“BANYUWANGI ETHNO CARNIVAL” FASHION:

APPROACHING TWO DECADES OF BANYUWANGI’S RITUAL JOURNEY AND

ARTS TRADITION (2000-2018)1

Novi Anoegrajekti and Sudartomo Macaryus

Faculty of Humanities, Universitas Jember;
Faculty of Education, Universitas Sarjanawiyata Taman Siswa Yogyakarta
Email: novi.anoegrajekti@gmail.com; sudartomom@gmail.com

Abstract
This paper aims to explain the fashion in its role to globalize the art of local tradition of
Banyuwangi. This is related to the policies of Banyuwangi regents since T. Purnomo Sidik, who
has paid great attention to the development of Using culture. Through Decree Number 401 of 1996,
he established Kemiren as the location of Using Tourism Village. Ratna Ani Lestari (2005-2010)
focuses on welfare development, and Abdullah Azwar Anas (2010-2020) globalizes the culture
and art of local tradition of Banyuwangi through fashion. Banyuwangi Ethno Carnival (BEC) as a
world-level fashion, tries to highlight the local cultural aspects, namely traditional arts and rituals,
while in the year 2017, it takes them of natural beauty of Mount Ijen that emits a blue flame. It
was shown on the theme of Gandrung, Kundaran and Janger (2011), Barong Using (2012), Kebo-
keboan (2013), Seblang Ritual (2014), Pengantin Using (2015), Legend of Sri Tanjung Sidopekso
(2016), and Enchantment of Ijen (2017). Using ethnographic methods, the research begins by
collecting data from various literature sources. The literature review is equipped with field data
conducted by observation, participation, and in-depth interviews with selected respondents, i.e.
culturalists, artists, bureaucrats, and supporting community. The meaning of data is semiotically
analysed by placing each indicator as a cultural sign and sought to relate to other signs thoroughly
to obtain a comprehensive conclusion. The results shows BEC as a world-class fashion that
strengthens tourism promotion of Banyuwangi Regency on a global level. This has a significant
impact on the number of domestic and foreign tourists visiting Banyuwangi and increasing the
local revenue and income per capita of Banyuwangi community. This is in line with the
expectations of Culture Director General, Hilman Farid who said that it is time for culture not only
as a decoration but must be able to prosper the community.

Keywords: fashion, global, local, prosperity, traditional art of Banyuwangi

A. Introduction
On a world scale, Indonesia is a newcomer in the fashion world that is packaged in a
modern way. However, in the traditional packaging of entertaining spirit, behavioral mortification,
and spiritual practice, these are already owned and performed by the community. During the time
of the kingdom of Mataram, the procession of mubeng beteng or 'walking around the palace
fortress in silence' has already been known. During the entry of Islam, introducing the tradition of
Takbir was by performing a procession while echoing the call to prayer. The entry of Christianity

1. This article is presented in the workshop "Living Traditions of Indonesia," the Cooperation of the Association of
Oral Traditions (ATL) and Universita Degli Study in Naples, Italy on June 25, 2018.

