Ebeg is a traditional art form from Java, especially from the Banyumas area in Central Java. In some parts of Indonesia, it is also known as kuda lumping. This dance combines movement, traditional music, and spiritual elements, creating a unique and captivating cultural experience.
The dance is accompanied by the sound of Gamelan, a traditional Javanese instrument made of brass or copper. The instruments are carefully crafted to produce a dynamic harmony that enhances the performance.
For people in Banyumas and surrounding areas like Purwokerto, Banjarnegara, Purbalingga, and Kebumen, Ebeg is a much-loved form of entertainment. Personally, as someone living in Banjarnegara, I find watching Ebeg performances a wonderful escape from the hustle and bustle of city life. It’s a celebration for people in rural areas.
The Evolution of Ebeg
Over time, Ebeg has evolved. Originally, the dancers only used a woven bamboo horse called kuda kepang. Now, the performances often include other characters inspired by different art forms, such as the Balinese Leak dance, Barongan (similar to Barongsai), and masked dances.
I want to show you the beauty of this art form and its deeper meaning as a ‘Hiburan Rakyat,’ or people’s entertainment, from Java, especially Banyumas.
Origin and History of Ebeg
Ebeg is believed to have roots in the agricultural traditions of Javanese society. Its history is closely tied to mystical stories, spiritual rituals, and respect for ancestors. Initially, it was performed during ceremonies, such as asking for rain, praying for abundant harvests, or warding off disasters.
The name ‘Ebeg’ refers to the main prop in the dance, a bamboo horse replica, symbolizing the strength and fighting spirit of warriors. Many stories in Ebeg depict battles or heroic struggles.
This dance has been around since the Hindu kingdom era in Indonesia. The songs accompanying the dance are entirely in the Banyumas dialect of the Javanese language, also known as ‘ngapak’.
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Ebeg and Its Historical Roots
Ebeg is thought to have emerged during the rule of King Sri Aji Wurawari, the ruler of Lwaram, a small kingdom in Banyumas under the influence of the ancient Mataram Kingdom. It first appeared in 1010 AD to celebrate the victory of the Pralaya Medang war. This war involved an alliance between Lwaram and the Sriwijaya Kingdom against Mataram in 991–992 AD, during the reign of King Dharmawangsa.
Years later, King Dharmawangsa’s son-in-law, Airlangga, avenged the attack and defeated King Wurawari. Despite Wurawari’s death, the Ebeg dance continued and began incorporating spiritual elements.
During performances, dancers often enter a trance-like state (known as wuru or mendem in the Banyumas dialect), believed to summon the spirits of King Wurawari and his fallen soldiers. This trance serves as a way to honor their spirits and remember their victories in battle.
Ebeg Performances
Ebeg performances are usually presented by a group of Ebeg artists. A group typically includes several key elements that make the show captivating. These key elements are the Gamelan musicians (called Nayaga), Sinden (singers), Ebeg dancers, and the Penimbul (a handler who controls the dancers). In some groups, there are additional roles like Lengger dancers (male dancers dressed like female) and Warok performers (masked dancers inspired by the Reog Ponorogo tradition).
Gamelan
The Ebeg dance is accompanied by Gamelan, a traditional Javanese music that creates a mystical atmosphere. The rhythm of the music is steady, almost hypnotic, which enhances the trance-like state of the Ebeg dancers. Most Gamelan instruments are made from metal, adding to the magical quality of the music.
The Gamelan ensemble includes instruments like the gendang (similar to a drum), bonang, kenong, and gong (made of bronze), as well as the demung, gender, and slenthem (made of brass). Other instruments include saron and suling (a bamboo flute). The music is performed by Nayaga (Gamelan musicians) and Sinden (singers) who sing traditional songs in the Banyumasan Javanese dialect.
Ebeg Dancers
Ebeg dancers are the main performers of this traditional art. They dance while wearing traditional costumes and makeup, portraying knights riding horses. Typically, there are six or more dancers in a performance, each holding a kuda kepang (woven bamboo horse) and mimicking the act of horseback riding.
To guide the dancers, one of them carries Pecut (a whip), which serves as both a tool for signals and a symbolic element of the dance. The dancers often perform dynamic and energetic movements throughout the show.
