FROM RITUAL TO ENTERTAINMENT: THE CHANGING ROLE OF BARONGAN PERFORMANCE ARTS

Purpose of the study: The aim of the study is to 1) describe the Barongan Performance Arts presented in the form of parades and dance-drama on aspects of motion, accompaniment, makeup, fashion, and venue; 2) describe the role of Barongan Performance Arts in Blora society, namely the role of ritual and the role of entertainment that has lasted a long time; and 3) describe the changing role of Barongan Performance Arts from ritual to entertainment in Blora society. Methodology: This research is based on qualitative analysis—the data collected by observation, interview, and documentation. Data validity is using credibility, transferability, dependability, and confirmability. The data of the form of Barongan Performance Arts were analyzed used the ethnocoreology approach, and the data of the changing role of the Barongan Performance Arts were analyzed used the social action method. Main Findings: Barongan Performance Arts are displayed in two forms, namely the form of a procession or parade and dance-drama. Barongan Performance Arts from ritual to entertainment because, the development of social and cultural life of the Blora people, this is influenced by economic and globalization factors. The growth and development of Barongan Performance Arts as an entertainment center is inseparable from the participation of artists and managers in introducing Barongan Performance Arts. Applications of this study: The results of this study are expected to be beneficial for the development of Barongan Performance Arts so that it still exists that is loved by the community, as a reference for local governments in the effort to develop and preserve Barongan Performance Arts, to be an appreciation for and development of Barongan Performance Arts teaching materials and to be an additional aesthetic experience that sourced from Barongan Performance Arts. Novelty/Originality of this study: The conflict between ritual and entertainment interests in Barongan Performance Arts is definite. Reflection of the conflict can be seen from the existence of competing with each other, influencing each other in its presentation and strategies attracting the attention of a broad audience. While the comparison seems they can live and develop side by side.


