Music and Mabok in Art Performance of Jaran Kepang in Javanese Society in North Sumatra

PROCEEDINGS
International Conference on Culture and Local Wisdom (ICCLW)
―Globalization, National Culture, and Local Wisdom: The Sustainability and Preservation
of Culture and Local Wisdom in Facing ASEAN Economic Community‖
Grand Kanaya Hotel, Medan-Indonesia
Tuesday-Wednesday, 29th – 30th November 2016

Reviewers
Prof. T. Sylvana Sinar, M.A., Ph.D.
Prof. Dr. Syahron Lubis, M.A.
Prof. Zainal Kling, Ph.D.
Prof. Rolando G. Talampas
Prof. Dr. Bambang Purwanto, M.A.
Pham Van Thuy, Ph.D.

(USU-Indonesia)
(USU-Indonesia)
(UUM-Malaysia)
(University of Philippines-Philippines)
(UGM-Indonesia)
(Vietnam National University-Vietnam)

Editors
Dr. Umar Mono, Dipl.Trans., M.Hum.
Rahmadsyah Rangkuti, M.A., Ph.D.
Muhammad Yusuf, S.Pd., M.A.
Aprilza Aswani, S.Pd., M.A.
Maridha Fitri, S.Pd.

Organized by:
Faculty of Cultural Sciences
University of Sumatera Utara
Jl. Universitas Nomor 19 Kampus USU Medan 20155

2016

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ISBN: 979-458-920-9
1. National Culture

Printed in Medan, Indonesia

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I. Title

FOREWORD FROM THE CONFERENCE CHAIR
Praise be to Allah swt, the lord of the world, for the opportunity to host International Conference
on Culture and Local Wisdom with the theme ―Globalization, National Culture, and Local Wisdom: The
Sustainability and Preservation of the Culture and Local Wisdom in Facing ASEAN Economic
Community‖ held on 29-30 November 2016 at Grand Kanaya Hotel Medan, Indonesia. This conference
is organized by Faculty of Cultural Sciences, University of Sumatera Utara as a medium for promoting
opportunity for the experts, researchers, scientists, lecturers, post-graduate students, to contribute their
researches, ideas, concepts, and thoughts through their papers presented.
Firstly, let me extend my profound thanks to Rector of University of Sumatera Utara and also
Dean of Faculty of Cultural Sciences for their support to make this conference exist. The conference and
proceedings are tribute to a large group of people. Then, we express our gratitude to keynote speakers:
Prof. Zainal Kling, Ph.D. (UUM- Malaysia), Pham Van Thuy, Ph.D. (Vietnam National UniversityVietnam), Prof. Dr. Bambang Purwanto, M.A. (UGM-Indonesia), Prof. Rolando Talampas (University
of Philippines-Philippines), Dr. Ridwan Hanafiah, M.A. (USU-Indonesia), and Prof. Pitch Pongsawat,
Ph.D. (Chulalongkorn University-Thailand). There are 55 papers accepted to be published from various
themes, namely (1) Language, Literature and Society, (2) Identity and Cultural Changes, (3) Religion
and Political Culture, (4) Oral Tradition, (5) Globalization, Modernization, and Local Wisdom.
For all the reviewers, editors, and committee members, we do appreciate all your hard work to
conduct this event. For all our distinguished presenters, guests and participants, thank you for your
attendance and participation, without you all, this conference would be meaningless. We hope that all of
you can get benefit from this conference, widen our connection and friendship, and we wish for your

success in the future.

Best Regards,

Dr. Ridwan Hanafiah, M.A.
Chair of ICCLW

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FOREWORD FROM THE DEAN OF FACULTY OF CULTURAL SCIENCES
UNIVERSITY OF SUMATERA UTARA
The International conference organized by Faculty of Cultural Sciences, University of Sumatera
Utara under the theme ―Globalization, National Culture, and Local Wisdom: The Sustainibility and
Preservation of Culture and Local Wisdom in Facing ASEAN Economic Community‖ is a strategic
medium to discuss the existence of local wisdom. Recently, local wisdom grabs our deep attention in the
perspective of anthropology, history, and culture. Multidiciplinary researches and conferences about it
have been conducted in social sciences and humanities. And even, city government and state company
have made agreement with university in facilitating to conduct researches related to local wisdom. And

