Bersih Desa Research Articles

Traditional ecological knowledge and utilization of rice in Sukoharjo District, Central Java, Indonesia

Abstract. Kusuma LA, Damayanti K, Damayanti JT, Nisa J, Nurwulandari M, Nazar IA, Yap CK, Md. Naim D, Setyawan AD. 2023. Traditional ecological knowledge and utilization of rice in Sukoharjo District, Central Java, Indonesia. Intl J Bonorowo Wetlands 13: 78-85. Rice (Oryza sativa L.) is one of Indonesia's staple foods and a source of income for some communities. Sukoharjo District is one of Central Java's most promising rice producing areas. In managing rice farming, the community incorporates local knowledge and discovers collective understanding about rice plants. The research was conducted to determine the existence of TEK (Traditional Ecological Knowledge) in Sukoharjo District, Central Java, Indonesia in managing rice varieties and influencing factors, as well as to learn about the community's perception of rice plants; the research employs a qualitative and quantitative ethnobiological approach. The results showed that although agriculture in Sukoharjo District is included in semi-modern agriculture, the community has TEK, which includes various rice varieties and paddy fields. Farmers in Sukoharjo District still use Inpari 32 rice varieties to manage their paddy fields instead of other varieties. Rice is widely used in various traditions, such as syukuran, weddings, kenduren, bersih desa, and rasulan. Many parts of the rice plant are also used, such as rice stems (straw), grain, husks, bran, and rice. A small part of the Sukoharjo community uses rice as an important role in cultural behavior and in maintaining the rice varieties' biodiversity well. In managing agriculture, some communities still use traditional techniques and adjustments to modern technology, such as using modern tools and human labor to plant seeds. The application of rice in every activity of the people of Sukoharjo District shows a complex relationship between humans and nature.

Topeng Kona: A Sacred Dance in the Ritual Bersih Desa at Blimbing Village, Bondowoso Regency, East Java, Indonesia

This study aimed to describe the procession of the ritual ‘Bersih Desa’ and analyze the existence of the sacred dance ‘Topeng Kona’ as a tool for validating the ritual ‘Bersih Desa’ in Blimbing Village, Bondowoso Regency, East Java, Indonesia. The intelligence and local wisdom possessed by the ancestors of Blimbing Village, was able to give birth to masterpieces of high noble value in the ritual ‘Bersih Desa’, such as ‘Topeng Kona’ dance, ‘Singo Ulung’ dance, Tandhe’ Bini’ and ‘Ojhung’ dance. The masterpiece was the result of the marriage of two cultures, namely Javanese culture (represented by the figure of Juk Seng or Juk Singo Ulung) and Madurese culture (represented by the figure of Juk Jasiman). The result of the marriage produced a migrant culture with a high value that differed from the culture of the migrant’s home region. The sacred dance ‘Topeng Kona’ was used as a medium to validate the ritual ‘Bersih Desa’ as a form of appreciation for Jasiman figures who came from Madura and became the member of the residents of Blimbing Village.

Remembering the Disaster: Isra Miraj Commemoration at the Telomoyo Slope Inscription Site during COVID-19 Pandemic

Isra Miraj is a commemoration of the amazing journey of the Prophet Muhammad PBUH to the seventh heaven in one night. In Indonesia, this day is celebrated by various traditions, including rejeban in Java. Some activities such as bersih desa (cleaning the village) ceremony, eating together in haunted or ancestral burial places, and performing various artistic performances are held in rejeban. By applying oral tradition methodology suggested by Jan Vansina (1964), this paper aims to propose that rejeban on the Telomoyo slope is more than a commemoration of Isra Miraj resulted from Islamic-Javanese acculturation. This tradition is a medium inheriting the collective memory of natural disasters in the XIX century. In the context of the Covid-19 pandemic, rejeban is a reminder of local disasters occurred globally.

