EXPRESSION OF RELIGION AND CULTURE OF KASEPUHAN CISUNGSANG CUSTOMARY COMMUNITY AT A PROCESSION OF PANTUN RECITATION OF RADEN GALUH PAKUAN PAJAJARAN IN THE CEREMONY

Mahmudah Nur Puslitbang Lektur Khazanah Kegamaan dan Manajemen Organisasi Jl. MH. Thamrin No.6, Menteng, Jakarta Pusat, E-mail: [email protected]

Article received February 22th, 2021; Article revised April 1st, 2021; Article approved May 8th, 2021

Abstract Traditional pantun is one of series of events that still carried out in the Seren Taun ceremony in the Kasepuhan Cisungsang customary community. Pantun has a very important function for the customary community of in particular and the Sundanese in general, which as a medium of communication, traditional knowledge of customary community, and a means of ritual as well. This study identified the forms of religious and cultural expressions in the traditional pantun tradition. This descriptive study employed qualitative data which aims to describe the form of acculturation of religion and culture in the pantun tradition. The folklore approach was used to analyze the story of pantun which is the focus of the discussion and related it to the cultural background of the Kasepuhan Cisungsang customary community. This study shows that the procession series of Seren Taun ceremony in Kasepuhan Cisungsang, plays a very important role in integrating the complex differences of view among modern society. Traditional pantun in a series of Seren Taun events become a source of knowledge and cultural expression of Kasepuhan Cisungsang customary community in order to maintain their traditions. The story of the RGPP pantun developed in the Cisungsang customary community is a real picture of their cosmology of life harmony with the natural environments, social and cultural environment. Keywords: religious and cultural expressions of pantun, kasepuhan cisungsang, customary community, and seren taun.

INTRODUCTION Sundanese literary genres as the oldest original Sundanese literary form (Pudentia antun tradition is one of the rituals MPSS, 1992: 7). The definition of this pantun carried out in Seren Taun ceremony by is different from the definition found in Malay the komunitas Kesatuan Adat Banten P literature which is a sentence structure Kidul (SABAKI) generally, and the consisting of sampiran and content of four or Kasepuhan Cisungsang customary community two lines. Studies on pantun have actually particularly. Pantun develop orally from one been done a lot, for example by Holle, Pleyte, person to another which belong to the Meyer and Hidding (Kartini, 1984: 1), community and become one of the Sundanese unfortunately, until the 1900s there was not literary works of buhun (classical) legacy of any satisfying and in-depth research on pantun the karuhun (ancestors). The definition of stories yet. pantun according to the Kasepuhan Havelock (1986: 24) stated that there Cisungsang customary community is different is a controversy from various points of view from the pantun tradition in Malay literature regarding studies of oral traditions because in general. Pantun in the tradition of the the tracking of orality itself is a paradox. It Kasepuhan community according to the means that a text is unable to be studied definition of Rosidi (1996: 1) is a story or fairy before it exists. Yet according to Pudentia tale that is quite long and can be performed all MPSS (1992: 9) that when the text is written, night long which is conveyed by the pantun orality ends. Therefore, the difficulty faced in specialist accompanied by the strings of research on oral traditions is in reconstructing kecapi. Pantun in such definition is one of the

Expression of Religion and Culture of Kasepuhan Cisungsang Customary… – Mahmudah Nur | 105 the oral version of the story, and rechecking usually held on Sunday mornings in front of the written version by listening to the speech Leuit Si Jimat, a traditional rice barn. Seren of the pantun specialist. The tradition of Taun's core rituals are now often attended by pantun as an oral text that is rewritten without local governments, and eventually become concerning on the written text related to the one of the cultural icons and tourism icons of same theme as the result of oral literature has the Banten government. become an interesting issue to be raised in the In addition to the importance of the research. A part from the content and meaning Seren Taun ritual, the pantun also has a very of the pantun, the dynamics of the speaker's important function for the Cisungsang life cannot be separated from the context of its Kasepuhan customary community. It has development. become a medium of communication and Rusyana (in Pudentia MPSS, 1992: 9) transmission of traditional knowledge of stated that in folklore, the speaker component indigenous peoples across generations is a very important element because it (Permana, 2008: 1). If it is related to the becomes an active supporter of the story. The custom, the pantun that is uttered in the pantun specialist has an important role in the ceremony or ritual is an absolute requirement pantun story. Unfortunately, several existing that must exist, so that the harmony of a series studies show that the present pantun of ceremonies or rituals is incomplete without composers are elderly and have no pantun. Apart from that, the pantun also regeneration. As a result, there are concerns contains descriptions of customary rules, about the sustainability of the pantun story religion, and the life teachings that reinforce tradition. Thus, if there is a community that the traditions of Banten customary can still maintain that tradition well, then this community. Pantun in the Seren Taun ritual is fact shows the existence of community certainly part of the treasures of the resilience in maintaining the traditions of archipelago's oral tradition which is their ancestors. Such resilience mechanisms meaningful. can provide lessons for both the development Various types of oral traditions such and preservation of oral traditions in as pantun have been studied by many Indonesia. researchers. Purnama (2005) in his study of One of the customary communities the Panggung Karaton in the Situraja who still preserves and performes pantun is Sumedang community shows that the stage of the Kasepuhan Cisungsang customary pantun story consists of three parts, namely community. The practice is conducted by the rajah pamuka spell (opening), the story enlivening the Seren Taun tradition. Seren content, and again the rajah pamungkas spell Taun is one of the traditional rituals (closing). The story contains of work, science, performed annually which aims to honor the philosophy, social, politics, and power values. ancestors and as a form of gratitude to the god One of good example in it is the value of work for giving the blessings and fertility. The shown and illustrated by the spirit (ethos) of Seren Taun ritual is one of a series of Raden Layung Batik Panganginan's work in ceremonies in this traditional community of achieving goals. The results of different agriculte. According to Humaeni (2018: 2), studies were found by Tini Kartini, Sutedja this ceremony was attended by almost all Sumadipura, Yetty Kusmiati, H., and Saini elements of the Cisungsang customary K.M (1980) who in their research stated that community, Kasepuhan, rendangan, baris the structure of the pantun story consists of kolot, and all members of the customary three elements, namely separation, tests community. This ceremony is led directly by (obstacles), and return. This research shows the customary leader with a variety of that the structure of the pantun story depicts activities. In a modern context, the ceremony the spiritual journey of the hero of the old which lasts for one week is filled with Sundanese society. Although this research is competitions, sports, entertainment, and ends more focused on the elements of the story, this with a traditional ceremonial ritual which is information can provide a description of the the culmination of a series of rituals contained author regarding the structure of the story. in the Seren Taun ritual. This core ritual is

