Hasil dari penelitian ini mengemukakan asal usul ritual suguh sesaji di dalam pentas Jaranan Pegon Trenggalek di Kelurahan Surodakan, Kecamatan Trenggalek, Kabupaten Trenggalek yang berhubungan dengan sejarah dan legenda. Ritual suguh sesaji Jaranan Pegon Trenggalek tidak bisa dipisahkan dengan asal usul adanya Jaranan Pegon Trenggalek diciptakan. Asal penyebutan pegon sendiri berasal dari kata ‘pego’ yang bermakna anyaman bambu. Karena, alat yang digunakan dari anyaman bambu dibentuk kuda. Rangkaian acara ada tiga Rangkaian acara ada tiga bagian, persiapan (mengunjungi leluhur), pelaksanaan (umbul-umbul), dan penutup (murwakala). Di dalam pelaksanaan ada tokoh dan pemain pendukung. Ubarampe sesaji ada yang utama (pisang raja, kelapa, cok bakal, rokok, kaca, fanbo, sisir, bedak, candhu, kemenyan, bunga boreh, bunga telon) dan yang pelengkap (buceng kuwat, gula gimbal-gula gringsing, jenang abang-jenang sengkala, jenang sewu, parem, dawet, rujak uyub, bunga setaman, kelapa mudan dan janur). Serta adanya alat pendukung. Fungsi ritual suguh sesaji di dalam pentas Jaranan Pegon Trenggalek di Kelurahan Surodakan adalah ada fungsi sosial, kultural budaya, ekonomi, spiritual, serta pendhidhikan. Sedangkan cara melestarikan ritual suguh sesaji di dalam pentas Jaranan Pegon Trenggalek adalah dengan konsep cultural experience dan cultural knowledge.

Jaranan Pegon Trenggalek is a form of cultural arts in Trenggalek Regency. Jaranan Pegon is closely related to the ritual of offering offerings. The Jaranan Pegon offering ritual has its own differences and peculiarities compared to other offering rituals. Meanwhile, what was studied was the offering ritual at the Jaranan Pegon Trenggalek stage in Surodakan Village, Trenggalek District, Trenggalek Regency. The purpose of this research is to find the origins, sequence of events, form and meaning of equipment, function, and how to preserve the ritual of offering offerings in the Jaranan Pegon Trenggalek performance in Surodakan Village. This research uses folklore theory according to James Danandjaja, and specifically semi-oral folklore. Apart from that, it also uses Alo Liliweri's theory of meaning, function theory by Koentjaraningrat, and Sendjaja's theory of how to preserve. This research uses a qualitative descriptive research method. The data in this research was obtained from interview techniques, observation and documentation.

The results of this research reveal the origins of the offering ritual in the Jaranan Pegon Trenggalek performance in Surodakan Village, Trenggalek District, Trenggalek Regency which is related to history and legend. The ritual of serving Jaranan Pegon Trenggalek cannot be separated from the origin of the creation of Jaranan Pegon Trenggalek. The origin of the name pegon itself comes from the word 'pego' which means woven bamboo. Because the tools used are made from woven bamboo and are shaped like horses. There are three series of events. There are three parts to the series of events, preparation (visiting ancestors), implementation (umbul-umbul), and closing (murwakala). In the implementation there are figures and supporting players. Ubarampe offerings include the main ones (plantains, coconuts, cok bakal, cigarettes, glass, fanbo, combs, powder, candy, incense, boreh flowers, telon flowers) and complementary ones (buceng kuwat, gimbal-sugar gringsing sugar, jenang abang- jenang sengkala, jenang sewu, parem, dawet, rujak uyub, flower setaman, coconut mudan and coconut leaves). As well as supporting tools. The ritual function of offering offerings in the Jaranan Pegon Trenggalek performance in Surodakan Village is that it has social, cultural, economic, spiritual and devotional functions. Meanwhile, the way to preserve the ritual of offering offerings on the Jaranan Pegon Trenggalek stage is with the concept of cultural experience and cultural knowledge.

Keywords: Ritual, Offerings, Jaranan Pegon Trenggalek, Folklore