it becomes an intereseting theme and field among the researchers.
But, notwithstanding local wisdom becomes field of interest in research conducted by
researchers in university, it hasn‘t become inspiration or reference in making a policy. Decision making
is still executed by local elites without involving society members. Local wisdom regarded as containing
moral values, togetherness, cooperation, and social structure based on local tradition which is still kept
through generations is still far from the consideration of decision or policy making. Even though, it can
empower social participation in policy making. If the participation of society incerases, local democracy
will also be stronger.
The strengthening of local democracy is linked with a higher accommodation of the aspirations
of the people, especially those related to human development. Human development is very strategic in
sustaining the nation's competitiveness. A nation that is able to compete with other nations is a nation
that concerns on human development especially if it has to face the globalization. If a nation wants to
survive in the competitive world, it must strengthen human development. Currently, there is no nation is
separated from the mainstream of globalization, including Southeast Asia. Globalization has not only
covered Southeast Asia, but Southeast Asia is also currently running Asean Economic Community. In
the Asean Economic Community (AEC), the capital and labor from one country could easily enter the
other countries. If the labor‘s competitiveness of a country is weak, the skilled labor from other
countries may displace local workforce. Enactment of the AEC in 2015 will bring structural changes in
the region. Weak and unskilled nations in managing various aspects of life will not compete with other
nations and it depicts the weakness of national identity.

Local wisdom can strengthen national identity. At the moment, none of the people can stay
away from globalization. Strengthening local wisdom has a strategic role in the cultural management in
order to become a strong nation. Nation‘s toughness is a major prerequisite approach towards AEC. By
this toughness and strengthening local wisdom, undoubtedly, this nation will be able to compete in the
AEC.
This conference presents papers about local wisdom and culture from various perspectives in
Indonesia, Vietnam, Malaysia, and Philippines. We hope that this conference can bring new perspectives
about local wisdom studies and cultural change in Southeast Asia. Last but not the least, to the rector of
University of Sumatera Utara who has facilitated this event, we thank you very much.
Regards,
Dean of Faculty of Cultural Sciences,
University of North Sumatera
Dr. Budi Agustono

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PREFACE
Praise be to God the Almighty who has given His Blessing and made the International

Conference on Culture and Local Wisdom possible to be carried out. The conference with its theme
―Globalization, National Culture, and Local Wisdom: The sustainability and Preservation of Culture and
Local Wisdom in Facing ASEAN Economic Community‖ organized by the Faculty of Cultural
Sciences, University of Sumatera Utara is an opportunity for the experts, researchers, scientists,
lecturers, post-graduate students, to contribute their researches, ideas, concepts, and thoughts through
their papers presented. There are 55 full papers in the proceedings covering various themes, namely (1)
Language, Literature and Society, (2) Identity and Cultural Changes, (3) Religion and Political Culture,
(4) Oral Tradition, (5) Globalization, Modernization, and Local Wisdom. It is expected that the papers
will broaden our horizon and enrich our knowledge.
We sincerely express our appreciation and thanks to the Faculty of Cultural Sciences, University
of Sumatera Utara,and the committee members that have done their best in arranging and publishing the
proceedings with ISBN.
We would also like to express our appreciation and thanks to our keynote speakers: Prof. Zainal
Kling, Ph.D. (UUM- Malaysia), Pham Van Thuy, Ph.D. (Vietnam National University-Vietnam), Prof.
Dr. Bambang Purwanto, M.A. (UGM-Indonesia), Prof. Rolando Talampas (University of PhilippinesPhilippines), Dr. Ridwan Hanafiah, M.A. (USU-Indonesia), and Prof. Pitch Pongsawat, Ph.D.
(Chulalongkorn University-Thailand), the reviewers, speakers, and participants of this conference for
your kind and active participation. We realize that this conference will not exist without your
participation. We dream that this conferencewill be carried out yearly as aregular agenda of the Faculty
of Cultural Sciences, University of Sumatera Utara. May this dream come true. Have a successful
conference! May God Almighty bless us.

Editors

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TABLE OF CONTENTS
FOREWORD FROM THE CONFERENCE CHAIR ...............................................................................iii
FOREWORD FROM THE DEAN OF FACULTY OF CULTURAL SCIENCES
UNIVERSITY OF SUMATERA UTARA ............................................................................................... iv
PREFACE .................................................................................................................................................. v
TABLE OF CONTENTS .......................................................................................................................... vi

MUSLIM FILIPINO CULTURAL HERITAGE AND NATIONAL EFFORTS FOR ASEAN
SOCIO-CULTURAL COMMUNITY BUILDING
Rolando G. Talampas............................................................................................................................... 1
GLOBALIZATION, ECONOMIC DEVELOPMENT, AND ACCULTURATION IN
VIETNAM SINCE THE 1986 ĐỔI MỚI
Dr. Pham Van Thuy ................................................................................................................................. 5

