpreted as the opposite of cially children. During the weapon-child alus (calm that in the puppet show pre- switch, the atmosphere was tense and even sents the illustration of the human world the child passed out. The puppeteer gave and the spirit world. the child a magic spell and spilled water Batara Kala belongs to the character to him for the child to be back to normal performing sabrang scene is because of the again (Interview, May 4, 2012). character which has similar nature to Kla- Ki Dalang pangruwatan or the puppe- na Sewandana that is told by the puppe- teer is symbolized as the descendant of teer. The switch of character does not ex- a ruwat puppeteer who generally has to perience any challenge since the character perform lakutirakat, fasting, and avoiding switch between Panji and Purwa is often taboo that may fail the worship or tirakat. switched. For example, if one masked This spiritual action is the basic ground to puppet group is asked to perform Purwa perform a ritual (Koentjaraningrat, 1981, p. story, then the mask of Panji is still used 256). The host of ruwatan, in addition, also and worn as the mask of Panji Asmaraban- has to perform tirakat, and has to prepare gun that is used to perform the character all necessary errands for the ritual purpo- of Harjuna, Panji Kartolo to perform the ses. The lack of offering sometimes causes character of Bima, and Raden Gunungsa- an obstacle to occur. The obstacle can be ri to perform the character of Samba. This spirit possession, the mask which cannot shows the adaptive way of thinking had be taken off, or heavy rain. by the masked puppet stakeholders in Ma- The story of Murwakala in the mas- lang regency. ked puppet ritual performance is an adap- In relation to the Murwakala story, tation of another puppet story (wayang the puppeteers had created the mask of purwa) entitled The Born of Batara Kala Batara Kala, even one of the puppeteer has 198 HARMONIA : Journal of Arts Research and Education 16 (2) (2016): 192-201 had the sacred mask of Batara Kala. It is sed. There are two aspects lying under the wrapped in white cloth and is surrounded host’s consideration. The first is to obtain by offerings, especially every Thursday the statement or social expression from by night. The tradition providing offering the society that the host has already made surrounded the mask has been a tradition an attempt to purify his child (Soedarso- of Javanese people since the fifth century, no, 1985, p. 12) and the second is to crea- known as the spiritual tradition of Hinaya- te social stability for avoiding fluctuation na (Holt, 2000, p.35). within the society since they feel restless The character of Batara Kala itself believing that they have a bad luck or un- physiognomically adopts the character of fortunate kids in their village. Sabrang; round face, round eye, hooked In addition, Javanese spiritual adap- nose, eyebrow in balarak sineret ngombak tation is also found in the content or sub- form, thick mustache (kepelan), singoba- stance of the story which believes that the rong style in the mouth and lips, and suing existence of the ancestor spirit can be given prengesan for the teeth. The physiognomy in both good and bad luck. The Kejawen characteristics of the character illustrate a belief held by the villagers of Duwet sees rough and destructive nature. Kala means that spirit has to be taken care of for them time. The society of Duwet villege them- to keep peaceful, stable and balance to live selves understands the character as sangat around the society. In order to have a stab- (the proper time), naas (danger/ bad luck), le and tranquil condition, the human is not or kala (time/ change of the year). For Ja- allowed to do disorder action. This belief is vanese people, the presence of kala brings illustrated by the disorder action of Sang- complication in deciding sangat since the hyang who cannot hold his own lust that naas always moves in every change of the in the end creates harm. year. Therefore, every person is hoping to A ruwatan ritual that is believed by live in the middle position or pancher. The people in Duwet village as a means to middle position or pancer in the social life avoid bad luck and danger by using mas- of villagers is placed by the elders or kami- king puppets as a medium has shown the tuwa. In the past, the position of kamituwo symbol exchange as an adapted form. The or the elders was as a mediator between details are presented in Table 1. the villagers and dhanyang or the spirit li- Table 1 shows the adaptation of cha- ved in pundhen desa. racters of the masked puppet in its relati- on to the ancient belief held by Javanese The Function of Adaptation in Ruwatan society, kejawen. Panji Asmarabangun in The observation results in the as- Murwakala story does not appear since sumption that decision of the host to hold he acts as the elder (kamituwa), placing ruwatan ritual is an adapted form of Java- himself in the position of Deva or nese spiritual culture. The host of ritual Sanghyang Giri Nata, king of the Gods in believes that an action has to be expres- Nirvana. He is the symbol of power in the

Table 1. Adaptation of Character in Masked Puppet, Wayang Purwa, Custom Organi- zation, and Ancient Belief Adaptation of Character The Masked Puppet The Charac- The Character of The Ancient Belief Character ter of Gods Custom Organization Panji Asmarabangun Siwa Kamituwa Dhayang (The Guardian Spirit) Klana Sewandana Bhatarakala (Shaman) Dark Power Evil Spirit Raden Gunungsari Wisnu Dalang (Puppeteer) Shaman Robby Hidajat, The Character Adaptation of Masked Puppet Figures in Ruwatan Ritual 199 upper world. Panji Asmarabangun in eve- tion dhanyang desa is also aligned with the ryday life lives in the position of the elders position of kamituwa who has the authority or Kamituwa who has a special duty to pro- above community which means the ability tect society, the keeper of the village. In the to serve as mediator between upper and spiritual world, Panji Asmarabangun lives below world in prosper the live of society. in pundhen desa and serves as the village In 1950s, ruwatan sukerta with mas- keeper, as well as danyang dhesa or the vil- ked puppet as the medium was done by lagers’ gurdian. a masked puppet group named Asmara- The position of Raden Gunungsari bangun from Kedungmangga village. Lea- is as the