Value of local wisdom in the tradition of bersih desa gaplikan as a form of student character

As one of the bersih desa tradition, bersih desa Gaplikan tradition can be used as one of the learning materials in schools because it contains many local wisdom values that can be used in shaping the character of students. The purpose of this study was to explain the values of local wisdom contained in the bersih desa tradition. The values of local wisdom contained in the tradition of bersih desa Gaplikan include religious values, social values that include the value of togetherness, goyong royong, deliberation and most recently cultural values. There are various procession in the implementation of this tradition of bersih desa Gaplikan including joint prayers, gunungan parades and Gaplik Dance art performances performed by Mr. Gaplik. This research illustrates qualitative research with an anthropological approach. Data is collected using interview, archival and observation techniques. The data obtained is then analyzed with an anthropological approach.

Forms of community participation in preserving local wisdom in the traditional ceremony of bersih desa

Society has an essential role in the implementation and development of a tradition in its environment. The traditional ceremony of Bersih Desa in Kedungbendo Village is one of the traditions still carried out today. The community also plays a role in the implementation of the traditional ceremony of Bersih Desa in Kedungbendo Village. This study used the descriptive qualitative method. The sources of data in this study came from informants, places, events, and documents. The data was collected by using interviews, direct observation, and documents. Based on the study results, it can be concluded that the reason people still carry out the tradition of Bersih Desa is that it belongs as a legacy from their ancestors. Since it is a legacy, its existence must be preserved. The traditional ceremony of Bersih Desa is also used as a medium between humans to express gratitude to God for the blessings and redemption given. The traditional ceremony of Bersih Desa is also carried out with the purpose and hope that the village community's life will be much better with the blessings received so that nothing terrible happens to the village community.

STATEGI KOMUNIKASI DALAM MEPERTAHANKAN EKSISTENSI WAYANG KULIT PADA BERSIH DESA (Studi pada Ritual Bersih Desa di Desa Siraman Kecamatan Kesamben Kabupaten Blitar)

Bersih Desa is a hereditary tradition in Javanese culture. Bersih Desa is a form of the union of humans with nature and a form of gratitude to the Creator, namely God Almighty. Clean Village can be defined as a form of gratitude for both the harvest, health, and prosperity. So in the Bersih Desa event, a shadow puppet cultural art performance is always held. The existence of shadow puppets in Java until now shows that they are still popular in the midst of the audience. The ability of wayang kulit to survive from generation to generation is something that proves that wayang kulit is an art that not only contains Javanese cultural values ​​but is a personal need for wayang kulit fans because wayang kulit shows have messages and advice conveyed to the audience. The ability of wayang kulit that persists in the midst of modernization and globalization, socioculturally this wayang kulit adapts to developments in society. Psychologically, wayang kulit is still firmly attached to the minds of its fans. The shadow puppet show in Bersih Desa event must still exist in the community so it is very important to have a communication strategy in maintaining its existence, one of which is in Bersih Desa event to preserve the local cultural heritage of the ancestors.
 This study uses a descriptive qualitative method regarding communication strategies in maintaining the existence of wayang kulit at Bersih desa, with the support of literature studies and observations or observations of wayang kulit performances. Data was collected using interviews, literature and documentation. By using a descriptive method, the results of the communication strategy in maintaining the existence of wayang kulit at Bersih desa can be described in depth, detail and holistically.
 The communication strategy in maintaining the existence of wayang kulit at Bersih Desa is carried out by planning communication (communication planning) and communication management (communicatiom management) to achieve a goal. Communication strategy planning is carried out by covering: a.) Identify the target audience,b.) Build what you want to achieve c.) Think about what should be included in the message d.) How much commitment is required, smutual respect for intergenerational culture so as to create a good correlation. e.) Choose the right media channel, f.) Communication plan, to provide information to g.) Measure the success achieved, h.) The communication program that has been implemented needs to be evaluated to find out the extent of the success achieved, Communication management oncommunication strategy in maintaining the existence of wayang kulit at Bersih Desa carried out with activities including: implementation activities, organizing, directing, controlling, influencing the level of success, recipients, successful communication strategies or not, it is necessary to review the implementation of communication activities, effective & efficient on communication strategies, supporting factors for wayang kulit.