INTRODUCTION
Barongan Performance Arts is a group dance that mimics various wild animals such as lions, tigers, and wild boars. Diversity is the result of the times (Effendi & Kusumastuti, 2013). Barongan arts are widely available in various regions in Indonesia such as North Sumatra, Bali, Special Region of Yogyakarta, East Java and Central Java (Shaliha, 2019); (Dewi, 2016); (Gottowik, 2008); (Marschall, 1995); (Ibda, 2019) and (Pambudi, Iswidayati, & Supriyanto, 2015). Barongan Performance Arts found in Central Java is spread in several areas such as Tegal (Murni, Rohidi, & Syarif, 2016), Pati (Effendi & Kusumastuti, 2013); and Blora (Ibda, 2019) and it can be concluded that Barongan is one of the unique performance arts of Central Java, since 2009, Blora Regency has declared Barongan as one of Blora's traditional arts (Ibda, 2019). The existence of Barongan in Blora a quantity more than other regions in Central Java. Therefore, Barongan Performance Arts are very popular in Blora, especially in rural communities.
Barongan Performance Arts is a form of traditional populist arts that grows and develops among the people and becomes part of the life of the supporting community. As with other traditional arts, Barongan Performance Arts comes from the heritage of ancestors who until now passed down from generation to generation. Therefore, Barongan Performance Arts as a cultural product does not belong to the individual, but belongs to the supporting community (Armani, 2019) Barongan Performance Arts in Blora has its uniqueness, so it is different from Barongan in various regions in Indonesia. This uniqueness lies in the story contained in Barongan Blora. Barongan from North Sumatra tells the tale of Putri Junjung Buih married to the son of the ancient Javanese King (Majapahit). This is the beginning of the North Sumatra Barong Banjar Dance. However, not all Banjar people know the head of Indarok, which came to be known as the Barong Banjar. This due to the making of the head of Indarok and the Barong dance performance that must be preceded with burning incense to summon ancestral spirits. It is the spirit that will show how to make the head of Indarok through the subconscious of dancers involved in the event (Shaliha, 2019).
Indonesian traditional arts, for example, have been addressed as an expression and cultural identity; is also based on local wisdom and uniqueness of society. It defines how simple a man's life is, there are chances to express and harness the beauty of art while trying to fulfill their primary needs. Furthermore, a traditional art that is existed and developed is standardized through the traditions of a society, as well as to sustain and retain social collectivity (Irianto, Laksono, & Hermintoyo, 2018).
As a folk art, Barongan Performance Arts reflects a variety of social traits and values. The characteristics and values reflected in Barongan in Blora are spontaneity, kinship, simplicity, roughness, hardness, cohesiveness, and courage based on truth. Therefore, during modern society, Barongan Performance Arts continues to flourish. Barongan Performance Arts have an essential role in Blora's social life. As Kay said, art has various essentials roles in society, such as individual development, the identity of a community group, a symbol of creativity, and a means of expression (Kay, 2000).
Barongan Performance Arts are depicted as a frightening giant lion. The shape resembles the Lion Barong played by two people; one acts as head, and the other acts as the tail. Barongan Performance Arts has initially been only for ritual purposes, such as the earth alms tradition, the clean village tradition, and the lamporan tradition (refuse reinforcements), then developed to serve entertainment interests (Murni, Rohidi, & Syarif, 2016). Changing roles from rituals to entertainment also occur in Balinese Barongan dance that the form of Barong Art performances in Bali began to eliminate the value of sacredness (ritual) due to the development of tourism (Dewi, 2016); (Sugiartha, 2018).
Barongan Performance Arts art is present in various events to entertain Blora people, such as folk entertainment in the form of processions, carnivals, and marches. Besides, some people in Blora invited Barongan groups to enliven the celebrations that were held, for example, at the parading the bride and groom at the wedding celebration and so on. Therefore, public support and appreciation for Barongan Performance Arts is a social reality (Ali & Salim, 2019).
