THE INNOVATIVE REOG PONOROGO AS ONE OF

THE TOURIST ATTRACTIONS IN EAST JAVA

A Paper

Submitted to the School of Foreign Languages

Tourism Foundation of Indonesia ABA-Bandung
In Partial Fulfillment of the Requirements
For Taking the Sarjana Degree (S.1)

BY

HONEY NURHAYATI
Registration Number: 20.111.140
English Department

SCHOOL OF FOREIGN LANGUAGES

TOURISM FOUNDATION OF INDONESIA
ABA-BANDUNG
2004

Program S-1 Status Terakreditasi

BAN PT DEPDIKNAS RI
SK NO. 022/BAN-PT/AK-VIII/S1/VI/2004
 THE INNOVATIVE REOG PONOROGO AS ONE OF
THE TOURIST ATTRACTIONS IN EAST JAVA

BY

HONEY NURHAYATI

Registration Number: 20.111.140

English Department

Approved by:

H. Mundari Muhada, Drs., Dipl.TEFL EM. Endang Sri Sulastri, Dra,M. Hum
First Sponsor Second Sponsor

Prof. H. Ilyas Purakusumah, Drs. H. Odo Fadoeli,Drs,M.A.

Chairman of STBA Head of English Dept.
Never let yourself count on two
matters, namely health and
richness. Someday you seem
healthy, all of the sudden you will
be sick and you seem rich,
suddenly you will be poor.
(Ulema)
 Dedicated to:
My Beloved father, mother,
sisters/brothers, and husband
 PREFACE

Alhamdullilah with the name of Allah, the Most Merciful and the Most

Gracious, the writer has finally finished her paper entitled “The Innovative

Reog Ponorogo as One of the Tourist Attractions in East Java”. This paper

is submitted to the School of Foreign Languages YAPARI-ABA Bandung

as a partial fulfillment of the requirements for taking the Sarjana

examination.

Naturally, in writing this paper, the writer has found some difficulties

not only applying the English but also in collecting the data; however,

under the help and guidance of her supervisors, this paper has finally

been accomplished on time.

In this occasion the writer would like to express her gratitude to Mr.

H. Mundari Muhada, Drs., Dipl. TEFL, as her first sponsor and Mrs. EM.

Endang Sri Sulastri, Dra,M. Hum, as her second sponsor for their valuable

guidence in correcting her paper. She would also like to express her

gratitude to:

1. Prof. H. Ilyas Purakusumah, Drs. as Chairman of STBA YAPARI-ABA

Bandung,

2. H. Odo Fadoeli, Drs., M.A. as the Head of the English Department of

STBA YAPARI-ABA Bandung,

3. The lecturers, who have taught her during her study in STBA,

i
4. The staffs of STBA Library,

5. Her beloved parents who have given spirit and financial support during

her study and writing her paper,

6. Her lovely sisters & brother,

7. Her husband R. Imam Jati Prabowo AMD., for his favor and support

during her study until writing her paper,

8. Her best friend Fanny, Astrid, Tessy, Farida, Herlina, Ratih, who have

always given their encouragement.

Finally, the writer hopes that all what she has presented in this

paper will be useful for the readers and anyone who is interested in foreign

language and tourism.

Bandung, November 2004

The Writer

ii
 TABLE OF CONTENTS

PREFACE.....................................................................................................i

TABLE OF CONTENTS...............................................................................ii

CHAPTER I INTRODUCTION.....................................................................1

1.1 The Reasons for Choosing the Topic....................................................2

1.2 The Purposes of Writing the Paper........................................................2

1.3 The Limitation of the Problem................................................................3

1.4 The Techniques of Collecting Data........................................................3

1.5 The Organization of the Paper...............................................................4

CHAPTER II GENERAL DESCRIPTION OF PONOROGO.......................6

2.1 Historical Background of Ponorogo.......................................................6

2.2 Geographical Condition and Population................................................6

2.3 Some Tourist Places and Tourist Attractions in

Ponorogo and Its Surrounding..........................................10

2.4 Typical Traditional Foods from Ponorogo and Its

and Its Surroundings.........................................................12

CHAPTER III REOG PONOROGO AS A POTENTIAL AND

PROMISING TOURIST ATTRACTION IN EAST

JAVA....................................................................................14

3.1 The History of Reog Ponorogo............................................................14

3.2 The Performance.................................................................................16

3.2.1 The Instrument Aspect.............................................16

iii
 3.2.2 The Arrangement Musical Instrument......................18

3.2.3 Dance and Performer...............................................19

3.2.4 Costumes and Make-Up...........................................20

3.3 The Development of Reog Ponorogo From Time

to Time................................................................................................21

3.3.1 The Condition of Reog Ponorogo before Indonesian

Indipendence...........................................................21

3.3.2 The Condition of Reog Ponorogo after Indonesian

Indipendence...........................................................23

3.3.3 The Influence of Warok to the Development of Reog

Ponorogo in Society................................................28

3.3.4 The Condemnation of Warok...................................30

3.3.5 Political Contents of Warok in Java.........................32

3.4 Government Efforts In Developing Reog Ponorogo............................32

3.5 Ponorogo As Cultural Center of Reog Ponorogo................................33

3.6 The Structural Organization of Reog Ponorogo...................................34

CHAPTER IV CONCLUSIONS AND SUGGESTIONS.............................36

4.1 Conclusions..........................................................................................36

4.2 Suggestions..........................................................................................37

SYNOPSIS

BIBLIOGRAPHY

APPENDIX

iv
 CHAPTER I

INTRODUCTION

Nowadays, tourism has become one of the important sectors in

development of a country as it has a good potential to obtain domestic

and foreign exchange for the national revenues.

Traditional attraction is an important improvement supporting the

development of tourism in Indonesia. The development of tourist

attractions has given more support to the progress of tourism industry

nowadays. It can be seen from a number of the innovative Reog

Ponorogo, which has just been established. In this case, the writer has

chosen Reog Ponorogo as an example of tourist attraction in East Java.

When a tourist travels to Ponorogo, he or she could see Reog Ponorogo

with its innovation. Besides, tourist attraction has also another important

role such as: to increase the capital of city and to make a new

opportunity for people to work in the field of tourism.

Considering the great potential of tourism, the government has

given attention to develop tourist attraction more professionally, a human

resource plan, and a guideline for the relevant institution or tourism.

Tourism will never go smoothly if tourist attraction does not exist.

Realizing that Reog Ponorogo is one of tourist attractions the writer

wants to discuss “The Innovative Reog Ponorogo as One of the Tourist

Attractions in East Java “as her topic in this paper.

