ABSTRAK
SENI TRADHISIYONIL JARANAN POGOGAN
ING KABUPATEN NGANJUK
(TINTINGAN FOLKLOR)
Jeneng : Bastomi Pratama Putra
NIM : 12020114052
Prodi Studi : S-1
Jurusan : Pandhidhikan Basa lan Sastra Jawa
Fakultas : Basa lan Seni
Jeneng Lembaga : Universitas Negeri Surabaya
Pambimbing : Prof. Dr. Udjang Pairin, M.Pd.
Kesenian jaranan, mligine jaranan pogogan, lumrahe akeh ditemoni ing panguripaning masarakat padesan sing umume nduweni panggaotan minangka wong tani. Kesenian jaranan pogogan awujud tetironing jaran saka nam-naman pring sing disolahake kanthi cara dikempit dening para paraga kang lelewa layake prajurit sing lagi nunggangi jaran. Adhedhasar andharan ing dhuwur punjere panliten iki yaiku (1) kepriye mula bukaning kesenian jaranan pogogan bisa muncul ing Kabupaten Nganjuk? (2) apa wae piranti sing dibutuhake kanggo pagelaran kesenian jaranan pogogan ing Kabupaten Nganjuk? (3) kepriye tata lakuning pagelaran kesenian jaranan pogogan kang dumunung ing Kabupaten Nganjuk? (4) apa makna sing kinandhut sajroning pagelaran kesenian jaranan pogogan ing Kabupaten Nganjuk? (5) apa fungsi saka pagelaran kesenian jaranan pogogan kang ana ing Kabupaten Nganjuk? lan (6) kepriye cara nglestarekake kesenian jaranan pogogan sing ana ing Kabupaten Nganjuk?
Panliten iki kegolong panliten folklor kang asipat dheskriptif kualitatif. Sumber dhata panliten iki bisa awujud lesan utawa tulisan. Dhata dipakoleh saka kagiyatan observasi, wawancara, lan dhokumentasi. Teori kang digunakake sajroning panliten iki yaiku teori folklor duweke John Harold Brunvand teori wujud pasugatan joged duweke Sal Murgiyanto, teori dhifusi duweke Fritz Graebner lan Pater Wilhelm Schmidt, teori makna simbolis duweke K. Susanne Langer, teori fungsionalisme folklor duweke William R. Bascom lan Alan Dundes, sarta teori fungsi duweke Radcliffe-Brown.
Asil saka panliten iki yaiku jaranan pogogan pisanan muncul udakara taun 1930 ing Dhusun Rejasari, Desa Banjarsari, Kacamatan Ngronggot, Kabupaten Nganjuk. Minangka sempalan saka tontonan reyog panaraga, jaranan pogogan ora mitontonake adegan ndadi, kejaba paguyuban Jaranan Barik lan Jaranan Bethet kang nganakake kagiyatan setren. Pagelaran jaranan pogogan dumadi saka patang adegan, antara liya (1) gambyong, (2) pogogan, (3) klana barong, lan (4) lakon. Sajroning pagelaran jaranan pogogan, makna kang kinandhut ing njerone sacara naratif nggambarake kadadean-kadadean tartamtu kang gegayutan karo crita Panji. Fungsi saka pagelaran jaranan pogogan, antara liya (1) pangilon angen-angen pandarbene, (2) sarana panggulawenthah, (3) nikelake rasa solidharitas klompok, (4) sarana kritik sosial, (5) sarana panglipur, lan (6) fetisisme. Jaranan pogogan tau ngalami jaman kajayan antara taun 1970‒1975. Ing taun 1975 jaranan pogogan wiwit katon ngalami kamunduran.
Tembung-tembung sing wigati: Jaranan Pogogan, Kabupaten Nganjuk, Folklor.
ABSTRACT
TRADITIONAL ART OF JARANAN POGOGAN
IN NGANJUK REGENCY
(FOLKLORE STUDY)
Name : Bastomi Pratama Putra
Study Program : S-1
Major : Javanese Language and Literature Education
Faculty : Language and Art
Name of Institution : Surabaya State University
Supervisor : Prof. Dr. Udjang Pairin, M.Pd
Jaranan art, especially jaranan pogogan, is commonly found in the lives of rural communities who generally have jobs as farmers. Jaranan pogogan form of artificial horse matting made of bamboo which is driven by being clamped by stylish players like soldiers who are riding a horse. Based on the explanation above, the main points of this research are (1) how did the beginning of the art of jaranan pogogan appear in Nganjuk Regency? (2) what are the equipment needed for the art performance of jaranan pogogan in Nganjuk Regency? (3) what is the code of conduct of the art performance of jaranan pogogan in Nganjuk Regency? (4) what is the meaning of the art performance of jaranan pogogan in Nganjuk Regency? (5) what is the function of the art performance of jaranan pogogan in Nganjuk Regency? and (6) how to preserve the art of jaranan pogogan in Nganjuk Regency?
This research is classified as a folklore research with qualitative descriptive fold. The source of this research data can be oral or written. Data obtained from observations, interviews, and documentation. Theories used in this research are John Harold Brunvand's folklore theory, Sal Murgiyanto's dance presentation theory, Fritz Graebner's diffusion theory and Fr. Wilhelm Schmidt, K. Susanne Langer's symbolic theory of folklore functionalism, William R. Bascom's functionalism theory and Alan Dundes, and Radcliffe-Brown's theory of functions.
The results of this study are jaranan pogogan first appeared around 1930 in Rejosari Hamlet, Banjarsari Village, Ngronggot District, Nganjuk Regency. As a break from panaraga's reyog spectacle, jaranan pogogan did not show the scene of ndadi, except for the Jaranan Barik and Jaranan Bethet groups which held a setren activity. The performance of jaranan pogogan consists of four scenes, including (1) gambyong, (2) pogogan, (3) klana barong, and (4) plays. In the performance of the jaranan pogogan, the meaning contained in it narratively illustrates certain events related to the Panji story. The function of jaranan pogogan performance is (1) the dream of the owner's imagination, (2) educational facilities, (3) increasing group solidarity, (4) social criticism, (5) entertainment facilities, and (6) fetishism. Jaranan Pogogan experienced a glorious era between 1970-1975. In 1975 jaranan pogogan began to look setback.
Keywords: Jaranan Pogogan, Nganjuk Regency, Folklore.