Semiotic Analysis of Curative Preservation in the Jaran Kepang Art Tradition of Temanggung, Central Java

Jaran Kepang is one of the cultures that developed on the island of Java. According to the Javanese language "jaran" means horse and "kepang" means woven. Jaran Kepang is named because the performance uses a woven horse-shaped property. Not jaran kepang Temanggung also has a spiritual meaning and is often performed in a series of religious ceremonies or traditional celebrations. Jaran Kepang performance art is a form of folk art that grows and develops in rural communities. This is possible because social life in the village has a strong human value, such as caring, and helping each other, so traditional performing arts are dynamic and creative through limited improvisation done spontaneously (Sari Kartika & Suwandi Tuteng, 2022). Jaran kepang Temanggung is a hereditary art that lives and develops as a dance that expresses life among ordinary people or outside the palace. It is estimated that this art has existed since the 1930s. Then in 1972, the performing art of jaran kepang began to be actively developed by the Regional Cultural Inspection Officer of Temanggung Regency who conducted an inventory of jaran kepang movements and then compiled a in standard jaran kepang dance that was considered typical of Temanggung district. From the results of the arrangement, there are 45 movement motifs in Jaran Kepang dance Temanggung Regency (R.Soebagyono.Manuscript: 1972). Developed in Temanggung Regency, the art of horse braiding is played by 12 to 17 people. This performance involves dancers who characteristically wear horse costumes made of woven bamboo and dance to the accompaniment of gamelan music. The gamelan equipment used consists of bende, kempul, demung, saron, kendang, gong, kethuk and kenong. Another characteristic of this art performance is the presence of trance. This art is the flagship art in Temanggung, marked by the jaran kepang statue located in the eastern district park. Along with its development, Temanggung's jaran kepang art performance experienced a very diverse development in each group in the late 1990s, namely elements of other regional cultures and contemporary cultures, including foreign cultures. This resulted in each village experiencing different changes and developments depending on differences in perceptions, situations, and conditions of the region. In addition, the Jaran Kepang Temanggung dance no longer features the story of the Diponegoro warrior that characterizes this dance. Modernization and globalization have had a significant impact on people's lifestyles, so traditional arts such as jaran kepang have become marginalized and lost their proper appreciation. Another threat is the decline of the younger generation who are interested and willing to be involved in learning and maintaining this art. Looking at the above problems, the researcher seeks to preserve the performing art of Jaran Kepang Temanggung with curative preservation through visual media, namely photography. By strengthening awareness of the importance of this cultural heritage, it is hoped that the community can appreciate and preserve this traditional art. Not only maintaining the existence of Jaran Kepang performances, but also paying attention to the sustainability of dance, music, and all the elements in it. According to the Big Indonesian Dictionary, Preservation means preservation; maintenance; care; and protection. While Curative according to the Big Indonesian Dictionary is something that can help; cure; has the power to treat. So it can be concluded that curative preservation is preservation that is repair or treatment to maintain and restore information from the tradition itself so that it can still be passed on to the next generation. Curative preservation of Jaran Kepang Temanggung is a form of local cultural preservation that deserves to be preserved through photography as a form of visualization. This research focuses on the presentation of photo documentation to facilitate the delivery of messages from Jaran Kepang photos. Such as descriptive explanations of Jaran Kepang clothing photos, Jaran Kepang forms, and ritual offerings performed. The problem formulation in this research is how to analyze the presentation of photo documentation of Jaran Kepang Temanggung as a form of curative preservation activity. The purpose of this research is to preserve the performing art of Jaran Kepang Temanggung with curative preservation through visual media, namely photography so that people in Temanggung Regency understand the history and philosophy of Jaran Kepang starting from Jaran Kepang clothing, Jaran Kepang form, and ritual offerings performed so that it is expected to be a reference in developing Jaran Kepang art, especially in Temanggung Regency.

