LOCAL LITERATURE AND CULTURAL FESTIVAL:

MEDIA TO LOCAL-GLOBAL SPACE 1

Novi Anoegrajekti, Sudartomo Macaryus, Asrumi, Dina Dyah Kusumayanti,

Zahratul Umniyyah, Kundharu Saddhono
Faculty of Humanities, Universitas Jember
Email: [email protected]

Abstract

This paper emphasizes on how to revitalize local literature through the power of the media.
This is to introduce local literature through the cultural festival Banyuwangi Etno Carnival
(BEC) as a visualization of tradition. Cultural events in Banyuwangi, such as Barong rituals
and Sri Tanjung folklore as a form of revitalization of modern packed tradition in the form
of fashion. The research used ethnographic method with culture studies perspective to
explain the relation between related parties in it. Data analysis was conducted since the
stage of providing data by interpreting the mutual relationship found in the field to obtain
a comprehensive conclusion. In Banyuwangi, BEC as the pinnacle of innovation, bridging
local artistic traditions into the global space. This cultural event can also be held in Tengger
and Bantul as a space of artistic cultural expression and a means of socializing the
marketing of people's creativity products.

Keywords: local literature, media, cultural festivals, ethnography, revitalization

A. Introduction
Local literature as part of an oral tradition such as stories, fairy tales, legends,
myths, laws, medicines, mantras, and rituals is a 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.

1. The beginning of this paper was introduced at the 2017 National Seminar on "Oral Tradition in the
Development of Science," entitled "Oral Tradition: the Art of Drawing People to the Environment,"
(unpublished). Joint Work: DIY Language Center, Faculty of Cultural Sciences, Gadjah Mada University,
and Association of Oral Traditions (ATL) Yogyakarta, October 23, 2017.

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 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.
The identity representation in Using-Banyuwangi, Tengger, and Javanese literature
appears in various forms of literary works ranging from myths that occur in the religious
system of the Banyuwangi community in the form of various ritual ceremonies, such as
mocoan, barong performing arts, traditional nini thowong art in Yogyakarta, and stories the
people of Tengger.
This paper focuses on how to draw closer the community, especially children to the
surrounding natural environment and cultural festival as a revitalization media. A good
introduction allows the growth of alternatives when faced with challenges.

B. Theoritical Review and Method

By analyzing 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 repre- sentation 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 positioned 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."

C. 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. The
contents of educational functions such as the story of Roro Anteng and Joko Seger who

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became the legend of the origin of the name Tengger. In the story Roro Anteng who
experience anxiety because it will be made a wife by a giant evil. This is solved by asking
for help to Sang Hyang Widhi. It contains the value of education, which recognizes the
limitations of human beings and acknowledges the infinite, unrelated power and trust of
God to be the source of life and the source of salvation. Here are some of the educational
values contained in the oral tradition, especially in the tradition of mocoan, barong cilik,
nini thowong, and the story of Roro Anteng and Joko Seger.

1. Mocoan
Mocoan 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 order to be heard by the citizens accessible by the
speaker's transmissions.
Participate 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.

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

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.

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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 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.

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 Barong Kemiren became the theme of BEC 2012 (Left) and Sri Tanjung
Sidopekso became the theme of BEC in 2016 (Right) (Taken from
Banyuwangi Culture and Tourism website)

In the digital age, Ider Bumi's lion dance and everyday rituals have been published
online that can be accessed by the global community. Banyuwangi which since 2011
develop fashion-based art tradition raised the arts themes and rituals that live in the
community. Barong Kemiren which is rooted in rituals and has a play that live as a local
literature (oral) is appointed to be the theme of BEC 2012 that can be accessed by the
international community. Sri Tanjung Sidopekso which is a legend from the name of
Banyuwangi until now left various pieces of story, such as the story about the Well of Sri
Tanjung in Kawitan Village has been adoptead as the theme of BEC in 2016.
The story of Sri Tanjung Sidopekso in addition to being the theme of the festival
(BEC) is also packed in the form of sendratari, janger art play, and story books. The
phenomenon shows that fashion as a form of expression of modern art has the potential to
pack local literature onto the stage to the global stage.
This form of resistance was also carried out by preserving Sri Tanjung's
mythical retreat.

