Seblang Ritual:

From Sacred Rite to the Festival of Banyuwangi

Novi Anoegrajekti, Asrumi, Sudartomo Macaryus
Faculty of Humanities, Universitas Jember;
FKIP Universitas Sarjanawiyata Tamansiswa, Yogyakarta
Corresponding Email: novianoegrajekti.sastra@unej.ac.id

Abstract

Seblang ritual as an expression of gratitude for the community for the produce that
has been obtained and hopes to avoid threats, such as pests, droughts, and other calamities.
The implementation of Seblang is accompanied by 28 (twenty-eight) songs containing
symbols of protection. In general, Seblang as (1) initiation rituals in Using society; (2) the
myth of Dewi Sri as the Goddess of fertility, and the exorcist of evil spirits; (3) the harmony
of the world of microcosms and macrocosms; and (4) the legitimacy of harmony and
natural order. Regent Abdullah Azwar Anas (2010-2020) has a policy of globalizing the
culture and art of local traditions of Banyuwangi through world-level fashion themed local
culture, namely traditional arts, rituals, and natural beauty. Seblang was appointed as a
fashion theme held in 2014. It strengthened the promotion of Banyuwangi cultural tourism
at the global level and increased the number of guests who witnessed significantly. Using
ethnographic methods, this paper is complemented by field data: observation, participation,
and in-depth interviews with selected informants, namely cultural, ritualists, bureaucrats,
and supporting communities. Meaning in cultural studies by placing each symptom as a
cultural sign associated with power relations.

Keywords: seblang, ecology, festival, power relations, tourism

A. Introduction
Seblang is a village clean ritual which is lived by the people of Banyuwangi, East
Java, Indonesia. In Banyuwangi there are two rituals, namely seblang Olehsari which is
held in Shawwal and Seblang Bakungan in Lebaran Hajj, after Hari Raya Qurban. "Seblang
Olehsari" is accompanied by 28 poems in Using language, while seblang Bakungan is
accompanied by 15 songs, from "Seblang Lukinto" to "Erang-Erang". For the Using
community, ritual is one of the identities that the supporting community still lives on
(Anoegrajekti, 2010: 74; Anoegrajekti, et al., 2016: vii; 2018).
As a ritual based on rural agrarian culture, it is as transparent as introducing the
natural environment through accessories, a series of activities, and materials used in a series