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led to a procession in the festival of the Passover feast, another example is the feast of Christ's
resurrection which took place in Brazil ahead of the Easter preparation, the 40-day fasting period.
In the era of independence, there was a convention to organize a carnival by displaying
development of achievements ranging from village / sub-district, sub-district, district, provincial
and central levels. All that makes mass fashion that was held in the form of carnival can be quickly
accepted and adapted by the people of Indonesia.
In Banyuwangi since 2011 there is a fashion culture that is packaged in modern line with
the model on the international level. Banyuwangi puts ethnic culture as the focus of fashion.
Therefore, the activity is entitled Banyuwangi Ethno Carnival (BEC). The activity takes inspiration
from Jember district, which has a great fashion show called Jember Fashion Carnaval, but
Banyuwangi focuses on their ethnic culture. This is evident from the themes raised in every BEC
implementation, from 2011 to 2017 that revolves around traditional arts, rituals, customs, and
natural charms. Most of the major events are held in the city center, such as the Gandrung Sewu
Festival, Kuwung Festival, and Banyuwangi Ethno Carnival (BEC), while other activities are still
held in the place of cultural origin such as Seblang Olehsari, Seblang Bakungan, Keboan Aliyan,
Barong Ider Bumi Kemiren, and the Petik Laut Muncar (Anoegrajekti, 2016: 19-20). The policy
has the opportunity to create fashion creations in accordance with the fields and sub-fields of
interest to the community, ranging from tradition to innovation.
This diversity also occurs in other environments as Cohen (2004: 48) highlights the
varieties or subcultures of backpackers in general and which are based on the type and intensity of
drug use and in preferred musical fashion. The phenomenon that occurred in Banyuwangi, which
is an innovation held in the center of the capital, the BEC, Kuwung Festival, and Gandrung Sewu
while still supported by the supporters of the community are held in the place of origin of their
respective traditions, such as "Seblang Olehsari", "Seblang Bakungan" , Keboan Aliyan, Kebo-
keboan Alasmalang, and 'Petik Laut Muncar'. This is to prove that the organization of fashion that
is packed in a modern way is not deadly to those of the traditional and conventional ones.
Fashion carnival as a cultural expression also has the opportunity as a medium of
communication and response to social tensions that occur in society. It was mentioned by Croose
(2017: 6) that the UK-Caribbean carnival in 1970 was positioned in a racially threatening cultural
domain. The same thing happens in Singapore that shows that ethnic hybridity occurs in the lowest
and highest hierarchy, whereas the local segment experiences a racially minimal interaction.
Hybridisation has occurred among non-white populations, for example, between Chinese and
Indian groups during the Silver Chariot trans and body-piecing processions that typically occur
during the Taipusam Hindu festival. In such events hybridization takes place from the leading ones
(Goh, 2011: 116).
In Australia, the town of Scone is known as the Horse capital of Australia. Scone puts
horses as capital and identity. Therefore, human-horse relationships with local communities and
people from outside, are the focus of attention. The greatness of the Scone carnival is supported
by media coverage with a focus on information that has a major impact on every cultural event
taking place. Good promotions allow space to maintain its territorial and cultural identity (Graham,
2016: 220). It should be considered in maintaining the continuity of the carnival for the foreseeable
future. It is said by Marsden (2010: 29) that the fair in America has lasted two hundred years. In
the future, it may be one of the carnival traditions if rural and aesthetic values are developed more
aggressively and more creatively. The history of the country fair in America contains a blueprint
for success and makes the country fair more feasible and attracts the audience from the outside
and inside.

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 Another interesting thing is the development of carnival as a medium to attract tourists. It
happened in Kota Gede, Daerah Istimewa Yogyakarta which organized the cultural carnival as a
medium to attract tourists. Through this way the cultural carnival can be accepted, in the midst of
turmoil of cultural relation of the palace, Muhammadiyah, and Java. Thus the cultural roots
underlying the cultural carnival become a part of the past (Storey, 2003: 81; Schlehe, 2017: 17).
In addition to the cultural carnival in a public format, the ritual also appears in a slametan (offering)
format that represents religious, social, and economic values. The social sciences offer scientific
proof of that understanding. However, such understanding is seen as reversing the Javanese
slametan tradition (van den Boogert, 2017: 18).
Modern-packed festivals are partly local and global. If the initiator is a local manager, a
local entrepreneur, and succeeds, they immediately face global challenges in terms of sponsors,
spectators, and participants. It will be an important factor influencing the character of the festival
and achievement (Waterman, 1998: 69). Fashion at the world level including Jember Fashion
Carnaval (JFC) also commonly picks up local themes and present it at international level cultural
events. At the global level the carnival is no longer a certain nation tradition and identity, such as
Africa, France, Rome, or colonialism. Carnival is defining cultural diversity in certain spaces, such
as Africa, India, America, Australia, and China which are the findings of the social sciences (Zavitz
and Allahar, 2002: 143).
The above description shows that the various fashion that is packed in the form of carnival,
cultural parade, and ritual is a space of expression of identity, cultural resistance, tourism
promotion media, and community religiosity. This paper focuses on the journey of the dynamics
of traditional arts and rituals, as well as how fashion as a media to globalize the local culture. It is
important to be an evaluation of the activities that have been going on for almost a decade, the
preconditions underlying the fashion administration in Banyuwangi, and its development
opportunities after being recognized and becoming part of a world-class fashion.