“Suatu mitos yang dipercaya yang dipercaya Suku Using jika aroma
harum itu berasal dari petilasan Sri Tanjung yang terletak di seberang jalan
menghadap sebuah lapangan yang kemudian dibangunPendapa
Kabupaten oleh penguasa Belanda yang jaraknya dari rumah Jurji Zaidan
hanya sekitar 500-meter ke timur (Hlm:4).”
["A trusted myth that the Using Tribe believes if the fragrant aroma
originated from the Sri Tanjung’s private retreat, which is located across
the road, faces a field which was later built by the District Minister by the
Dutch authorities, which is only 500-meters away to the east (pp: 4 )]

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 The legend of Sri Tanjung contains the story of the origin of the name of the city of
Banyuwangi. The royal king of Sindureja named Sidareja was jealous of Patih Sidapeksa
who had a beautiful wife named Sri Tanjung. With his scheming, the king tried to get rid
of his governor by finding sacrifices in the form of three golden circles and three white
beard rolls in the country of Indran. The king was sure his governor would not survive
because the country of Indran was guarded by powerful and famously haunted people.
That's when King Sindureja began to seduce Sri Tanjung. Unexpectedly, Patih Sidapeksa
managed to carry out the task safely and brought home the sacrifice desired by the King.
However, the patih was disappointed to find news from the King that his wife had an affair
with the palace guards. The patih was angry and tried to kill his wife. Sri Tanjung was
willing to be killed on the record that if the water splattered from his blood smelled bad it
meant he was wrong, whereas if it smelled good it meant he was still pure. Finally, the
water (banyu) which is sprinkled with blood smells good (fragrant) so it becomes
Banyuwangi.
Through the legend of Sri Tanjung, women are formed as women through complex
interactions between class and other ideological cultures or frameworks. Sri Tanjung's
figure of being a "woman" is not merely based on certain cultural and class system policies,
but rather a comparison across Javanese culture and reductive Using which has
implications for colonization of the complexity of political interests represented by women
from different social cultures and classes.
It seems that the affirmation of Using identity through the figure of Sri Tanjung in
the midst of any macro struggle is a necessity for the Using community, must be patient in
the midst of the crush of various constructs built by others who are generally full of
cynicism. They keep addressing, observing, and negotiating culture with the forces present
and squeezing it. In this process, Using society must reinterpret and redefine themselves
contextually. Mention for Using women who are not loyal in folklore refers to locality as a
subject that looks, not as an object to be seen. Because the life of this society does not
recognize the categorization between politics and culture, all forms of cultural expression
are political. Like, women call private space an arena of contestation (the personal is
political). Subaltern women express their resistance to dominant culture (Anoegajekti,
2010; 2011).
The legend of Sri Tanjung-Sidopekso by the local government was appointed as the
theme of the festival in Banyuwangi Ethno Carnival (BEC) in 2016.

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 BEC I 2011 BEC VI 2016

3. Nini Thowong
The art of Nini Thowong tradition in the latest development is the art of
entertainment. In Yogyakarta Nini Thowong is located in two locations, namely in Grudo,
Panjangreja Village, Pundong Sub-district, and in Candran, Imogiri Sub-district. Nini
Thowong in Grudo is designed to provide entertainment to the public. At first this
traditional art is held on a full moon night. Thus the lighting utilizes full moon light.
Nini Thowong was created by Mr. Udisedo, Marto Jumar, and Paerah in 1938.
Creators are concerned about the scarcity of entertainment for the community. Udisedo
wants young people to have entertainment, so as not to take actions that harm themselves
and their environment, such as criminal and immoral. This very simple Ninithowong lasted
until 1942 (during the Japanese occupation). The 1960s were revived by the founders, but
stopped again due to economic pressures. In 1980 when the government tried to inventory
the art of tradition, Nini Thowong revived in line with the changes and developments of
the times, as it is today.
While in Candran this art tradition is the result of reconstruction conducted by the
community by collecting opinions from the perpetrators and who had witnessed the stage
Nini Thowong. Nini Thowong is a doll designed using the face of a coconut shell with
sleeves, costume clothing, and cloth showing the characteristics and characteristics of
women. It is therefore called nini which is in the Javanese tradition as the title for women.
Game Nini Thowong is one of the folk games in Java which belongs to a type of
partially verbal folklore, namely folklore whose form is a mixture of oral and non-verbal
elements (Danandjaja, 1986: 22; 153). As a form of folklore, the game in Nini Thowong
has various variants and versions, according to the nature of its oral tradition. In Nini
Thowong's performance there are prayers (spells) and accompaniment of song poetry.