LANGUAGE CHOICE IN LOCAL POLITICAL PARTY COMMUNICATION:
STRENGTHENING LOCAL IDENTITY THROUGH THE USE OF ACEHNESE
LANGUAGE
Ridwan Hanafiah.................................................................................................................................... 12
CULTURAL IDENTITY AND CULTURAL CHANGE
Zainal Kling ............................................................................................................................................ 17
A STUDY OF MANDAILING FOLKLORE AND ITS TRANSLATION
Syahron Lubis ......................................................................................................................................... 27
LOCAL WISDOM of MERISIK in MELAYU LANGKAT SOCIETY : ORAL TRADITION
STUDY
Rozanna Mulyani ................................................................................................................................... 33
AN ANALYSIS OF TRANSLATION TECHNIQUES IN THE ENGLISH VERSION OF
SEJARAH MEKAH
Dr. Muhizar Muchtar, M.S., Dr. Farida Repelita Waty Kembaren, M.Hum. ................................. 47
ACEHNESE UNIVERSITY STUDENTS‘ MULTIPLE INTELLIGENCE AND
GLOBALIZATION
(A Case Study at Ar-Raniry State Islamic University Banda Aceh)
Mawaddah and Saiful Akmal ................................................................................................................ 50
THE REVITALIZATION OF ADDRESSING WORDS IN DIALECT AGAM AND DIALECT
PARIAMAN OF MINANGKABAU LANGUAGE IN MEDAN

Deliana ..................................................................................................................................................... 54
THE INFLUENCE OF TRANSLATION PROCEDURES AND IDEOLOGY ON
TRANSLATION QUALITY OF MOTIVATIONAL BOOK
Roswani Siregar...................................................................................................................................... 58
THE ANALYSIS OF NARRATIVE ELEMENT IN THE FILM ―CURSE OF THE GOLDEN
FLOWER‖ BY ZANG YIMOU
Dra. Diah Rahayu Pratama, M.Pd........................................................................................................ 65

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CODE SWITCHING AND CODE MIXING IN A DAYLY CONVERSATION OF
JAPANESE PEOPLE WHO STAYS IN MEDAN AND JAKARTA
Diah Syafitri Handayani ........................................................................................................................ 69
INTERCULTURAL COMMUNICATION CONFLICTS IN INDONESIA‘S SOCIAL
ECONOMIC CONTEXT ALONG 2016
Dormaasi Sitanggang ............................................................................................................................. 73
DOES FOREIGN LANGUAGE STUDY IN EARLY AGE GIVE GOOD EFFECT TO
CHILDREN? EVIDENCE FROM CHILDREN 2 UNTIL 5 YEARS OLD

Fitri Ani and Jien Yes Taudia Panjaitan ............................................................................................. 78
SOCIAL FUNCTION OF DIDONG DOAH AT KARO SOCIETY
Frida Deliana Harahap .......................................................................................................................... 81
COMMUNICATION STYLE IN HIGH AND LOW CONTEXT COMMUNICATION
CULTURES: A CASE STUDY OF GERMANY, SOUTH KOREA AND INDIA
Mardiyatul Adawiyah, Rahmadsyah Rangkuti ................................................................................... 86
MORAL VALUES OF MINANG PROVERB AS MINANG CULTURE INHERITANCE
(LOCAL WISDOM APPROACH)
Aprili Yanti ............................................................................................................................................. 90
A STUDY OF RANDAI ART IN FOLK PERFORMANCE ART TO FRAME CULTURAL
IDENTITY OF MINANGKABAU SOCIETY
Arifni Netrirosa ...................................................................................................................................... 94
EXPLORING THE RELATIONSHIP BETWEEN AGE AND MOTIVATION ON SECOND
LANGUAGE ACQUISITION
Afrida Fitriyani Sipahutar .................................................................................................................... 99
PLURALISM IN MEDAN
Nurhabsyah ........................................................................................................................................... 103
MUSIC AND MABOK IN ART PERFORMANCE OF JARAN KEPANG IN
JAVANESE SOCIETY IN NORTH SUMATRA
Heristina Dewi ...................................................................................................................................... 108
AFFIXATION IN ANGKOLA LANGUAGE
Boni Fasius Parningotan Siregar, dita alen ....................................................................................... 115
HOW TO UNDERSTAND MEANINGS ON COMIC
Donal Fernado Lubis, Rahmadsyah Rangkuti .................................................................................. 120
AN ANALYSIS OF SYMBOLS USED IN MIKIE FUNLAND BERASTAGI
Boy Canser Tarigan, S.S., Poltak Marisi Hasibuan, S.S................................................................... 129
FIGURE OF SPEECH IN PUTU WIJAYA‘S GURU
Hidayati, Pardi dan Rabiatul Adawiyah Siregar .............................................................................. 136
THE INFLUENCE OF SOCIAL DISTANCE ON BATAK TOBA LINGUISTIC POLITENESS
Kartina Rahmadhani Rambe, S.Pd., M.Hum .................................................................................... 142
PROCESSES IN SMALLMAN AND BISCOE‘S TOO HOT TO HUG: A SYSTEMIC
FUNCTIONAL ANALYSIS
Nurlela ................................................................................................................................................... 149