1
 2

1.1 The Reason for Choosing the Topic

There are various topics available that are suitable to be taken as

the topic of this paper. The writer, however, has taken the topic The

Innovative Reog Ponorogo as One of The Tourist Attraction in East Java

for her paper based on several reasons, as follow:

1.1.1. the success of tourism depends much on the provision of tourist

attractions which have typical characteristic such as costumes,

dance and musical instrument and Reog Ponorogo has them all. It

can really attract more tourists to come to Ponorogo,

1.1.2. the writer also intends to make Reog Ponorogo attraction better

known as a favourite tourist attraction in the Ponorogo Regency,

1.1.3. the government of Ponorogo has shown the success in

achieving and maintaining the performance of Reog Ponorogo, so

the writer wants to know more about the professional system

applied by the performers of the art.

1.2 The Purpose of Writing the Paper

In writing this paper, the writer has some purposes, as follow:

1.2.1. this kind of paper should be written by every student of the English

Department of the School of Foreign Language, Yapari-Aba

Bandung to meet one of the requirements for taking the “Sarjana”

examination,
 3

1.2.2. she wishes to introduce The Innovative Reog Ponorogo as One of

The Tourist Attractions in East Java,

1.2.3. the result of this research is expected to be a useful and

helpful scientific document to enrich the references that will be

informative and illuminating for the researchers in general and the

STBA students in particular.

1.3 Limitation of the Problem

There are various kinds of tourist facilities and tourist infrastructure

that can be wisely discussed in this paper. The writer however, has

limited her research only on the aspects of Reog Ponorogo as one of the

tourist attractions. This is due to the fact that to get much wider horizon

and perspective as well as deeper insight about the problem, focus

should be concentrated right to the point of the object itself. Therefore

the aspects of Reog Ponorogo that will be discussed here are the history

and the performance of Reog Ponorogo attraction, the development of

the tourist attraction, the government effort and the regency’s role in

developing the attraction, and the organization that handles and monitor

the development of Reog Ponorogo.

1.4 The Techniques of Collecting Data

In writing her essay and carrying out the research to obtain the

data and information about the innovative Reog Ponorogo as One of the
 4

Tourist Attractions in East Java, the writer has conducted a descriptive

research. The purpose of the descriptive research is to describe

systematically the fact and typical characteristics Reog Ponorogo

factually and accurately. To collect the data, the writer has used several

techniques as follows:

1.4.1. direct observation: it is used to observe the real situation in

Ponorogo regency and its efforts to maintain and preserve Reog

Ponorogo,

1.4.2. direct interview with Reog Ponorogo team and staff to gain the

data needed for the paper,

1.4.3. library research by visiting libraries at STBA and other universities,

reading references such as textbook and other information

concerning the topic.

1.5. The Organization of the Paper

In order to make this paper clear and obvious, it is divided into:

1.5.1 Chapter 1: Introduction

In this chapter the writer presents what she is going to write including the

purposes of writing the paper, the reasons for choosing the topic,

limitation of the subject, research methodology and the organization of

the paper as well.

 5

1.5.2. Chapter II: General Description of Ponorogo

In this chapter the writer describes the historical background of Ponorogo

Regency, the geographical condition and the population, the tourist

places and attractions, and the traditional food available at the regency

and its surrounding area.

1.5.3. Chapter III: Reog Ponorogo as a Potential and Promising Tourist

Attraction in East Java

In this chapter the writer describes the history of Reog Ponorogo, the

performance, the development, the government efforts in developing the

tourist attraction and Ponorogo as the cultural center of Reog Ponorogo,

and the structure organization that manages the tourist attraction.

1.5.4. Chapter IV: Conclusions and Suggestions

This part provides the conclusion and suggestion on what the writer has

described in preceding chapters. In addition, the writer also includes

synopsis, bibliography and appendix.

 CHAPTER II

GENERAL DESCRIPTION OF PONOROGO

2.1. Historical Background of Ponorogo

The history of Ponorogo City is derived from spoken tradition

sources and chronicles, thus the truth of its history especially concerning

the figures such as Demang Ki Ageng Kutu Suryogalam, Batoro Katong,

and Ki Ageng Mirah has been known in chronicle of Java. Therefore, the

degree of its true history is agreed in the context of spoken tradition

sources derived from the fact of folktale. The name of Ponorogo is taken

from the occurrence happened to one of well-known figures at the area,

and when he died, the body disappeared at the Land of Java. That is

why the city was named Ponorogo whereas the word derives from Prono

means disappeared and Rogo means body.

Ponorogo has been known as a city since 1478. On 1 Suro 2004

(One of the months of Javanese Calendar), the Ponorogo’s people

celebrated the city’s 526th anniversary. They also celebrate the big

ceremony to commemorate Ponorogo City which has become the tourist

attraction by presenting Reog Ponorogo on a large scale.

2.2 Geographical Condition and Population

Ponorogo is one of the 29 regencies in East Java Province. This

regency is famous with its traditional art namely Reog Ponorogo and its

6
 7

Pondok Pesantren (Muslim Boarding School) namely Pondok Gontor.

This regency borders on Madiun and Magetan Regencies at the north,

Trenggalek and Tulungagung Regencies at the east, Trenggalek and

Pacitan Regencies at the south, and Pacitan and Wonogiri (Central Java

Province) regencies at the west. The width of the regency is about

1.366,31 Km2. It is divided into 5 pembantu bupati sub-regencies, 19

sub-districts, 26 Kelurahans (political district administrated by the lurah

(village chief)), 277 villages, and 1.018 dusuns (village far from urban

areas) and the population is about 838.316 (1998).

Ponorogo Sub-district is located at Ponorogo Regency of East

Java Province. The width of the area is 22.31 Km with the population of

about 75.000 (1990) that scattered many villages, among others

Babadan, Jenangan, Siman, Kauman, Sukorejo, Badegan, Sampung,

Balong, Bunggul, Slahung, Ngrayun, Sambit, Sawoo, Mlarak, Jetis,

Pulung, Sooko, and Ngebel villages.

The condition of this regency area is divided into four regions

and they are Wilis Volcanic at the east, South Beach Pleat at the south,

Lawu Volcanic at the west, and Lowland of Madiun Regions between

Wilis and Lawu Volcanic ones. Ponorogo City is situated at the Lowland

of Madiun Region. At this region, there flows Kali Slahung (Slahung

River) prolonged with Kali Madiun (Madiun River).

Ponorogo is situated at the height of 96-793 m above sea level.

This regency has various natural resources in the form of mineral such
 8

as mangan, betonit, kaolin, gips, and feldpar (at Slahung Sub-district),

lime (at Sampung Sub-district) and trass (at Sooko and Ngrayun Sub-

districts).

Annually, the average rainfall revolves 1.500-2.000 mm with the

amount of the rain is less than 100 days per year.

The dissemination of the population at the regency is not spread

evenly. The most densely populated area is Ponorogo Sub-district

(71.249) and the least populated Ngebel Sub-district (19.601). The

density level is 614 people per km2 (1998). The most densely populated

is Ponorogo Sub-district (3.194 people per km2) and the least one is

Ngrayun Sub-district (274 people per km2). Most society earns their living

in the agriculture sector.