Lir-ilir gunanthi
Sabuk cindhe lir gunanthi
Gilang-gilang (gelang-gelang) layone
Layone si putra (bok rara) ugung
Alah ugung dening dewa

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Alah dewa dening sukma
Widadari tumuruna
Gumrubyug bareng sesanga
(kang buri kari lima)
Suraka surak iye

(Lir-ilir gunanthi,
Cindai belt as a means,
Body lying,
The spoiled body of the son (bok rara)
Minimized by gods
Oh god, soul
Come down O nymphs
Together with nine (strong winds from nine directions)

Lir-ilir guling (gumuling)

Gulinge sukma katon (sura karsa)
Raga-raga tangia (mulyaa, nuliha)
Sapanen (temonana) dhayohira
Aja suwe-suwe dalan selak kesel (mesakake) sing (jing) dha (a) dolan
Sing dolan bok lara dewa (dolane dolan dana)
Allah dewa dening sukma
Widadari tumuruna
Runtung-runtung bareng sesanga
Suraka surak iye

(Lir-ilir guling (gumuling)

Looks like I'm still sleeping,
Get up (get well), body
Greet (meet) your guest
Don't go too long on the road
Hurry up (pity) those who play
Who plays Bok Lara Dewa (playing charity)
(yes) god (yes) soul
Get down the nymphs
Together nine people
Cheering iye)
...
Luk-uluk perkutut
Muluka nang suwarga
Ngundanga widadari
Sakethi kurang sawiji
Para dewa padha teka
Surak apa (suraka)

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 (Fly turtledove
go up to heaven
invite angels
99,999 people (approximately one)
the gods come
cheering up iyo)

Turun-turun, widadari
Tumuruna bathara Indra
Rumek jaya rumek ranti
Ranti-ranti andadi
Aja suwe-suwe dalan
Selak kesel sing dolanan

Down, down, angel

The descent of Dewa Indra
Crowded who won, as busy as ranti fruit
The Ranti is made (the fruit is a lot of swallowing)
Don't go too long on the road
Getting tired of playing) (Wahjono, 1993: 106-107)

The poem shows the game of Nini Thowong inviting the spirits of nymphs to earth
to participate in enlivening the game. This game is also used to bring rain.
The game Nini Thowong by making puppets is usually held on one of the days in
the light of the month between the 10th and 15th of Java. Generally, it falls on the night of
Kliwon Friday or Tuesday night Kliwon (Anggara Kasih night). The scarecrow is made
from siwur (dipper from shell) or irus (vegetable spoon from coconut shell) as its head,
decorated with flowers, its face is powdered like a Javanese bride.
On a predetermined day, after sunset, the puppets that have been prepared are
carried out by shamans or female leaders, namely middle-aged women who are luwas sari
(menopause) or carried by two sunthi (non-menstrual) virgins who are mutually back to
back, taken to a haunted place, a wingit (sacred) place that has a dead well, an old banyan
tree or an old grave. Along the way singing the mbuwang chant of bajang children, rambute
arang abang repeatedly. Arriving at the place the haunted doll was lowered from embanan,
placed on top of it. The leader of the game is burning incense, putting offerings of telon
flowers and fruits and market snacks. He begged to the Sing Ambahureksa.
Around 20:00 the leader called out to the doll, “Aku ngundang sira tekaa
ngramekake cah dolanan. Aku nggawa anak kanggo sira”. Then the shaman excused
himself by saying kang ambahureksa, Nini Thowong kula suwun. Nini Thowong is seated
at the top of the place (tied) to the game arena with incense continues to billow to the
destination. This game serves as a means to safeguard the welfare of the village, as a
repellent, and guard the fields, and protect childrenanak (Wahjono, 1993:177; 192).