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MUSIC AND MABOK IN ART PERFORMANCE OF JARAN KEPANG IN
JAVANESE SOCIETY IN NORTH SUMATRA
Heristina Dewi Faculty of
Cultural Sciences University
of Sumatera utara

Abstract
Jaran kepang art has been living and growing. It is known by many groups of jaran kepang contained in
various areas in North Sumatra. Jaran kepang is an art related to dance, music, and religion. It is seen
from believing the event of mabok (trance) on the dancer because it is believed that there is endang
(spirit) which come into body of dancer who is controlled by gambuh. This paper aims to reveal the
occurrence of mabok (trance) in art performance of jaran kepang, revealing the factors caused the
occurrence of mabok and effort made by the supporters of performance. This study uses qualitative
method. The collecting of data uses observation, interview, and documentation. The research data is
conducted from a number of informants which consist of players, audiences, and buyer by using
snowball sampling technique. The findings shows that in presenting or creating the event of mabok
(trance) in jaran kepang performance need mutual cooperation among gambuh, dancers, and musicians.
Terms and belief in knowledge of gambuh have an important role. The event of mabok is symbolized by
losing of consciousness of dancers, however dancer can perform the necessary attractions in the
performance which is helped by music. Thus, to restore awareness of dancer in the performance need
cooperation between musicians and gambuh.
Keywords: jaran kepang art, mabok, and music

Introduction
Jaran kepang is one of traditional art found in Java society, which deals with music, dance, mabok
(possession trance), ceremony, and entertainment. This art has been living and growing in North
Sumatra, which was originally taken by the Javanese who migrated to this region. This jaran kepang
performance can live and grow due to the Java society as the main supporter who really loves the region
art, thus they always want to display, maintain, and promote it.
Jaran kepang as a tradition belonging to Java society in North Sumatra is also one of the traditional
arts that show their ethnic identity. Through jaran kepang performance can also be one way of
integrating Java ethnic with other ethnics in North Sumatra. Edi Sedyawati (1984: 64) explains that in
the area of plantations, workers berlatang Javanese culture maintain the area of origin tradition, such as
doing art performance. According to Minarto (2007: 7), jaran kepang art position in society has three
functions, namely ritual, fair or folk festival, and spectacle or entertainment nature, that is inner
satisfaction alone.
Jaran kepang is a term derived from Javanese language "jaran" meaning horse and "kepang" meant
the webbing (bamboo cleavages). Thus the "jaran kepang" can be meant the webbing horse-formed
made of bamboo cleavage. The tool is used the dancers in the performance.
Generally members of supporter jaran kepang performance consists of four groups: (1) six to nine
dancers which every dancers can mabok (trance) in a certain moment in the performance, (2) four or
more musicians, (3) one person of gambuh who master the occult and can master delicate creatures, and
(4) the audience come in the performance.
Music instruments used in the jaran kepang performance is kendhang (membranophone) two sides,
demung (idiophone), saron (idiophone), and two gong (idio). Props used dancer is jaran kepang and
three masks namely Barongan, Cepet, and Penthul. These three types of masks are used to act out
certain characters, such as funny and spooky. According to Rassers (1982: 56), performance such as
plays is relics of complete ceremony that already extinct. The performance, at this time used in ritual
circumcision, marriage, and symbolically related to dualism in the universe that is still emerging or still
to
be
seen
inside.