pangruwatan puppeteer. Thus, the der of the art group was usually asked to position of Raden Gunungsari in the spiri- perform ruwatan sukerta. At that time, a fa- tual life is a representation of a pangruwat mous puppeteer named Rasimen, or well puppeteer that is adapted from the cha- known as Mbah Tajem had a supernatural racter of Deva Vishnu, the protector or a power to actually perform ruwatan. guardian in an ancient belief of Javanese In the 1960s, there were still plenty of people. Javanese people adapt the messia- people who felt sure of a masked puppe- nic understanding, or the embodiment of a teer named Tirtowinata and then Kangsen savior, a protector of the society from evil and some chosen people from several vil- and satanic spirit. It is believed that Ra- lages in southern part of Malang regency, den Gunungsari who stays in Padepokan from Pakisaji, Sumberpucung, to Pijiombo Gunungukir always comes down the hill and Kawi mountain slope soon after that to help society with social rehabilitation. (Interview, June 6, 2015). The manifestation of an ancient Javanese Belief of society related to the use of community of shaman which in the Java- masked puppet as ruwatan medium is un- nese society is also known as penggambuh. der main consideration that is no other that The shamans tell their ancestors’ stories to the spiritual power of the puppeteer him- their descendents and later the function is self. Not all masked puppeteers have the illustrated in the ability of the puppeteers ability to perform the ritual. The criteria of in doing performing arts. Here, a connecti- becoming ruwat puppeteer are related to on is found. It tells that Raden Gunungsari several factors, like, inheritance factor. It is has a magic power to repel bad spirits kno- believed that if one has the blood of a ritual wn as Kitab Gambuh which he got from puppeteer then he can be ritual puppeteer, Bali. Therefore, it can be inferred that one so does one who has teacher that can per- duty of a penggambuh is to repel the bad form the ritual then one can perform the spirits possessing the jaranan dancers. ritual as well. However, the way of being If the story of Murwakala in Malang a ritual puppeteer is not as smooth as only Regency’s musked puppet is studied, the becoming the descendants. There are also position of a puppeteer is given to the one some other requirements to be fulfilled. who have the ability to perform ruwatan But, the genetic factor is the most impor- ritual. The position of pangruwatan sukerto tant one. It is believed that there will be a puppeteer in masked puppet can be alig- major disaster if one is performing ritual ned with the position of Deva Vishnu who without having any parents or teachers has the authority or power to protect the that were actually a ritual puppeteer as a universe. Meanwhile, Deva Shiva or Sang- background. A puppeteer from Lowong hyang Jagad Nata has the power to cont- village, Pakisaji district who had not had rol and protect kayangan kadewatan. He is any descendants background did the ri- worshiped as the King of every God (Po- tual, one day, and he ended up dying not erbatjaraka, 1986, p. 110). The position of long after the rituals. Sanghyang Guru can be identified as the Duty had by a ritual puppeteer is authority had by the village guardian or hard, not every puppeteer has privileges widely known as dhanyang desa. The posi- to perform it. Besides, the fee is someti- 200 HARMONIA : Journal of Arts Research and Education 16 (2) (2016): 192-201 mes not washed. Therefore, extra sacrifice ked puppet character in the process of is needed to perform the ritual. A puppe- ruwatan ritual is seen from the perspecti- teer once told a researcher that the risk he ve of performance and Javanese spiritual has to face is not washed with the fee that belief. Thus, during the rituals, some Pan- he will receive (Interview, March 5, 2015). ji and Mahabarata characters are shown. In addition, the society also believes that For example, In the puppet story of Mur- the ritual results will bring impact to the wakala, there are the characters of Panji health of the person who receives the ritu- Asmarabangun as the puppeteer, Raden al (Rahanto, 2013). This reason also causes Gunungsari as Vishnu, and Bhatarakala as fear to some puppeteers. Therefore, sup- Shiva. Strong relation which is believed as port from the society is needed during the pundhen by Javanese society is Kamituwa, ritual is performed. The society is gathe- and the guardian spirit who is the dhayang red during the ritual not only to enjoy the desa. The traditional belief held by society show, but also to pray. The pray is delive- related to masked puppet aims at inviting red to the ritual as well as the puppeteer. society to gather together in living the sac- Here, the society has a special role that is to red ritual. give blessings and to support the puppe- teer and not to mention for the person who ACKNOWLEDGEMENTS receives the ritual to be prayed for his futu- re life, that he can live like normal people. A sincere gratitude is given to: (1) By doing so, it is hoped that the ritual will Moch. Soleh Adipramana, the leader of Pa- be a great success. In the end, the ritual depokan Seni Mangundharmo Tumpang; symbolizes that belief is not naturally per- (2) Mulyono, resident of Duwet Village sonal. By doing ritual, people are gathered for the opportunity given to researchers to and took part in a sacred event. conduct observation; (3) Sumantri (Com- poser of Gendhing Tayub Malang), Tri Han- CONCLUSION daya (Leader of Masked Puppet Asmara- bangun-Kedungmangga performing art Ruwatan is a symbol of disorder beha- group), and Supardjo (The Group Leader vior illustrated by an inappropriate beha- of Masked Puppet Wirabakti-Jabung). vior done by Sanghyang Makmaya and its liberation effort done by Deva Vishnu. The REFERENCES inappropriate behavior has to be rejected. One who did inappropriate behavior keep Holt, C. (2000). Melacak Jejak-Jejak Perkem- doing bad things had to be released from bangan Seni di Indonesia. (Translated bad spirit influence through tolak bala ritu- by Sudarsono). Bandung: Masyara- al. Masked puppet here is used as a me- kat Seni Pertunjukan Indonesia. dium to help people to get into the drama- Indrawati, L. (2009). Pertunjukan Wayang tic situation. 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