Ngringkes: Garap's Adaptation on Jemblungan Music

Abstract

This paper delves into the adaptation and transformation of Jemblungan music within the traditional cultural of the Selo community, located in Boyolali Regency, Indonesia. Traditionally, Jemblungan was performed by 30-35 musicians and served as a medium for religious expression, facilitating communal harmony and spiritual communication. Over time, however, Jemblungan's role has shifted due to various factors, such as advances in technology, changes in information dissemination, and the growing influence of tourism in the region. These changes have led Jemblungan to evolve from its religious origins into a form of entertainment that caters to a broader audience, including visitors and tourists. A key element in this adaptation is the concept of Ngringkes, a community-led effort to streamline Jemblungan performances in response to modern needs. The process of Ngringkes reduces the number of performers from 30-35 to 12-15 and shortens the duration of performances, making the art form more suitable for modern, fast-paced settings. This adjustment has allowed Jemblungan to remain relevant, balancing its traditional cultural roots with the entertainment demands of contemporary audiences, particularly in tourist hotspots. The study analyzes how Ngringkes functions as an adaptive strategy, focusing on both internal factors (such as community attitudes and traditional practices) and external factors (like audience preferences, market demands, and tourism pressures). Furthermore, it explores how these adaptations impact the symbolic meaning and cultural value of Jemblungan within the community, considering how its transformation reflects broader societal changes. By examining the role of Ngringkes, this research provides insight into the ways in which cultural traditions can evolve while maintaining their essential identity, ensuring that Jemblungan continues to thrive as both an art form and a living tradition.