B. Methodology
This research uses ethnography method, which begins with library data inventory by
reading library sources such as books, journal articles, research results, and news in magazines and
newspapers. The data from the literature sources are supplemented by field data obtained through
observation, participation, and in-depth interviews with selected respondents from bureaucrats,
humanists, artists, and entrepreneurs. Observation and participation are conducted by observing
and witnessing the procession as well as being part of the participants of the ongoing procession.
Data analysis is done continuously since the stage of inventory, identification,
classification, and interpretation of data. Ethnographic methods place respondents as sources with
knowledge and understanding related to the taxonomy of every cultural phenomenon that takes
place in the community. To get a valid data is done cross-checkedly with other informants.
Interpretation of data is done semiotically by placing each data as a symptom relating to other data.
Therefore, the interpretation of the data is done thoroughly by looking at the relationship of the
data as a whole, to get a comprehensive conclusion.

C. Results and Discussion

The presence of fashion in the modern packaging initially caused controversy between
government, cultural, and Banyuwangi’s artists. Banyuwangi community can quickly adapt and
accept because at the level of local tradition, they already have a tradition of procession called ider
bumi. Seblang Olehsari on the 7th day took ider bumi around the village of Olehsari. Seblang

3
Bakungan begins as a pilgrimage procession to the tomb of Buyut Witri, a pilgrimage to the water
source of Watu Ulo's spring antidote, and before the kenduri selamatan, ider bumi is held around
Bakungan village by lighting a torch (oncor). Barong ider bumi Kemiren is organized with a
procession along the main road of Kemiren. Keboan in Aliyan and Kebo-keboan in Alasmalang
Singojuruh District carries out ider bumi before entering the location of the perwawahan which
becomes the ritual arena. At the Kaliselogiri coffee plantation, the first coffee picks to mark the
milling season is understood as a bridal procession that brings the first picks from the garden to
the coffee processing plant. The bride as a symbol of hope that in every grain of coffee contains a
pair of coffee beans. The ceremony of Pitu Dusun Kopen Kidul takes place around the hamlet of
Kopen Kidul to Buyut Saridin. Petik Laut Muncar‘s one of the shows is also ider bumi from the
building where a Gitik will be floated until the beach where the departure of the sea procession
takes place. The kayun puter is organized by riding an ornamental andong and takes place in the
eastern lane around Ketapang beach. All the activities of traditional procession are shown in the
following table.

No Ritual Iderbumi Location

1 Seblang Olehsari
2 Seblang Bakungan
Day 7 of seblang
Around the Olehsari Hamlet
performances
Afternoon before From Bakungan to the tomb of Buyut Witri
seblang performances and source of antidote water in Watu Ulo
The night before the
Around Bakungan and Krajan hamlets
seblang performances

Barong ider bumi Desa Morning in Kemiren The main road of Kemiren Hamlet ends at Pak
3
Kemiren Hamlet Iwan's house
Keboan Morning in Aliyan Around the hamlet of Aliyan
4 Afternoon in Surrounding the village of Alasmalang ends in
Kebo-keboan
Alasmalang the arena of mud puddles
Morning in coffee Procession from the coffee plantation to the
5 Petik perdana kopi
plantation coffee processing plant
Gelar pitu Dusun Kopen At noon in Dusun Around the hamlet of Kopen to the grave of
5
Kidul Kopen Kidul Buyut Saridin
The ground procession, Around the Muncar fishing village
in Muncar toward the fish auction site
6 Petik laut Muncar From the fish auction site through Plawangan
Procession of the sea, at
proceed to the tomb of Sayid Yusuf in
sea Muncar Beach
Sembulungan
The main line of Ketapang beach ends at Watu
7 Puter kayun Morning in Ketapang
Dodol

Until the first decade of the XXI century, the cultural activities in the form of processions
as mentioned above are still traditional and separated from one activity to another. Until now, the
procession that took place in various places in the district of Banyuwangi is still maintained

4
because it has become a tradition that belongs to the local community. Therefore, the organization
of such activity is maintained in the location where it came from. Until now, the procession has
been continuing and the government in several speeches every time attending the ritual conveys
its intentions and programs, namely improving the road infrastructure so that guests can get to the
cultural activity location comfortably.

