BANYUWANGI FESTIVAL, ORAL, RITUAL AND CULINARY TRADITION

ART: Revitalization and Commodification of Locality-Based Culture

Novi Anoegrajekti 1, Sudartomo Macaryus2, Latifatul Izzah1, Muhammad Zamroni1 and Bambang
Aris Kartika
1Faculty of Humanities, Universitas Jember,Jember, Indonesia
2Faculty of Education, Universitas Sarjanawiyata Taman Siswa, Yogyakarta, Indonesia
novianoegrajekti.sastra@unej.ac.id; sudartomom@gmail.com; latifatul.izzah@yahoo.co.id; zamuhammad11@gmail.com;
bamsliverpudlian@gmail.com

Keywords: festivals, commodification, revitalization, rituals, traditional arts.

Abstract: Tourism is one of the fields that has become the focus of community economic development. Placement of
various cultural events in Banyuwangi Fesival (CBF) is one of the strategies that has proven effective in
increasing the number of domestic and foreign tourists to Banyuwangi. The long-term goal to be achieved is
the realization of local culture-based education in Banyuwangi Traditional, ritual and culinary arts in
Banyuwangi which are packaged into agrarian culture-based festivals and tours can be witnessed every year
in Banyuwangi. The development of culinary-based agrarian tourism, also contains strategic value because
it provides an educational space for tourists and the community in the agricultural area which is a tourist
destination. The educational space allows the growing awareness and love of society towards agrarian
culture and its natural environment. Tourism development also has a cross-sectoral economic chain, such as
lodging, transportation, culinary, souvenirs, agrarian tour packages, and guides. The art of tradition, the
Seblang Bakungan ritual, Seblang Olehsari, Kebo-keboan, coffee processing festival, and ngopi sepuluh
ewu festival, have been included in the CBF. This has the potential to bring visitors in large numbers and
become an opportunity for the community to socialize and market creative industry products. By using
ethnographic methods, research begins with collecting library data. Library data is completed with field data
obtained through observation, participation, and in-depth interviews with selected informants. Data analysis
and meaning are carried out in cultural studies and treat data as a cultural sign.