Bersih desa traditions in javanese life: cultural studies (case study in Petungrejo village, Nguntoronadi, Magetan regency, East Java)

This study aims was to describe and analyze the implementation of Bersih Desa traditions including the reason for its implementations that was conducted in Petungrejo Village, Nguntoronadi District, Magetan, East Java. This research used a qualitative case study approach by grounded methods that is a study based on empirical field data through observation, interviews with informants who are appropriate to this research study. The subjects were a community that was determined by purposive sampling technique. The data have been taken from primary and secondary sources, and data collection techniques by observation, interviews, and documents. The main instrument in this research was the researcher himself. Based on the results above included analysis and discussion of the research findings, it was found: a) Bersih Desa traditions was an ancestral tradition that is carried out every Suro month on Friday Legi; b) In Bersih Desa ceremony, the symbols are used as an interaction between humans and their environment; c) Some people still have animism and dynamism as a legacy from their ancestors; d) These spiritual values became mental triggers among the community to hold Bersih Desa activities; e) The Bersih Desa traditions were being a syncretism between Islamic teachings and animism dynamism; f) The Bersih Desa traditions contained the social correlation and mutual assistance as a manifestation of noble character; g) The community realizes that the use of mutual cooperation spirit as a form of harmony and cooperation that could be carried out all common interests as well as.

PERISTIWA CAMPUR KODE DALAM CERAMAH K.H. ANWAR ZAHID PADA ACARA BERSIH DESA DI LAMPUNG

Code mixing is a theory that studies about the mixing of two or more languages. Codemixing can be defined as the use of two or more language codes by speakers, which one of thecodes used is only a word fragment. The object of this research was speech video by K.H.Anwar Zahid and the focus of the study in this research was the form, type, and function ofcode mixing in the speech of K.H. Anwar Zahid in the event of bersih desa in Lampung. Thereason to choose people of Tunggal Jaya village, district of Banjar Agung, regency of TulangBawang, city of Lampung, because 80% of the people were transmigrant. Hence, it was easierto find the code mixed used in Lampung.The method used in this research was descriptivemethod by using qualitative research approach. To collect the data, in this research usedlisten and matching method, it was listening to the language used by K.H. Anwar Zahid fromthe video and match of this video. Thus, the data analysis techniques in this research wascollecting data, finding the form, type, and function of code mixing, classifying, reducing,describing, and interpreting it. Based on the results of the study that had been done, therewere five codes mixing found and those were: words, phrases, baster, repetition words, andclauses that used in every speech. Most of data was found in this research was a code mixingin the form of words. The kind of code mixing that had been found in this research were: hada function as repetition, insertion of the sentence, and often found as the function ofspecification conversation

The meaning of the Ceprotan tradition in bersih desa for the people of Sekar village

The purifying tradition carried out by the Sekar Village community is always accompanied by a traditional ceremony called Ceprotan. This Ceprotan traditional ceremony only exists in Sekar Village. Its implementation load with folklore values that the local people believe. This study aimed to know the meaning of the Ceprotan tradition for the people of Sekar village. This research used a qualitative method with a phenomenological approach. The intake of informants was done through the purposive sampling technique. Data obtained using both secondary and polymer data. Data collection techniques used were interviews, observation, and documentation. To ensure the validity of the data, the researcher used source triangulation techniques on the data obtained. The data were then analyzed with cultural interpretation techniques or the "thick description" approach by Clifford Geertz to interpret the symbol systems of cultural meaning in a deep painting. This study's findings were that the village's purifying tradition accompanied by the Ceprotan traditional ceremony carried out by the Sekar Village community, especially Krajan Lor and Krajan Kidul Hamlets, was done as an expression of gratitude, hope, and prayer to God Almighty for good things. Based on cultural practitioners' symbolic activities that appeared and were interpreted, this tradition was also carried out as a form of appreciation and reminder to the ancestors of Sekar Village, which until now is believed by the community as Danyang who consider influencing the survival of the local people. This belief contains in the folklore of the origin of Sekar Village. It continues to maintain as a form of refinement of the customs and culture of Sekar Village.