The development of Barongan Performance Arts is related to changes in social, political, and economic conditions of the community that support it both from internal and external factors (Pambudi, Iswidayati & SUpriyanto, 2015). However, the development of Barongan Performance Arts is influenced by internal factors, namely the activity and creativity of artists. These mean that inner strength is the dominant factor causing changes in Barongan Performance Arts (Slamet, 2012). So that the participation or action of the community in preserving these arts (Puspita, Nurhadi, & Liestyasari, 2017).
Barongan Performance Arts have firmly rooted in the Blora's community's traditions that still exist amid the fusion of contemporary performing arts, and a manifestation of local culture (Saputri, Saddhono, & Sulaksono, 2019). Therefore, the existence of Barongan Performance Arts in Blora, which can survive amidst the bad luck that befalls some other traditional performing arts, is satisfying to study. The life of these arts is inseparable from the social role of the supporting community that still maintains these performance arts.
Several studies on Barongan Performing Arts including conducted by Anjasuari, Sumadi, and Widana (2017); Dewi (2016) about Barong Dance on the island of Bali from an economic and tourism point of view describes that the performing arts of tourism character have sale value and are much in demand by tourists. Bali, as a tourist destination that is rich in cultural diversity and customs, is certainly appropriate to be able to display its characteristics in the form of cultural arts performances to be enjoyed by tourists. Art packaging that was originally sacred in value but now can be used as a tourism commodity without leaving the religious element.  Some of the results of the studies that have been described above, each of which is described based on one perspective. Some studies are only described intra-aesthetically without looking at the extra aesthetics of a work of art. work of arts cannot be described from just one point of view. Barongan Performance Arts still exists today, why the art can survive amid the onslaught of contemporary art. Therefore a study will be conducted that will explain Barongan performance arts intra-aesthetically using ethnochoreology approach, and extra aesthetic to explore Barongan Performance Arts based on the viewpoints of the social actions of the supporting community.

METHODOLOGY
This type of research is qualitative. Qualitative research is an activity that places observers to see the real world (Denzin & Lincoln, 2005). Qualitative research designs do not have a standard form, and there is no standard agreement on qualitative research designs (Creswell, 2007). However, based on the description of qualitative research, which that, the design, measurement, analysis, and reporting, are based on the objectives mentioned above, the object studied in the study to 1) describe the Barongan Performance Arts presented in the form of parades and dance-drama on aspects of motion, accompaniment, makeup, fashion, and venue; 2) describe the role of Barongan Performance Arts in Blora society, namely the role of ritual and the role of entertainment that has lasted a long time; and 3) describe the changing role of Barongan Performance Arts from ritual to entertainment in Blora society.
To analyze the Barongan Performance Arts form used the theory of Performance Studies, and sub theory is ethnochoreology, which includes contextual and textual views by utilizing interpretation techniques (Narawati, 2003).
To analyze the changing role of Barongan Performance Arts used social action theory. The role of ritual and entertainment in the Barongan Performance Arts has its respective interests so that it can lead to conflict or competition that is influenced by social change (Jazuli, 2014). Conflicts of interests of the two objects of this study can influence each other so that it still exists in society. Therefore the analyzed used in this study applied social action theory (Jazuli, 2014).
The design of this research be seen in Figure 1