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of rituals. Accessories in the form of crops that are displayed on a sunny arena, such as
bananas, mangoes, petai, cassava, coconut, and lilies indirectly introduce rural agrarian
traditions through objects. This is also an expression of gratitude for the produce that has
been obtained and enjoyed throughout the year. The series of pilgrimage activities to Witri's
great-grandfather's tomb and to the Watu Ulo water source are expressions of respect for
ancestors and gratitude for water that has provided livelihoods for plants, animals and
humans. Likewise, the objects used for offerings, bananas, flowers, incense, market snacks,
all are reminiscent of produce that is still in the form of material and has been processed by
humans.
A rural agrarian culture was also seen in a series of songs sung throughout the
performance, at 8:00 a.m. to 11:00 p.m. on the main road of Krajan Hamlet, in front of the
Seblang Bakungan Studio. This paper focuses on the explanation of the song poetry that is
sung throughout performances related to rural agrarian culture and its journey from local
rituals to global festivals.
By adopting the Smart view, there are 6 dimensions of ritual. First the narrative and
myth, which is the story that is lived and becomes the support of the community's beliefs.
Narratives in ritual appear in the formulation of prayers, spells, and praises. Whereas mite,
looks like the Hindu Tengger which has Kasada Day. 1 Second, experience and emotion,
namely fear, guilt, admiration, mystery, dedication, liberation, inner peace, and happiness
lived and felt by the supporting community.2 The three institutions, namely a belief system
that is shared and implemented by a group. 3 Often the rules for identifying community
(public) membership and participation. Fourth, ethics and law, namely regulations on
human behavior. The fifth doctrinal and philosophical, namely the systematic formulation
of religious teachings in the form of normative and uninterrupted creeds. 4 The six objects,
namely matter or place that symbolizes or manifests the supernatural, sacred, and
supernatural. One of the materials seen in each religion is a place of worship, clothing, and
completeness of worship.
Until now, the relationship between humans and their environment as ecosystems
has become a concern in various fields of life, such as religion (Barnett, 2015), health
(Chen, 2019), and maritime culture (Willis, 2018). Other fields such as language,
1. Kasada is related to the story of the youngest son of Roro Anteng and Jaka Seger, who disappeared and
then came the sound of light emanating from the crater of Mount Bromo so that his brothers held a ritual
offering on the Kasada month. The village clean ritual in Mangir Hamlet is related to the legend of Pangern
Wonoboyo III who was the son-in-law of Panembahan Senapati from Mataram, by marrying Putri Pembayun
(Macaryus, 2017a; 2017c).
2. Rudolf Otto (1917) for example distinguishes the appreciation of God as the almighty, awesome, and
deterrent (tremendum) and the pleasant and happy (Facsinosum).
3. The division of ulama and the ummah which dichotomically reflects one organization of religious
institutions is one manifestation of the attitude of religiosity.
4. The conference which discussed the religious dimension in cultural dialogue gave an example of the
following doctrines. (1) Christians believe that Jesus dies on the Cross for the salvation of the world. (2)
Abraham was the father of a great nation and his descendants would be more numerous than the grains of
sand on the sea shore, etc. (3) The five pillars of Islam are: (a) witness that no other God can be worshipped
and that Mohammad is God's Prophet b), obligatory prayer, (c) fast during the month of Ramadan, (d)
almsgiving, (e) the Hajj (2015:57).

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education, economics, technology, agriculture, literature, and others are certainly still many.
Especially in the field of literature, literature and art from the beginning were interested in
portrayal of natural, social, cultural, and human interaction with the environment. Attention
and environmental movements such as those that first appeared in the late 19th century and
in their newer incarnations, in the 1960s, inspired various works of fiction and nonfiction.
This fostered interest in literary studies in the early 1990s known as ekokritik. It has
become a loose eclectic movement that has penetrated into various fields of arts and
humanities in general (Buell, 2011: 417).
Rituals as well as showing symptoms as stated by Smart above. Especially in the
case of narratives, there are various versions of the emergence of seblang, which lexically
means 'to uncover', namely to uncover various obstacles, plant pests, pageblug, and other
natural disasters. In addition, the narrative also appears in the song poetry which is sung to
accompany each performance consisting of 13 (thirteen) scenes. In relation to fashion, it is
placed as a bridge or media to introduce local traditions to the international community and
packaged in a modern format. This was said by Anoegrajekti et al. (2017; 2018) as a
tradition visualization to be introduced to the world community. The phenomenon of ritual
becoming fashion has parallels with inheritance of values, as stated by Macaryus (2017b)
which discusses the inheritance of literary values by changing from verbal discourse to
performance art.
Using ethnographic methods, data from reading various literature sources is
completed with field data obtained through observation, participation involved, and in-
depth interviews with selected informants, namely cultural, ritualists, bureaucrats, and
supporting communities. Cultural studies analysis puts each symptom as a cultural sign
associated with power relations. The meaning is done semiotically by placing each event as
a cultural sign. Meaning is done comprehensively by placing each data in relation to other
data as a whole.