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Studies conducted by Sudjamza often times, expressions of recognition of (2006: 132) on the buhun giriwangi pantun what is called "God" are manifested in the found that the story of pantun, function in the form of art. It shows that in a traditional ritual as well as entertainment for the society, arts and beliefs do not have a community. As a means of ritual, this art is framework yet. In this event, the Penyetangih used in the procession of ruwatan (objects or and Penuing have a role in the Kwangkay humans) or the respondent of the pantun has a ceremony. Penyentangih is an oral poet who specific purpose in the show. While as a means chants oral texts during the ceremony. of life, this art is used in thankfulness event or Penyentangih as though a thick book a form of gratitude event for the forty days of in a written tradition: the oral text in the mind a newborn, wedding celebration, of the penyentangih is information about the circumcision, and many other. cultural journey of the Dayak Benuaq people. Permana (2008: 11) examines the The essence of the oral text is a kind of Baduy pantun which reinforces the core communication between deceased spirits and tradition of the universe. This study shows living family members. In this case, that the pantun is one of the requirements for penyentangih identifies himself as the spirit of salvation activities in rituals to commemorate the death, while at other times, he identifies the life cycle, occupy a news house, or in himself as a member of the living family. agricultural processions. The contents of the Meanwhile, penuing is a penyentangih helper pantun that are conveyed are descriptions and that support (the singing) at the end of each daily teachings of the . The kouplet. Apart from their roles, the most Baduy community does not recognize pantun urgent thing that must be done is to transfer related to certain kingdoms or famous figures the oral texts that are in the repertoire of the as commonly found in oral penyentangih into writing. If this is done too literature in general, such as panting about the late, the "thick book" belonging to the Benuaq Kingdom of Pajajaran, Pakuan, or the figures people which is meaningful would be of Prabu Siliwangi, and etc. disappeared from earth. If the previous studies tried to raise The diversity of above studies has aspects of the use of pantun in various rituals, portrayed many of the pantun and oral in 2017 the Jakarta Center for Religious traditions in various regions. In particular, Research and Development (Tarobin, 2017) several studies related to Kasepuhan studied the values of religious education in Cisungsang have also been carried out. Ulumi folklore. This research resulted in the finding (2018: iii-iv), for example, examines the that folklore can be used as a medium for culture of the Kasepuhan Cisungsang religious education. One way is through community, including cultural identity, socio- adjusting the story or part of the story to religious rituals, traditions, customs, and the become a more popular tool among students. life view of the people. The same study was However, in order to keep uniqueness of the also carried out by Fadillah, et al (2015: 56- character to be exist, the adaptation should 59) regarding Mokaha Urang Cisungsang. The keep presenting the story in its source study says that the series of Seren Taun language. Translations and explanations of the ceremonies have an important role as a means religious educational values contained in it of integrating various differences of views should be conveyed with carefully. The goal is that are getting complex in the midst of that students can get to know the culture modern society. better and able to improve the character. One The main problem raised in this paper of the studies in it also examines the story of is how the religious and cultural expressions the pantun of Sri Sadana / Sulanjana by Rosadi of the Kasepuhan Cisungsang Lebak Banten (Rosadi, 2017: 139). society contained in the Raden Galuh Pakuan Suryadi (1995) in his study of the role Pajajaran pantun in the Seren Taun ritual. of the penyentangih, which is positioned as an Research related to pantun in Seren Taun pantun interpreter in the Kwangkay ceremony, ritual in the context of literacy and religion is the climax of the Dayak Benuaq death important with two considerations. First, an ceremony, reveals that in traditional society, understanding of religion in the local context.

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This consideration become strategic when used. The word 'folklore' contains elements of faced with the process of increasing religious 'folk' (community collectivity) and 'lore' understanding and harmony between religious (tradition; partly culture passed down from communities, as though the strategic plan for generation to generation). Folklore consists of religious development at the Ministry of two elements: society and the traditions. Religion (Iswanto, 2016: 104). In addition, as Therefore, in the research of oral tradition, expressed by Zoetmulder (in Iswanto, 2017: there are two elements that must be examined; 182) understanding of cultural peaks or forms society and culture along with the traditions cannot be achieved properly without which were passed down orally. Thus, the understanding religious teachings, values , or narrative content of the story in the pantun ideas behind them which absorbed deeply. and will be analyzed carefully by relate it to the form the culture. In addition, Parani (in cultural and religious aspects of the society Tarobin, 2016: 82) revealed that religious who support the culture. values are considered as very important in the realm of Malay culture, where this value is one DISCUSSION of the three unifying knots that show identity Kasepuhan Cisungsang Customary apart from customs and language. Through Community these three knots, we can talk about insiders and outsiders, our people and other people. Kasepuhan Cisungsang customary Second, pantun is a tradition passed community are local people who live around down from generation to generation which the slopes of the Taman Nasional Gunung become the expression of the Kasepuhan Halimun Salak (TNGHS) which is located at customary community. The pantun tradition the southern tip of Banten Province, precisely also contains certain messages, both in the in Lebak Regency and bordering Sukabumi form of social and religious values that are Regency, West Java. The Kasepuhan useful for the tradition followers and for Cisungsang customary community are in the public. Therefore, it is hoped that this study area of Cisungsang Village, Cibeber District, will not only take “communal spirituality” Lebak Regency and part of the komunitas which can bind each individual to a certain Kesatuan Adat Banten Kidul (SABAKI). group (Tarobin, 2016: 83). This value is The word Cisungsang comes from the expected to be used to bind the wider words "ci" and "sungsang". Ci (in Sundanese community, in the life of the nation and state. cai) means water, while sungsang in Sundanese means upside down or opposite RESEARCH METHOD from a familiar situation (Fadillah, 2015: 32- 33). Therefore, Cisungsang is defined as water The collection of field data regarding flowing upstream (flowing in reverse). cultural and religious phenomena in the Raden Another opinion says that "sungsang" is a Galuh Pakuan Pajajaran pantun (later kind of smelly and poisonous herbaceous abbreviated as the RGPP pantun) in the Seren plant. According to Fadillah (2015: 32), the Taun ritual was lasted for 18 days in the “sungsang” plant (with the Latin name Cisungsang customary community of Lebak Gloriosa Superba. L) is shaped like an orchid Banten. In the process, data collection was and bright colored flowers. In Sundanese conducted using interview techniques toward tradition, it is also stated that the naming of a informants consisting of traditional elders and village is usually derived from the name of the traditional practitioners. The information was river and tree around the land area where the then reinforced through observations on the live. implementation of the Seren Taun Ceremony Henriana Hatra, secretary of the and the ritual of the pantun performance. Kasepuhan Cisungsang, said that there are Likewise, literatury studies related to history, three opinions/versions regarding the demographic context, and the meaning of background of the Kasepuhan Cisungsang several aspects were also carried out carefully. society. First, the Kasepuhan Cisungsang This study used the approach suggested by customary community were part of the troops Danandjaja (2015), that in the research of oral of the Sunda Pajajaran Kingdom who escaped tradition matter, a 'folklore approach' can be