Research Data and Sources
The data in this study are in the form of qualitative data, data in qualitative research is in the way of words and actions, the rest is additional data such as documents and photographs and statistical data (Sumaryanto F., 2007). The privilege of qualitative information is "perfection and depth" has a strong potential in expressing very complex statements (Miles & Huberman, 1994).

Data Collection Technique
Data collection techniques in this study include the following: a. Observation Observations in this study were conducted; 1) community environment; 2) Barongan Performance Arts forms; and; 3) the social condition of the community where Barongan Performance Arts are held. In the process of observation, researchers use visual recording aids (digital cameras) to bridge the limitations of the five senses of the researcher in collecting data in the field. Interviews were conducted to find out various hidden data with interviewees who know Barongan Performance Arts. There are two types of interviews used, namely; 1) structured interviews to obtain information from the actors of Barongan Performance Arts, and cultural figures of the Blora community; 2) semi-structured interviews are used to obtain information from the Blora community who are also the audience of Barongan Performance Arts. Participants in this interview were 3, namely; 1) Adi (Performer of Barongan Performance Arts); 2) one of the spectators randomly selected to be interviewed, and 3) Nurcahyo (leader of the Barongan Community in Blora Regency). Document Data Collection.
These data are in the form of research data regarding the existence and texts relating to Barongan Performance Arts.

Data Validity Techniques
Data validity is a requirement that must be fulfilled in a study to have high credibility (Sugiyono, 2009). Test the credibility of the data using Triangulation and informant review.

a. Triangulation
The Triangulation used is source Triangulation. Source triangulation is comparing data from observations with data from interviews, comparing what was said in public with what was said privately and comparing interviews with related documents.

b. Informant Review
This activity is reviewing the data obtained to develop the validity of research data. The data is corrected to the key informant, whether it is following the objectives of the study so that the data that has been approved as valid data is obtained.

Data Analysis Technique
Data analysis is the process of systematically searching and organizing interview transcripts, field notes, observations, and other materials that have been collected for reporting to other parties. Qualitative data analysis is data reduction, data display, and concluding (Miles & Huberman, 1994).

a. Data Reduction
Data reduction activities are making conclusions of data from interviews with key informants involved in Barongan Performance arts. Observation data and interview results are grouped based on themes, namely data about rituals, entertainment, and social action of Blora people.

b. Data Displays
The data displayed are long sentences or stories obtained through interviews and observations. Data is displayed based on themes that fit the aim of this study, namely the form and presentation of Barongan Performance Arts, the role of Barongan Performance Arts, and the changing Role of Barongan Performance Arts.

c. Conclusion/Verification
Data conclusions are interpretations or interpretations of the data that have been presented based on each theme following the aim of this study.
The stages of data analysis activities in this study used flow model analysis, as shown below:

DISCUSSION/ANALYSIS
Barongan Performance Arts is a native Blora's folk arts, in which Blora people have the spirit of life as positive values contained in Barongan (Septiyan, 2018). The word "Barongan" refers to equipment (mask and its accessories) that is made to resemble the Singo Barong (giant lion) and can also be a tiger (Marschall, 1995). Jazuli (2014) pointed out that traditional populist arts are a mirror of the appearance of people who live outside the castle or from commoners. Barongan Performance Arts, as one of the folk arts, is a reflection of Blora's community expression. This is based on the results of an interview with Adi (February 12, 2020) who is one of the performers of Barongan Performance Arts who stated that: "I know Barongan from generation to generation from my elders. I experienced and heard the story from generation to generation from our previous elders. That is what I have also planted in my future generation who will preserve the existence of Barongan".
Furthermore, Adi also stated that Barongan Performance Arts: "Is essentially a form of dance that is often performed at certain times such as earth alms rituals, rejecting reinforcements, circumcisions, slametan and mantenan. Currently, Barongan has often been exhibited to the community outside of ritual activities because the community likes Barongan".
Based on the findings of the interview with Adi, the authors formulated three study objects to be discussed, namely the form and presentation of Barongan Performance Arts, the roles of Barongan Performance Arts, and the changing role of Barongan Performance Arts.