1) Spirit and Fashion Theme

The great modern procession began in the second decade after a lengthy discussion process
involving bureaucrats, artists, humanists, and academics. In 2018, this activity entered the 8th year
and from year to year, it shows the improvement of quality in terms of participation and quality of
its implementation.
At the beginning of the program of cultural fashion, activities are packed in a modern way
faced challenge from cultural parties and artists in Banyuwangi. They are worried, the fashion will
displace or marginalize cultural activities that are not raised as the theme of the BEC. The overall
themes from 2011-2017, are shown in the following diagram.

BEC I‒VII’s Organiser Diagram

No Year Theme Description

1 2011 Gandrung,
Damarwulan, and 1. Gandrung dance’s struggle to be social and
Kundaran entertainment dance, gandrung until today is still
supported by the community supporters.
2. Since 2002 Gandrung is designated as the tourism
mascot of Banyuwangi.
3. Gandrung performances event, ritual, starts the coffee
harvest season.
4. Damarwulan is designed for community entertainment.
The show consists of two parts, namely prologue and
story.
5. Lakon has evolved from the historical background of
Majapahit, Legend of Banyuwangi, and the national
historical setting.
6. Family event response, national day commemoration,
religious holidays, clean village
7. Kundaran was at first as medium of da'wah and played
by man. Currently experiencing modifications into
entertainment.
8. Responses to events, parades, and ceremonies of
national holidays.

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 No Year Theme Description
2 2012 Barong Using
1. Initially a ritual that brought together 'Barong Tuwa'
with 'Little Buyut'.
2. Event for ritual Barong Iderbumi is held every day of
the second day of Lebaran Syawal.
3. Barong is also developed for performing arts and
procession.
4. Lakon has been developed to become more diverse,
such as (1) Geger Cilacap, (2) Pendekar Alas Purwo, (3)
Sarjulo Kamandoko, (4) Puspolonggo Edan, (5) Alap
Bojonegoro, (6) Satrio Alas Sambulungan, and (7) the
birth of Maheso Anggoro

3 2013 Kebo-Keboan
1. Clean village rituals in Alasmalang and Aliyan villages.
2. The ritual begins by holding the selamatan followed by
a tour of the village. Ritual performers dressed all in
black and the body was given a black dye, like a
buffalo.
3. Ider bumi ends in the arena of rice fields used to
demonstrate the buffalo who keep the seeds of rice
spread by Dewi Sri.
4. Another mandatory performance is the puppet with the
play "Sri Mulih".

4 2014 Seblang
1. Seblang is a clean ritual village. 'Seblang Olehsari'
lasted for 6 days on the lebaran of Shawwal. A teenage
girl dancer. Seblang Bakungan takes place on Hajj
Lebaran last night. Female dancers are those who have
menopause.
2. Banyuwangi Calendar Festival, during the last three
years can increase the number of audience significantly.
3. 'Seblang Olehsari' which lasted for 6 days as well as a
promotion, socialization, and marketing of various
creative industry products Banyuwangi. Seblang
Bakungan which lasted one night, since 2016 begins
exhibition to showcase, socialize, and marketing
various creative industry products in Banyuwangi.

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No Year Theme Description
5 2015 Pengantin Using
1. Using bride has a uniqueness because before sitting
side by side, carnival around the village is performed.
Escorted by friends and close friends, family, relatives,
and accompanied by traditional music.
2. The rally is followed by officers carrying household
items, such as cooking utensils, cutlery, and bedding.
3. Using bride has a distinctive custom clothing and at the
time of the bridal carnival riding a stretcher or jolang
that is carried by the citizens in turn.