108 | Al-Qalam Jurnal Penelitian Agama dan Sosial Budaya Volume 27 Number 1 June 2021 in 1579, as a result of the attack of the live in, and the general customs which are still Sultanate of Banten led by Sultan Maulana preserved make them categorized into the Yusuf (see also Adimihardja, 1992: 22). They Sundanese ethnic group (Fadillah, 2015: 31). spread to two different areas, Mount Cibodas, Tatali paranti karuhun is a way of life Palasari, Jasinga, Bayah, Ujungkulon that was strongly maintained and carried out (Kasepuhan) and Lemah Parahyangan by the Kasepuhan Cisungsang. These (Kanekes). Second, they were part of the customary community have a view of Mataram royal troops who hid after the power life/philosophy/religious wisdom such as the of Mataram was handed over to the Dutch adage "Tilu sapamulu, dua sakarupa, nu hiji East Indies, then the VOC controlled the eta keneh (three simultaneously, two similar, Halimun area. As said by Adolf Dingkler also that one thing)" (Baedhawy & Wahyudin, (Danasasmita, 1983: 9); 2013: 132-133). Tilu Sapamulu means religion, tradition and government must go "... after the Batavia-Banten agreement side by side "Dua sakarupa" means that in 1684, the population moved to the tradition and religion must run parallel, while southern part of Batavia, which was said nu hiji eta keneh means that everything must to be inhabitants, except for the remains refer to the framework of the Unitary State of of the Mataram Laskar who were hiding ..." the Republic of Indonesia (NKRI). This means that religion, tradition, and government In addition, the Mount Halimun area coexist in everyday life, as recorded in Figure became a base for the resistance of former 1. members of Ki Tapa and Ratu Bagus Buang's troops while fighting against the VOC in the 18th century and calling himself as the Kasepuhan Pancer Mandiri (see also Malik, 2016: 77-79). The third opinion, the Kasepuhan Cisungsang customary community was part of the Banten sultanate conflict between former troops and people who loyal to Sultan Ageng Tirtayasa. The area around Mount Halimun (Lebak and ) became a guerrilla area during the prolonged war between Sultan Ageng Tirtayasa and his son Sultan Haji in the Figure 1. 17th century. Two parties were involved in a Kasepuhan Cisungsang Community Structure power conflict resulting an independent group (Dienaputra, 2003: 125). Of the three Regarding the Seren Taun event, the opinions, the first opinion was most believed Cisungsang customary community believe to be true, that they were part of the Sunda that a harmonious life will be created if Pajajaran kingdom, they came from the humans can maintain a balance between descendants of King Siliwangi. This is also human and God, between human and each reflected in the various symbols, values, and other, and between human and their natural beliefs held by the Kasepuhan Cisungsang environment. They also believe that temporal customary community, such as the tradition of life is seen as buwana panca Tengah. This the pantun story in Seren Taun activities. means that the human life cycle consists of the According to Baedhawy (2013: 132), cycle of birth, life, and death to go to the Kasepuhan Cisungsang is a religious immortality in the afterlife. In simple terms, community. This can be seen from the way humans must prioritize pamodolan they practice their daily rituals. The religion (defecating), thinking about pibututeun adhered by the people living in the Kasepuhan (fulfillling the need for clothing and material), Cisungsang area was Islam, although some of and rawuh akhir (human will leave the world the community members still practice the life). From this point of view, the land traditions or customs of their ancestors becomes important as a medium to fulfill the (karuhun). The language used, the place to

Expression of Religion and Culture of Kasepuhan Cisungsang Customary… – Mahmudah Nur | 109 needs of life as well as a place for the growth conducted in order to be safe and live without of sri (rice) which can provide food to human. any obstacles in the way. Therefore, according As previously explained, there were to Pudentia (1992: 9) rajah functions as a Kasepuhan Cisungsang people who carry out repellent because it contains requests for and the customs or traditions of their permission and requests for refuge to the gods ancestors (karuhun). It can be seen in Figure and ancestors to tell old stories that are 1. that all traditional cycles that carried out considered sacred. The parts of the poetry were their responsibility towards the story structure can also be seen in the karuhun/ancestors. The customary leader transcription of the text. represented as Abah/Olot/Oyok/Oyot/Ama is The RGPP pantun was the one that the highest leader in the Cisungsang often told in the Seren Taun ritual in Kasepuhan community, arguably as the top of Kasepuhan Cisungsang. The author quotes the the power pyramid who has expertise in name RGPP from the name of the character agriculture (technical/symbolic), gives narrated in the pantun text. From the prayers and blessings for all activities carried observation conducted on the contents of the out by Kasepuhan Cisungsang community. pantun text, the writer did not find the same The governance carried out by story, therefore the writer gave the title of this Abah/Olot/Oyok/Oyot/Ama is centered on the pantun as Raden Galuh Pakuan Pajajaran tatali paranti karuhun described in the (RGPP). The RGPP pantun performance in the previous paragraph. The customary leader in Seren Taun ritual is carried out at night, after the Kasepuhan Cisungsang community was a Isha prayer until before Fajr. However, at this representation of the ancestors. Therefore, all time, pantun performances were held about 3 orders and instructions from the customary to 4 hours after Isha. The poem told about the leader will be considered as orders and history of the origins of the Cisungsang instructions from the ancestors. Tatali paranti customary community. According to Abah karuhun, a way of life carried out by the Apih Jampana (pantun performer) (interview, Kasepuhan Cisungsang community, becomes 2019), pantun known to the Cisungsang their control in the life cycle. These customary community as consisted of two procedures shape the Kasepuhan Cisungsang forms. The first known as pantun sempal community into an integrated, adaptive, usually told for entertainment, such as the negotiative, accommodative, and imitative story of Malin Kundang and Si Kabayan. The society. second called pantun baluh, often performed in a Seren Taun ritual called bubuka pantun Raden Galuh Pakuan Pajajaran Pantun as galur. Apih Jampana was chosen to perform an Expression of Religion and Culture the pantun in Seren Taun ritual since she was 16 years old. He did not know what was being The pantun performance usually told during the pantun tradition because he begins with delivering the opening of rajah was chanting it unconsciously. The process of and completed with the closing of rajah. The inheriting this pantun ability is also obtained middle part of the story takes the form of through revelation (wangsit) and without any dialogue and some are in the form of narrative formal learning process. Therefore, no matter (Rusyana, 1984: 71-85). In summary, the how hard a person learns to chant, if there is structure of the pantun story is divided into no revelation, he will not have the ability to three parts, namely the opening rajah, the chant. story, and the closing rajah (Abdulwahid, The tradition of pantun in the Seren 1986: 31). However, Sastrawidjaja (in Taun Kasepuhan Cisungsang ritual is divided Purnama, 2016: 191) says that not all pantun into three stages, first, the preparation stage story is closed with a closing-rajah. which is the first part to prepare equipment According to Purnama (2016: 191), the and various materials for the ritual. Apih opening rajah is one type of spells intended as Jampana (Pantun practitioner) leads the to request permission to karuhun (ancestors) preparations by presenting offerings (sesajen) or supernatural beings who control hills, as one of the conditions before the show begin. upstream, rivers, mountains, huge trees, and The offering (sesajen) is placed on a “nyiru” places that are considered sacred. This is