Almost of the population embrace Islam (99% or more) and the

rest are Christians, Catholics, Hindus, and Buddhists. The available

worshipping place facilities are 735 mosques, 1.803 langgar (prayer

house for muslim), 28 musholla (small building or room set aside in a

public place for performance of religious duties) and 2 vihara (Buddhist

monastery or nunnery).

Education infrastructures in this regency among others are 344

Kindergartens, 345 Elementary Schools, 29 Junior High Schools, 33

Senior High Schools, 12 madrasah tsanawiyahs (Islamic Junior High

School), 2 madrasah aliyah (Islamic Senior High School), and 7 tertiary

educational institutions namely IAIN (Government Institute for Islamic

 9

Studies) Sunan Ampel, Sunan Giri University, Muhammadiyah

University, Merdeka University, and there are still many other Muslim

boarding schools.

Health infrastructures that belong to the regency are 1 hospital, 27

puskesmas (local government clinic), 39 puskesmas pembantu (auxiliary

puskesmas), 10 maternity hospitals, and 1.120 posyandu. The medical

staffers consist of 4 medical specialists, 5 general practitioners, and 2

dentists. They are assisted by 10 midwifes and 55 nurses.

In economic sector, the Bruto Domestic Regional Income of this

regency is Rp 298.300.645, 00330 (1987). More than 47% of the

Regency’s revenue is derived from agricultural sector. The agricultural

sector supports the increasing of economic growth rate. Its economic

growth rate for the period of 1983-1987 is averagely 9,26%. The

agricultural sector is the main sector in Ponorogo’s economic life.

The main agriculture product is gotten from food plantation. Its

product includes paddy (296.807 tons), corn (86.189 tons), cassava

(401.541 tons), mung bean (3.129 tons), and soybean (33.328 tons).

This area also produces fruits and vegetables.

The width of plantation area at this regency is about 22.175

hectares, the widest plantation is palm one (9.886 hectares) with the

production of 4.685 tons. While, the other plantations are 71 tons of

coffee, 190 tons of cloves, and 25.3779 tons tobacco. Woods crops are
 10

maleleuca, gondorukem (tree that provides resin used for caulking, soap,

etc), teak, and others.

Livestock population covers 8.140 of cows, 2.520 of buffalos,

128.130 of goats, 22.260 of sheep, 1.142.520 of free-range chickens,

44.250 of purebred chickens, 11.530 of ducks, 1.540 of gooses, and

6.750 of entoks (Manila duck). The bigger one such as horses and cows

are mostly used for carrying stuffs or plowing field.

Fishery in this regency constitutes the freshwater one. The

production is still small since it is obtained by catching at the pond, mina

padi, reservoir, lake and swamp.

This area has 9 big industries, 37 middle industries, and 361 small

industries. Other industries available are textile, plastic, food and

furniture.

Transportation especially in getting to the regency is available;

almost all the area could be reached by vehicles. The infrastructures

namely the road with 29 km in length is available and 305 km is

asphalted (1998). The transportation available are 101 buses, 307

trucks, 53 jeeps, 97 sedans, 11.208 motorcycles, 26.993 bicycles, 606

pedicabs, 288 dokars (horse-drawn buggy), and 145 cikars (two-wheeled

bullock cart).
 11

2.3 Some Tourist Places and Tourist Attractions in Ponorogo and

Its Surrounding

Besides Reog Ponorogo as one of the tourist attractions in

Ponorogo, there are other interesting tourist objects that can be enjoyed.

They are Telaga Sarangan located at the slope of Lawu Mountain in

Magetan Regency and Karangkates Reservoir at Kali Brantas at Malang

Regency.

Fishermen harbor at Bulu Tuban Beach, Sedudo Waterfall at

Nganjuk Regency are the tourist objects that mostly visited by domestic

tourists at the certain days especially of Hari Raya Idul Fitri atau other

holidays.

Apart from that, Pacitan Regency has also tourist attractions of

beach and typical stone-craved souvenirs. This area also becomes an

interesting tourist destination.

Speaking of tourist attraction, East Java has many of them,

especially dances and traditional ceremonies. There are various folk

dances in East Java. In Ponorogo, the well-known dance is Reog. The

main dancer put the giant-shaped mask on his face. This giant mask is

held by using his strong biting teeth, not to mention sometimes there is a

little child, even teenager, put on the mask on the sitting position.

In Surabaya, the capital city of East Java Province, there is also

famous folk dance called Tari Remo. This dance is often performed

before the staging of Ludruk (East Java folk theater in which all parts are
 12

played by men). Usually the dancer sings a song called Jula-Juli that

contains particular messages such as about the development, tolerance,

or other advices. In Madura, there are many dancing reviving the life of

fishermen who struggle for life at the open sea and on Banyuwangi, the

dancing has Balinese elements.

The most interesting traditional ceremony of East Java is Kasodo.

This ceremony is performed on 14th or at the time of full moon. In this

case, the calendar used is some kind of Javanese traditional one called

Pranata Mangsa. In the calendar, Kasodo is the 12th month. At that time,

Tengger society carries their harvest and cattle to the top of Mount

Bromo in a lively group, as a worshipping gift to the Al-Mighty then the

gift was thrown to the crater. This ceremony is accompanied by

thundering sound of the volcano crater. It gives the special attraction for

both domestic and foreign tourists. Besides that, there is also other

traditional ceremony called Karo, namely the ceremony of human-

creation by the Creator, accompanied by Sodor dancing that tells the

history of the existence of human being in the earth.

2.4 Typical Traditional Foods from Ponorogo and Its Surroundings

Apart from the tourist objects that become interesting object to

visit for the tourists, typical traditional food has become one of the

important elements in tourism. The typical foods are also found at the

surrounding of Ponorogo, such as Dawet Jabung. It is sweet special

 13

made from rice flour and brown sugar added some special ingredients by

the seller so that the taste is very good. There is also most the most

famous typical food at the regency called Sate Ayam (small pieces of

chicken meat roasted on skewer) whereas the seller called Mr. Bagong.

Jenang Jetis atau dodol (taffy made of sticky rice, coconut milk, and

palm sugar) is another typical one which is made of gula aren (sugar

derived from sap of arenga palm). Nasi pecel consists of the combination

of vegetables peanut flavor with very typical taste. Madiun, one of the

cities in East Java, has also mixed nice pecel like the one at Ponorogo,

but the taste has rather different with one another. Other typical food is

brem namely some kind of hors d’œuvres made of the essence of tape

(kind of sweet cake made of slightly fermented rice or tubers).

 CHAPTER III

REOG PONOROGO AS A POTENTIAL AND PROMISING

TOURIST ATTRACTION IN EAST JAVA

3.1 The History of Reog Ponorogo

In the framework of reinforcing national tenacity and pride, thus

the existence of traditional art and the development of social activities

are considered necessary to adjust the activity and creativity with the

advance of science and technology for the sake of preservation of Reog

Ponorogo in the future to come.