This research method uses a qualitative descriptive method. Descriptive qualitative research, descriptive is a problem formulation that guides research to examine or describe the social situation studied thoroughly, comprehensively, and in-depth. According to Bogdan and Taylor, Lexy.J. Moleong, a qualitative approach, is a research technique that provides descriptive information in the form of written or spoken words about people and observed behavior. Qualitative research phenomena that reveal the feelings and observations of the subject. focuses on social The element of this research is visual photography, so the research model used is using Visual Methodology. Where the power of photography is the power of visual language. Visual language shows more reality and honesty on its own. In addition, the researcher uses Roland Barthes' semiotic analysis to analyze the material by suggesting denotative and connotative meanings of visual objects so that it is richer to explore the meaning related to Temanggung jaran kepang. According to terminology, semiotics can be defined as the study of many types of objects and events through culture as signs (Sobur, 2001). Semiotics consists of a set of theories about how signs represent objects, ideas, states, situations, feelings, and conditions outside the sign itself. The first step is to read Gillian Rose's table of categories and read the object of research according to the position of the image itself. She then connects it with the textual relationship, namely the existence of the Temanggung kuda Kepang, visualizes it in photographic media, and reads it with visual methodology tools. The researcher then analyzes the meaning of jaran kepang Temanggung in relation to the cultural form and visual object of the dance.

The discussion of information related to Jaran Kepang Temanggung is obtained from various sources, and through the processing of data analysis using Roland Barthes semiotics, the results are as follows: 1. Changes in the Art of Jaran Kepang Referring to the author's literature search, jaran kepang as developed in the Temanggung region is an ancestral heritage and is passed down from generation to generation. In fact, jaran kepang itself is a representation of a soldier riding a horse during the leadership of Prince Diponegoro. The visualization of the soldier is represented through a headband and a white shirt accompanied by a vest. The headband in this case is tied in various ways so that it can cover the head. In using this headband, it needs to be tied tightly with the aim that it does not come off. This actually means that humans should have firm thoughts (Achmad, 2017). Meanwhile, in terms of the costume, the jaran kepang itself is a dress with a headband, vest, and white shirt, which is actually a characteristic of the jaran kepang costume whose origin is originally from Temanggung. This refers to the manuscript as released by Soebagyono who acted as a coach of this art especially in 1972. With accessories such as klinthingan, whip or whip, and jaran kepang which in this case is made of woven bamboo. From time to time, modifications were made to the clothing of the jaran kepang so that it could remain relevant in the midst of increasingly modern changes. Some of them are by adding various elements of Balinese fashion ornaments. Jaran Kepang Makeup and Fashion Both the clothing and makeup used by jaran kepang performers have their own meanings and signs. In this case, an analysis using Roland Barthes' semiotic theory will be carried out regarding the original and modified jaran kepang clothing. In analyzing using Roland Barthes' theory, three stages of analysis are used, namely denotation, connotation, and myth. The following is the make-up of the original jaran kepang Picture 1. Original Jaran Kepang Makeup -» Lol Denotation: The eyebrow makeup is defined by thickening towards the front, and thinning at the back. On the sideburns to the beard, there is an image with a black color with a medium size. Connotation: Thin eyebrows and thickened towards the front show the image of a handsome man and also dashing. The medium-sized sideburns and beard add to the authority of a soldier. Myth: A man is depicted as a strong and tough creature, in which case there are attributes that reflect his physical strength. A man is considered a true gentleman if he has long, thick eyebrows and a beard. The man's physical attributes make him a handsome and valiant kestaria. Denotation: The make-up uses an orange color on the edges of the face, accompanied by a thick eyebrow shape and there are also motifs for variation, the mustache is made very thick and there are also sideburns. Picture 2. Modified Jaran Kepang Makeup Connotation: The modified jaran kepang make-up has an eyebrow shape that is no longer realistic in terms of shape, thus showing a figure that is not a knight or hero from the human race, coupled with a face color that uses a color base that is not like humans so that it shows the awkwardness of being a creature from another world coupled with a very thick mustache. This figure depicts a sinister and formidable figure. Myth: In some Javanese and Balinese mythologies, there are spirits with great powers that are both evil and good. They are depicted as half-human and halfanimal creatures, which are both fierce and terrifying. Picture 3. Original Jaran Kepang Clothing Denotation: the clothing is made simple with several attributes. The attributes include a batik headband, a shirt with a vest on the front of the