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(tampah made of bamboo), which contains Third, the stage of implementing the various types of food, cakes (wajik, dodol, uli, pantun ritual. This stage was divided into cucur, sagon, jipang, opak, etc.), ambon three parts; 1) Opening (incense burning, banana, and two glasses of water, to be prayed incense smoke) contains prayer asking by Abah. The serving of this sesajen is permission from the Almighty God, a prayer believed to make the performance succeed and asking permission from the ancestors, causes zero disaster. This offering was a sign conveying the aims and objectives, submitting of conditions to maintain harmony with requests so that the ritual can run smoothly, ancestral spirits or spirits who come to the praying for the ricefield, and praises songs to performance. This offering was also served for the god as well as rice as His creation. This ancestral spirits, and humans, which contain was held in a way the person who brings symbols that understandable by human. These "parupuyan" surrounding the pantun stage for symbols are the reflection of human life, 7 times. This step in the structure of the whether from symbols of purification, pantun story is called rajah (a kind of spell or behavior, advice, self-awareness toward God, prayer). According to Yus Rusyana, rajah is and so on (Sudjamza 2006, 39). In addition to categorized as a spell that contains magic and its culture, which is full of religious values, passes down magical activity (1970: 11). The Indonesia also has diversity in the culture that pronunciation of the rajah at the beginning of becomes the identity of its people. The the mantun aims to apologize and requet acceptance of culture in religion gives birth to permission from the spirits of the karuhun or various cultural expressions. The diversity of ancestral spirits to be given fluency and safety Indonesian society, especially in terms of in carrying out mantun. These habits usually religion and culture, on the other side, carried out as a condition and duty before the provides the potential for the richness of story of pantun is being told. As contained in Indonesia's cultural treasures, still, on the the opening text of the RGPP pantun rajah other hand, it also has the potential for below: disharmony. Ampun paralun panjang Ampun paralun panjang apology, Second, nyarita is an oral hampura We say goodbye to the owner of communication between the interpreter of the kami pamit kanu boga bumi the house, bisi nyaur teu diukur, Perhaps words are immeasurable, pantun and Abah or the person who has been bisi ngucap teu diunggang Perhaps the words are not well given the task by Abah to receive "carita". Bisi bekasna teu nganyalahan thought, Amit deui kanu diluhur Perhaps the output does not Apih Jampana (Juru Pantun) went to Aki Edis bisi nyaur teu diukur, violate, bisi ngucap teu diunggang mercy again to the god, (the person who was given the task by Abah) bisi bobot sapanon, carang Perhaps words are immeasurable, to ask for permission and the blessing in order sapakan Perhaps the words are not well bisi teu ngajajar caritaanana thought, to perform the pantun recitation. The tools Perhaps there is a shortage, and materials brought by Apih Jampana were Perhaps the story does not flow clearly "tumpang seupaheun" a type of sesajen, including cigarettes, sirih leaves, lime, Ampun paralun panjang Ampun paralun panjang apology, panglay (bangle), and incense. Sitting face to hampura Perhaps the story does not flow bisi teu marélé carékna clearly, face, Apih Jampana began this nyarita ritual Bisi teu manjang caritana The story is not long enough, by shaking hands, then conveyed the kami amit deui kanu di We apologize to those in the barn, pangdaringan Perhaps words are immeasurable, intentions and goals. Aki Edis listened bisi nyaur teu diukur, Perhaps the words are not well carefully, then conveyed his agreement which bisi ngucap teu diunggang thought, was then filled with hopes and prayers so that Bisi bekasna nganyalahan Perhaps the output does violate, the pantun ritual succeed. The musical Ampun paralun panjang Ampun paralun panjang apology, instruments that accompany the ritual of the hampura We apologize to those in the east, kami amit kanu dibelah wetan Perhaps words are immeasurable, nyarita are the kecapi and flute. In addition, a bisi nyaur teu diukur, Perhaps the words are not well pair of bound paddy placed in a “boboko” bisi ngucap teu diunggang thought, container made of bamboo and decorated with Bisi bekasna nganyalahan Maybe the output violates, flowers, rurujakan (bitter coffee, water, milk, Ampun paralun panjang Ampun paralun panjang apology, flower water), cigarettes and parupuyan hampura Feet connect steps, suku sambung lengkah Lips connect sayings, (incense holder) in front of pantun biwir sambung lémék Hands continue to reach, practitioner. panangan sambung ngowét Surrender to the god, masrahkeun kanu Kawasa Perhaps words are immeasurable,