As one of the Indonesian culture richness’, Reog Ponorogo has

become both national and international prides and it constitutes an

effective and communicative means of media. The attraction gives the

guidance for the society in fostering and building the loving of national

culture.

In order this traditional art functions as a filter to sort out foreign

cultures, it takes support and motivation to develop the existence of

Reog Ponorogo itself in every performance, both on local and on

national level. The art of Reog Ponorogo is the traditional one with full of

historical and legendary values that have grown and developed since a

long time ago until now. It becomes not only local but also national

prides. The performance of Reog Ponorogo Art, with complete spiritual

figure covered by vulgar magical, is the combination between physical

14
 15

and spiritual. It is performed harmoniously and equally whereas it is still

vivid and developed among the society of Ponorogo.

The origin of Reog Ponorogo is derived from what is called

Barongan as a satire from Demang (village headman in Java) Ki Ageng

Kutu Suryongalam to King of Majapahit, Prabu Brawijaya V (Bhree

Kertabumi). The existence of Barongan was a satire for the king in

power. He had not carried out his royal duties orderly since the king was

controlled. He was influenced and even handled by the queen. The

culture of Rikuh Pakuweh was very strong in the mind of the society in

order to admonish their superior. Therefore, satire was one of the

methods to admonish their superior politely. The art language approach

was an effective and efficient media that brought the positive impact with

full understanding comprehensively.

Ki Ageng Suryongalam realized that his sub-ordinates could not

do anything much. Then, another alternative that he had to take was to

strengthen himself with well-trained troops of war and the Waroks with

supernatural powers. That was the beginning story of the origin of Reog

Ponorogo in the form of set of merak (peacock) and jatilan as the satire

manifestation for the King of Majapahit in running the wheel of

administration influenced by the queen. The king was symbolized as a

tiger ridden by the peacock as the symbol of the queen.

In the reign of Batoro Katong, Ki Ageng Mirah as his loyal right-

hand man considered it necessary to preserve the barongan as an

 16

effective means of unity and mass gathering and also as a means of

direct information and communication for the society.

With his creativity and engineering, Ki Ageng Mirah made a

legendary story, namely the creation of Bataranangin Kingdom with the

king named Klana Sewandana who was kasmaran (smitten with

love/Klana Wuyung). This masterpiece of Ki Ageng Mirah developed

among the society of Ponorogo even it was believed that the story was

really happened.

The success of Batoro Katong in securing the territory of

Majapahit Kingdom, especially at the area of Kadipaten (area ruled over

by adipati in the colonial period) Ponorogo, was also supported by the

success of promulgating Islam peacefully, then in the dadak of peacock

is added one tetengger with a string of merjan/tasbih (a string of 100

beads to recite the laudation) at the beak edge of peacock while the

symbol of snake had already existed and well-preserved. The

development of Reog by the society at the territory of Majapahit Kingdom

especially at Ponorogo has been grown and developed in any place

completed with its Warok and Gemblak until now.

3.2 The Performance

3.2.1 The Instrument Aspect

It has been proved that Art is an effective means of

communication to deliver a message in promulgating Islam, Sunan (title

for the holy man who first brought Islam to Java) Kalijaga used the art of
 17

Wayang Purwa as a media of dakwah (religious proselytizing). The use

of Wayang’s (leather puppet) figures as an alternative dialog form, the

Islamic rules could be accepted sincerely by the society whereas at that

time most of them were Hindus and Buddhists. Likewise the instruments

such as Gamelan Laras Slendro, it has tones that reminds us to Rukun

Islam (pillars of Islam) namely sholat wajib 5 waktu (Islamic ritual prayers

and actions performed five times daily) with the sum of rakaat (essential

unit of prayer ritual) of 17.

Javanese Gamelan consists of several parts namely Bonang and

Kenung, Kethuk, Kendang, Kempul, Saron Demung and Slenthem,

Gender Gambang and Siter, Rebab from Arabic word, Suling, and Gong.

The first Bupati Ponorogo namely Batoto Katong used art

instruments as a media of dakwah: Reog means faith, Kendang,

Ketipung, Kenong, Kethuk, Kempul, Trompet, Angklung, Udeng,

Penadon, Usus/Kolor mean the relationship between human and the

Creator. The instruments of Reog Ponorogo consist of 17 whereas they

remind us to pray to Allah daily for 17 rakaat. The instruments are one

Barongan, one mask of Klana Sewandana, one mask of Bujang Ganong,

two masks of Patrajaya, two Ebleks/Jaranans, one Kendang, one

Ketipung, one Trompet, one Kempul, two Kethuk Kenongs, and four

Angklungs.

Barongan is the most dominant which is used in Ponorogo’s folk

dance, Reog Ponorogo. It consists of one Caplokan (tiger head), Dhadak

 18

Merak, Kratab, and Kerudung (veil). The mask of Klana Sewandana

describes the figure of a young, handsome, brave king from

Bantaranangin Kingdom (the previous Ponorogo) who has the

supranatural heirloom namely pecut/cemeti (whip) called Pecut

Samandiman.

3.2.2 The Arrangement Musical Instrument

Gamelan or musical instrument that accompanies Reog Ponorogo

functions as tetabuhan (music to accompany a dance). It dominates the

music that played at the performance of Reog Ponorogo. The typical of

Reog Ponorogo’s gamelan is the sound could move the soul and heart of

anyone at the surrounding area as far as it could be heard if it is striken

although there is no dancer. Gamelan Reog has special features both in

shape and in tones as well as its scale. For example, the shape and size

of its kendang is from the kerawitan ones. Generally, Reog Kendang is

bigger and longer and it also uses strong tutup belulang so that when it

is striken, it could move anyone’s heart who hears it. Likewise the sound

of its kempul could be heard so far away, therefore the existence of

Reog Ponorogo as a media of entertainment and communication for

gathering mass really comes true.

Set of Reog Ponorogo’s gamelans are between Laras Pelog and

Laras Slendro, but they could be enjoyed comfortably without distorting

the earing. Hence, we can see the uniqueness of Gamelan Reog

Ponorogo that can give the society life guidance through its performance.
 19

Laras Pelog can be combined with Laras Slendro. It contains the

meaning that God create every creature in pairs. Gamelan Reog

Ponorogo includes Trompet, Kendang, Ketipung, Kethuk and Kenong,

Kempul, Angklung. For the arrangement’s function, there are also

Gending Panarangan, Kebogiro, Sampak and Potrojayan.