6 2016 Sri Tanjung-

Sidopekso 1. Sri Tanjung-Sidopekso is a legend that became the
origin of the name Banyuwangi
2. Sidopekso is a patih (squire) loyal to his king. But the
king was fascinated by the beauty of Sri Tanjung,
Sidopekso's wife. Therefore, Sidopekso was sent away
seeking conditions that could save the kingdom.
3. At the time Sidopekso away, the king came to Sri
Tanjung and intend to marry her. The will of the king
was rejected by Sri Tanjung.
4. When Sidopekso returned to the king, the king told that
Sri Tanjung came to the palace and wanted her to be
married by the king. This angered Sidopekso.
Therefore, Sidopekso intends to kill her.
5. Accepting the allegation, Sri Tanjung swore she would
be killed. If the blood that comes out of the body is
rancid, it means it is true that she has been in an affair
with the king. However, if the blood is fragrant it
means that she remains pure and does not submit
herself to the king
6. When she was killed the blood that comes out of her
body smelled fragrant. Sidopekso regretted his actions,
but it was too late and irreversible.

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 7 2017 Majestic Ijen
1. Ijen is the name of a mountain located on the border of
Banyuwangi and Bondowoso districts. The specialty of
Mount Ijen is to emit blue fire (blue fire) which in the
world only found in two places, namely Mount Ijen and
Iceland.
2. The flame of the blue flame looks beautiful starting at
around 02 AM until dawn before sunrise. Many of the
main foreign tourists are French and Chinese who enjoy
the beauty of this blue flame.yang memanikmati
indahnya pancaran api biru ini.
3. The Government of Banyuwangi Regency has used the
location and name of Mount Ijen as the headline of Jaz
music performances and sports tour de Ijen.
4. For the first time Banyuwangi took the theme of natural
location as BEC theme. Previously they used the theme
of art, ritual, tradition, and legend of Banyuwangi.
8 2018 Puter Kayun
1. Boyolangu Community Tradition, Giri Sub-district,
Banyuwangi Regency and ornamental drive to Watu
Dodol because most of the people work as andong
coachman.
2. In the location of Watu Dodol, there is a holding of
selametan and sowing flowers into the sea as a tribute
to the ancestors who died while making a path on the
path through Watu Dodol.
3. Three days previously, they held pilgrimage and nyekar
in the tomb of Buyut Jakso who is believed to be a
magic person who helped the Dutch to make a path
north of Banyuwangi

2) From Using Tourism Village to Banyuwangi Ethno Carnival

Cultural Policy
Government T. Purnomo Sidik ( Samsul Hadi Ratna Ani Abdullah Azwar
1995- 2000) (2000- 2005) Lestari Anas
(2005- 2010) (2010-2015; 2015-
2020)
Policy Kemiren’s Cultual “Jenggirat Tangi” “Banyuwangi Sistemic Approach:
Village of Using: Movement: Ijo Royo-royo” 1. Using Culture as
1. Living the art 1. Gandrung as a Movement: a part of
traditiopn: Tourism Mascot 1. Continuing multicultural
Barong, 2. Jejer Gandrung the Banyuwangi
Gandrung, Welcome Dance previous 2. Local- Global
Kuntulan, 3. “Umbul- umbul regent’s Perspectives
Mocoan Belambangan” as a policy 3. Banyuwangi

8
 2. Living the moral boost to 2. Focus on Festival agenda
Ritual: Barong, develop the since 2012-2016
Ider Bumi Banyuwangi increasing 4. Facilites Funding
3. Others: Culinary, 4. Local content of the welfare 5. To include
Architecture, Using Culture( Text of the cultural
traditional books, Dictionary, community ambassadors in
costumes. Batik Using, Using 3. Facilites various festival.
Language Day) Funding
5. Professional
Gandrung Training
6. Facilites Funding