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bisi nyaur teu diukur, Perhaps the words are not well bingung teu manggih tungtung, Endless confusion, endless bisi ngucap teu diunggang thought, susahna teu aya sudana, cara difficulty, like in the past Raden baheula Raden Galuh Pakuan Galuh Pakuan Pajajaran Ampun paralun panjang Ampun paralun panjang apology, Pajajaran hampura Perhaps the story is not long Bisi teu manjang caritana enough, kumaha cenah aing ngan ukur How is it, I just live alone, kami neda dimaklum We ask you to understand, hirup sorangan moreover I must make a way, bisi nyaur teu diukur, Perhaps words are immeasurable, mangkaning aing hirup kudu How can I do it, how do I go bisi ngucap teu diunggang Perhaps the words are not well nyieun jalan Turned to the right, it was pitch menta hampura thought, aing kumaha ngalaksanakeunana, dark, kumaha aing ngaléngkahna To the left, the more so. apologize rét ka katuhu, poék mongkléng rét ka kenca mingkin komo suku sambung lengkah Feet connect steps, biwir sambung lemer Lips connect sayings, Di dinya mah munajat ka nu There is a place to pray to the panangan sambung ngowet Hands continue to reach, Kawasa god, to dream, ngahuleng ngaraga meneng I do not have a potential aing teu boga pibaturen, rek companion, with whom I want to jeung saha aing cacahan live with Di dinya kami pasrahkeun deui There we give sesajen again, sasajén To the authorities to be accepted, Nu Kawasa…. coba menta The Lord, I ask for the miracle of ka pangluhung hayang ditampi The Sri, various fruits salad, saciduh metu saucap nyata, your words, Sri na, rurujakanana, kembangna seven typical flowers, lamun aing ditakdirken hirup di nu tujuh rupa, The rice is one kuren, also alam dunya If I'm destined to live in this beasna sakuren, kalayan sangu, cooked-rice, plain water, please ieu aing lamun hirup, euweuh world, caina cai hérang, mangga accept, batur rék kumaha Even if I live, there's nothing else, nyanggakeun … Accepeted as it is, I can't helped it, nyanggakeun sadaya daya …. Also the sesajen, ahirna … Finally, ogé sasajénna perhaps a lack from the barn, di dinya mah …. kop baé kana From there, then take a stick bisi kurang tina leuitna, perhaps a lack in the fruits salad, iteuk paku jagat stick, bisi kurang rurujakanana, apologize... na iteuk paku jagat I' will make friend hampura… coba aing rek nyiptakeun pibaturen Ampun paralun panjang Ampun paralun panjang apology, hampura Perhaps words are immeasurable, Raden Prabu Galuh Pakuan Raden Prabu Galuh Pakuan bisi nyaur teu diukur, Perhaps the words are not well Pajajaran menta menta kanu Pajajaran ask to the Almighty, a bisi ngucap teu diunggang thought, kawasa, hayang nyiptaken need to create humans who will manusa pibaturen, pikeun accompany him, to continue the Part (2), the carita pantun which nerusken lalakon story contains the story of the journey of the sakerak metrak, ngawujud One magic tap, human form, ancestors begins with a situation in the manusa…. appeared before him, gejlig ka hareupeunana… Father... I surrender to give up wilderness accompanied by a kecapi, and Amaaa,,, nyanggakeun sadaya- everything occasionally the pantun practitioner lights a daya Hmmm. Thank goodness, son... cigarette while the incense continues to burn hmmm,,, sukur Sep … Thanks to the Almighty, thank Nuhun nu Kawasa … nuhun you and emits incense smoke during the ritual. kami geus dipercaya nyiptaken I've been trusted to create This stage is a stage for the composer to tell manusa humans the narrative of the pantun story accompanied Dialog : by long dialogue as contained in the RGPP “Ka dieu kasep ka dieu!” Come here, handsome, come “Amaaa,,,mangga here! pantun text below: nyanggakeun…” Father, I have come to your “Sabab Ama euweuh pibaturen presence di leuweung geledegan, cenah In the wilderness, it is said that in keur hirup di alam dunya, "Because father does not have a baheula, ancient times, pitch black, wayahna nu kasép jadi companion in the world, so I beg poék mongkléng, teu katempo, invisible, and even the pointer pibatureun ama … you, Handsome, to be Rama's nyumputkeun curuk curuk acan finger could not be seen. “Amaa…nyanggakeun sadaya friend. cenah baheula sheltering in a big tree is daya… Rama, I obey all orders nyalindung we dina kayu gede incomparable, eweuh pisandingeunana “ngen wayahna,, nu kasép kudu But please understand, he must ngahuleng, ngalagameneng, Daydreaming, silent, confused, boga ngaran” have a name bingung, How is this, I am in the realm of “nyaeta ngarana Nu kasép His name is, Lengser, kumaha kieu, aing aya dialam the world, Léngsér" Leaving means surrendering dunya, Shift to the left Léngsér ngandung harti whatever you are ordered ngagilir ka belah kenca, shift to the right, kumaha diparentahna…” ngagilir ka belah katuhu, How am I, I'm in a lonely forest “ Nuhun… Ama..” Thank you Ama aing kumaha ieu, aing aya di far from anywhere, “Tong kajauh kasep..” Don't go far child leuweung luwang liwung The Lord, how am I... “Moal .. Ama” No Ama Nu Kawasa aing kumaha… Turn here and there, “Ja ngan aya urang duaan” Cause there's only the two of us lieuk kaditu, lieuk kadieu Pitch black, “Satungtung cukup pibatureun, As long as we have enough poék mongkléng To talk to, to whom, ulah waka kamana mana, urang friends, don't go anywhere, we rék ngomong, ngomong jeung alone, nyalindung baé dina kayu just hide in a big tree saha gedé.” Child, be good, let’s make better ngan ukur sorangan future

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“kasép, sing hadé, urang nyieun We will continue the journey, kahirupan anu bakal datang” “Diajajapkeun ku mang lengser Raden Galuh Pakuan Pajajaran, ka belah kulon” The Almighty, please forgive me “Léngsér,,, wayahna kudu Lengser, I have to make another “Amaa,, parantos dijajapkeun, for a long time, I ask for more nyiptaken deui manusa, teu human again, both of us are not Radén Perwira Jagad aya di humans... cukup urang duaan… enough... tatar Kulon” Contemplating....concentrating