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Music or gending always used in a jaran kepang performance is eling-eling, baladewaan, and
jathilan. However after the dancer mabok, gending (music) is played alternately in accordance with
request of the dancer.
The specificity of jaran kepang performance is the event of mabok dancer in the performance. At
the time, the dancer is considered to have entered by endang (spirits) in his/her body. The accordance of
the event, there is need for cooperation between gambuh and music players. In addition to the
willingness and ability of the dancers also support. This phenomenon is an interesting thing in jaran
kepang performance because in this time the dancers can perform their attractions.
Research Method
Jaran kepang art is one of the artistic traditions among Javanese society in North Sumatra. This
study used qualitative method. Spradley (1997) suggests that qualitative research is more appropriately
used in the study of cultural behavior in social situation that is trying to express the behavior and actions
of people in social situations in the society. Researcher conducted observation, interview, and
documentation. Observation included requirements on material performance, support and tools of
performance, player behavior, and situation of social local society. Interview was conducted to the
player, activist, audience and buyer of jaran kepang. The sample of this research was some group of
jaran kepang in North Sumatra. Data analysis was done through domain analysis, observation analysis
focused, componential, and taxonomy.
Discussion
Through description of jaran kepang performance, it can be seen components unity of jaran kepang
performance. The connection of music and event of mabok (trance) can be seen or described in this
section. Jaran kepang is played or displayed on the place, time, and in certain way. They were described
as follows:
1. Performance Venue
The venue of jaran kepang generally is in open field. Open field or yard is an ideal place, because
the dancers need freedom of movement and interact with the audience of the performance, and the
performance is free to be watched everyone. Whether the buyer of jaran kepang performance is for
interests of family such as wedding and circumcision, so it will be carried out in the wide yard, but
whether the buyer does not have wide yard then he uses empty land near his house or the yard of his
neighbors.
The place of jaran kepang is in group that researcher conduct minimum 15 x 10 m square. The place
of performance is an empty land, which before it is started the performance of empty land swept or
cleaned first so that there are no objects that could endanger the dancers while performing.
The tools of performance are also deployed by music players in the field of performance before it is
started. Especially in music instruments and pamian place, a mat laid on the ground for seat of
musicians and dancers who sit behind the music player. While offering are put on small table near the
music player. Hobbyhorse that will be used by dancers put or arranged standing in the middle of field.
The audience of jaran kepang generally stands around the performance arena.
2. Performance Time
About the performance time, each group of jaran kepang has a habit each other. Generally, the
performance is held in the afternoon and evening. Nevertheless, the performance can also be related to
customer needs and desires of players, it can be morning, afternoon, evening, and night.
The time more often used members of jaran kepang to hold performance is at 14:00 to 18:00 pm.
Because in the morning, the members of jaran kepang even the musicians and dancers go to the fields,
other things considered is if it is done in the evening, the audience will come.
Jaran kepang also frequently perform in major holidays such as new year, holiday, independence
day (August 17th), and the day school off.
3. Steps of Performance
Jaran kepang performance consists of step "preparation", step "empty scene" (dedication), and step
"game". Step of the game consists of (1) the initial mabok, (2) the peak mabok, and (3) healing /

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awareness of mabok. The step like this is also found in jaran kepang groups in other village that have
been the observed by researcher.
3.1. Preparation Step
Before the day of jaran kepang performance implemented, between the buyer and the chairman
of jaran kepang performance has been agreement on the cost of performance, venue, time, and for what
jaran kepang played.
On the day of performance, this preparation step usually start approximately one to two hours
before the next steps, furthermore is all members of jaran kepang gathered in the house of gambuh
(chairman of jaran kepang) and each member prepare the equipment, for example, dancers put on
clothes for the performance, musicians prepare the tools of performance that will be used, and gambuh
prepare sajen.
After completing the preparation, so the field of performance is prepared. First of all music
instruments are arranged on the ground, loudspeaker and microphone mounted placed in resonator boxes
music instruments of saron so that the music of jaran kepang especially saron played later sounded
more distant, so as many audiences come. After that the hobbyhorse on the field arranged in a standing
position and gathered in the middle of field, the mask is also placed closer. Then gambuh sit in front of
jaran kepang, burn incense in a small bowl (shell). Then gambuh read incantation addressed to endang.
Gambuh blessings had been requested by interests of the buyer, whether jaran kepang
performance used for other purposes such as circumcision ceremony, welcoming the guests, or crowd,
the words that are in the spell also replaced.
At the time of the spell has been read, it means endang been captured or collected around the
grounds. Jaran kepang also qualified to ride endang later. Endang-endang has already known that they
will be used in the performance.
Along with reading the incantation, gambuh bloat his hands together with the smoke of the
incense being burned. After that gambuh bloat kendhang with incense burned on the incense. The goal is
endang want to enter and exit through kendhang.
At this step, the music player has been sitting in position each other, in accordance with what
tools they will play. Saron players play gendhing-gendhing jaran kepang aimed to call the audience.
After this preparation step, then proceed to the scene of an empty stage (offerings). At the time
of this scene, the dancers have all been gathered in the field, as well as music players. The audiences
come to take position around the field.
3.2. Empty Scene (dedication)
The purpose of ―empty scene" is part of performance without mabok. This step is considered as
the opening of jaran kepang performance. Inside of empty scene of gending eling-eling is played to
accompany a dance that aims to respect endang or ancestors. The original term used for this activity is
dedication.
The meaning of term empty scene relates to the condition of dancer body which has not entered
by endang, it is "empty". During empty scene dancers should still be conscious or "remember".
The performance begins with the sound of gong, followed by saron and kendhang. Each dancer
takes their horse at the middle of field. They made two positions of straight, one line consists of three
people, led by a dancer who is in front of both of the row.
In the beginning of dance Eling-eling the dancers salute or worship the four corners. The trick
with hands clenched and opened three times in each of corners and half-squat position of the dancer's
body, when the music player group towards the north side, so the next direction is east, south, and west.
It is believed that four corners are the places of endang. The dance lacks Eling-eling.
After worship, the rhythm of music changed to be slower than the original. After that dancers
are back to their original position. Without moving from their place dance a wide variety of jaran
kepang dance. The formation shape of dance just move to back and forth motion. After running for five
to ten minutes of music turn into faster, and ultimately invite players of kendhang stop music and dance
with the slow tempo of the performance. Furthermore, it has been finishing the dance and music at the
empty scene. After hobbyhorse is returned to its original place, the dancers may break.