MAKNA SIMBOLIK TRADISI MONDHOSIO DI DUSUN PANCOT, KALISORO, TAWANGMANGU, KARANGANYAR

This article aims to explore the meaning behind the tradition of bersih desain the Kalisoro, Tawangmangu, Karanganyar, Central Java. Bersih desais indeed widely practiced in various regions in Java. However, there are unique things happening in this Tawangmangu area. apart from being a place famous for its tourist base, the people in it are indeed made up of various beliefs. This study uses a descriptive qualitative approach that describes the results of interviews and field observations. The results of this study show that the activities of bersih desa, there is a mondhosiotradition which on one side presents offerings to the spirit of the local village, but on the other hand there is an Islamicnuance that appears there. Islamic nuances are indicated by votive expressions, and other symbols such as alms and good wishes. This shows that the mondhosiotradition has existed for experienced acculturation with the times and exceeded their Javanese beliefs. This study becomes interesting to do and become one of the legacies of local wisdom as part of the rich diversity of Indonesian society.

The socio-cultural values of “bersih desa ceremony”:a cultural study at Simbatan Village, sub-district of Nguntoronadi, Magetan Regency, East Java

The Objectives of this research are to describe and analyze the socio-cultural values of the BersihDesa Ceremony at Sub-Village of SimbatanWetan, Nguntoronadi, MagetanRegency. The approach of this research is descriptive qualitative with ethnographic research design, by which the researcher conveys descriptively about socio-cultural phenomena which are drawn from real case directly, holistically and comparatively within a given space and time. The subjects are the members of society in question who are selected under purposive sampling technique. The type of data are primary and secondary ones which are drawn by observation, interview and documantation. The main instrument of the research is the researcher himself. The data are analyzed by coding model suggested by Strauss and Corbin and validated by triangulation technique. The analysis results reflects that: (1)The socio-cultural values are reflected in the society’s social awareness, responsibility, cooperation and group consensus. (2) The socio-cultural values are reflected in the societal togetherness. (3) Bersih Desa ceremony is as the form of syncretism between local wisdom and Islamic values. (4) The value of adikodrati (supernatural) has been trusted to give safety for the society from any kinds of disaster. (5) Art attraction which is conducted as medium of spiritual interaction covers mystic art values.

New Show Paradigm of Wayang Klithik Wonosoco

AbstractWayang Klithik Wonosoco is classified as rare because it is only performedonce a year as a means of bersih desa ritual. However, the show still comeswith a new paradigm. The results of the study show that the wayang KlithikWonosoco Village has undergone a paradigm shift since puppeteer and severalmusicians studied at the Surakarta Kasunanan Palace. This research appliedbasic research method by applying the theory of change to enrich the basicknowledge. The basic understanding of the values of the cultural practices ofwayang shows in the Surakarta Kasunanan Palace is converted to WonosocoVillage after going through an adaptation process. This article is expectedto be an inspiration for the development of science and practice in the fieldof puppet art. The paradigm of Wayang Klithik Wonosoco has changed; as aresult, it becomes new. The changes involve the concepts, methods, forms andstructures of the staging which consists of jejer, babak unjal, paseban jawi,perang gagal, goro-goro, pertapan, perang brubuh, and tancep kayon. Likewisesulukan (puppeteer singing) is enriched with several cengkok sulukan of shadowpuppet and pocapan (monologue) as signs of changing scenes in each pathet.The adaptation process has change the form and structure of Wayang KlithikWonosoco show; it becomes new.Keywords: Wayang Klithik; Wonosoco

Pelestarian Wayang “Krucil” dan Kekuatan Politik

Purpose of the article is to analyze the preservation of puppets “Krucil” and the politic of powers happens in Tempuran village, Sawoo, Ponorogo. The method of the article is qualitative descriptive research and it uses in-depth interview for collecting the data. The finding of the study show that; the preservation of the puppets “Krucil” held by the government of Tempuran village annually is by having performance in “Bersih Desa”(annually societies’ activity for thanking to God after they get crop) activity. The performance of puppets “Krucil in “Bersih Desa” activity to entertain the society have been doing since the village founded. The series of events of preservation of puppets “Krucil” are Ruwat ritual conducted by every Kepala Dusun (head of hamlet), Brokohan and recitation of holy Qur’an. While, politic of powers was conducted by including “Bersih Desa” activity and performance of puppet “Krucil” to the village regulations. It was conducted by the head of village (Kepala Desa) of Tempuran based on the strong of society’s myth. The societies believe that there will be crop failure and prolonged disaster if “Bersih Desa” activity don’t performance puppets “Krucil”.