Teras sujud kanu maha On kneel to the god, thinking urang terusken deui Kawasa, ngahuleng, "Lord, we ask humans, because lalampahanna, Radén Galuh “Nu Kawasa, coba kami ménta living for only both of us are not Pakuan Pajajaran, manusa, sabab kami hirup teu good enough" Nu Kawasa, ampun paralun cukup ku duaan But not long after, a formless panjang hampura, kula Ngan teu lila, kadéngé sora voice was heard nyuhunken deui manusa… tanpa rupa Ama..please Ngahuleng,, ngaraga meneng… We already have friends, don't go teu lila,, gejlig aya Not long after, appeared beside “Amaa,,, mangga nyanggakeun anywhere, let's just calm down. sagigireunana,,, sora awéwé… him, a female voice. ….. That means there are the three of “Urang geus boga batur, us “Amaaaa,,,,, masrahken sadaya Amaaa,,, I surrender completely wayahna tong kamana-mana daya … Nyai wants to be named soon urang cicing heula… “Nyai hayang geura dibéré Nyai's name, Sri Mayangsari Berarti urang geus aya tiluan… ngaran” The Beauty of Sri Mayangsari will “Nyai ngaranna, Sri be assigned to the south, Di dinya, munajat deui ka nu From there begged again to the Mayangsari” Kawasa, Almighty, “Si Geulis Sri Mayangsari rék sujud deui … bow down again, ditugaskeun ka belah kidul” ménta ka nu kawasa… Asking the Almighty Dijajap ku Mang Léngsér ka taken by Mang Lengser to the belah kidul. south. “Wayahna kami ménta We ask for more companion Ka patempatan anu genah To a place so comfortable dibaturan deui pikeun kami again to live in the natural world. genah teuing Who made this place? hirup di alam dunya” There's another voice without a “Saha ieu an nyieun It is the Almighty work. Aya sora deui tanpa sora.. form patempatan? “Amaa,,,mangga Amaaa... Ananda is in front of “Nu Kawasa anu nyieun” nyanggakeun,, Nu kasép ieu” you Mun dipanggil iraha baé ku If at any time, whenever called by Ama, kudu datang, satungtung Ama, must come, as long as there is Urang ayeuna geus aya opatan We are now four can aya panggilan ti Ama ulah no call from Ama, do not go. “Ayeuna kieu kasep… ku ama Now, child... I want to assign waka indit. rék ditugaskeun… you... Ka belah wétan, ngan wayahna To the east, but please be advised “Sajuru deui can kaeusian, juru One more is not filled yet, the nu kasép ménta pingaraneun to ask for a name first belah kalér… northern side... heula… “Urang ménta deui ka nu We ask again to the Almighty hayang boga ngaran … wanting to have a name Kawasa… Soon, granted by the Almighty, “Ama rék ménta ka nu kawasa, Ama will ask the Almighty, we appear Raden Galuh Pakuan urang kudu bisa mawa batur must be able to bring Teu lila,,, dikobul ku nu Pajajaran …. companions... Kawasa,, “Radén Tanjung Pamuka Raden Tanjung Pamuka Alam, it Ka payuneun Raden Galuh Alam, ngaranna” is. Pakuan Pajajaran …. “Amaaaa,,, masrahken sadaya- Amaa,, I surrender myself “Hayang dijajapkeun ku Mang Want to be delivered by Mang daya … completely Léngsér. Lengser “Samemeh dibéré tugas ka Before being given an assignment “Léngsér,, jajapkeun ka belah Lengser, to the east. belah kalér, ama rék méré to the north, Ama wanted to give wétan” papatah heula” advice. Accompanied by Lengser down “Nu kasép dibéré ngaran,,, Ananda was named... Raden diiringkeun ku léngsér ka belah to the east. Radén Perwira Buwana, nu Perwira Buwana who lived in the wétan cicing di belah kalér. north. Mang Lengser, this way to the Dijajap ka belah kalér ku Mang Taken to the north by Mang “mang Léngsér, ieu jalan ka east is very easy. Léngsér. Lengser. belah wétan genah-genah Ayeuna mah geus aya nu Now they are already in east, west, teuing” Can not gp from there ngeusian, belah wétan kulon north and south. This is the border, cannot go kaler kidul teu menang léwat ka belah through dinya. Raden Galuh sujud munajat ka Raden Galuh bow down and pray to ieu wates, teu menang Mang lengser wanted to go home, anu kawasa, kami arék the Almighty, we will clean up ngeleuleuwihi. report to Ama that Ananda is ngabéréskeun patempatan, those places, whatever the already in the east. naon baé persyaratanana. requirements. “Mang Léngsér rek mulang deui, laporan ka Ama yén nu Ama... it's done, Raden Tanjung Teu lila galapak wé,, hayam… Not long after, there is a chicken. kasep geus aya di belah wétan” is already in the east. The second, named Raden Raden Galuh ménta ka anu Raden Galuh ask the Almighty for “Amaa,, parantos dijajapkeun, Perwira Jagad, who lives in the kawasa keur katertiban order and safety in the hereafter for Radén Tanjung aya di tatar west kasalametan dunya akhérat posterity. wétan” took by Mang Lenger to the west anak incu.

“Anu kadua, ngarana Radén Ama, it's done, Raden Perwira Perwira Jagad, anu cicing di Jagad is in West Tatar. belah kulon”

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Part 3) The closing contains prayer for religious ceremonies in the form of worship the succesful of the ritual and an apology for (Miharja, 2015: 21). missing things in the pantun ritual. Referring Self-recognition as a Sundanese at the to the text of the RGPP pantun story above, peak of Seren Taun's activities reveals that some words or sentences show the values of previously the religion and culture that formed religious education. However, things that it was the belief that is currently embraced by need to be known and understood in analyzing the Kanekes people. Djajadiningrat (in a text of the RGPP pantun story cannot be Ekadjati, 1995: 62) explains that the Kanekes interpreted textually only; there are many are not Hindus, nor are they Buddhists, but meanings contained in the text of the RGPP rather believe in animism, a belief that pantun story. According to Henri (interview, worships the spirits of their ancestors. In 9 September 2019), stories about RGPP are addition, the Sundanese people at that time always recited in the Seren Taun stage at also had didactic books/texts, namely the Kasepuhan Cisungsang. The story reminds the Sanghyang Siksakandang Karesian script local community not to forget that they are which contained guidance on norms, descendants of the Pajajaran kingdom. In instructions, and moral lessons. The text can addition, the Kasepuhan Cisungsang wanted provide an overview of the broad moral to show, as recorded in history, that in the guidelines for the sustainability of people's 1400-1526 AD / 16th century Wahanten lives at that time, including the knowledge Girang or Banten Girang was under the that must be mastered as a guideline for daily control of Pajajaran (Guillot, 2008: 28). This practical life. According to Danasasmita is also confirmed in a Sundanese text, Carita (1987: 6), the word Siskandang Karasian is a Parahyangan, which states that the Pajajaran rule or teaching about the wisdom of life based kingdom with its capital in Pakuan, which is on darma. Therefore, in analyzing the values now the city of Bogor, has succeeded in of religious education in the RGPP pantun uniting all areas of West Java, from West, story can not be separated from the Sundanese East, South to North under a single rule religion and culture that shape it. (Guillot, 2008: 28). The expression of religious values in The Kasepuhan Cisungsang this study focuses on the structure of the customary community is a religious society. pantun story in general and the text of the Islam is followed by most of the local RGPP pantun story in particular which is community, and there are also most people divided into three structures, namely rajah still carry out the traditions or customs of pemuka, narrative, and rajah penutup. The their ancestors (karuhun). The Seren Taun religious expressions discussed in this study ceremony, a tradition carried out by their refer to the religion and culture of the karuhun and passed down from one generation Sundanese people. The expression of religious to the next, is one example of a tradition that values in the first structure of the rajah is still being carried out. The religion referred opening of the RGPP pantun story shows the to in this study is limited to Islam and the teachings of the dasa kreta; ten welfare that is previous religions that they have believed in achieved because of the ability to maintain ten and shaped their religious life. sources of lust (Danasasmita & Dkk, 1987: 94- Koentjaraningrat (1987: 80) stated that the 96). As stated in the previous paragraph about belief system in a religion is manifested in the opening of rajah in the RGPP pantun human ideas concerning human beliefs and story. conceptions about the form of the The ten sources of lust are written in supernatural, about the existence of nature the script of Sanghyang Siksakandang and the world, about the afterlife and about Karesian (Danasasmita & Dkk, 1987: 94-96). the form of magical powers. This definition First, keep the ear from hearing which is not indicates that the Kasepuhan Cisungsang worth hearing because it becomes a door to community is a religious community. disaster. The cause of getting harm is at the Religious humans recognize sacredness, and it bottom of the blasphemy of hell, but if the ear is this sacredness that ultimately gives birth to is properly nourished it prioritize in hearing. Second, keep your eyes from seeing what is