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Usually dancers take a rest approximately fifteen minutes. At this time some dancers feel relax,
such as smoking and chatting. While supervisors collect grain (food) like the coconut taken from around
the place.
All members of jaran kepang trust, if the offering is not implemented in the step of
performance, the next step will be a disruption of endang. It can harm the dancers and gambuh itself.
After completing of empty scene, the next step is step of "game".
3.3. Game Step
It this step mabok event is displayed or presented. Mabok occurs because of endang (spirit)
enters the body of the dancer so that he/she lost consciousness. However it can be controlled by gambuh
to still be able to perform the activities required in the performance. According to Rouget (1985: 132),
trance possession (mabok) the spirit or force something that comes from outside considered master of a
dancer so that he lost consciousness or changes in consciousness. In other words, a person's soul is
replaced with the identity of magical creatures that has been entered. The same is stated by Geertz
(1989: 19), based on the concept of Javanese, trance events (mabok) caused by the spirits entered the
body. Usually in the beginning of mabok is specified by gambuh. Here musicians, dancers, and gambuh
work together to bring the event of mabok. Gambuh use his knowledge, the musical rhythm musicians
set based on the needs said by gambuh. Gambuh and music players work together to hold mabok on
dancers, desist of mabok and disenchant the dancers who mabok.
According to gambuh, musicians, and dancers, gending which has musical rhythmic faster
strongly supports the trance. It can encourage and stimulate the desire of dancers, and had such a code is
also to endang from musicians to enter the body of dancer.
Every member who take part as a dancer in the performance, under the authority of gambuh, and
gambuh considered to make them mabok. It is not a compulsion of gambuh, but it is the rule of the
game, based on his surrender as a member of jaran kepang.
In this step, offering that consists of wedang jembaut and fireworks telon already put on the
table. As condition for gambuh and endang can communicate via inner, incense burned back or turned
on so that the place of performance be perfumed and placed in the palm of his hand, then moistened with
scented oil, then kneaded.
In this step the musician play song of ricik-ricik, which in addition to featuring dances of jaran
kepang is also a preparation for facing mabok. The formation dance of jaran kepang in this step is only
two formations which is two rows parallel and circular.
Finishing the song of Ricik-ricik, it is followed by gendhing baladewaan. Early possessed only
occurs in this gendhing. In the gendhing, there is a vocal sound, like cue or appeal, which according to
members of jaran kepang useful to energize and enliven the atmosphere of performance. The gendhing
baladewaan is spliced with gendhing eling-eling without stopping. Formation of dance is small circular
face to face, and gambuh laying flowers dangle in the air over the heads of dancers. Based on gambuh,
this is done so that endang gather over the head of dancers and ready to enter the body of dancers.
Concurrently, gambuh tell or yell dancers in order to make a circle and rotate with the faster motion.
Trance happened at the moment will enlarge the circle.
In this step is also the rhythm of drums felt more eager to give the impression that the tempo of
saron MM 92 and kendhang produces only one color of sound, the sound of dung and hit
simultaneously. When endhang enters the dancer body then the dancers's body fell to the ground, the
whole of their bodies seizures, both arms outstretched and his fingers clenched, legs stretched, bulging
eyes look in one direction, it felt the whole body taut and vibrates, and torso move forward.
In the event of trance the audiences begin noises because of shock, fear, and aroused giving
spirit. Whether the dancers trance (when endang enters to body of dancer) fall near the audiences, then
the audiences are more hysterical and shift the position of their stand for a away
After completion of the process, the dancers can dance back and sounded more "manly" and the
dance moves more rugged or stiffer than before possessed. In this condition, dancer do not know himself
again and can not control anymore. In charge of controlling is gambuh with his knowledge and music
players to regulate the rhythm of gendhing.
The number of people possessed would have been set by gambuh before performance. If all
dancers of jaran kepang possessed at the same time, supervisor of gambuh is difficult to manage them.
There will be a change of possession when one of the dancers returned to consciousness or "cured".