Form and Presentation of Barongan Performance Arts
The form of Barongan Performance Arts is a dance. Dance produces beautiful types of vibrations, when limbs such as hands, feet, head, body, and other body parts are arranged and arranged into a straightforward unit of motion (Spampinato, 2019). The purpose of simple arts is the spontaneous movement of the performer or dancer Barongan in under the accompaniment without any standard change but contains dynamism.
Barongan Performance Arts are displayed in two forms, namely the form of a procession or a parade and a drama. In its presentation, Barongan Performance Arts must pay attention to the aesthetics of dance, is manifested in the way of introduction and equipment used (property). Some aspects that support the introduction of a Barongan Performance Arts include motion, accompaniment, cosmetology, fashion, and the venue. A dance presentation will have aesthetic value if there are elements in an integrated dance presentation. Traditional art is a collective form of performance arts that presents aesthetics. Thus, its appearance requires no small cost. To display a dance performance is needed, dancers, dance clothes, makeup artists, musicians, stage performances, stage performers with equipment, and so on (Soedarsono, 2002). Because connoisseurs as funders of production (production cost) demand an excellent presentation of the show, so as an aesthetic performance of the performing arts requires serious cultivation.
The form of the performance is presented as a series of a Barongan Performance Arts consists of the form of a stage (Barongan) dance performances, the form of ceremonies (rituals), percussion (gamelan), and stories (plays) Barong dance performances. While the accompaniment in the Barong Dance Performances uses gamelan, in presentation, the Barongan Performance Arts, which is mainly attractive, requires the dancers to have strong stamina and functional physical fitness. Djelantik (199) said that every dancer must maintain physical fitness because they have to spend energy in following the dance moves. Movements are a significant element in dance. Changes in position and place are all through action (Djelantik, 1999).
The presentation of the Barongan Performance Arts show began with the accompaniment of the horsemen of the escort Raden Panji and Singo Barong. Barongan Performance Arts equipped with several musical instruments that function as accompanists, namely the Kendang, Gedhuk, Bonang, Saron, Demung, and Kempul (Depdikbud, 1998). But in its development, there are several additions to modern devices, such as drums, trumpets, big drums, and keyboards. Sometimes in some instances, the show is combined with the Campursari (Septiyan, 2018). The combination of traditional musical instruments and contemporary is unstoppable due to the influence of globalization through mass media (Shafazhinskaya, Kats, Smirnov, Ovsyannikova, & Kruglova, 2019).
The forms of the Barongan dance-drama performance are divided into three parts, namely: a. The part before the show consists of sub-sections, i.e., slametan and prayer together, then talu, and ends with padupan as a closing part before the show.
b. The performance part is divided into several scenes, namely the Kiprahan Barongan, Bujangganong dance, jaranan, Barongan Solo, Panakawan, Joko Lodro war scenes, and Barongan kerah as the closing scenes of the show.
c. The final part of the Barongan Performance Arts is usually filled with an evaluation from the group leader and or when there is a request for a discussion, limited discussion. Barongan Dance-drama also involves all the supporting characters of the Barongan story and the elements of appearance as the form of the procession; its orientation is more for the sake of entertainment or spectacle.
The cavalry brought the followers of the Barongan Performance Arts story called Nayantaka and Gainah. Bujangganong with the control of the cavalry followed by Nayantaka and Gainah in the Barongan story created as Pentulan, and went into the Alas Jati Wengker. After entering the Alas Jati Wengker, Bujangganong and his cavalry met the Gembong Amijoyo. Following his task, Gembong Amijoyo forbade Bujangganong and his guards to open the Alas Jati Wengker, because if Bujangganong and his bodyguards pass the Alas Jati Wengker, then the natural wealth and the Alas Jati Wengker will be depleted. Then there was a fight between the Gembong Amijoyo and Bujangganong. In the bettle, Bujangganong suffered defeat. Nayantaka and Gainah remind the Gembong Amijoyo that he has a colleague in charge of the Janggala Kingdom called Joko Lodro.
After the defeat, the Bujangganong guards returned to the Kingdom to report the incident that had occurred to Bujangganong to Panji Asmara Bangun. Noting that Joko Lodro is the brother of the Gembong Amijoyo, Panji gave Joko Lodro the order to meet the Gembong Amijoyo in the Alas Jati Wengker. Upon arrival at Alas Jati Wengker, Joko Lodro and Gembong Amijoyo met. The two brothers have their respective duties; Joko Lodro is in charge of the Kingdom of Janggala while the Gembong Amijoyo is in charge of guarding Alas Jati Wengker. Disputes between the two brothers cannot be avoided because they are responsible for their respective duties. In the conflict, the Gembong Amijoyo suffered defeat; thanks to the supernatural powers he had, Gembong Amijoyo survived.
Based on the exposure of the story or play in Barongan Performance Arts, it can be concluded the essence of the story in the story is a battle between good and evil as stated by Stuckey (2007) that dance-drama in traditional barong rituals has centered on the struggle between good and evil. Barongan dance movements tend to be energetic movements, not bound by musical accompaniment because they depict spontaneous disputes. Joko Lodro brought a group from outside the Alas Jati Wengker area. The message from the Gembong Amijoyo is the need for future generations from Blora to protect and preserve the natural wealth owned by Blora so that the preservation of Blora's Teak forests can be maintained. Today, the words uttered by Gembong Amijoyo are realized; because the quality of Blora's Teak wood is excellent, causing the community to sell teak wood to buyers from other regions so that the teak forest begins to lose its wealth.