PERFORMANSI UJUB: DOA DAN KOMUNIKASI TIGA ALAM DALAM TRADISI BERSIH DESA KRISIK DI BLITAR PROVINSI JAWA TIMUR

Slametan Bersih Desa is a Javanese folklore in Krisik village. Ujub as oral literature is the richness of Indonesian culture. In facing challenges of the modern era, speakers of ujub are less from the young generation. Most of them are from the old generation. This research is qualitative research with structural and ethnographic approaches. The focuses of the problem are (1) the performance of orality ujub in the tradition of Bersih Desa, (2) the object and the theme of prayer in ujub Bersih desa, and (3) the communication of the three worlds in ujub Bersih desa. This research aims to describe the performance of ujub orality, objects, and themes of prayer, and communication of the three worlds which become the function of ujub orality in order to increase documentation and interpretation of the richness of oral literature as Indonesian folklore. By knowing the performance and the formulas of the ujub orality, it is easier for the younger generation of speakers to formulate the memory of ujub orality. The research shows that performance of ujub presented at the main ritual of slametan has a pattern of matra free text, has a rhyme of asonasi, desonasi, and alliteration, the rhythm of efony, and contains the formulaic pattern and formulaic expressions. The content of the prayer in ujub got influences from Islam and it has syncretism between the religion of Islam and the traditions of Java. The text of ujub has a function to communicate the three worlds which are between the humans’ world, the spirits world, and the God world.

Ceprotan Performing Art: A Traditional Folkart Based on Urband Legend

Traditional arts of born and develops from urban society by keeping a manifestation of its and forms are different in the regions. Ceprotan as a traditional arts from Sekar Village, Donorojo Sub-district, Pacitan Regency. Form of this research is qualitative descriptive with focused to describe and explain about Ceprotan performing art in Sekar Village, that source from the local history, that is the story of Ki Godeg and Dewi Sekar. Research object are Ceprotan performing art which held once a year, in Senin Kliwon days, in Dulqokdah month. Data collected technique using observation, noted, and content analysis. Result of research find that Ceprotan is a traditional art performed same time with Bersih Desa ceremony in Sekar Village society. Ceprotan perforiming art held once a year, only in day of Senin Kliwon, month of Dulqokdah in Lunar calendar. Ceprotan performing art performed the sendratari (dramatic dancing art) telling the story of Ki Godeg and Dewi Sekar journies with develop the Sekar Village. In the end of performing, done attraction throwing the young coconuts from some of young people from Sekar Village.

Pecel Pithik: Tradition, Culture, and Its Impact on The Socioeconomic Welfare of Osingese People in Banyuwangi

This study aimed to explore and describe the existence of pecel pithik in the tradition of Osingese tribe of Banyuwangi and its impact on the social economic welfare of the very community. Qualitative approach method was used to achieve the purpose of this research. Data were collected through observation, in-depth interviews, note taking, and recording. Data analysis method operative in the study was descriptive qualitative method with thematic content analysis. This study has evinced that pecel pithik is a cultural asset of Osingese society, which is rooted in fundamental traditional agrarian values with selamatan, originally presented in rice fields in the form of tumpeng before harvest in the hope of good harvest and blessing. This was done to improve the society’s welfare and elevate their degree. Today, pecel pithik presented at rituals ( selamatan ) such as barong ider bumi and tumpeng sewu ( bersih desa ). Pecel Pithik has now been a potential of socioeconomic capital for regional progress as a resource of economic development to improve societies’ welfare.

Sinkretisme Islam Dan Budaya Jawa Dalam Upacara Bersih Desa Di Purwosari Kabupaten Ponorogo

Tulisan ini bertujuan untuk membaca fenomena ritual bersih desa yang dilakukan oleh masyarakat Purwosari kabupaten Ponorogo dengan pendekatan fenomenologi. Ritual bersih desa merupakan salah satu warisan leluhur yang penuh dengan simbol-simbol dan kegiatan-kegiatan yang mengharmonisasikan antara Islam dan budaya Jawa. Simbol-simbol itu menyiratkan makna ungkapan syukur sekaligus tolak balak melalui beberapa ritual dan sesaji yang dikemas dalam serangkaian acara. Perpaduan antara Islam dan budaya Jawa ini menghasilkan sinkretisme budaya Islam kejawen yang merupakan khasanah tradisi dan budaya pertiwi.