3.2.3 Dance and Performers

Reog Ponorogo is one of the cultural arts inheritaged by our

ancestors in the form of traditional art. It is the folk art that cannot be

estimated its contained value. In the next development, it constitutes a

performance that gives guidance for the surrounding society, and also

the guidance for the society who owns the art as a motivation so that he

or she has a typical pride and particular sense of belonging to the people

of Ponorogo with their motto Science, Technology, Religion, and Art, Our

Life becomes more guided. The performers that support every

performance of Reog Ponorogo are two old Warok, young Warok, two

Jathilan/Jaranan, one Pujangganong, one Sewandana, one Pembarong,

two Patra Jaya and Patra Tholo, and twelve Pengrawit.

The sum of dancers/performers is in accordance with the basic

guidance, but it is requested, the performance needs more dancer (mass

dancing) then the sum can change according to necessity. The dances

that support the performance for Reog Ponorogo is divided into 3 namely

Tari Lepas (the dance performed by a single dancer), Tari Utuh/Merak

 20

Tarung (the dance performed Reog comprehensively), and Tari Iring-

Iringan (the dance which performs a certain formation).

3.2.4 Costumes and Make-Up

As mentioned previously, the dances and performers are the

dominant elements in every performance of Reog Ponorogo, but they

should be completed with other elements, such as costumes and make-

up. An excellent dance in the performance of Reog Ponorogo needs to

be supported by good and excellent costumes and make-up too.

Without the support from the suitable costumes and make up, the

performance becomes less worthy both estetically and ethically. Each

performer in the performance of Reog Ponorogo has his or her own

feature with different costumes in accordance with his or her

characteristics and role in the performance.

Generally, the costumes of Reog Ponorogo performers consist of

several colors namely black, red, white and yellow. These colors have

their own characteristics. Black symbolizes the authority, calm and

substance. Red symbolizes the bravery agreed with the character of

heroic dancing. White means the bravery based on the holy aim and

yellow means have the goal to reach happiness and glory.

The make up of the performers of Reog Ponorogo is definitely

necessary since by taking a look at the make-up and costumes, one

cannot only see the beauty of the performers and performance but also
 21

the different characteristics of each performer. The make-up is related to

dancers/performers whereas they can be divided into two. First, the

performers/dancers that wear the masks (Pembarong, Klana

Sewandana, Pujangganong and Penthul Tembem) and they do not need

make-up. The other one is performers/dancers who do not wear the

masks and they need complete making-up. They are Jathilan/Jaranan,

young Warok, old Warok, and Pengrawat.

The equipment and material of making-up are generally the same

with the performances of Ketoprak, Wayang Orang, Sandiwara, and

other free-lance dancers.

3.3 The Development of Reog Ponorogo from Time to Time

3.3.1 The Condition of Reog Ponorogo before Indonesian Independence
The condition of Reog Ponorogo during Dutch and Japanese

Imperialisms was lessening. It could be understood because the frequent

the people gathered, the more suspicious the imperialists would be and

at last the performance was forbidden at all and for who violated the rule,

they would be punished.

In the contemporary Reog Ponorogo, there are two contrasting

sets of discourse considered as a characteristic of Warok as a forceful,

spiritual, enlightened, and charismatic leader and an inspired artist, or as

a ruthless predator, sexual deviant and criminal. Commonly, there are

two types of Warok, the true Warok and the Warokan. It is also a

euphemism for a thief. Indeed, apart from informal leadership and

 22

esoteric learning, Warok culture has frequently served as a pose for

marginal and criminal elements in the traditional society of Ponorogo.

According to the contemporary, Warok Kasni Gunopati is the ideal and

authentic one that has the soul of noble warrior and acts without self-

interest while the Warokan uses his supernatural powers for his own

personal goal. Yet, both are endpoint examples of an ideal type of

continuum. It is ambiguous space between theses two presentations that

Warok culture derives its power. This axis, which these two contrasting

discourses the Waroks revolve, is the idea of supernatural powers and

potential. Supernatural power itself is beyond good and evil. Its

possession is not indicative of any particular code of ethics or morality. It

has no intrinsic properties, only the situational ones. The Warok, as a

potent individual, resides in an inter-zone of ambiguous potential. For

some figures, he is a ‘criminal’ or ‘revolutionary’, but for others he is a

leader and activist. The negative image, which the indigenous elite and

colonial officials associated with the Warok, was in part an effect of the

increasingly bureaucratic and conservative political structures that begin

to develop after the political upheavals of 1920-iest. The Warok was

indiscipline, questioning for hierarchy, shallow loyalties and volatile

sense of honor. All impeded the formation of the colonial state. Due to its

association with the troublesome Warok, the Dutch Colonial Government

prohibited Reog performance from 1912 until 1932. One of the Dutch

administrator stated “Large attracts large numbers of people seeking

 23

supernatural power, which undoubtedly poses a threat to security”. As far

as rural society was concerned, indeed, the Warok came to be

considered as semi-sacred figures. The Warok’s spiritual quest involved

a dissemination of the esoteric knowledge associated with the political-

spiritual elite to popular culture. The concept of invulnerability attributed

to Warok was especially stressed within rural leadership, and in that

sense, it constituted a counter-elite value, contrasting with the quality of

divine providence that was so important to aristocratic leadership as well

as to the post-independence Indonesian government. The Warok was

supernatural power to the oppressive powers of the state, and it was

because of this invulnerability that he could get away with so much.

3.3.2 The Condition of Reog Ponorogo after Indonesian Independence

Domestic tourists for Reog Ponorogo are dominating the number

occupancy since the security crisis, which continued by economic crisis.

According to the tourism world, the security factor is the most important

thing to attract foreign tourists. Because of it, what happened to our

country now had affected the visiting of foreign tourists. Ponorogo is a

part of Indonesia which had experienced the decline, the same as other

tourist destinations. In order to anticipate the decline of tourists’ visit, the

administration of Ponorogo Regency urged the Reog Ponorogo

organization together with Regional Tourism Department to promote the

tourist attraction with the aim at restoring the image of the attraction as a

tourism performance and Indonesia as a safe county to visit.

 24

The art of Reog Ponorogo nowadays is the last form of the long

process which has religious and educative values. The emergence of

Reog Ponorogo has taken place after the independence of Indonesia, 17

August 1945. Unfortunately, it was misused by political organizations

whereas it brought the existence of a lot of Reog Ponorogo’s

organizations such as BREN (Barisan Reog Ponorogo/Front of Reog

Ponorogo), CAKRA (Cabang Kesenian Reog Ponorogo/The Art Branch

of Reog Ponorogo), BRP (Barisan Reog Ponorogo/Front of Reog

Ponorogo), KRIS (Kesenian Reog Ponorogo/The Art of Reog Ponorogo),

etc. In order to stem Reog, PKI (Indonesian Communist Party) at that

time created the arts of toy elephant and toy camel and all happened at

the time of most glorious of NASAKOM (Nationalism, Religion,

Communism) whereas PKI dominated the art with its Front of Reog

Panorogo. After PKI was prohibited and dissolved, then the art of Reog

Ponorogo started to develop completely and orderly as well as well-

planned by New Order Government. It was just that there was not in one

perspective in determining the plot and the origin of Reog Ponorogo.

