Surabaya (beritajatim.id) – Hundreds of eyes were fixed on the center of the courtyard at Balai RW IV Wisma Penjaringan Sari Surabaya. Many attendees captured the moment on their phones as a young man sat cross-legged, encircled by five middle-aged men dressed in black. The sun shone brightly, and the air was thick with the scent of burning incense. The smoke swirled, accompanying the chants and prayers being recited.
Suddenly, the young man’s eyes took on a fierce glare as his body trembled repeatedly. His tongue flicked out like a snake, and his breathing quickened. Without hesitation, he bit into a sharp razor blade.
The crowd reacted with mixed emotions—some screamed in shock, while others shuddered. The atmosphere became even more intense when a person entered the arena with a bag containing four venomous snakes, releasing them near the young man. Nearby spectators shrieked as snake handlers sprang into action. The young man then captured one of the snakes and began chewing on it, blood trickling down, amplifying the mystical aura of the event.
These performances were eagerly awaited by the residents of Wisma Penjaringan Sari, who had gathered since noon to celebrate Indonesia’s 79th Independence Day. The festivities included a bazaar, a fun walk, and a Reog Ponorogo performance at Taman Sandya Loka, Wisma Penjaringan Surabaya.
The featured group was Reog Singo Joyo Katong from Wage Taman, Sidoarjo, led by Ki Sutrisno Warok. The Reog performance, like other traditional folk arts, was divided into several acts, including Warok dance, Jathilan, Ganongan dance, Kelono Sewandono dance, and Dardak Merak dance.
In contrast to the fierce Reog performers, the Jathilan dancers appeared graceful, dressed in traditional garments such as jarik parang parung, boro-boro, cinde, and cakep, complete with the Jathil belt. Their bold makeup added to their appearance as horse riders.
Reog Ponorogo: A Singular Tradition
Despite being based in Sidoarjo, Ki Sutrisno Warok emphasized that all Reog performances are referred to as Reog Ponorogo. Unlike most other folk arts, Reog has a single historical and traditional root—Ponorogo.
Reog Ponorogo, a traditional performance art from Ponorogo, East Java, is a cultural heritage rich in history and mysticism. Known as Reyog, this dance is performed in open spaces and serves as popular entertainment. With its strong mystical elements, Reog has become an enduring symbol of Indonesian culture.
The main dancer in a Reog performance wears a mask shaped like a lion’s head, known as “Singa Barong,” adorned with peacock feathers forming a giant fan. This mask can weigh up to 50-60 kg and is supported solely by the dancer’s bite strength. Reog Ponorogo comes in two forms: Reog Obyog, which is more flexible in its presentation, and Reog Festival, which follows strict guidelines for major events like the Reog Festival, organized by the Ponorogo City Government since 1997.
Reog Ponorogo not only showcases the beauty of dance but also conveys deep historical narratives. One of the most famous stories is the rebellion of Ki Ageng Kutu against King Bhre Kertabhumi, the last ruler of Majapahit in the 15th century. Through Reog, Ki Ageng Kutu subtly criticized the corrupt government, delivering his message with finesse and significance.
Today, Reog performances are commonly held at various events such as weddings, circumcisions, and national celebrations. With UNESCO’s recognition of Reog as an Intangible Cultural Heritage (ICH), this traditional art form has secured a stronger position in preserving Indonesia’s cultural legacy. (hdl)