114 | Al-Qalam Jurnal Penelitian Agama dan Sosial Budaya Volume 27 Number 1 June 2021 not worthy of being seen because that will be states that Sundanese people also have some the door to disaster. If the eyes are properly other cultural values, namely politeness preserved, the priority of sight is obtained. (handap asor), humility towards others, Third, do not feel restless because of heat or respect for older people, and love the younger cold, because it is the door of disaster, the (respect for ka nu luhur, nyaah ka nu leutik), cause of our harm is at the bottom of hell's helping those in need and those who are in shame. If the skin is nourished, we will get the distress (nulung ka nu butuh nalang ka nu priority that comes from the skin. susah). These cultural values can be seen in Fourth, do not say something wrong the first structure of the RGPP pantun story. because it is as if calling for disaster, the cause As the quote from the RGPP pantun below: we get hurt at the bottom of hell's shame; but humans will get the priority that comes from Ampun paralun panjang Ampun paralun panjang apology, hampura We apologize to those in the east, speech if the speech is kept. Fifth, the nose kami amit kanu dibelah wetan Perhaps words are immeasurable, should not be used to smell something wrong bisi nyaur teu diukur, perhaps the words are not well bisi ngucap teu diunggang thought, because it is the door of disaster that causes us Bisi bekasna nganyalahan Perhaps the outcome is wrong, to be harmed at the bottom of the shame of hell, but if the nose is nourished, we will get Ampun paralun panjang Ampun paralun panjang apology, hampura feet join steps, the virtue comes from the nose. Sixth, the suku sambung lengkah Lips conncet to sayings, mouth should not speak carelessly because it biwir sambung lémék hands reach out, panangan sambung ngowét Surrender to the Almighty, can bring disaster at the bottom of the masrahkeun kanu Kawasa Perhaps words are immeasurable, blasphemy of hell; but if the mouth is kept. bisi nyaur teu diukur, perhaps the words are not well We will have the virtue that comes from the bisi ngucap teu diunggang thought, mouth. Seventh, hands are guarded not to take Ampun paralun panjang Ampun paralun panjang apology, any things because they can bring disaster at hampura Maybe not a long story Bisi teu manjang caritana We ask you to understand, the bottom of the blasphemy of hell; however, kami neda dimaklum Perhaps words are immeasurable, humans will receive priority that comes from bisi nyaur teu diukur, perhaps the words are not well the hand if the hand is kept. bisi ngucap teu diunggang thought out, menta hampura apologize Eighth, the feet should be kept from taking the wrong steps because they will lead The expressions of religious values in to disaster, the cause of our harm is at the the second structure, the narrative of the bottom of the shame of hell, we will get the RGPP pantun story, shows the Sundanese virtue that comes from the feet if it is people's belief in Buana Nyuncung (sky maintained in the path. Ninth, tumbung (anal world), Buana Panca Tengah (earth world), hole/dubur and qubul) should not be used for and Buana Larang (hell) or what is commonly keter (same-sex sexual relations such as called the "triple pattern/pola tiga". In the homosexual or lesbian) because it is a door to narrative, it is shown that Raden Galuh disaster at the bottom of the blasphemy of Pakuan Pajajaran is someone who came from hell; but if the tumbung is maintained, we will the heavenly world who was sent to earth to get the virtues that come from the tumbung. live his life. Like the RGPP text below: Tenth, the baga-purusa (Baga = female di leuweung geledegan, cenah In the wilderness, it is said that it genitals, purusa = male genitalia) should not baheula, was pitch black, invisible; even poék mongkléng, teu katempo, the pointer finger could not be be used for adultery, because it becomes the nyumputkeun curuk curuk acan seen. door of disaster, the cause of our harm is at the cenah baheula sheltering in a big tree is nyalindung we dina kayu gede incomparable, bottom of the blasphemy of hell, but if it is eweuh pisandingeunana preserved, we will get the virtue from baga ngahuleng, ngalagameneng, Daydreaming, silent, confused, bingung, How is this, I am in the realm of and purusa. If the ten doors (lust) have been kumaha kieu, aing aya dialam the world, dunya, Shift to the left maintained, the people will do well. ngagilir ka belah kenca, shift to the right, The Sundanese people are known as a ngagilir ka belah katuhu, How am I, I'm in a lonely forest aing kumaha ieu, aing aya di far from anywhere, society that prioritizes religious values, as leuweung luwang liwung embodied in the expressions of silih asih, silih Nu Kawasa aing kumaha… The Lord, how am I... lieuk kaditu, lieuk kadieu Turn here and there, asah, and silih asuh (loving one another, poék mongkléng Pitch black, rék ngomong, ngomong jeung To talk to, to whom, sharpening oneself, and caring for and saha alone, protecting each other). Miharja (2015: 25) ngan ukur sorangan