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 Figure 4: Puppet of Nini Thowong Grudo Hamlet (Left). Puppet of Nini Thowong
Candran Hamlet (Right) (Documentation of Research Team, 10/9/2015)

The two artistic groups of Nini Thowong tradition have some similarities and
differences, as shown in the following diagram.
Grudo Candran
1. Female Doll 1. Female Doll
2. Spirit Transfer 2. Spirit Transfer
3. Tomb Pilgrimage 3. Tomb Pilgrimage
4. Musical accompaniment: Gamelan Slendro 4. Musical accompaniment: Gamelan
Slendro dan Lesung
5. Songs: 5. Compulsory: The options are tailored to
(1) Compulsory: "Mupu Bocah Bajang", the listener type and the duration of the
"Bageya", "Ilir-ilir", "Ayo-ayo", "Hela-helo", stage.
and "Parikan"
(2) The options are tailored to the listener type
and the duration of the stage.
6. Without Additional Dancers 6. There are Additional Dancers

The series of activities rehearsel, performances, and post- performances into

educational media in every activity need the existence of planning and stages. Songs with
Javanese poetry show the characteristics of oral literature composed in song form and sung
repeatedly to accompany the show. In this digital age, this thowong stage has been stored
in CD disc format and published online that can be enjoyed by the global community.

4. Roro Anteng dan Joko Seger

The Tengger tribe has a variety of rituals, namely Kasada, Unan-unan, Karo, Kapat,
Kapitu, Kawolu, Kasanga, dan Entas-entas.3 In terms of the kinship system of the Tengger

3
The various rituals are based on the early stories of Roro Anteng and Joko Seger along with the trip

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Tribe adheres to a bilateral lineage, namely the lineage of the father and mother with the
smallest kin group of the nuclear family consisting of husband, wife and children. The
Tengger tribe lives in village groups. Each group of villages is led by Elders. The entire
village is led by a Customary Chief. The Tengger tribe believes and respects dukuns in their
area. Therefore, information will reach the community more quickly if it is delivered
through a dukun or through their adat head. Shamans have a big influence on their
lives.Dalam bidang seni, mereka memiliki tarian khas, yaitu Sodoran yang lazim
dipentaskan pada upacara Karo dan Kasada. Seni tari lainnya adalah Tayub dengan penari
laki-laki dan satu atau lebih perempuan. Di komunitas Tengger Malang dan Lumajang
terdapat seni Ojung yang lazim dipentaskan pada saat perayaan Karo.
Roro Anteng and Joko Seger became a legend that shows the origin of the name
Tengger, from the word (Roro An-) teng and (Joko Se-) ger. The legend is till now lived by
the people of Tengger, and they place themselves as the descendants of Roro Anteng and
Joko Seger who has a child of 25 people and his youngest son became an offering to the
god by plunging into the crater of Mount Bromo. But before Jaya Kesuma begged the
blessing and sent the crops of the earth every 14 months of Kasadha, by plunging the earth
and livestock to Kawab Bromo. Until now, every 14th of Kasadha held offerings ritual
offerings to the crater of Mount Bromo.4
The story of Roro Anteng and Joko Seger also became the legend of the name of
Mount Bathok and Segara Wedhi. It happened when Roro Anteng wanted to be taken as a
wife by giant, then requested the conditions made the ocean on the hill. The giant
undertakes and uses a coconut shell made great for digging the ground to make the oceans.
By the time it was almost finished, Roro Anteng woke the women to ring a dimple that
marked the day was almost dawn. The giant was angry and threw the shell which later
became a mound of giant shell-shaped ground and was named Mountain Bathok 'mountain
shell'. Sea that has been excavated and failed to become the sea is then called Segara Wedhi
'sand sea'.
The story of Roro Anteng and Joko Seger has become a famous legend in the form
of the story of the occurrence of Mount Bathok. The story of the life of the couple Roro
Anteng and Joko Seger who have 25 children led to the Kasada ritual, after his youngest
son, Raden Kusuma was lost to the fire and then delivered a message to his brothers in the
form of a sound that emerged from Bromo crater. Another story that is quite famous is
Ajisaka who gave birth to the Karo ritual.