body, and also batik pants and a plain shawl, and klintingan accessories on the feet. Connotation: The original clothing of jaran kepang is simple and seems to be made full of meaning in each attribute. On the head, the headband made of batik cloth is a symbol of the kestaria or warrior who is firm and has a strong stance and principles. Meanwhile, in terms of the vest is a representation of chest protection for soldiers when at war. Meanwhile, the pants and shawl have a meaning of toughness, in terms of the twisting of the legs, this makes it energetic because every step of the foot will sound krincing-krincing, describing the soldier's firmness in war who steps with certainty. Myth: warriors in the past were portrayed as small people who were ready and brave to die for the sake of fighting, showing authority by always holding principles and being loyal to what was being fought for. Even though the equipment and weapons were simple, the warriors of the past were portrayed as figures who did not want to give up and were always valiant Picture 4. Modified Jaran Kepang Clothing Denotation: clothing using bedhong which has a luxurious impression, accompanied by a hair wig pair in the form of blooming hair, on the pants there are modifications in appearance and motifs, and there are klintingan accessories. Connotation: Using a wig with blooming hair depicts ferocity, gloominess, and also frightening as singo barong. The bedhong outfit with Balinese ornaments makes the jaran kepang players look luxurious and glamorous. The rattles on the feet make them look lively and energetic. Myth: Singo barong is represented as a creepy creature capable of guarding its territory. Shape of Jaran Kepang Changes and modifications in the form of jaran kepang are not only in terms of clothing and makeup, but also in the jaranan. Previously, jaranan was made of woven bamboo accompanied by hair formed from palm fiber. Subsequently, the existing jaranan was finally made from real hair from cows or horses. The comparison using Roland Barthes' theory is as below: Picture 5. Old Jaran Kepang Artifacts Denotation: The horse's hair and tail look stiff because they are made of palm fiber, complemented by ornaments using fabric, beads, and threads. Meanwhile, the base material is woven. There is a media part of the riding horse which in this case is complete with a picture of the rope and saddle. The colors chosen are also simple. Connotation: In terms of materials or design, it is made as minimalist as possible which tries to represent the horse as a mount. The colors chosen represent the simplicity of war in the past. Myth: In ancient times, horses were used as mounts for war. The horse is represented as transportation when fighting because of its agility in moving and moving. Picture 6. Modified New Jaranan Denotation: The tail and hair of the jaranan look like real hair, plus ornaments in the form of images or with solid colors. The material of the jaranan is made of woven bamboo. Connotation: The real hair and the real tail made of cow or horse hair represent courage. The solid color shows courage and toughness. Myth: Using original or authentic materials instead of artificial ones is believed to symbolize wealth, where in ancient times not everyone was able to access original materials. 4. Jaran Kepang Ritual Offerings Referring to the study conducted, there are offerings given and arranged as a form of respect to God and this is presented through the performance of jaran kepang. The offerings are: Picture 7. Jaran Kepang performance offerings in Temanggung Denotation: the market offerings that are served, in this case there are drinks or wedang, plantains, market snacks, jenang, and flowers served with several variations. Connotation: these traditional foods were consumed in the past as a dish for the guests who came. Myth: Javanese culture always prioritizes and honors guests, so when guests come to the house, various dishes will be served as a representation of entertaining guests as well as possible. If this is related to offerings, then this is also an offering and thus has a meaning as entertaining or "mengajeni" to the ancestors. Photo Presentation in Curative Visual Preservation of Jaran Kepang Photo presentation in this case is a visual preservation effort. This is done by giving a speech with visuals to convey a message. The stages in making this photo essay include the EDFAT method, whose function is to make researchers finally easy to organize photos so that they can be easily understood. Next is to package this visual preservation photo in the form of a photo book. This will become an archive in the future and eventually a reminder for future generations of the Jaran Kepang Temanggung culture. The final result will be a book with a soft cover and various explanations inside.

The art of jaran kepang Temanggung has a role as a means of socializing. This is because its existence can provide a social effect. Noting that the original Temanggung jaran kepang is getting smaller in number, it requires socialization in a massive and structured way by involving various parties. The preservation of culture and art needs to be done so that people can ultimately understand their culture, feel proud, and contribute to its preservation. The art of jaran kepang currently plays more of a role as a means of entertainment but is specifically able to play a role in improving the regional tourism industry. In this case, documentation is crucial because it will help improve the art of jaran kepang.