Fenomena Njanthur Dalam Pertunjukan Kuda Lumping Paguyuban Seni Cahyo Kumolo Di Desa Ambalkumolo Kabupaten Kebumen

In the Kuda Lumping performance of the Cahyo Kumolo Art Group in Ambalkumolo Village, Kebumen Regency, the phenomenon of njanthur—an altered state of consciousness—unfolds across three stages: pre-performance, main performance, and post-performance. Pre-performance includes ritual preparations such as prayers, offerings, and incense burning. During the main performance, njanthur arises from dance, music, chants, whip use, and the janthuran mayit sequence, leading dancers into an altered state. Two forms were identified: technical njanthur (surupi) and non-technical njanthur (possession trance). Post-performance involves ritual healing to restore awareness. Interpreted through Charles Tart's theory, njanthur is a culturally embedded form of altered consciousness, with the penimbul central to managing rituals, supervising dancers, and facilitating recovery.

Study at a glance

Abstract

This study aims to examine the phenomenon of njanthur in the Kuda Lumping performance of Cahyo Kumolo Art Group in Ambalkumolo Village, Kebumen Regency. The research employed a qualitative method using a phenomenological approach and a case study design. Data were collected through observation, interviews, and documentation, then analyzed through data reduction, data display, and conclusion drawing. The findings indicate that njanthur occurs through three stages: pre-performance, main performance, and post-performance. The pre-performance stage involves ritual preparations, including prayers, offerings, and incense burning. During the main performance, njanthur emerges through a combination of dance movements, musical accompaniment, chants, whip use, and the janthuran mayit sequence, leading dancers into an altered state of consciousness. Two forms of njanthur were identified, namely technical njanthur (surupi) and non-technical njanthur (possession trance). The post-performance stage focuses on restoring the dancers’ awareness through ritual healing practices. Interpreted through Charles Tart’s Altered State of Consciousness theory, njanthur reflects a culturally embedded form of altered consciousness. The study highlights the central role of the penimbul in managing rituals, supervising dancers, and facilitating the recovery process throughout the performance.