Pada saat Kanjeng Nabi dan Ajisaka sedang berbincang-bincang, tiba-tiba muncul dua
orang laki-laki. Yang satu datang dari barat, bernama Setya, yang kemudian menjadi abdi Nabi
Mohammad, sedangkan yang lain datang dari timur, bernama Setuhu, yang kemudian menjadi abdi
Ajisaka.

live of the offspring. Kasada is a sacrificial holiday ordered by Raden Kusuma, the youngest son of Roro
Anteng and Joko Seger. Raden Kusuma disappeared from sight with the loss of flashes of fire and then
delivered a message from the crater of Mount Bromo, so that the Tengger people in Kasada or the 12th month
according to the Tengger calendar anchor part of the produce and livestock to the Bromo crater. Karo,
commemorating the messenger of Kanjeng Nabi named Setya and the envoy Ajisaka named Setuhu who was
killed fighting for the Ajisaka kris left in Mecca.
4. Kasadha ritual is only held by the Hindus in Tengger. It is related to the myths that are lived by Hindus in
Tengger.

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 Kanjeng Nabi bersabda kepada Ajisaka, “Aji, sekarang kau harus pergi ke
negeri Medangkamulan, di bagian tenggara. Ambilah buku primbon dan almanak
untuk menetapkan hari keberuntungan. Pergilah ke Medangkamulan. Raja
kerajaan Medangkamulan makan daging manusia, bernama Dewatacengkar.”
Ajisaka segera berangkat. Karena sangat tergesa-gesa ia lupa membawa
kerisnya. Di tengah perjalanan ia baru teringat dan lalu berkata kepada Setuhu,
“Ambilah keris saya. Jangan sampai ketis tersebut berada di tangan orang lain.”
Sementara itu di Mekah, Kanjeng Nabi menemukan keris Ajisaka yang
tertinggal. Beliau lalu berkata kepada Setya, “Bawalah keris ini dan berikan
kepada Ajisaka. Keris ini jangan sampai jatuh ke tangan orang lain.”
Setya pun lalu berangkat. Di tengah perjalanan ia bertemu Setuhu. Setuhu
berkata kepada Setya, “Saya datang untuk mengambil keris tuan saya.”
Setya pun menjawab, “Tidak seorang pun diperkenankan mengambil keris
ini kecuali Ajisaka.”
Kedua abdi itu bertengkar memperebutkan keris Ajisaka. Keduanya sama-
sama tewas. Setya terkapar dengan kepala menghadam ke utara (rubuh ngalor),
dan kepala Setuhu menghadap ke selatah (rubuh ngidul). Itulah sebabnya apabila
orang Islam meninggal dimakamkan dengan kepala menghadap ke utara dan jika
orang Tengger yang meninggal kepalanya dihadapkan ke selatan (Sutarto,
2008:59).

The continuation of the story is the meeting of Kanjeng Nabi with Ajisaka at the
place of death of the two servants. During the meeting and in a sad atmosphere Kanjeng
Nabi and Ajisaka agreed to respect the two servants. Kanjeng Nabi created thirty Arabic
alphabets and Ajisaka created twenty Javanese alphabets.
In another version it is said that by the time Roro Anteng and Joko Seger's 25
children playing in the yard, suddenly blowing strong winds. The strong wind caused his
youngest son to disappear. His brothers searched for his lost brother. But suddenly there
was a light from the crater of Mount Bromo and made a sound, so as not to look for his lost
brother. However, his sister's voice requested to be given the shipment of crops and pets
every 14 months Kasadha. It became the origin of the Kasadha ritual held by Hindus in
Tengger with melarung offerings of crops and pets to the crater of Mount Bromo.
Other literary works in the form of oral traditions in the form of spells. Mantra that
lives in the Tengger community is more a prayer for salvation, praise, and offerings.
Various spells in the Tenggerese tradition are related to the needs of the people. For
example for ruwatan or the construction of a holy place, Kasada feast which consists of
nine spells (spells ongkek, takes the key in Bajangan, after splashing water from prasen,
calls Dewa to receive offerings, invites the Gods to enjoy offerings, takes home the gods,
validates the ageng or dandosan resik, opening after performing worship, and delivering
offerings to gods and ancestral spirits), establishment of houses, kayopan agung (at the
ceremony of entas-entas, marriage, and unan-nan), kayopan alit (in small ceremonies, of
reresik), munggah sendhen (after the mother gives birth), cruelty (when the baby has a
dizziness), mandhalagiri or mandara Giri (making holy water), mayu village (at the turn
of the village head), and other spells. The various spells are related to human life from pre-
birth to post-mortem, human relations with nature, human relations with the Spirit of

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Ancestors, and human relations with Sang Hyang Widhi Wasa. The following is the
example of the munggah sendhen mantra (after the mother gives birth).