1 INTRODUCTION laws, medicines, mantras, and rituals is a

The big world-class Banyuwangi Festival
titled Banyuwangi Ethno Carnival (BEC) which has
been going on since 2011 until now has entered its
9th year. BEC raises a variety of themes, namely
traditional arts, rituals, and natural charm
(Anoegrajekti, et al. 2016; 2018). The BEC
implementation was followed by the unification of
cultural activities in Banyuwangi in the Banyuwangi
Festival Calendar (CBF) container which was
launched the first time in 2012. Every year CBF
experienced an increase in the number of festival
eyes. This increase in numbers marked the
enthusiasm of the community to demonstrate the
achievements of the development of the
community's cultural arts. Developing cultural arts,
mostly based on oral traditions, legends, myths,
representation and identity of the support
community. In rural agrarian societies, oral
traditions appear to be in the ritual of clean village.
In coastal societies, oral traditions are seen in sea
alms rituals, and in mountainous areas raises
mountain alms rituals. Oral tradition also shows how
the community has the ability to overcome various
problems encountered in everyday life.
Therefore, introducing children to the natural
environment becomes an imperative of the
Indonesian nation because a lot of nature's potential
is wasted simply because it does not recognize it
well. Students living on the beach need adequate
information on coastal biology and ecosystems. So
do the students who live in the mountains, forests,
rice fields, and deserts. A good introduction and
understanding of the natural environment of
residence allows them to always have alternatives.
Conversely, if deprived of the environment they will
be "strangers" in the environment, especially when
seeing the children metropolitan play mobile phones
and games on display in the window.
This paper focuses on the study of how the
development of tourism education is based on oral
traditions that contain strategic values that can
provide educational space for tourists and supporting
communities that are packaged in the Banyuwangi
festival.
2 THEORITICAL REVIEW AND
METHOD
By analysing cultural phenomena in cultural
studies, this paper emphasizes an in-depth
description of the various social and cultural forces
in Banyuwangi, Tengger, and Bantul as well as how
the cultural process as a representation of identity.
By ethnographic analysis as a re-examination of
field notes to search for cultural symbols (usually
expressed in the original language) can be useful for
building a systematic understanding of human
culture from the perspective of people who have
experienced or studied the culture and to discover
how society organizes culture in their minds and
then using that culture in life (Spradley, 1997).
Moreover, in a more critical aspect the ethnographic
method can also look at the cultural problems that
take place in a society or society in terms of the
power, strategy, and negotiations that its members
undertake.
Identity by Hall (1997) connects
representation with politics. It is politics that make
Balinese postcards and Balinese dancers can be
considered to represent Bali. It can be identified that
cultural politics that can make local literature in
Banyuwangi performing arts can represent Using,
Tengger, and Java (Bantul).
Cultural identity is always associated with
hybridity. According to Hall (1993: Melani, 2005:
38) identity is not the essence, but a number of
identification attributes that show how we are
positioned and placed ourselves in society, because
cultural and historical aspects are a necessity. Hall
emphasizes that identity as a never-ending
production, always in process and always built in
representation. Identity is not static, always
constructed in time and space, and is complex and
plural. In other words, Eriksen (1993: 117) says that
"identity is situational and can change.”
3 LOCAL LITERATURE AS
VALUE INTERNALIZATION
MEDIA
Oral tradition in Indonesia has various functions
in society. One of them is the educational function.
It is possible through the content contained within
the oral tradition and the process of socializing and
internalizing the oral tradition across generations.
3.1 Mocoan
Mocoan1 tradition is one of the traditions of
Using society that has lasted long. The material that
was read was the story of the Prophet Yusuf written
in the palm. Information from the perpetrators
Mocoan Lontar Yusuf states that the papyrus Yusuf
spread by Ki Buyut Cungking located in Giri
District. The manuscript was re-written on paper in
1829-1900 by Carik Janah (Narijana) who lives in
Cungking. Lontar is also called the young gebang
leaves are cut into pieces such as the size of the fan.
Stationery in the form of graft (bathok) coconut
which tip burned. The tip of the burning coconut
shell is black and used for writing. Lontar Yusuf
uses Arabic (Senari, 2016), Javanese (Kawi).
Mocoan Art tradition is done one week once.
In Kemiren there are two groups called in
accordance with the day of its operation, namely
Reboan which is held every day during night and
Kemisan held every Wednesday Night. Rotating
venue in each member's house. Participants sat down
and took turns reading out part of part of the papyrus
of Yusuf and transmitted using loudspeakers, in
1. Mocoan has undergone metamorphosis from
the reading activity of Lontar Yusuf purely, then
came the innovation carried out by Aljin which
included jokes so that the meeting became an
opportunity to get entertainment. In the latest
developments, Mocoan also gave rise to the
"Mocoan Gaya Baru Campursari", which featured
more entertainment because it was filled with
comics and songs that were popular in the
community. See Novi Anoegrajekti, Optimalisasi
Seni Pertunjukan: Kontestasi Negara, Pasar, dan
Agama, (Yogyakarta: Ombak, 2016a), 45–51 and
Novi Anoegrajekti, "Perubahan Sosial Berbasis
Lintas Budaya: Identitas dan Ruang Negosiasi
Global-Lokal." in Jejak Langkah Perubahan: dari
Using sampai Indonesia, (Jember: Ethnic and
Community Culture Research Center and HISKI
The Jember Commissariat collaborates with Ombak
Publishers, 2016b).
order to be heard by the citizens accessible by the
speaker's transmissions.
By participating in the reading of the papyrus
of Yusuf, the surrounding community feels comfort,
coolness, and educative entertainment. Another
reading room is the response of citizens who have
intent, want to perform the pilgrimage, clean village,
or festival organized by the government through the
Department of Culture and Tourism. In this space
the reading was done all night by a team member of
about 10 people. Clean village held in Dusun Kopen
Kidul Glagah District, Banyuwangi always hold
mocoan at night before the enactment of ider bumi.
3.2 Barong
In Banyuwangi there are many groups of
barong combined with jaranan (lumping horse). It is
unique in Kemiren Village which has a barong art
group with an element of story or play. In Desa
Kemiren there are three groups of barong, namely
Barong Tua, Barong Lancing, and Barong Cilik. The
old barong is sourced from a meeting ritual between
a barong with Buyut Cilik. This old barong group is
led by Sapi'i. Barong lancing stands next and
innovates and varies the story. Various stories
created by Sucipto leader of this barong lancing
group. While barong cilik was established in 2006.2
Saperi, the leader and founder of this barong
cilik vowed, if you have a boy will be included
group Barong. Saperi is slowly buying barong gear
and the kids who often gather in his village are
trained to play barong. One day, the barong group
trained was asked to accompany the procession
(procession). Since then the group of barong is
considered in Bulu, Payung, Rogojampi, and
Kampung Anyer and known as Barong Cilik,
because the players are children. This barong group
is the same as the original Barong Tua Kemiren. The
story content of the stage response is the scene of
Jakripah, Pak Mantri, and Tiger Lundoyo.
The story is part of an oral tradition that has
until now continued to be maintained. Tiger
Lundoyo asked the Master (Panji Kudawaningpati)
to be allowed to become human. The teacher agrees
on condition that he be a good man in society. Tigers
2. Sucipto has created several plays, namely:
Geger Cilacap, Pendekar Alas Purwo, Sarjulo
Kamandoko, Puspolonggo Edan, Alap-Alap
Bojonegoro, Satrio Alas Sambulungan, dan Lahirnya
Maheso AnggoroVarious stories created by Sucipto
is to make the barong lancing he leads is seen
similar to Janger.
get a chance to transform into a human and live in
the community. It survives if his life is in line with
the ethical and moral rules prevailing in society. But
one day he was fascinated by the beauty of one of
Mr Mantri's wives named Siti Ambarsari and
kidnapped her.
When he got home from traveling and
learned that Siti Ambarsari was missing Mr. Mantri
was angry and told his two abd to search. Both find
Sinti Ambarsari who was kidnapped by Lundoyo.
Lundoyo was eventually punished, tied tightly, and
put in a closed box. Mr. Mantri told Lundoyo that if
he could get away from the bond, he could marry
Siti Ambarsari. Lundoyo was able to escape from
the bond and then took the run Siti Ambarsari into
the forest.
In the Forest, Lundoyo meets the Master
(Panji Kundhawaningpati). By the Teacher he is
considered to have denied the promise. Therefore,
Lundoyo is turned back into a tiger. Lundoyo
became a wild and ferocious tiger. At that time, the
tiger Lundoyo experienced a trance that is believed
to be the ghost of Buyut Cili. Then the handler tries
to resuscitate through the fight scene. This scene
becomes the culmination of a barong story stage
response or night response, as it is commonly held at
night.
With the development of this model, the
barong cilik was asked to enter and become part of
the old barong group. It was approved by Saperi.
Since then, barong cilik became part of Barong Tua.
This step has an educational value that is to be a
cadre of barong Kemiren. In addition, the gathering
of children in an arts group enables them to have a
sense of shared responsibility, building a sense of
compactness in addressing the tone, rhythm, and
motion in barong art. Love and appreciation of art
also flourished well through this group.
Barong Kemiren became the theme of BEC in 2012 the global community, the festival has the potential
(Left) and Bride Using was the theme of the 2015 to be attended by large numbers of guests and from
BEC (Right) (Taken from the Banyuwangi Culture various regions, countries and professions. All of
and Tourism Service website) that becomes a venue for socialization and
promotion of culture based on oral traditions.
In the digital era, each barong plays and the
"Ider Bumi" ritual that takes place every time has
been published online that can be accessed by the
global community. Banyuwangi, which since 2011
has developed traditional art-based fashion, has
raised art and ritual themes that live in the
community. Barong Kemiren which is rooted in
ritual and has a play that lives as local literature
(oral) was appointed as the theme of the 2012 BEC
community. The Using bridal tradition, which is part
of the Banyuwangi oral tradition, is still being lived
by the Using community and adopted as the BEC
theme in 2015. Bride Using, which is the theme of
the festival (BEC) shows that fashion as a form of
expression of modern art has the potential to Figure 1: The salvation after the ceremony was attended
package tradition verbally onto the global stage. by the community and the organizing committee of the
Sri Tanjung Sidopekso which is a legend Seblang ritual (Research Team's Documentation)
from the name Banyuwangi to the present leaves a
variety of fragments of the story. The story of the Sri
Tanjung Well in Kawitan Village, being a Janger
tradition of art, and adopted as the 2016 BEC theme
is a fragment of the story of Sri Tanjung and
Sidopekso with the final estuary in the festival
format.