Dinamika Pergelaran Jaran Kepang di Kota Malang dalam Perspektif Antropologi

The hobby-horse dance as known as jaran kepang, jathilan or kuda lumping is the one of dance art performance from Javanese. It also know as well in Malang City. Jaran kepang is one of entertainment art which have magic dramatical as the climax in the end of performance. It happend when one of the jaran kepang dancer was trance. This jaran kepang performance was invited and entertain folks to see and, it potentially to be carnaval event. Before they perform, called gebyak, the jaran kepang dancer do some rites to called their danyang or perewangan, and prepare sesaji or sandingan. The dynamic of art performance both personal or collective grup reflected the reality of traditional art performance in Indonesia. Today, this jaran kepang performance who had ritual function was changed by entertainment. Jaran kepang as culture is one of Javanese rural rites in selamatan or bersih desa moment. This paper was done by through context perspective with life history analysis. The aim of research is to see the social-cultural phenomena behind jaran kepang performance.

Ruwatan Tradition: Bersih Desa, Local Wisdom of Disaster Mitigation

Tradition worship of ancestral spirits in Tengger occur along with the megalithic culture that is widespread in Indonesia, around 500 BC - 500 AD. Physical culture can be seen the remains of objects such as menhirs, and terraces devoted to the concept of ancestral spirit worship followed by a tradition in the community concerned. Megalithic tradition for a group of tribes, is devoted to theworship of ancestral spirits as ruler of protecting and giving life. Therefore, the purpose of this paper is to determine the Tengger local wisdom in maintaining natural ecosystems by humans, through a tradition that has lasted for generations can overcome the problem of frequent disasters. Efforts are being made in the search for the data to answer these goals, used the method of approach byconducting interviews and observations of one tradition that held that ceremony mayu desa / ruwatan. The ceremony is conducted once a year, but in year five held over the highway at the expense of a buffalo or cow. From the results of these interviews, the data obtained with regard to the meaning, function and purpose of the ceremony mayu desa / ruwatan, related to disaster mitigation issues.

FENOMENA TARI TAYUB DI KECAMATAN JATIROGO KABUPATEN TUBAN

Tayub is a traditional dance popularized in Kecamatan Jatirogo, Kabupaten Tuban. Tayub dance usually performed in the wedding party, circumcision, and bersih desa which aim to get the fertility. This tayub dance performance is closely related to the social divergence, social labeling, and the effect which is emerged. This study aim to describe the factors considered that tayub is divergent from the public norm which causes social labeling and influences the existence on the profession of ledhek and the effect of tayub dance performance either to ledhek or community in Kecamatan Jatigoro, Kabupaten Tuban This study is a qualitative descriptive which the primary data resource consisted of ledhek, pengibing, and public figure. The secondary data resource was collected by using documentation and references. The data were collected by: observation, interview, and documentation. The sampling technique used was the purposive sampling. The validity of data used the triangulation and method. In addition, the data analysis consists of several steps, such as data collection, data reduction, presenting data, and conclusion. This study showed that tayub dance is performed in two sessions; in the midday and night. Tayub and ledhek still exist at the time. It has been shown that the Tuban local government in every year invites the ledhek to be a representative dancer of East Java simultaneously to intend the Culture program in Jakarta, even performs in TMII. In addition, it has been a fundamental program of the Tuban celebration. Tayub dance performed in the wedding party, circumcision, and purified village ritual are believed to be able to influence the fertility. Tayub dance has a manifest and a laten functions. The manifest function can be considered from its purpose that is gratitude, and keep the good relationship between the figure and its community. The latent function considered from the public divergence, labeling and the effect of tayub dance. The effects of its divergence are sawer (has not been allowed by Tuban government since 2003), drinking alcohol, conflict, and an affair. This social divergence emerges the social labeling on ledhek either positive or negative. Tayub dance has a positive and negative effect to either ledhek or its community. The positive effect can be considered from the high financial reached by the ledhek. Ledhek has an experience performed in Jakarta. On the other hand, the negative effect emerges the negative labeling from the public. Keywords: Tayub, ledhek, social divergence, labeling, effect