KUDA KEPANG
Kuda Kepang also is known as ‘Jaran Kepang’ in Javanese, it is a traditional folk trance dance once practised by the Javanese Communities of Malaysia. Kuda Kepang can be acknowledged as a heritage dance culture for the Javanese Communities of Malaysia. To add on, The Javanese are also found mainly in the states of Johor and Selangor where they are sub-divided into different subgroups, The Pendalaman Javanese at Selangor which hold their origins from Central Java and the Eastern Javanese mostly located at Johor. Even though the Javanese people are Muslims, they may also adhere to many pre-Islamic practices which they syncretize into a folk version of Islam known as Abangan or the Red Religion.
Kuda Kepang is a highly ritualized dance which invokes the spirits of the past where the dancers dance riding on the flat horses made out of straw, wood, bamboo, or even hay. It is often accompanied by gamelan music and barong dancers to add the dance to its festive cheer. This dance is mostly practised and celebrated in the states of Selangor and Johor where the Javanese community of Malaysia is quite visible. Adding to it, it is also seen as the famous traditional leisure time activity among Johorean society.
The origins:
The origins of this dance are shrouded in mystery as no one seems to explain truly how it began. Although it is unknown how it began many legends sung how it started.
One hypothesis suggested by many stated that it started as a reenactment of the Diponegoro Rebellion where the Javanese people led by Prince Diponegoro rode into battle against the Dutch oppression. Others suggested that it was actually Sultan Agung which charged his cavalry with valour against the Dutch colonizers. Even though with these hypotheses it may actually start as worship of primordial horse god totem before the adoption of Islam.
Another story regards its origin in the Wali Songo or the Nine Saints. These saints lived in Java island during the 15th century. While facing difficulty when explaining and preaching Islamic practices to the rural villages, they adopted pre-Islamic practices and adopted them into Islam to teach the rural villagers on the holy faith. Hence, the Kuda Kepang was adopted as a showcase of good versus evil testifying the tales of the Islamic conquest in Java. Thereafter, it is accepted that this dance may be born from ancient totems combined together with Islamic elements.
Celebrations:
Like the Lion Dance of the Chinese people, the Kuda Kepang is also celebrated at festive events and gatherings. It is usually performed at a boy’s circumcision or as a form of cultural entertainment where it is performed busker style in a specially cordoned off area where spectators watch from a distance.
Traditionally the Kuda Kepang dance is performed only by men but recently more women are joining as well. Seldom, both genders will perform the dance together. In contrast to the slogan colours preferred by the Javanese people, the ritual dancers usually wear bright traditional garments in performance, maybe as a symbol of warriors distinguishing themselves from the majority. Dancers would also wear the Blangkon, a traditional flat headwear of the Javanese people to show their ethnic identity.
Even though being a popular traditional dance born from the island of Java, it is inarguably a part of Malaysian culture brought by the Javanese people which reflects the culture of inclusiveness and openness in Malaysian culture. As mentioned before, Kuda Kepang is once most popular in the state of Johor where it was even linked to Johorean identity. Strongholds for this dance include Batu Pahat for most there has Javanese ancestry. Therefore, Kuda Kepang is being included in most of the major celebrations in Johor such as Johorean Government festivals, cultural displays, and Johor Sultan’s birthday celebration. Where the dance troupes performing might range from 2 to 9 dancers.
Instruments:
The instruments they used are in this dance are quite complex. Although the most vital instrument would be the horses. The imitation horse as said before is made of various materials from cowhide to hay and etc. These horses are usually decorated and ornamented with paints to make them grander. The colours of the paints used are usually in red, white and grey colours to symbolized bravery, purity and sadness linking it to a warrior’s life. Traditionally, shamans known as a “pawang” or “bomoh” may bless a recently completed horse and infused it with an inner spirit, therefore, granting its riders great power. However, this belief and practice are widely discouraged in these days.
Additionally, they also use a whip in the performance. The whip is made of several spans of bamboo. The functions of this whip are mainly used for controlling the dancers. It helps by trapping the entrance of the dancers, direct them and keep them remaining in the stage. A lead dancer which also works as a handler known as Danyang will take the lead of directing the other dancers by using the whip.