The efforts taken by Regional Ponorogo Administration had

positive response from the local society and there were built monuments

of Reog Ponorogo completely in every border of town as gateways until

at the level of village and kelurahan. The next measure of the

administration was carrying out sarasehan (informal discussion or

meeting) on 24 November 1992 at the Great Pendopo (large open

 25

structure in front of mansion) of Ponorogo Regency. From the

sarasehan, there were various inputs from the practitioners, scientists

from various sciences, and dance and making-up experts that united and

supported in one another so that it becomes Pedoman Dasar Kesenian

Reog Ponorogo dalam pentas budaya bangsa (Basic Guidance for the

Art of Reog Ponorogo in National Culture Performance).

The performers of Reog Ponorogo since a long time ago have

consisted of men. Yet, along with the advance of age, there was any

possibility of women emancipation, then finally, it could be accepted that

dancers/performers of Reog Ponorogo (especially the dancers of

Jathilan) played by female dancers. It could be accepted as long as the

performances of the female dancers do not decrease the codes of ethics

and esthetic so that it does not ruin the image of Reog Ponorogo itself. A

long time ago, Jathilan was played by male dancers acted like female

(Javanese medoki), but nowadays the role of Jathilan should be heroic

aiming at describing a troop in war training, although it is played by

female. Equipment and materials of make-up of Reog Ponorogo

performer were simple enough by using less than three colors as a

whitener/yellowier by using the powder of paint material for red and

yellow, reddener by using red powder of siwit, blackener by using black

powder of meni. But along with the advance of make-up of face and

considered to the health and beauty, there are many types of equipment

for cleansing the skin produced by cosmetic companies. They are among
 26

others: cleansing, cotton, toner, under make up, foundation, yellow dry

powder, compact powder, and eye brow pencil, eye shadow with many

colors, blush on, curved eyelashes, yellow base powder, and lipstick, but

such modern equipment and material are only used for those who can

afford them. If they cannot afford to buy the modern make up, they can

use any kind of make up as long as the make up does not decrease the

esthetic value and is able to support the performance of Reog Ponorogo

as well as there is no side-effect for the skin.

According to Oghokham (1975: 20), the ‘rebellious’ behavior

attributed to Warok and their reog troops by newly formed Indonesia, an

attitude inherited by the former colonial administration, was confirmed on

18 September 1948 when the loyal troops of Indonesian Communist

Party took over the strategic points in Madiun to the northern part of

Ponorogo, declaring a new revolutionary government. Warok and Reog

troops aligned with the communist BPR (Front of Reog Ponorogo)

swelled the ranks of Madiun rebels. The annihilation of Madiun rebels

coup two weeks after Indonesian Military followed by an eruption of

violence between Muslim and communist villagers whereas it resulted in

the virtual elimination of villagers. In the 1950’s, the communist and

nationalists parties used Warok and Reog extensively as part of their

recruiting campaigns. The communist party populist rhetoric and

opposition to orthodox Islam appealed to many Warok and their focus on

the recruitment of local strongmen was meant that the Warok found a
 27

ready place for the party hierarchy. The ability of Reog to attract a large

number of people made it the perfect campaigning tool. The discipline

and secrecy demanded by the party members also exerted a powerful

appeal Warok and Jago, having strong similarities to the structure of

religious boarding school. Under the New Order, the communist affiliated

troupes came under immediate suspicion, and many of them were not

eliminated during the massacres of 1965 went into hiding. Informants in

Ponorogo recounted how many troops whose loyalties to Soeharto were

unable to kill several Waroks affiliated the Communist Party due to their

mastery of invulnerability. It was not lasting until 1971’s election, Reog

was performed in public. However, performances were from the

traditional Islamic organization, Nahdatul Ulama, as part of election

celebrations in villages now directly coordinated Reog group. In 1977,

INTI (Insan Taqwa Illah/Loyal Followers of God) was formed by several

troupes of Reog Ponorogo associated with the traditional Muslim

organization Nahdatul Ulama to ‘clean up’ reog, especially Warok

practices. Since the occurrence, New Order Government has sought

actively to eliminate Warok as a political force, both through the

difference of reog as a ‘traditional’ or ‘folk’ performances, and more

direct means.

Nowadays, the difference of the traditional performances can be

seen at the dancer whereas women are allowed to perform the dance of

Reog and it still continues until now. It is also hoped that the
 28

marginalization does not bring negative impact for the development of

Reog Ponorogo and the tourist attraction has a particular point in the

development of Indonesian tourism.

3.3.3. The Influence of Warok to the Development of Reog Ponorogo as

a Tourist Attraction

Since the development of Reog Ponorogo improved, the Warok

relationship has also developed. Unfortunately, the Warok relationship

has faced the burdens in its development and we could see from the

details below:

1. The official view adopted by the local government regarding the

Warok relationship is that it is morally offensive and in conflict with the

national personality. The relationship is deemed to be unacceptable

because it is considered to be nothing more than “socialized

homosexuality” and a potential threat for public order. As one Warok

explained “Association with women will cause brittle bones, a soft

stomach and a loss of spiritual strength (1990)”, adding “That’s why

I’ve grown to be a man who harbors a hatred of women”.

2. The emphasis in Ponorogo traditional society on the same sex

relationship evolved from a social system which segregated on the

basis of gender. This quite naturally led to intense, but not necessarily

sexual, relationship between man and man. Within the context of

 29

closed all male communities such as perguruan, this type of

relationship were actively encouraged.

3. In earlier time, Warok never received any moral condemnation on

sexual grounds, only on grounds of black magic and other forms of

violence. While one might assume that the practice of taking

Gemblak would find opponents in traditional Islamic circles, the

religious boarding school in the area have long been renowned for

their homosexuality. According to Dede Oetomo (1990), homosexual

relationship among religious boarding school pupils, known as “to

play woman”, are condoned and even institutionalized as a part of the

learning process.

4. Vocal opposition has emerged however from modern reformist

groups such as Muhammadiyah. Several prominent religious

teachers from the famous Pesantren Pondok Modern Darussalam

have actively pressured local government to bring reog culture more

into line with their own particular version of religious orthodoxy.

Religious activists can be held partly responsible for the official

condemnation of Gemblak practices; the stance taken by the

government also reflects a more general shift in moral standards

brought about by the perceived demands of “modernization” and

“development” in rural Indonesia.

5. At the beginning of the late 1950’s and 1960’s, some reog troupes

aligned with PNI and PKI had abandoned Gemblak participation in

 30

performances on the grounds that they considered it to be at odds

with their respective programs of modernization and social reform.