B. The Series of Seblang Bakungan Ritual Activities

The name bakungan comes from the word daffodils 'Crinum asiaticum'. The "-an"
affix forms the noun category and semantically means the place of the lily. It received
etymological legitimacy, was recognized and understood by Bakungan people who lived a
rural agrarian culture. Bakungan is an administrative area of the Glagah District,
Banyuwangi Regency. The rural agrarian culture lived by the Bakungan community leaves
a trail of seblang ritual that has been going on since 1639. The basis of rural agrarian
culture is seen from accessories used around the arena of seblang rituals in the form of
various crops, such as cassava, banana, durian, mango, coconut, oranges, vegetables,
flowers, and leaves (Anoegrajekti dkk., 2019:1).
Seblang as an expression of gratitude for the community over abundant crops and is
protected from threats, such as pests, drought, and various other calamities. Until 2014,
Seblang Bakungan lasted a day with a series of activities:1. The preparation of Seblang
arena, 2. a pilgrimage procession to great-grandfather's tomb Witri, 3. procession to the
antidote water source Watu Ulo, 4. Maghrib’s prayer, 5. ider bumi, 6. selametan, 7. seblang
makeup, and 8. The ceremony of seblang ritual.

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 The series of activities above begins around 14.00 and ends around 23:00. The
series of activities as early as 2015-2017 began since H-2 which was filled with expositions
of local MSME products and school-based art performances in the Bakungan Village. H-1
is filled with expositions of MSME products and studio-based art performances and
communities in the Bakungan Village. Meanwhile, on the day, filled with various activities.

Figure 1: Art performances guided by the studio in the Bakungan neighborhood (Documentation of
the research team)

The holding of the Seblang Bakungan in 2018 was designed to begin on the 6th day,
but because it coincided with the implementation of the Sacrifice Day, the H-3 finally
began. The long duration is filled with various activities and product exhibitions and
achievements of the Bakungan community. Seblang Bakungan leaves traces of cultural
contact at national and global levels. Bakungan cockfighting scene with Bali shows
domestic cultural contact between islands. Dongsrok Gending which comes from dance
words and in English dance, as association shows contact with European culture, while Ing-
Ing, is a trace of Chinese cultural heritage. The series of expressions of gratitude was
poured into the song and poetry of the song starting with "Seblang Lokento" to the scene of
the war of the keris accompanied by songs and poems of song Erang-Erang.

1. Syair Tembang Representation of Rural Agrarian Culture

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 The poem "Kodhok Ngorek" is formulated in parikan form, like Malay pantun. The
first array is conveying the sampiran and the second array of contents. Sampiran (stanza)
shows the cultural characteristics on the agricultural by displaying the phrase kodhok
ngorek, pinggir kali, and pinggir banyu, as shown in the following quote.

Kodhok ngorek mas pinggir kali 'katak berbunyi di tepi sungai'

Uwis tuwek mas seneng rabi 'sudah tua mas senang menikah'

Kodhok ngorek mas pinggir banyu 'kata berbunyi di tepi air'

uwis tuwek mas kok kemayu 'sudah tua mas tetapi centil'

The song to accompany the cockfighting scene between Bali and Bakungan uses a
lexicon that shows the closeness of the community to rural agrarian culture, namely kodhok
'katak', ngorek 'berbunyi', kali 'sungai', and banyu 'air'. Frogs are included in amphibians
that make sounds that people call ngorek. Frogs breed in areas that have standing water as
their habitat.
Tembang “Podho Nonton” chanted the third scene appeared on the agricultural
culture by generating a combined lexicon and the lexicon kedung, lewung, jolo, kembang
menur, lare angon, gumuk, paculono, tanduri, kacang lanjaran, and unting. The entire
lyrics of the song appear in the following quote.

Podho nonton pundak sempal reng lelurung

Yo pendite pundak sempal lambeane poro putro
Bok Poro Putro segorone reng kedung lewung
Yo sun jolo-jolo sutro tampang etang tampang kencono

Kembang Menur melik-melik reng bebentur

Yo sun siram-siram alun
Sun petiko liwat ati
Lare angon gumuk riko paculono
Sun tanduri kacang lanjaran
Sak unting oleh perawan

The poetry of the song "Podho Nonton" is an invitation to watch or witness this seblang
ritual. Podho nonton as a form of respect for the audience who attended and witnessed the
seblang ritual. Also, an invitation to remember the struggles of the ancestors who have
sacrificed for the glory of the land of Blambangan and the Republic of Indonesia ...Podho
nonton, let's watch it.