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Although the number of dancers will be possessed already regulated by gambuh, but can also dancers
who are not planned to be possessed will be possessed. It can not be prohibited by gambuh, because
every member of jaran kepang has right to it.
After entered by endang, dancers start doing things that are "typical" as feed on flowers, rice,
coal, incense, coconut, banana stems, and drinking water and perfumes.
Dancers who are mabok, there are still riding jaran kepang and there is no longer wearing his
horse. Sometimes the dancers like kissing his horse or looking for perfume. At other times of dancer
behavior such as horse activities or people on horseback.
When doing mabok, dancers often ask for change songs, how to request a change songs is to
designate saron designated dancers tell the players of saron, it means that he asked for changing the
gending, for dancers who possessed could not talk. If the players of saron successfully play gending in
accordance with his will, the dancers will continue the dancing. If it is not, the dancers repeat again
pointed to the players of saron replace gendhing with their wishes.
Based on the dancers, a request to change the song is not their will, but the will of endang that
permeated the body of dancers. Dancers do so in an unconscious condition.
Based on the researcher followed during the performance, gendhing was requested remain about
gendhing is known by musicians and dancers which is always played during training. It means that
demanding of Gendhing is always from some songs known by the musicians and the dancers through
performance and previous training.
Based on member of jaran kepang dancers and gambuh, from some existing songs, there is the
most favored by endang. The song is the most favored in conscious condition by dancers, it does not
mean the song that will be requested in an unconscious condition, although sometimes there is also the
same between the will of dancers with endang.
After researcher did observation, although many dancers who possessed, never happened among
one dancer to another fight each requested change songs, or did not approve his request. If the dancers
approached saron once two people, one of them pointing saron first, the other dancers always approve
the election. The agreement was seen as the second dancer dance straight away. Based on gambuh, that
moment will task gambuh to control the dancers with his knowledge in order to avoid a fight. Merriam
(1964: 209) needs to be known about the effect of music on people and how to relate these securities,
which are still functioning as entertainment and physical reaction function and the function of cultural
continuity, and society integration functions.
After about an hour of performance, the music turns into monotony. Saron only play one note
only, at that time happened the peak of mabok. Each dancer shows their ability level, for example taking
the embers of incense, drinking perfume, peeling coconut directly with their teeth, eating taro, eating
banana stems, and eating flowers.
When the dancers seem to have tired, gambuh will restore consciousness of dancer or "treat". So
the music player directly plays gendhing jathilan. Then the dancers take such formations would run and
mengkais-kaiskan their feet to the ground and square off in the direction facing the drums. At such times
can also occur in a trance to other dancers.
Endang who are in dancers body returned through khendang. When it will repatriate endang or
sensitize dancers, gambuh always put perfume to pit contained in the body of khendang. In this
condition, khendang is always played in a certain position so that the hole is always facing upwards. The
perfume is useful to accelerate endang back or get to know his place. With the smell of perfume, endang
wants to get out from dancer's body, and then come into kendhang. Gambuh also helps with banging
kendhang body with right hand, so that the attention of the dancers look in that direction.
When the dancers have known it, he will soon come to kendhang, and hopped or stand on
kendhang. Gambuh or supervisor hold or hug them from behind, sometimes blowing ear, then the dancer
strength faded away and be healed.
Another way the return of endang to kendhang, sometimes dancers embraced to kendhang and
then clasp both of their hands like worship and remove the face with their hand. There also are cured in
the presence of kendhang, toe thumb is pressed or clamped by gambuh with his hands, and worship in
front of kendhang.
If there is endang who would not get out from dancer's body, gambuh or supervisor always
whisper words as a command "bali menyang panggone dewe-dewe" (returned to the cage each other) in
the ear of dancers who is trance. Gambuh cures or awareness all of the dancers.