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bingung teu manggih tungtung, Endless confusion, endless susahna teu aya sudana, cara difficulty, like in the past, Raden Pakuan Pajajaran to the east. Daksina is south baheula Raden Galuh Pakuan Galuh Pakuan Pajajaran of Hyang Brahma's place shown by the figure Pajajaran Sri Mayangsari. Pasima is west, where Hyang In addition, it is also shown in the Mahadeva is shown by the figure of Raden narrative of the opening rajah text that the Perwira Jagad. Utara is north, where Hyang pantun practitioner "apologizes again to the Wisnu is shown by the figure of Raden god" which means that they believe in the Perwira Buwana. Meanwhile, Madya itself is rulers of the heavens which is God. Like the in the middle of Hyang Siwa's place, shown by RGPP text below: the figure of Raden Galuh Pakuan Pajajaran. Ampun paralun panjang Ampun paralun panjang apology, Wuku lima above is a welfare capital hampura We say goodbye to the owner of kami pamit kanu boga bumi the house, which means that the secret will be felt in bisi nyaur teu diukur, Perhaps words are immeasurable, speaking, tapa will be felt in wandering, bisi ngucap teu diunggang perhaps the words are not well sitting will be felt in firmness, certainty will Bisi bekasna teu nganyalahan thought out, Amit deui kanu diluhur Perhaps the outcome did not be felt in the impossibility, the release will be bisi nyaur teu diukur, violate, felt in giving without being given, bisi ngucap teu diunggang mercy again to the god, bisi bobot sapanon, carang Perhaps words are immeasurable, remembering (eling) there is no set of limit . sapakan perhaps the words are not well All these names represent one's own name, bisi teu ngajajar caritaanana thought out, one must look at oneself, if one does not see Maybe there's a shortage Maybe the story is not stated oneself as crooked meets crooked, straight clearly meets straight. This means because human actions will be prosperous because human The Seren Taun ritual is a tribute to actions. "Nyi Pohaci Sang Hyang Sri, Princess Dewi Anta." Nyi Pohaci Sang Hyang Sri is a figure kumaha cenah aing ngan ukur hirup How is it, I just live alone, of a rice goddess who is respected and sorangan I have to make my way, mangkaning aing hirup kudu nyieun How can I do it, how do I go worshiped in a religious-magical Seren Taun jalan Turned to the right, it was event (Malik, 2016: 151). This story became aing kumaha ngalaksanakeunana, pitch dark, kumaha aing ngaléngkahna To the left, the more. one of a series of events that were told and rét ka katuhu, poék mongkléng carried out at the peak of Seren Taun rét ka kenca mingkin komo Kasepuhan Cisungsang. The narrative tells the hmmm…lamun kieu mah aing geus Hmmm, if so I have been story so that the local community can handle dipercayakeun ku anu Kawasa.. trusted by the Almighty, the rice as well as possible, as appropriate to ges kieu mah kapalang If that's the case, then kapalang tanggung aing geus kieu It's better be done. treat honorable princesses and have mah supernatural powers, from the process of planting seeds, during plant maintenance, Di dinya mah munajat ka nu Kawasa There is a place to pray to the ngahuleng ngaraga meneng mighty, to dream, stalk harvesting, to storing time in the barn. aing teu boga pibaturen, rek jeung I don't have a potential This story implies that apart from maintaining saha aing cacahan companion, with whom I want to live with a relationship with God (habluminallah), the Nu Kawasa…. coba menta saciduh Lord, I ask for the miracle of Cisungsang customary community must also metu saucap nyata, your words, maintain relationships with other creatures lamun aing ditakdirken hirup di alam dunya If I'm destined to live in this (habluminannas). ieu aing lamun hirup, euweuh batur world, It is also told in the narrative structure rék kumaha Even if I live, there's nothing else, I can't helped it, of the RGPP pantun story about Raden Galuh ahirna … Pakuan Pajajaran's mission of building roads. di dinya mah …. kop baé kana iteuk Finally, na iteuk paku jagat From there, then take a stick This mission in the Sanghyang Siksakandang coba aing rek nyiptakeun pibaturen stick of paku jagat, Karesian script (Danasasmita & Dkk, 1987: I'll make friend 97-98) is called our way of serving the Lord of Raden Prabu Galuh Pakuan Raden Prabu Galuh Pakuan Pajajaran menta menta kanu kawasa, Pajajaran asking the the heavens, which means that work is the hayang nyiptaken manusa pibaturen, Almighty, wanting to create a future of the mind, the behavior itself is the pikeun nerusken lalakon human who will accompany way. The path of serving is understood as him, to continue the story wuku lima called, purwa, daksina, pasima, utara, and madya. Purba is east, where Hyang Isora is shown by the figure of Raden Tanjung

Pamuka Alam who was sent by Raden Galuh

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CLOSING Cisungsang customary community), Helmy Faizi Bahrul Ulumi (Director of The series of Seren Taun ceremonies Bantenology), and Aditia Gunawan at Kasepuhan Cisungsang have an important role in integrating various differences of views (Manuscript Philologist of Sundanese that are increasingly complex in the midst of manuscripts from the National Library of the Republic of Indonesia) which have assisted modern society. The tradition of traditional and provided input on this study. Also, thanks pantun as one of the stages in the series of to the scholars and writers who have helped in Seren Taun events is evidence of the source of the process. knowledge and cultural expressions of the

Kasepuhan Cisungsang community to REFERENCES maintain continuity of their traditions. This can be seen in the preparation stages of the pantun tradition which is viscous toward the Abdul wahid, idat. (1986). Aspek Filosofis customs and culture of their ancestors. Cerita Pantun Mundinglaya Di The story of the RGPP pantun Kusuma. Fakultas Sastra Universitas developed in the Cisungsang indigenous Padjadjaran. community is a real picture of their Adimihardja, K. (1992). Kasepuhan yang cosmological view of life in harmony with the tumbuh di atas yang luruh: natural environment, the social environment, pengelolaan lingkungan secara and the cultural environment. This is shown tradisional di kawasan Gunung by the text of the RGPP pantun which Halimun Jawa Barat. Tarsito. contains the concept of human creation on https://catalog.hathitrust.org/Record/0 earth which is an important chronicle in the 10172373 traditions of Sundanese society, life and social Baedhawy, R. ., & Wahyudin, N. (2013). history, and also life advice. In addition, this Nilai-nilai Kearifan Lokal dalam pantun tradition serves as a reminder of the Pelestarian Lingkungan Hidup Cisungsang customary community of the Masyarakat Baduy dan Kasepuhan norms prevailing in their environment and the Cisungsang. Dinas Kebudayaan dan origin of the Cisungsang customary Pariwisata Provinsi Banten. community. Danandjaja, J. (2015). Pendekatan Folklor The text of the RGPP pantun reflects dalam Penelitian Bahan-bahan Tradisi a harmonious view of life patterns to Lisan. In Metodologi Kajian Tradisi implement customary, religious, and state Lisan, edisi revisi (p. 542). Yayasan laws. This is in line with the definition of the Pustaka Obor Indonesia. values of religious education in this study, Danasasmita, S. (1983). Sejarah Bogor namely the rules of life that are accepted as Volume 1. Pemerintah daerah knowledge to shape attitudes, personalities, Kotamadya DI II. and skills in practicing their religious Danasasmita, S., & Dkk. (1987). Sewaka teachings to become Indonesian people who Darma, Sanghyang siksakandang believe and fear God showing noble character karesian, Amanat galunggung: and maintaining the peace and harmony Transkripsi dan terjemahan. Proyek among religious believers. These values Penelitian dan Pengkajian Kebudayaan consist of: (1) worshiping in line with the Sunda (Sundanologi), Direktorat belief; (2) doing good deeds; (3) maintaining Jenderal Kebudayaan. peace and harmony. Dienaputra, R. (2003). Kebudayaan Sunda:

antara Mitos dan Realitas. Menggugat ACKNOWLEDGEMENT Budaya Sunda: Persfektif Periferal. Ekadjati, E. S. (1995). Kebudayaan Sunda The author would like to thank Abah (Suatu Pendekatan Sejarah). Dunia Usep Suyatna (head of the Cisungsang Pustaka Jaya. customary community), Henriana Hatra Fadillah, M. A. D. (2015). Mengenal (Secretary of the Cisungsang customary Masyarakat Adat Banten Kidul: community), Apih Jampana (a pantun for the

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