The poem song "Nglemar-Nglemir" tells the life journey of the characters of Sri
Tanjung and Sidopekso which became the origin of the name Banyuwangi. The lexicon that
shows rural agrarian culture is rose flower and jasmine flower:

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 Nglemar-nglemir Mbok Sri Tanjung
Temurune embok, temurune embok
Rika ketiban guna
Kembang mawar kembang melati
Sedhompol rika manasi ati

Nglemar-nglemir Mbok Sri Tanjung

Yo ilingo kakang-kakang Patih Sidopekso
Kembang mawar kembang melati
Sejarahe kutha Banyuwangi

The story of Sri Tanjung-Sidopekso is an example and a message of loyalty to a spouse.

Sri Tanjung-Sidopekso, a legend rooted and the soul of the Banyuwangi community. The
legend of Sri Tanjung and Patih Sidopekso inspired the poetry of the song "Nglemar-
Nglemir" which accompanied the following scene.

Tembang “Kembang Gadhung” brought to accompany the scene of selling flowers.

The title of the gadhung flower shows vines that grow in the yard. Toxic bulbs require
layered processing for antidotes.

Kembang gadhung segulung ditawa sewu

Nora murah, nora larang
Kang larang wong adol kembang
Wong adol kembang
Barise ring Temenggungan
Diriring ring payung agung
Lakonane membat mayun

Gadhung, plants and tubers that commonly grow in the yard. This poisonous tuber, with
careful processing can be a delicious food. "Kembang Gadhung" inspires artists who make
it song and song lyric. Gendhing and the song lyric "Kembang Gadhung" accompany
seblang who will sell flowers. Please guests and viewers to buy a strand of flowers that will
be circulated around this seblang arena.

The song and song "Uga-Uga" was performed to accompany a scene like a baby
rock that was displayed by holding a scarf and carrying an umbrella. This has become the
tradition of the Indonesian people in general, including the Using community in
Banyuwangi.

Uga-Uga sira turua

Kadhung sing turu sun dhunaken
Muga-muga sira milua
Kadhung sing milu sun dhukunaken

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 "Uga-uga" a meaningless, but powerful word. "Uga-uga" was said by a mother
while pet and lulling the baby. "Uga-uga sira turua" sleep my baby dear. "Kadhung sing
dhunaken" if you don't sleep, I will put you down. A threat that only comes to speech but
will not be an action. There is no way for the mother to release her child from her lap
before falling asleep and enjoying her rest comfortably. Such is the mother's love for the
baby.

Tembang “Ratu Sabrang” accompanies the scene of farmers plowing fields that
represent the lives of farmers. In 2011, this scene was not shown because seblang players
did not want it.

Ratu-ratu sabrang
Nunggang pethite singgang
Awang-awung kebo lancing
Pecute kang Jaka kuwung

Layar-layar kumendhung
Umbak umbul reng segara
Segorone reng tuan agung
Tumenggung nunggang kereta

Lilira-lilira katun tangia keri

Sekantune lilira yugok
Yo sapanen dayoh rika
Bok sukur bok milu tomok

Liliro-liliro gilik
Sabuk cinde reng gurise
Kakang-kakang ngeliliro
Sawah bendo gelang seloka

Sekar-sekar jenang
Mau dada dadari kuning
Agung alit temuruna
Kawulana disepura

Seblang comes from the agrarian tradition. This became the obligation of the
Bakungan community in particular and Banyuwangi in general to maintain the tradition of
farming. At present, cattle or buffalo-drawn plows are being replaced by tractors. This
mechanization effort is one of the achievements of the development of modern technology.
However, the main community of the young generation needs to have a history and roots of
technology. Gendhing and the song of "Ratu Sabrang" will demonstrate how the peasant

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community cultivates the rice fields, plowing using the power of cows or buffaloes.

Figure 2: The scene of plowing fields as an expression of the tradition of rural agrarian communities
(Documentation of research team)

The lyrics of the song "LIYA LIYU" represent the scene of farmers who are
guarding rice plants and driving away the birds that come to eat the grains of rice in the rice
fields.

