Surviving Modernity Through Magic: A Participatory Study on Pekalongan Sintren Performance

Abstract

This study aims to analyze how magic is performed in Sintren and what survival strategies are applied by its performers in the modern era. Sintren is a unique folk art of Pekalongan performed by a regional arts group called Kudo Bekso Utomo from Pringsurat village, Kajen sub-district, Pekalongan on June 23rd, 2018 during the Syawalan festivals in Linggo Asri village, Pekalongan, Central Java, Indonesia. To achieve this goal, the researcher uses qualitative method. Data are collected by participatory observation and interview with the Sintren dancers, the Sintren shamans, and the Sintren audiences. Furthermore, the data are analyzed by the concept of performance by Goffman together with the concept of “magic” and “trick” by O’Connor. This study finds that Sintren folk art is a unique performance which is not a trick, but full of magic. Besides, this study also reveals that Kudo Bekso Utomo survives to maintain this traditional performance by applying economic strategies, such as using simpler costumes/performance tools, always conducting performance in every event whether formally invited or not, as well as trying to present non-virgin dancer. These strategies even can be adopted or adapted by other regional arts groups to cope modernity

Sintren as a Traditional Performing Art in Mirat Village

“…Meanwhile, in more detail, based on his research on the sintren art performance conducted by Kudo Bekso Utomo in 2018 ago in Pekalongan, the sintren art performance can be divided into three stages (Asmarani, 2020). The first stage is where gamelan music begins to be played.…”

“…Gamelan music is usually placed on a higher show stage. The goal is to invite the audience so that they begin to gather; the audience will usually make a circle when sintren is performed in an open field (Asmarani, 2020). It is not much different from the sintren art performance in Mirat Village, which is generally for celebration entertainment.…”

“…The apparent simplicity describes the economic situation of the sintren group performing the show. Slightly different from the cloth used in Pekalongan, the cloth covering the cage used in Mirat Village is a thin black cloth that is very simple (Asmarani, 2020). After the dancer enter the cage, the accompanying dancers begin to circle the cage.…”

“…After the dancer enter the cage, the accompanying dancers begin to circle the cage. The accompanying dancers in the sintren performance are generally four people (Asmarani, 2020). This number has a certain meaning, which refers to the forty nymphs mentioned in Javanese folklore who come down to earth at certain times.…”

“…On the other hand, there is a noble moral value in that rule. By not approaching or touching the sintren dancer, can prevent immoral acts or intentional harassment by irresponsible parties, so that the purity of the sintren dancer can be maintained (Asmarani, 2020).…”