page_title: Reog
section_title: History
hierarchical_section_title: Reog / History
caption_attribution_description: Bahasa Indonesia: Repronegatif. Pertunjukan reog di Ponorogo pada sekitar tahun 1920-an. Penari bujangganong berdiri di sebelah kiri. Reog (atau Rajawana, "raja hutan") dimainkan oleh dua orang. Beberapa penari kuda kepang juga menyertai, lengkap dengan adegan kesurupan. Versi modern reog (rajawana) Ponorogo dimainkan oleh satu orang. Nederlands: Repronegatief. Bij een aantal dansvoorstellingen, bekend onder verschillende inheemse namen (o.m. kuda kepang), worden letterlijk stokpaardjes bereden. De paardendans heeft deels het karakter van een toernooi, deels van een trancedans, en is wel als een sjamanistisch relict beschouwd. Een dergelijke voorstelling werd en wordt vaak gecombineerd met andere elementen, zoals maskervertoningen en inheemse orkestjes. In het op de foto afgebeelde verhaal moet de tijger Rajawana onschadelijk gemaakt worden door 144 ruiters onder aanvoering van Bujangganong. (P. Boomgaard, 2001). Eerste bedrijf uit een dansvoorstelling waarin een draak met vier ruiters wordt opgevoerd Kuda kepang te Ponorogo, Kediri, Oost-Java, ca. 1920
context_page_description: Reog or Réyog is a traditional Indonesian dance in an open arena that serves as folk entertainment, contains magical elements, the main dancer is a lion-headed person with a peacock feather decoration, plus several masked dancers and Kuda Lumping. Reog is one of the performing arts from the northwestern region of East Java and Ponorogo is the region where Reog originated. The city gate of Ponorogo is decorated with warok and gemblak, two characters who were present at the time when Reog is performed. Reog is one of Indonesian culture that is still very strong with mystical elements and mysticism.
context_section_description: The dance describe Klono Sewandono the king of Ponorogo on his journey to Kediri to seek the hands of Princess Songgo Langit. On his journey he was attacked by a vicious monster called Singo Barong, a mythical lion with peacock on its head. Historians trace the origin of Reog Ponorogo as the satire on the incompetence of Majapahit rulers during the end of the empire. It describe the innate Ponorogo liberty and its opposition on centralist Majapahit rule. The lion represent the king of Majapahit while the peafowl represent the queen, it was suggested that the king was incompetent and always being controlled by his queen. The beautiful, youthful and almost effeminate horsemen describe the Majapahit cavalry that have lost their manliness.
  In society, there is another version about the origin of the Reog. History of Reog Arts began the revolt of Ki Ageng ticks, a man of Majapahit Kingdom in the 15th century, where at that time the Majapahit Kingdom under the rule of the King of Kertabhumi Bhre last Majapahit Kingdom. Ki Ageng Kutu wrath against the corrupt behavior of his King, he saw that the powers of the Majapahit Kingdom soon will end. He left the Kingdom and founded a College of martial arts in hopes of raising seeds which can be held as under. Aware that the army was not able to compete with the Majapahit army political messages of Ki Ageng Kutu were submitted through the performances of Reog. Performance of Reog utilized Ki Ageng Kutu to build resistance to the Royal Society. In art performances Reog was shown the head of a lion-shaped mask called "Singo Barong", Kings of the forest that became a symbol of Kertabhumi, and it plugged up to peacock feathers to resemble a giant fan that symbolises the strong influence of the governing Chinese pronunciation of peers over all. Jathilan, played by a group of dancers a gemblak horses-shaped became a symbol of the power of the Kingdom of Majapahit into comparison contrast with the power of warok. Red clown mask that became the symbol for Ki Ageng Kutu, alone and support the weight of the mask Singo Barong that reaches over 50 kg using only his teeth. Ki Ageng Kutu's Reog popularity eventually led to Bhre Kertabhumi taking action and attacking Kutu's college, the rebellion by warok was quickly overcome, and the college is prohibited to continue teaching about warok. But the disciples Ki Ageng Kutu remain continue secretly. However, the performance of Reog itself is allowed to stage performances because has become popular among the people but the storyline having a groove in which the characters of new added folktale of Ponorogo, for example like Klono Sewandono, Dewi Songgolangit, and Sri Genthayu.
  Reog Ponorogo dancers traditionally performed in a trance state. Reog Ponorogo displays the traditional Kejawen Javanese spiritual teaching. Next to physical requirement, the dancers—especially the Warok—required to follow strict rules, rituals and exercises, both physical and spiritual. One of the requirement is abstinence, warok is prohibited to indulged and involved in sexual relationship with women, yet having sex with boy age eight to fifteen is allowed. The boy lover is called Gemblak and usually kept by Warok in their household under the agreement and compensation to the boy's family. Warok can be married with a woman as their wive, but they may kept a gemblak too. This led to Warok-Gemblakan relationship that similar to pederastic tradition of ancient Greece. Anybody who is in touch with the traditional way of life in Ponorogo, knows that there are these older men called warok who, instead of having sex with their wives, have sex with younger boys. What Warok and Gemblak did is homosexual act, yet they never identify themself as homosexuals.
  Many Warok and Gemblak were massacred by Islamic groups during the anti-communist Indonesian killings of 1965-1966, their heads placed on pikes for public display. Today the Warok-Gemblakan practice is discouraged by local religious authorities and being shunned through public moral opposition. As the result today Reog Ponorogo performan
caption: Reog dancers in Ponorogo, ca. 1920.
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