3.3 Culinary
Culinary in Banyuwangi grows and develops
in line with tourism development which is one of the
leading developments in Banyuwangi. The ritual is
held in series with a salvation that serves
Banyuwangi's typical culinary delicacies, such as
pecel pitik, urap, and other dishes. The development
of tourism makes dishes that initially as part of
salvation, such as pecel pitik, then develop into
culinary offerings that are sold to tourists. These
culinary offerings educate the public and tourists
about various local-based culinary flavour.
Innovations also occur with the emergence of
new recipes such as soto rujak, sega cawuk, and
tempong sauce. The development of rituals,
traditional arts, and culinary activities in
Banyuwangi reveals mutual support and
interdependence. However, it all boils down to the Figure 2: 2017 Banyuwangi Festival Calendar Poster
festival, which in 2019 reaches 99 (Ninety-Nine)
festivals. CBF 2017 which includes culinary-based rituals and
The 2017 CBF above shows a variety of oral festivals, such as "tumpeng sewu", "ngopi sepuluh ewu",
traditions that lead to major festival activities. sangria coffee
Through online publications that can be accessed by
4 CONCLUSION
The terminology of oral tradition refers to
various fields of life whose inheritance occurred in a
cross-generation verbally. Lontar Yusuf as a written
script, how to enjoy it, is with being narrated. It
gives an appreciative space of appreciation for the
people who listen to it. The placement of Lontar
Yusuf as a local Banyuwangi literature spans from
house to house.
Barong Kemiren has two characters, namely
sacral and profane. Sacred barong is revered and
only released during the ceremony of the Barong
Ider Bumi ritual of Kemiren Village which is held
every year on the second Eid day. Barong profane as
a performing art with a story of barong jakripah,
Pak Mantri, and Lundoyo Macan as oral literature is
visualized in the form of folk theatre and become a
fashion as the Banyuwangi Ethno Carnival (BEC)
theme that can be accessed by the global
community.
Tradition and culinary as part of an oral
tradition that is still being lived by the Using
community, some of which have been adopted as
BEC themes which are world-class fashion.
Culinary, tourism, and ritual are interrelated,
mutually supportive, and interdependent fields.
Educational aspects that are built through rituals,
traditional arts, and culinary, bring the connoisseurs
closer to the natural environment (animals, plants,
geographical locations), social (shared life, mutual
cooperation, cooperation, marriage institutions).
ACKNOWLEDGEMENTS
If any, should be placed before the references
section without numbering.
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