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From the moment of dancers start to trance till finish, the music stops only upon the transfer of
requested dancers‘ gending. Without music, trance can not move, they will not say anything in their
place until there will be gending again.
Based on gambuh, if sound of musical leaves too long, it can lead to not be good, and the
dancers will be "angry" or become ill. If the dancers will be angry, it can be seen from his expression.
Based on gambuh, if the sound of music stops, the dancers can not dance. While the dance movement is
a body treatment to offset the severity of endang pressure in people who possessed, and the movement is
a demand of endang. In accordance with the intent of performance in which there is music and dance
also mabok so those three things work together in the performance. When seeing it, the music has an
important role in a trance event in jaran kepang performance.
In performance on the other place that has also been the researcher observed, there are also some
audiences who belong to jaran kepang also influenced by the music of jaran kepang performance he
saw, by listening to music of jaran kepang desire to participate in performance is so great that they can
not control themselves and eventually they possessed. They explained that because he was member of
jaran kepang dancer ever possessed, when listening music of jaran kepang his own body as a target of
endang. In addition, they say that if his heart is not pleased with the music or gending is being played
they are always able to control themselves. Although endang will enter their body but at that time they
still had time to sort it out.
Problem of awareness or healing the audiences who is mabok is gambuh. From any class or of
any group, if they are trance, it has become gambuh work and responsibility to control and cure. This is
a reflection of attitude of gambuh in holding the title of profession as gambuh.
In jaran kepang performance is followed by audience to trance, proving the quality of their
performance well and faith to gambuh. Because a good performance makes the audience want to get
involved in the show. And it can be looked so much faith in knowledge of gambuh, because the
audiences are so sure that it will not harm under the auspices of gambuh.
Gambuh science can be used to force the audience or member of jaran kepang from another
gambuh, although not the desired by audience. But this is rarely done, because it is a reflection of
gambuh attitude which is not good.
Sometimes there is a fight broke out among the audiences who follow mabok with dancers to
trance. Dancers or members who are performing will be "angry" because endang located in the dancer's
body is not happy with the other endang inside the body of audience in attendance in the performance.
This is the continuously controlled by gambuh through the power called "mysticism". Gambuh works
through his heart, with a view towards the dancers who would fight, so it will not happen. Gambuh
communicate through the inner of endang from audiences who present in the body in order not to
become unsafe or interfere with other dancers. When making a fuss, gambuh will punish endang
through the dancers, for example by not giving sajen. Endang-endang is always obedient under the will
of gambuh. However, endang which is in the dancer's body or its members can not take it for granted, he
will keep trying to bite another dancer's body that are not their members. Then gambuh will soon
whisper the words "well alone, he will not become unsafe here" to the dancer's ear or by whipping the
ground with the whip around the dancer's body.
At the end of perfomance, while treating the trances, it is played by gending ijo-ijo. At that time
there is a dancer who is sent to ask saweran (cash donations from the audiences). Dancers circulate
around the basin to each audience.
This requesting of saweran should not be at the end of performance, it can also when the
dancers are being busy in trance, or in the middle of performance. There is no specific rule to ask
saweran. After "cured" all of the dancers who are mabok, it means that the performance is finished.
From the elicitation in advance, the trance process can be described as follows:
The sound of music - the dancers are ready - endang is released by gambuh - tempo of rhythm is quicker
- endang come into the body of dancers.
To hold the trance gendhing is alternately until the peak of mabok. At the peak of mabok
melodies tend to monotony. Kartomi (1973: 166) says that the event of mabok in ebeg (jaran kepang) is
always supported by music instrumens that always has regular metrum, repetition of music is rhythmic
and melodic, and replicates the formula of melody.
To sensitize or cure the dancers proceed as following:

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Rhythm tempo is faster - dancers dance around in circles looking for direction of kendhang - gambuh hit
kendhang and put perfume – dancer face to kendhang or hug kendhang.
Conclusion
Jaran kepang as traditional art belonging to the Javanese society in North Sumatra is one of art that
shows their ethnic identity.
Jaran kepang can also be function as integration with other Javanese ethnic in North Sumatra. In
addition to jaran kepang is one of the entertainments of society.
Mabok (trance) that occurs in dancers of jaran kepang believed to be caused by ending (ghost)
entering the body of dancer so that he/she lost consciousness. Furthermore, the incidence of mabok is
because helped by gambuh and music. Event of mabok in jaran kepang performance is intentional
created or expected because in such conditions of the dancers can perform attractions.
Music has a role in events of mabok to initiate, maintain, and stop it. The music is a regular,
monotonous melody with the tempo changing tailored to the needs of performance, for the spirit of
members, the tempo is always rather fast, in maintaining the rhythm of mabok of music to be varied.
References
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Minarto, Soejo Wido. (2007). ―Jaran kepang Dalam Tinjauan Interaksi Pada Upacara Ritual Bersih
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