Performances usually start in the afternoon and continue until evening. If the event is booked for a longer duration, the dancing can extend into the night, sometimes lasting until midnight.
In the past, Ebeg performances included both male and female dancers. When I was younger, there were female dancers known as Lebog, who were portrayed as beautiful women skilled in performing Ebeg dances. Over time, however, male dancers have become the dominant performers.
Some Ebeg groups also feature Lengger dancers—male performers dressed as elegant women—and even acts inspired by the Leak dance from Bali. Additionally, Barongan is a must-have element in Ebeg performances. The Barongan character is depicted as a mythical tiger-like creature, played by two performers similar to a Barongsai (lion dance) performance.
When Barongan appears, it signals the climax of the show—the trance state or mendem. At this point, the dancers are believed to be possessed by spirits, making this the most anticipated part of the performance.
The Trance Process and the Role of the Penimbul (Handler)
After the Barongan performance ends, the Penimbul or handler, performs a ritual by burning kemenyan (a type of incense) in the center of the performance arena. This ritual is believed to summon the spirits of ancestors. Another role of the Penimbul is to swing a whip, signaling control over the dancers with the kuda kepang.
Once the ritual is performed, some dancers enter a trance state, believed to symbolize a spiritual connection with ancestral spirits. This trance is one of the highlights of an Ebeg performance. Dancers in a trance display signs such as blank stares and uncontrollable movements. In this state, they often exhibit extraordinary strength, such as eating glass or enduring lashes from the whip. This phenomenon is not only entertaining but also deeply spiritual.
The Concept of Trance and “Indang“
Dancers who experience trance, or mendem, are believed to have an Indang—a protective spirit. Only those willing and able to embrace this supernatural connection can possess an Indang. Occasionally, even members of the audience may enter a trance, particularly if they also have an Indang spirit protecting them.
While the trance state can seem intense or frightening, humorous moments often occur. For instance, the handler may “interview” the spirit possessing the dancer, and the responses can be amusing. If a dancer is possessed by a tiger spirit, they might growl like a tiger but still speak in human language. Similarly, if they are possessed by a monkey spirit, they may mimic monkey movements while dancing to the Gamelan music.
Similar Art Forms to Ebeg
Similar art forms to Ebeg can be found in various regions of Indonesia, each with its own name and unique characteristics. Kuda Lumping is a common term in many parts of Java, featuring similar dance patterns and props. Jaranan is a traditional dance from East Java that also uses the kuda kepang prop.
Reog Ponorogo is a dance art from Ponorogo, East Java, combining elements of the kuda lumping, singa barong masks, and other mystical elements. The uniqueness of Reog Ponorogo lies in the singa barong mask, which is extremely large and heavy. This mask is handled by a single performer who bites the mask and dances with it.
Although these art forms share similarities, each has unique characteristics that reflect the local wisdom of its region.
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Preservation of Ebeg and Find the Performance
Today, Ebeg faces challenges from modernization and shifting public interests. However, various art communities and local governments are striving to preserve this tradition through cultural festivals, training programs for younger generations, and performances at special events.
In Banjarnegara, where I live, Ebeg performances can only be enjoyed on certain occasions, especially during Indonesia’s Independence Day celebrations. At that time, Ebeg shows are easier to find. Outside of these occasions, performances are rare and usually only happen during weddings or specific commemorations.
But if you are visiting Indonesia and want to watch an Ebeg performance, you can look for Ebeg communities on Facebook. They will provide schedules and locations for performances in the surrounding areas.
Despite this, local interest in Ebeg remains strong, with performances drawing hundreds of spectators. This enthusiasm reflects the spirit of Hiburan Rakyat, or a true celebration of the people.
Summary
Ebeg is a traditional Javanese trance dance deeply rooted in cultural and spiritual beliefs. Performers imitate horseback riders using woven bamboo horses called ebeg as props. The dance often includes trance states, where dancers appear possessed, demonstrating spiritual strength. Accompanied by traditional gamelan music, Ebeg is both captivating and intense. Rituals and offerings play a vital role, honoring ancestral spirits and local traditions.
Ebeg is more than just a performance—it’s a profound connection to Javanese identity and heritage.
If you’re interested in watching an Ebeg performance, you can contact us via email.
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