The state carries out the educational system that has played a

substantial role in socializing the perspective that Gemblak is a

negative and outdated cultural phenomenon alongside family

planning programs that sanctify the nuclear family unit as the

foundation of the nation. Fewer young men are now interested in

becoming Gemblak and recently they are largely motivated by the

promise of material gain. In earlier times, the Gemblak faithfully and

selflessly served their Warok. Now they are afraid of asking for

money or new clothes.

3.3.4 The Condemnation for Warok’s Behavior

Since the development of Warok relationship does not bring any

good appearance, the government started to take stances in order to

restore the image of Reog Ponorogo. The government considered that

the morale condemnation of the Warok relationship is further clarified

when situated within historical context in which reog and Warok culture

are still closely associated with criminality, rural radicalism, and the

outlawed Indonesian Communist Party. We could see the government’s

critics by taking some stances to the development as follows:

1. The Waroks were radically at odds with the New Order characteristic

of traditional Javanese peasant culture as being emotionally self-

 31

restrained, regulated and orderly. One of the most distinctive features

of New Order rule was the extent to which rhetoric of culture framed

political will. Culture, especially “traditional culture”, came to

epitomize order in contrast to politics considered synonymous with

the disorder. If it was to classify as an example of traditional culture of

reog and the Warok tradition had to be reinvented.

2. Since the early of 1970’s, New Order has undertaken an ambitious

project in social and cultural engineering. Their intention was two

folded to ensure that regional identities did not threaten national unity,

and to create and to maintain the socio-cultural condition which can

accelerate the progress of the development. Performing arts were of

central importance to this exercise because a document Department

of Education and Culture states that art constitutes the most visible

aspect of culture, to the extent that culture is often considered to refer

only to art.

3. In 1985, as part of national wide programs to establish regional

identities, reog was chosen by the East Javanese Department of

Education and Culture as the official art form for the Ponorogo

Regency. Working closely with the Nahdatul Ulama’s aligned reog

organization, Insan Taqwa Illah, the government actively sought to

eliminate reog of elements deemed either politically or sexually

subversive. The department officials upgraded the artistic quality of

 32

reog performance, created standardized and sanitized version that it

has become the benchmark for gauging authenticity.

4. Based upon a dichotomy between what are considered to be

separate Javanese traditions, the high art of the royal courts and the

people art’s of the rural and urban poor, local department officials act

as the appointed representatives of the state, the purveyors of high

art involving communication with ancestor spirits.

5. The government outlawed the taking of Warok in 1983, encouraging

reog troupes to replace Warok dancers with young girls. The

eroticism and sexual tension of the performance still remains, but

does not challenge dominant state discourses regarding sexuality.

3.3.5. Political Contents of Warok in Java

The Warok tradition is not considered to be commensurate with

modern day official concepts of law and order, hence official

documentation produced by Department of Education and Culture

promotes legends such as Kelono Sewandono and Wijaya, both of which

link Warok to legitimate political structures. Archeological findings in the

late of 1980’s suggesting that Ponorogo was the site of one of the royal

courts in East Java, Wengker Kingdom has led to a mini-renaissance of

aristocratic culture headed by the Regent of Ponorogo, who has used his

new status as a moral platform from which to implement far reaching

reforms of Warok and reog culture. Indeed, it is common practice in Java

 33

that political leaders try to associate themselves through court legends

and lines of descent (by the invented or otherwise) to previous dynasties.

A performance as part of the official celebrations for Grebeg Suro

(Javanese New Year) in 1991 involved an elaborate reenactment of the

legend of Kelono Sewondono-Songgolangit, performed in Wayang

Orang style, a form of refined theater associated with the royal courts of

Central Java.

3.4 Government Efforts in Developing Reog Ponorogo

The local Government has tried to give the clear and stern

direction for the existence and development of the art of Reog Ponorogo

in the future to come. Along with the real support of the government for

every performance, it should be obliged to adjust the basic guidance as a

minimal standard. Philosophy, religion, and education should be

preserved. With the establishment of paguyuban (association) Reog

Ponorogo, it is hoped that it could gather, organize the units of Reog

Ponorogo existed at Ponorogo Regency and outside the regency.

3.5 Ponorogo as the Cultural Center of Reog Ponorogo

Nowadays, reog dance groups can be found in other regions such

as Surabaya, Solo, Yogyakarta, and other towns in East Java,

Kalimantan, Jakarta, even in Suriname. One of the famous groups is

Reog Prambanan located at the border of Yogyakarta-Solo. Although

 34

having spread at the entire archipelago, the center organization of Reog

Ponorogo is still located at Ponorogo Regency. With the existence of the

organizations in several regions outside of Ponorogo Regency such as

Kampung (village) Reog Ponorogo at Surabaya and many others, it

becomes one of the efforts of preserving and developing Reog

Ponorogo. It could still exist and it is hoped that the art is not only

developing but also becoming one of tourist attractions in Indonesia and

being well-known not only in Indonesia but also in foreign countries since

it is one of the scarce cultural attractions.

3.6 The Structural Organization of Reog Ponorogo

Every organization has its organization structure and its job

description. It is not different from Reog Ponorogo, it has the

organization structure and it is established in order that the art will be

organized well and properly.

The composition of the organization structure consists of Public

Promotion Manager and the position takes charge of following position

namely Public Manager Administration, Public Promotion, Public

Executive and Team. The organization is described as follows:

 35

Public Promotion Manager

Public Promotion Team

Public Manager Public
Executive
Administration

The job descriptions are:

Public Promotion Manager has a duty as a chief in controlling and

managing all the activities of all departments under his responsibility.

Public Manager Administration runs its function such as controlling,

managing, and making the policies for the attractions of Reog Ponorogo.

It also has also the rights and responsibilities to the Reog Ponorogo’s

team.

Public Promotion has a duty to promote the attractions of Reog

Ponorogo in Indonesia and foreign countries, to the attraction of Reog

Ponorogo can be known and favored by the people more than before.

Public Executive has a function as a marketing manager for the

attraction.

Team includes the people who participate in the attraction of Reog

Ponorogo. The team has a duty in preparing all the needs of the

attraction before and after its performance.

 CHAPTER IV

CONCLUSIONS AND SUGGESTIONS

4.1 Conclusions

Promising and fascinating tourist attractions give a very important

role in gaining the profit for tourism. The success of the tourism

attractions will very depend on its promo tour.

One of the tourist attractions that well-known in Indonesia is Reog

Ponorogo that comes from Ponorogo Regency of East Java Province. This

tourist attraction is interesting to observe because its development has

improved along with the advance of the age especially the nation

development (Indonesia).

4.1.1 The development of Reog Ponorogo

As a tourist attraction, Reog Ponorogo has developed so

significantly. It could be seen from the improvement of the attraction

whereas women are allowed to perform Reog. Apart from its improvement,

the tourist attraction has also criticisms of the government namely Warok

whose relationship tends to relate to homosexuality.