Furthermore, a 30 meters long rope is also used during a performance. This is to form a rectangular fence on the performance stage. This is to avoid the trance dancers from hanging around and harming the audience. Due to the fact that dancers might enter into the trance anytime during the dance and might somewhat go amok. Thus, for safety reasons this long rope is used for protection of the onlookers.
Trance aspect of the dance is an important point and core part of Kuda Kepang. In Kuda Kepang, the delighted experiences which seem to combine with the world formed by their cosmological beliefs were experienced by the dancers. This is the traditional basis of such occasions. Kuda Kepang performance serves both the secular and ritualistic functions which the second one involves the invocation of spirits from another world. Hence, the trance is essentially a ritual performance. However, the scientific clarification about the trance issue does not involve spirits but more of the eager belief of lifting oneself onto a different level of awareness. It is the changes in mind that bring about a different reality. To the scientists, the spirit world is a creation of one’s imagination. The biological reaction is involved rather than a spiritual reaction.
Preparations:
In preparation of the dance, the dancers would conduct a three day fast to purify them from any uncleanliness so that they could be mentally and physically clear to engage in the ritual dance. Corresponding to the rule of the dance, a shaman which is also known as “Pawang” or “Tok Bomoh” will ignite incense and recite enchantments to offer the horse vitality before the dance initiates. During the ritual, the usage of uncooked eggs, florae, hay, and rainwater will be practiced for ceremonial purposes.
The Dance
On the day of the dance itself, the dance will usually be executed in a wide or a huge stage. The ritual would be started with the mystical music of the gamelan played by an orchestra of troupers making the chiming sound sweet yet mystical which slowly invokes the spirit world. This will then be enhanced with the dance of the barong which resembles lion dances. The so-called horses would then be arranged in line with smoke pots in front of them and the shaman would recite prayers with some initiates to bless the horses for a successful initiation ceremony.
A head dancer who is also known as a "Danyang" will flick the horsewhip to control the pace of the dance as respective performers start mounting on their horse. Being guided by the "Danyang", the performers will enter the arena as the music starts to reverberate. The dancers would then ride on their horses and dance. Sometimes the coordinator will put on a smooth fabric on the performer’s feet to ask for a blessing.
At first, the rhythm of the music starts leisurely. Respective dancers will hop and urge the horse conferring to the style resulted by the rhythm and beat of the song. Slowly in their graceful dances, they will reach the process of Tarian nDadi which is spiritual possession or in trance. The handlers would soon enter the scene with their deadly long whips to lash at any foolish dancers in idleness to push them into a state of frenzy dancing. The crack of these whips would be heard frequently through the ceremony as the dancers are being disciplined.
In the midst of this, the dancers would engorge on pieces of glass, charcoal or coconut husk which is a terrifying sight to see for first-timers. In addition to eating that inedible stuff, they would also be offered water and normal food, mostly traditional cakes and snacks in a platter known as a sesaji. As the music gets faster and therefore more arcane, the horses will respond accordingly to the music dancing more bizarre and rare motions such as six-foot-high jumps along with the others. Resonances complementing the dance that turns out to be louder than usual might lead to the dancers sensing that the myth on the music not roaring, making those in trance physically attack the instrumentalist as if they were a violent horse. The performers would usually dance for two hours straight until they were in a state of shock. Scientifically, the dancers were always in trance at the power of their movements, in a trance-like state, they will occasionally dream of riding a true horse while dancing to the music. As a result, they were always coping to meet the beat and rhythm of the music and this circumstance is called "shearing". The dance would continue for the time until it is the moment for the releasing of the spirit.
If the situation becomes rough and rampant, the shaman will direct guards stationed at each corner of the court to separate them and force them to the ground, and the shaman will then recite the incantations to recuperate them from their trance one by one until no one is left in trance. In such a way the ceremonial dance will conclude.
Why Kuda Kepang has been banned in Malaysia?
