When Dragon and Lion Dance with

the Bull
The Perpetuation of Barongsai and Liong Dances in
Bantengan of Malang
HANIFATI A.
RADHIA
RIZKI
PRADESTIYAN
PUTRA
ARY
BUDIYANTO

"Chinese-Indonesians:Their
TheirLives
Livesand
andIdentities"
Identities"
"Chinese-Indonesians:
InternationalConference
Conference- -Center
Centerfor
forChineseChineseInternational
IndonesianStudies
Studies
Indonesian
5-6February
February2015,
2015,Maranatha
MaranathaUniversity
UniversityBandung
Bandung- 5-6

Background of
Study
There is interesting phenomenon in the last few years,
at a big or even small stage, Chinese Lion (Barongsai)
and Dragon (Liong) dance are frequently performed
side by side in Bantengan Malang performances.

Leyangleyong
Nagin,
Baru
Klinting,
Nogo
Bawono,
Naga
Sejagat,

Transformation of Barongsai and

Macanan:
Singo Barong, Barongan Macan, Singo Arema

The Origin:

Reog vs Barongsai
naga langit

Questions

How the reality of inheriting the tradition of dance and

dance Liong Barongsai in Malang Chinese community itself?

Both in the era of the New Order, and currently in the

reform era that now seems to seep into the Java community
as seen in their Bantengan show.

How does the confluence of two traditions happen?

It can be strongly suspected that Lion and Dragon dance is

certainly introduced from Eng An KiongTemple-Malang
which is usually well supported from groups of Wushu club
in the surrounding Malang, but actually since when the
dances are absorbed into the Bantengan society?

What kind of response of the two communities on seeing

the engagement of Barongsai and Liong dance in
Bantengan performances.

Bantengan Malang

Bantengan art is a blend of dance and martial arts

movement accompanied by music in the story of heroism
that at the height of the scene ends with trance (trance,
kalapan, ndadi).

Bantengan arts is endemically found in the mountainous

region of East Java, Bromo Semeru, Arjuno, Welirang,
Anjasmoro, RaungArgopuro. And recently Bantengan also
popular and known in others Java region where there is
Jaranan/Jathilan art commonly mixed with with Reyogan

Previous Studies
Ruri Darma Desprianto (2013) entitled "Art
Studies Bantengan Mojokerto Symbolic
Meaning and Moral Values
Catharina Agnes Dina Sari and Sukarman
(2014) entitled "Art Bantengan ing Tlatah
Kediri lan Mojokerto ".
Both research on Bantengan art above have
not
touched
on
the
problems
of
acculturation.

Reserch method

Qualitative research, ethnography,

theory of knowledge dissemination
which are the memetic and creativity
approaches.
Informant purposive sampling method.
Primary data were collected through
observation and data collection
techniques open interviews (open
interview) and in-depth interviews
(depth interview).
Secondary data were obtained through
the study of literature and

Memesis theory says that a meme in this case the art of Lion and
Liong Dance of klenteng- spread exclusively by direct
demonstration (as well as the learning process directly or
nyantrik), or by word-of-mouth transmission or by mediumship:
printed, and recently visual media: VCD/DVD & Internet).

Whereas the creative process they have to follow the instincts of

the individual cultural habitus. Furthermore, John W. Haefele said,
"Creativity is defined as the ability to formulate new combinations
from two or more concepts already in the mind .... The concern
here is with the creative effort at the level of achievement of
Recognized new solid social worth (1962, p. 6). "

Eng An Kiong & Sasana Wushu

The Guardian of Lion and Liong Dance
Tradition

Klenteng Eng An Kiong

obeyed New Order Rezim

Barongsai and Liang-liong

dance stil preserved quietly
with internal excercises
with limitedly recruit new
member. 1825 opening
ceremony of Store

1965 only few Arek

members but in recent post
reformation 90% member
of Barongsai and Liong
dances are Pribumi Arema.

In the New Order pagoda Eng Kiong not perform

activities related to Chinese culture and art, but
seeks to keep practicing internally and not
recruiting so many of members.
After the reform era to the present
approximately 90% of the Lion and Liang-dragon
is the indigenous people.
A group of Sasana Wushu in Malang
popularizing the role of art and the Lion Dance
Liong (interview. Bp Anton Barongsai dan LiongSasana Naga Sejati Malang). Satriyo Anusopati,
Tumpang-Malang.
In 2000 Eng An Kiong held a workshop for their
Barongsai and liong nucleus team with athletes
of Sasana Lima Benua (previously known as
Wushu Elang Sakti, 1998)

Mamat / Dul

Originality + Autenticity

Vs Creativity +
Inovation
----------------------------------------

Bp. Anton

When Liong dances with the Bull

Bp. Anton, the doyen of Sasana Naga Langit,
Lion Dance performances Vs. Reog was first
featured in the TNI Day event during exercise
along with the NA of Korean (circa 2005). This
performance begins with concern at the lack of
a culture of tolerance in Indonesia which is
actually multicultural. The performance story
is about the meeting of Lion with Reog that
begins with a quarrel because they feel more
powerful with each other, but in the end they
make friends and play together.
This collaboration dances seems to be the
inspiration of the creative process of the
popularization of Liong Vs. Bantengan.

WHEN MACAN TRANSFORMS INTO SINGA

Original Bantengan performance only have

Macanan thats played by 1 person Sesingoan
+ Barongsai [2 players] Barongsai Macanan
Barongsai Sesingoan Singo Arema
Bantengan: Memesis Creativity & Innovation
information+ technology+Material+Finance
and freedom

CONCLUSION
Creativity Dispensing Harmony

Creative imitation on Dragon and

Barongsai dance in groups of Bantengan
Malang, at least have shown that
harmonization and tolerance to respect
each other in order to [co-]exist and
everlasting [sustain]
The Chinese Barongsai and Liong are now
able to dance together with their clones
brothers: White Tiger Barongan ,
Macanan, or Arema Singo in Bantengan

References
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