In order to create (image) regional distinctiveness related to regional identity with the
promotion of tourism, since the regent of T. Purnama Sidik (1995-2000) emphasized on the
development of Kemiren Village as a tourist village of Using. The program takes precedence over
the things that nourish and develop the art of tradition and ritual. Since the Regent of Samsul Hadi
(2000-2005) Banyuwangi District Government realized the project of making gandrung sculptures
on display in many strategic places in the city and village in that area. Explicitly, the consideration
of the Decree of the Regent number 173 of 31 December 2002 which stipulates this project states:
"that in order to encourage the growing spirit of participation in having an area with all its culture,
which in turn will be able to increase development in the field of tourism, it is necessary to increase
efforts tourism promotion in Banyuwangi District ".
It appears from the consideration that the two meanings of the use of gandrung as a mascot
project. First, Gandrung is considered as representative or cultural representation of Banyuwangi
area. Secondly, Gandrung is used as a commodity to attract tourism. Gandrung's position as a sign
of Banyuwangi area beat the decades-old mark (inaugurated during the regent of Djoko Supaat
Slamet in 1978), the longest-standing gatotkaca-headed snake sculpture in many places in the city
of Banyuwangi including in front of the district office and pendopo where the bupati is domiciled.
This sign has also been socialized into the life of the community and became an aosphere actress
in the gong gong frames.
As the longest statue, the gandrung mascot is no different from other tourism promotion
images created to build the exotic image in it as a repesentation of a region. Gandrung art which
for people of Banyuwangi is part of their daily life and their characteristic, when become tourism
promotion, soon turns into something exotic for outsider.
The use of Gandrung as a tourism mascot of Banyuwangi is a part of the Jenggirat Tangi
project, a political project intended to foster the rise of the region and its people. In addition to
gandrung pemandotan, the project also launches several other activities, such as "Everyday Using
Language" every December 18th every year along that coincides with Banyuwangi birthday,
"Weekly Using Dress " (18-25 December), and the publication of Using magazine. Especially for
the first and second only applies to every public and private employee in all Banyuwangi. The
Tenggolat Tangi political project, declared on December 18, 2002, is quite lively, especially with
small, large billboard displays inscribed with Jenggirat Tangi in many strategic places
(Anoegrajekti, 2015: 156-157).
While the policy of Bupati Ratna Ani Lestari (2005-2010) is more to continue the previous
regent's policy. Regent Abdullah Azwar Anas (2010- present) emphasizes in cultural policy that

9
lifts the potential of Using ethnic culture as a tourism asset that is expected to be globalized. He
argued that the BEC would be a "bridge" to bring together modernity and locality. This viewpoint
is a form of hybrid consciousness in viewing the past-traditional and modern life present in
Banyuwangi together. That is, Anas suggests that there is no problem that must be extended,
because the BEC he idealized as an activity that can bring together the "modern" and "the local",
as it happens in the daily cultural life of society. However, behind the argument, Anas has a tourism
agenda, promoting the potential of local tourism to the international world. In addition, also to
grow an idealized creative industries capable of prospering the community. Although the look
presented seems to simplify the traditional to just a fashion attraction, Anas and bureaucratic
apparatus never questioned it. This indicates that what appears to be commercial interests-tourism
and creative industries.
The implementation of BEC I is an example of the success of Regent Anas in making a
cultural policy that lifts the potential of Using ethnic culture as a tourism asset that is expected to
be globalized. Despite being initially resisted by most culturalists and artists, the BEC is still
ongoing. To strengthen support for BEC, Anas cooperates with Radar Banyuwangi newspaper
which specifically blow up BEC several days before the implementation. By providing
opportunities for traditional dishes, district governments are actually able to conquer the artists'
hearts. The District Government seems to be very aware of the principle of negotiations to
strengthen the hegemony through cultural hegemonic apparatus. In fact, identity politics remains
dominated by the state regime.

D. Conclusion
The above description shows that fashion in Banyuwangi consistently raise local themes,
ranging from traditional arts, rituals, customs, and natural charm of Banyuwangi. Fashion is
packaged in a modern way, namely BEC, Kuwung, and Gandrung Sewu by raising local culture
on a global level making the culture known and belongs to the global community. It becomes a big
challenge for Banyuwangi community, especially local businessmen to bring in sponsors,
audiences, and international participants.
The government strives to balance the culture by organizing various festival activities
involving all components of Banyuwangi community. The spirit and theme of BEC makes the
culture, especially the art of dance, theater, ritual, customs, and natural charm of Banyuwangi
known and owned by the world community. It becomes a challenge for artists in Banyuwangi to
pack the various forms of art to be increasingly in demand by the international community.

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