36
 37

Furthermore, the tourist attraction has the inappropriate image of

homosexuality though, it has developed until now and we can see the

existence as one of the Indonesian cultural richness.

4.1.2 The Promotion of Reog Ponorogo

So many efforts have been made to promote and to attract the

visitors to come to see Reog Ponorogo. Along with the increasing number

of tourists, the local government through the Reog Ponorogo organization

has implemented some measures. One of the measures is through media

such as television, radio, magazine, and internet.

Apart from using media, cooperating with other authorities or

private tourism companies is another effective stance to promote the

tourist attraction. Although it takes more expenses, it is useful enough to

implement.

4.1.3 Solutions of the Problems

Although the promotion of tourist attraction has faced some

problems, but the measures or stances taken has got better results. One

of them is the understanding of Reog Ponorogo becomes clearer.

Besides that, the attraction itself is more interesting compared to the

previous performance. We can see that the more interesting the attraction,
 38

the more visitors come whereas the number of tourist increases from time

to time.

4.2 Suggestions

Reog Ponorogo should improve its image especially in Warok, in

order that the tourist attraction can compete with other attractions. The

tourist attraction should be preserved in order that the originality of the art

does not decrease. Apart from that, the Regional Tourism Department

should promote Reog Ponorogo more actively and it is advisable to use

electronic media such as television, radio and make website informing this

tourist attraction in details so that the public will be more well informed

about the Reog Ponorogo.

 SYNOPSIS

Karya tulis ini disusun untuk memenuhi salah satu persyaratan

untuk mengikuti Ujian Sarjana di Sekolah Tinggi Bahasa Asing Yapari

Bandung.

Indonesia merupakan salah satu negara tujuan wisata karena itu

usaha pariwisata memegang peranan yang penting dalam pembangunan

di Indonesia. Dampak positif yang dihasilkan dari kepariwisataan antara

lain adalah perluasan lapangan kerja, bertambahnya penerimaan devisa,

dan sebagainya. Oleh karena banyaknya dampak positif dari

kepariwisataan tersebut, maka pemerintah Indonesia dengan giat

berusaha mengembangkan kepariwisataan di tanah air.

Usaha untuk meningkatkan pariwisata Indonesia tidak dapat

dipisahkan dari peningkatan usaha-usaha yang berkaitan dengan atraksi

wisata seperti upacara adat yang bersifat tradisional, kesenian tradisional,

dan sebagainya. Kesenian adalah salah satu daya tarik yang sangat

penting bagi industri kepariwisataan. Kesenian dapat berupa atraksi

wisata, upacara-upacara adat dan keagamaan, dan sebagainya. Makin

dirasakan pentingnya kesenian, maka makin banyak usaha peningkatan

pelestarian dan pengembangan kualitas dari setiap kebudayaan di daerah

terutama untuk provinsi Jawa Timur Kesenian Tradisional Reog Ponorogo.

Pemerintah daerah melakukan berbagai macam cara untuk menarik

wisatawan dengan meningkatkan kualitas pementasan, melaksanakan

kegiatan promo tour, dan sebagainya.

Kesenian Tradasional Reog Ponorogo merupakan salah satu daya

tarik wisata di Jawa Timur. Masyarakat memerankan peranan yang

sangat penting dalam pelestarian kesenian daerah. Banyak usaha yang

dijalankan pemerintah daerah dalam mempromosikan Reog Ponorogo

untuk meningkatkan minat wisatawan yang datang berkunjung ke Jawa

Timur. Pada dasarnya, keberhasilan suatu atraksi wisata bergantung

pada dukungan masyarakat, seniman-seniman kesenian dan ketersediaan

fasilitas kesenian lainnya.

Tidak sedikit usaha yang dijalankan oleh kepariwisataan Ponorogo

dalam meningkatkan mutu atraksi wisata Reog Ponorogo, mulai dari

pemberdayaan pemain, penyediaan alat-alat hingga promosi ke luar

negeri. Reog Ponorogo itu sendiri mempunyai motto ‘Atraksi Wisata yang

Sarat dengan Makna Tradisional’. Namun mengingat begitu banyak

masalah yang dihadapi negara Indonesia belakangan ini, mulai dari krisis

moneter, krisis ekonomi dan sekarang kondisi keamanan di Indonesia

yang kurang mendukung membuat kepariwisataan Indonesia terganggu.

Karena keamanan suatu negara merupakan faktor terpenting dalam dunia

kepariwisataan. Karena hal tersebut, maka kepariwisataan Ponorogo

berprospek untuk lebih memprioritaskan promosi Reog Ponorogonya

kepada turis-turis domestik. Karena sejak krisis-krisis tersebut, tamu

domestik lebih mendominasi tingkat pengunjung yang menyaksikan

atraksi wisata Reog Ponorogo. Oleh karena itu, kebijaksanaan pemerintah

daerah kepariwisataan setempat mengarahkan kebijaksanaan promo tour

ke dalam negeri tapi tetap aktif mempromosikan ke luar negeri.

 BIBLIOGRAPHY

Anderson, Benedict. 1990. The Idea of Power in Javanese Culture, in Language

and Power: Exploring Political Cultures in Indonesia, ed. Anderson,

Cornell University Press, Ithaca

John, Pemberton. 1987. Musical Politics in Central Java [or how not to listen to a

Javanese gamelan]. Indonesia. Murdoch University

Hardjomartono, Soedjono. 1962. Tritunggal jang tak dapat dipisah-pisahkan, in

Brosur Adat Istiadat dan Tjeritera Rakyat

Joseph, Wibowo Herman. 1988. Drama Tradisional Reyog: Suatu Kajian Sistem

Pengetahuan dan Religi. Ponorogo: Dibawah Lindungan Warok: Gemblak

dan Tradisi Homoseksual, Matra. November

Onghokham. 1975. The Residency of Madiun:Prijayi and Peasant in the

Nineteenth Century. Madiun. Ph.D Thesis, Yale University

APPENDIX
The Entrance Gate to Ponorogo Regency
 Jatilan Dancer Sits Astride the Singobarong

A Singabarong Dancers plays ‘Cat and Mouse’ With a Jatilan

Hobby-Horse Dancer
Advertising 'Traditional Culture': Roadside Billboard Promoting
the Grebeg Suro Celebrations.

Procession Led by Members of Civilian Defense Units As Part

of Grebeg Suro celebrations.
(With Grebeg Suro let us preserve the art of Reog Ponorogo)
Kelono Sewondono Performer At the Grebeg Suro
Celebrations.
A masked Bujangga Anom Performer Flanked By
Two Females’ Jatilan Dancers

Reog Troupe of the Main Street of Ponorogo

 Gemblak, Young Male Dancer

Musicians and Onlookers Jostle Together in High Spirits

 Leaders of Reog Group known as Warok

Dancers and Performers of Reog Ponorogo

THE MAP OF PONOROGO REGENCY