As the dance shows a drunken element with links to the spirit world which contrasts the way of proper worshipping in Islam. As such this once popular dance was diminished of its glory. To abandon one dance so tied to the culture of Johor is challenging, for its citizens aren’t ready to discard their traditional horse dance, especially the Javanese people. For to them, it is a traditional kind of art which has been passed down through many generations because it has been exercised before the 1940s. In fact, a cultural congress at the University of Malaya in 1970, acknowledged and recognized the Kuda Kepang dance as a symbol of Johor's culture.
Sadly, as Malaysia plunges into Islamic conservativism. This cultural dance has been outlawed by a fatwa or Islamic decree in the state of Johor since 18 February 2009 for the religious reason which states it clashes with the Islamic principles of Aqidah, Syariah, and Akhlak. Which supports the elements of evil, superstition and false impression. This law urges all Muslims to stay clear and not interact with anything related to this traditional dance. As for the explanations for why the ban is made, is mostly because it’s against Islamic doctrines and beliefs. To further explain the fact, as said before the dance involves using a non-Islamic magical formula known as ‘jampi’ which might lead Muslims astray or not devoted to the faith, and also spiritual possession which involves those being part of the dance to be possessed by jinn, and going into some sort of trance, known in Malay as ‘rasuk’, which is the same word use to describe someone spiritual possession.
All is not lost though, as it didn’t really stop the Javanese from performing the traditional dance, as even after the ban, the channel TV9 broadcasted a television show which shows a local carnival with a Kuda Kepang performance. A Kuda Kepang troupe leader has said that the fatwa ban doesn’t concern him, as he believed that what he is doing is consistent with Islam. As he explained performing art that was introduced by the Wali Songo which led to the conversion of millions of Javanese must be celebrated. In the end, the fatwa ban ended up did effect and making some changes to the dance. After the fatwa ban is announced, all schools and universities inside Johor Bahru have completely blocked or stop instructing anything related to Kuda Kepang as to go with the law. With this, the main place where Kuda Kepang is celebrated is now being heavily obstructed by the authorities, this will likely affect the future of Kuda Kepang in Malaysia as it slowly ceased to exist as the generations pass.
Conclusion:
All in all, despite the reasons of the authorities outlawing Kuda Kepang performance to be held in the public or the scientists who still don’t have to prove on the existence of the spirit world, this culture shaped by religion, ancient arts and inheritance should not be ceased and died out just like that. Every culture had its own beauty of their arts and beliefs, and they must be respected by the people. The traditional performance of Kuda Kepang is an innovation that characterizes the traditional art world making Kuda Kepang performances truly sacred events. Therefore, the uniqueness of Kuda Kepang must be cherished and inherited to our future generations. As such our team decided to preserve this heritage of Malaysia in this lengthy word. Hopefully, someday the ban will be lifted to save this precious cultural art of the Javanese Malaysian Community or a part of Malaysian culture as a whole.
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REFERENCE
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Burridge K. O. L. (2015). Kuda Kepang in Batu Pahat, Johore. Retrieved from https://www.researchgate.net/publication/275611503_26_Kuda_Kepang_in_Batu_Pahat_Johore
Ditwdb. (30 October 2019). Jaran Kepang Jawa Timur, Jaranan atau kudaLumping. Retrieved from https://kebudayaan.kemdikbud.go.id/ditwdb/jaran-kepang-jawa-timur-jaranan-atau-kuda-lumping/
Hukum Permainan Kuda Kepang Di Negeri Johor (2009). Jakim. Retrieved from http://esmaf.islam.gov.my/esmaf/index.php/main/mainv1/fatwa/pr/10529
Kuda Kepang (13 April 2011). The Star. Retrieved from https://www.thestar.com.my/travel/malaysia/2011/04/13/kuda-kepang/
Nasuruddin, M. G., Ishak, S. (2015). Healing Trough Trance: Case Study of a Kuda Kepang Performance in Batu Pahat, Johor. Science Direct. Retrieved from https://www.sciencedirect.com/science/article/pii/S1877042815021606