Kang mas sun ayun pinayun-ayun

Kang mas liya-liyu bunder godhonge
Singo karang gantung

Oya manuke podho selamberan

Oya liya-liyu gendhinge wong tani
Gendhinge wong nggetaki pari

Sparrows are small, but as a colony can come together and prey on young rice
grains. That is part of the struggle of the peasants, to drive the birds that become plant
pests. Predators, eagles, snakes are also there, but they are diminishing because they are
hunted by humans. Flying birds, "Manuke Podho Selamberan" became a pest that
threatened farmers' crops. "Liya-Liyu" a word which is said to be the name of a Gendhing

8
in the traditional art of Banyuwangi (Gandrung). "Liya-Liyu" is a meaningless word, but is
empowered to drive the colonies that colonize and eat the seeds of farmers' rice. Liya-liyu,
liya-liyu, liya-liyu, liya-liyu, liya-liyu.

The poem song "SUKMA ILANG" reveals a connection with the source of water in
Olehsari named Sukma Ilang. Community trust shows that the source of water is the place
of moksa of Prince Sayu Wiwit when pursued by Dutch forces. this matter also relates to
the implementation of the seblang in the Olehsari and Bakungan.

Sukma ilang, sukma ilang

ilang-ilangan
isuk maning ilang-ilangan

Sukma ilang, can mean 'lost soul', people know also pass the soul (lolos sukma).
The soul has the potential to leave the body for a while and for certain purposes. Sukma
Ilang is also the name of the water source in the village of Olehsari. "Sukma Ilang" is also a
mantra to trick people into not paying attention to one's presence. In this song and song
"Sukma Ilang" it was clear that he could disappear. It was confusing for the barners who
then tried to find a place of existence.

We follow the "Sukma Ilang" scene together.

The song "Fishing - Fishing" accompanies the scene of the seblang player who is
cleaning and processing the fish caught.

Mancing-mancing tengahe segoro

Perahune bari mentas
Uli-ulie Iwak Lojung
Jaring mentas keneng kedayung

Banyuwangi has a land area which is a fertile agricultural land and produces various
kinds of crops. In addition, Banyuwangi also has coastal and marine areas. The length of
the 175.8 km long Banyuwangi coastline has the potential to provide welfare for the
community. "Mancing-Mancing" represents the community life of fishermen in
Banyuwangi who have a livelihood as fishermen. Fishermen's profession inspired the
emergence of drumming and song lyrics "Mancing-Mancing" to accompany the seblang
scene which demonstrated the fishermen who were processing their fish catch.

The song "Emping-Emping" Seblang scene witnessed accompany children playing

propeller.

Emping-emping, emping-emping
Lare cilik manjer kiling

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 Ya mudhuna, ya mudhuna
Kecocok pucuke kiling

Emping-emping, emping-emping
Lare cilik manjer kiling
Ya mudhuna, ya mudhuna
Ketampik udhenge bathik

Kiling or propeller is one of the games in Banyuwangi. The motion and sound
produced indicate life, hope and dynamics. Kiling with a long tail is still a part of the life of
the Banyuwangi community, until in front of Blimbingsari Airport, the pillars with long tail
stand.
Motion and sound continue to be sustained by the community to realize a
productive, prosperous and independent society. Sparkling entertainment has been lived
since childhood, as seen in the poem "Lare cilik manjer kiling". Little children put up
propellers for entertainment. We follow the scene as plain as the accompaniment of
gendhing and the poem of the song "Emping-Emping".

The song "ING-ING" shows the integration of Chinese culture in the Using
Banyuwangi community.