The Roles of Barongan Performance Arts
The presence of art forms during a community a particular role in the middle of its community life, both as a means of the ceremony, entertainment, or a spectacle to be enjoyed by the general public. Traditional arts created by a community can have meaning and significance for the community; thus, traditional arts that live in certain groups of people have a certain (Sedyawati, 1983).
Traditional arts have roles for magical purposes and as entertainment. Magical purposes that affect the human condition, and environment, such as to bring rain, obtain prosperity, survivors of disasters, and so forth. The roles of presenting traditional arts as entertainment are for entertainment or aesthetic dining, which is the development of magical features (Djazuli, 1994). Conventional forms of traditional arts have an essential role in rituals, education, and even entertainment (Okado, 2012).

a. Ritual Role in the Barongan Performance Arts
Ritual is a social and religious activity developed for a long time in every culture (Khoury, 2017). A ritual is also inseparable from a group of people who believe in it (Parker, 2010). Ritual ceremonies in native cultures throughout the world have manifested this practice from the beginning (Brown & Dissanayake, 2018); (Richman, 2018). Regarding tradition, ritual ceremonies have an essential role and everyday activities (Moore, 1996). Supporting communities feel confident that by holding traditional ceremonies, the community can fend off distress. Besides the population believes that keeping the service prepare to withstand difficulties.
Performances of ritual are significant that requires strict rules of conduct and the enactment of theatre (Abdoh, 2018). On the other hand, performances that are characterized by spontaneity serve to provide respite and entertainment to the participants (Shepard, 2018). Whereas the ritual performance must be controlled, and unchanged, the spontaneous and fashionable nature of the show created for entertainment makes adlibbing, extension, and foolish actions so that the forms change with the mood and acceptance of the participant. Sometimes the form also varies based on the style of presentation at the show (Bujang, 2005).
The results of an interview with one of the people who hold a ritual that presents Barongan performance Arts states that: "Barongan is always displayed on the 'sedekah bumi' (earth alms ritual) because barongan a popular art and can be accepted by communities ... Barongan is held basically to preserve culture ... ".
The results of an interview with one of the other community members stated that: Barongan Performance Arts used in rituals have unique characteristics; 1) chosen venue is required, sometimes considered sacred; 2) election needed as well as the selected time, usually also regarded sacred; 3) selected players are required; usually those who are considered holy or who have cleaned themselves spiritually; 4) a set of offerings which are sometimes very many types and kinds needed; 5) goals are more important than aesthetic appearance; 6) distinctive fashion needed (Soedarsono, 2002).
Barongan Performance Arts in the ritual do not give importance to the aesthetical aspect but the primary role is a tolak bala. The purpose of Barongan in a ceremony is to obtain salvation based on the beliefs and magical powers possessed by Barongan Performance Arts (Blackledge & Creese, 2018); (Grimes, 2012); (Insoll, 2009). Brown & Dissanayake (2018) state arts-permeated religious ceremonial rituals are intended to attract and establish contact with supernatural beings, creating a divine realm of interaction distinct from ordinary social interactions. These manifestations are meant to influence the actions of these supernatural beings toward particular individuals and, or the social group as a whole. The arts, as manifested in ceremonial rituals, are mostly acts of persuasion. Rituals are expressed in ceremonies and performances, such as the ceremony of disaster rejecting, ceremonies of change or cycles in human life, marriage, and death (Agus, 2007); (Hull, 2014 Society has a belief that Barongan Performance Arts is the embodiment of the mythological tiger and is considered to have magical powers to protect from distress. For Example, Barongan Performance Arts procession at the earth alms ritual, the role of Barongan Performance Arts as a companion or guard of offerings, namely escorting the bearer who moves from one place to another called punden (a place considered sacred). Punden can be in the form of a character's situation (forerunner), a well or spring, and a tomb. So, Barongan serves to escort the offerings from one Punden to another Punden.
Therefore Barongan Performance Arts for rituals has also taken place competition to win the audience. So, if there is a Barongan performance for ceremonies with complete facilities and processions, on the other hand, there are relatively simple ones that are important not to leave the main principle of the ritual procession. Likewise, in the Barongan Performance Arts for entertainment, the Barongan Performance Arts groups compete in terms of innovation and creation in their equipment and performance attractions. Estuary of all these actions is to remain interested in the audience's behavior so that a lot of responses. With a lot of stage frequencies (often considered for the stage) certainly can increase revenue economically because it is not uncommon for a Barongan Performance Arts group to perform 15-20 times each month.
There is no boundary between ritual and entertainment because they are integrated into the activity that aims to please the audience (Witulski, 2016). The act of capturing the interest of the audience in a Barongan Performance Arts without any conflict and side by side is a social act that Max Weber said that; 1) human actions arise from their consciousness and external situations in their position as objects called subjective awareness; 2) humans as subjects in acting always have a purpose; 3) in serving humans use means, tools, procedures, methods, and devices that are deemed able to be used to achieve goals; 4) the continuity of human actions is only limited by a situation and condition that cannot be changed by itself; 5) humans always sort out, choose, and assess the activities that will, are, and have been done; 6) moral rules or principles are expected to occur at the time of decision making; 7) the study of social relations requires subjective techniques, such as verstehen, imagination, sympathetic reconstruction or as if experiencing themselves (Jazuli, 2014).

CONCLUSION
Based on the description that has been stated above, it can be concluded that: 1. Barongan Performance Arts are presented in the form of parades and dance-dramas. Barongan Performance Arts presented in the form of a parade does not concern the interests of the audience. On the contrary, Barongan Performance Arts presented in the form of dance-drama has fulfilled aesthetic elements; 2. The role of Barongan Performance Arts in Blora society is for rituals and entertainment. As a means of ritual, Barongan is an embodiment of mythological tiger animals that are considered to have magical powers to protect from distress. As a means of entertainment, the presentation of Barongan Performance Arts without any ritual frills is specifically designed to provide fun and relaxation to the audience; 3. Changing the role of Barongan Performance Arts from ritual to entertainment in Blora's society has caused turmoil so there is competition for interests. The struggle between ritual and entertainment interests in Barongan is definite. The conflict that occurred was a form of competition, as well as a comparison between ceremony and entertainment. Race appears in the way of competing for supporters (audience and responders). In contrast, the comparison seems that they can live and develop side by side; the thesis is ritual and entertainment each lives in its interests.

LIMITATION AND STUDY FORWARD
This study is limited to the describing the Barongan Performance Arts presented in the form of parades and dancedrama, describing the role of Barongan Performance Arts in Blora society, namely the role of rituals and the role of entertainment, and describing the changing role of Barongan Performance Arts from ritual to entertainment. This study uses an ethnochoreology perspective to explain the form and presentation of Barongan Performance Arts, and the Role of Barongan Performance Arts. The social action perspective is used to explain the changing role of Barongan Performance Arts. Limitations in this study form the basis for subsequent studies of Barongan Performance Arts using other perspectives, both from the perspective of education, social change, social conflict, tourism, and various other perspectives.