Reog Ponorogo performing art

The performing art of Reog, also known as Reog Bonorogo, first developed in a village called Sumoroto in Bonorogo district, and then spread to other sub-districts and villages throughout Bonorogo. Reog has also developed and spread to many other provinces in Indonesia. Today, you can also find Reog communities in certain cities in America, the Netherlands, Korea, Japan, Malaysia, and Hong Kong. The performing art of Reog Bonorogo is a form of communal dance which can be performed in the form of Reog Obyok or a ballet performance. Reog is composed of several components, such as the dancer Klono Siwandono, which is a depiction of a king. Klono Siwandono also has a priest, who is also known as Panglima or Sinopati, namely Patih Pujonggo Anom. The priest is often referred to as the dancer Jadilan. In addition, there are also the dancers Waro, the figure of a warrior. The last component is the Reog itself. Reog has a head that looks like a tiger's head. On top of it, there is an eagle that has a beautiful wing. Reog Bonorogo is accompanied by a Reog instrument consisting of a gong and two bunang, which are called Kenong and Ketuk. In addition, there is also Sompret, Kendang, Ketipung, and Angklung. From one era to another, the performing art of Reog Bonorogo has been performed at ceremonies, to ward off misfortune, village cleansing rituals, weddings, Islamic holidays, national holidays, circumcisions, Thanksgiving gatherings, Independence Day celebrations, events to welcome guests, and before prayer meetings. This performing art has become a local pride that belongs to the community since centuries ago until now. In the fourth volume of Seracentini, it is written. The dynamics of the performing art of Reog Bonorogo cannot be separated from the presence and roles of the people continuing this tradition, such as the Reog leader or Borek, masters, teachers, dancers, musicians, craftsmen, and warot also play an important role. The transmission of knowledge and skill of the performing art of Reog Bonorogo is carried out through formal and non-formal education, at schools, in dance group or studios, or through the transmission of knowledge and experience passed on from parents to their children and close relatives. During this pandemic, Reog transmission continues to run by implementing health protocols. However, there are no staging activities in public spaces. Reog Bonorogo has a social function and a cultural meaning for life in the community. It strengthens the value of mutual cooperation or Gotongroyong, creates harmony, encourages kindness, and unifies the community. The art of Reog does not look at ranks and positions. All performers are equally important. The philosophy of Reog itself, Rukun, Guyob, Gotongroyong, all listen to each other. So there is no more, but it must be the same, compact. The art of Reog does not go against the concept of human rights. It is an art that is inclusive. All members of the community, from all social, economic, and religious groups, everyone is given the opportunity to learn and perform. There is also mutual respect between one group and another. I agree to continue to the next generation. Reog gives a sense of certainty for sustainable development. Performing Reog gives strength and good health to each performance. Gender equality, a medium for strengthening the characters of all those involved. A spirit of tolerance, togetherness, perseverance, mutual respect, and obedience is instilled in the performers. Today, the art is in danger of dying out. Actually, I have a desire to inherit my skills as a pembarong. However, the younger generation is not interested. There are many younger generations who turn to art that is considered more modern. At the moment, I am not very supported by the government because of the situation. That's why I switched to another sector to meet the needs of my life and family. My life has started to decline because of the damaged equipment. It is difficult to make Merak Dada about Merak feathers. Because this ponorogo is not enough. Various initiatives and protection measures have been undertaken in the past and up to the present day to provide a place for learning and practicing, research, promotion of community involvement, preservation efforts, and revitalization efforts have been ongoing. Planned conservation action to overcome the challenges and threats and to achieve the desired outcome includes a number of activities. First, passing on knowledge and skills. Second, certification, documentation, and inventorying. Third, revitalization of the art of Reog Ponorogo. And fourth, conservation of natural resources. All parties, communities, groups, and individuals associated with Reog, both male and female, the Department of Culture, Tourism, Youth and Sport in the District of Ponorogo, have participated actively in research, documentation, report writing, preparation of an academic paper, and verification of all the nomination documents. The ICH UNESCO nomination process has received support and involvement from the Reog Ponorogo community throughout Indonesia. We started from the District of Ponorogo, then the communities of Reog Sejah Buditabek, Mitro Lampung, and Solo. All have supported. This Reog Ponorogo was nominated to the ICH UNESCO list without any compulsion. I agree and support this Reog to be brought to UNESCO. Assalamu'alaikum warahmatullahi wabarakatuh. I am Sugiri Sancoko, the District of Ponorogo. Today, the existence of Reog Ponorogo is threatened. So we, along with the people of Ponorogo, along with the Reog community wherever they are, both in Ponorogo and outside Ponorogo, are trying hard to revitalize Reog Ponorogo. Second, I fully support the effort to get a comprehensive protection to UNESCO. Hopefully, this effort will bring Reog Ponorogo back to glory and continue as a heritage. Thank you. Wassalamu'alaikum warahmatullahi wabarakatuh.