Pari pelang pari oking

Ayo mulih nyang negoro Using

Pari pelang pari Jawa

Ayo mulih nyang negoro Cino

The Blambangan community has also cooperated with the Chinese nation. Trade is
the main cooperative space. Blambangan crops become an attractive commodity for
Chinese traders. Chinese culture gradually influenced the local culture of Blambangan, at
that time.
Gendhing and the poetry of the song "Ing-Ing" is one of the traces of Chinese
cultural heritage which is still always echoed in the implementation of the Seblang ritual in
Bakungan. The lyrics of tembang "Ing-Ing" is composed in parikan "Pari pelang pari oling,
let's start nyang negoro Using" contains an invitation to return to Blambangan called
negoro Using. At the moment there are many tourists who always want to repeat their
presence to Banyuwangi because of the charm of nature, culture and the work of its
charming people.

2. From Ritual to The Festival

Ritual is one of Banyuwangi's cultural assets, in addition to literature, architecture,
culinary, batik, and traditional arts. As a cultural treasure, several rituals have entered the
2019 Majestic Banyuwangi Festival which is a change from the Banyuwangi Festival

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(CBF) which was first raised in 2012. Etymologically, the term festival means' 1 happy day
or week in commemoration of important and historic events; the people's Party; 2
competitions (Sugono, 2008: 291). In relation to the rituals in Banyuwangi "including one"
the term festival refers to the first meaning. As a ritual that originates from the community
and continues to be lived by the supporting community, seblang rituals are included in the
Banyuwangi festival agenda and their implementation in the initial location of the
emergence and in the location where the supporting community lives. The Seblang
Bakungan ritual was held in the Krajan neighborhood, Bakungan Village, Glagah District,
Banyuwangi Regency. The time of implementation also adapts to the customary provisions
which are determined by deliberation between the government of the Bakungan Village and
the community and seblang supporters, namely the adat leader, handler, heir, panjak,
sinden, perias, and the perpetrator.
Seblang rituals began to enter CBF in 2014, the third year since its first launch in
2012. Quantitative placement was able to increase the number of guests significantly. This
is in line with Banyuwangi's efforts in developing tourism. In addition to entering as one of
the Banyuwangi festival agenda, seblang has also been appointed as the theme of
Banyuwangi Ethno Carnival (BEC) in 2014, namely in the implementation of the fourth
year. BEC is a fashion that is packaged in a modern manner but adopts traditional themes,
from traditional arts, rituals, customs, and natural charms of Banyuwangi. The theme of
2019 is the ritual of Sea Picking, which is a clean village held by fishermen and takes place
on the coast which is a fishing village for Banyuwangi, such as Grajak, Pancer, and
Muncar.
In general, BEC raises traditional themes to be introduced to the world community.
The traditional ethnic-based themes in Banyuwangi are an effort to introduce Banyuwangi
cultural wealth to the world community. This is to complement the wealth of tourist
destinations in Banyuwangi, namely natural, artificial, and cultural. Especially seblang
Bakungan, in several times the implementation has been published by utilizing information
technology. The community can watch directly at the location of the event, because it is
held in the original location and the supporting community is located. However, the public
can also enjoy live broadcasts through streaming, through the internet.

C. Research Implication
Seblang Bakungan is a clean village ritual based on a rural agrarian culture that is
still lived by the supporting community. The rural agrarian culture can be seen in the use of
seblang arena accessories, offerings, dishes for selametan, and song poetry to accompany
each scene as brightly as possible. Since 2012, a series of cultural activities in Banyuwangi
have been united in the Banyuwangi Festival Calendar agenda which makes it easy for
local, national and international tourists to choose the cultural events they want to witness.
Universally, ritual as one realization of the attitude of religiosity has 6 (six)
dimensions which all appear in seblang rituals. As an oral tradition, as clearly as having a
diverse background story it shows the dimensions of the myth. The use of song poems is
sung to accompany each scene to show a verbal narrative. The metamorphosis of rituals to
festivals is an effort to introduce Banyuwangi cultural wealth to the international

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community which is realized by uniting seblang as one of the cultural activities published
in the Banyuwangi Festival Calendar, since 2014. In 2019 the agenda is titled 2019
Majestic Banyuwangi Festival.

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