Asu ireng padha meneng

Asu putih padha nyingkrih
Asu abang padha ilang
Asu kuning padha lemiring
(sarade kekelud bale/ amben sing arep digawe sendhenan)

Here is the mantra of njupuk bayi (read when lifting a baby after birth).

Ora njupuk si jabang bayi

njupuk thekelan
apa maneh gawane sukma karo nyawa
apa maneh sandhang karp langan,
apa maneh wesi sak tumpuk

Here is the mantra of kekerik which is read when the baby experienced cuplak puser
(removal of the umbilical cord).

Bapa Kasa Ibu Pertiwi

aja sira gerah uyang slupa,
tak kerik picis kuning alang-alang sridana,
pengiring gedhang ayu, suruh ayu,
ayu-ayu tiyang sak lebete griya mriki
Tak upah-upahi tumpeh pras
tutup panggang ayam agung
pengiring gedhang ayu, suruh ayu,
ari-ari sepanjang getih sepayung,
sing ledhok-sing lemer,
aja rumangsa kejemberan,
aja rumangsa kesukeran,
tak kerik picis kuning alang-alang sridana,
badan suci raga suci, pasek-pageh jabang bayi

Repetition of the dominant words and sounds in the example of the mantra. In
addition, grammatical meaning is the content of the message put forward in the mantra.The
story has so far produced at least three creations of the creative industry, the print industry
in the form of folklore books, radio drama recordings titled "The Origin of Mount Bathok",
and the dance that is held every year on the Day of Kasadha. Legend Roro Anteng and Joko
Seger contain educational value, namely loyalty and belief that the challenges will be
overcome by relying on the help of Sang Hyang Widhi. In the story also revealed that good
intentions will be able to overcome evil intentions. Adherence to the Kasadha Day
celebrated by the Tenggerese community has become the unifying community of Tengger
because they feel they are from the same ancestor, the descendants of Roro Anteng and
Joko Seger.

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D. Conclusion
The local literary terminology indicates the geographic location. Lontar Yusuf as a
written script how to enjoy it with being narrated. It gives an appreciative space of
appreciation for the people who listen to it. Placement of Lontar Yusuf as a local literature
Banyuwangi because of how to enjoy the typical that is by routinely narrated once a week
and rotate from house to house.
The story of Barong Jakripah, Pak Mantri, and Macan Lundoyo as oral literature are
visualized in the form of folk theater performances and become fashion as the theme of
Banyuwangi Ethno Carnival (BEC) which is accessible to the global community. Literature
from Using Culture represents the history of Using, which from the beginning became the
arena for the struggle of the great kingdoms of Java and Bali. Cultural negotiations led to
various forms of art that accommodated Using-Java-Bali culture. Identity Using which is
rooted and egalitarian becomes the courage to show Using identity in the form of legend,
traditional art, and ritual. Negotiations must continue to be carried out to represent Using
identity more solidly and have an equal position with more and more diverse cultural
communities. Opportunities for the development of the creative industry need to be
sustained by regulations and state interference (government) so that the community of
cultural owners gets optimal benefits and is able to improve their welfare and
independence.
Nini Thowong traditional art showing local literature in the form of poetry song
used to accompany the stage. Legend Roro Anteng and Joko Seger rooted in the history of
Majapahit became a legend mundulnya name Mount Bathok 'mountain shell' and the
emergence of Kasodho feast day in Tengger society. Roro Anteng and Joko Seger have
been utilized as the basis for the development of creative industry in the form of printing
industry (folklore), recording industry (radio drama cassette), and performing arts (ballet).

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