Dongkre

Dakwah Strategy in Islam with Sociology of Performing Arts Approach

Kundharu Saddhono, Muhammad Rohmadi and Winda Dwi Lestari

Graduate of Universitas Sebelas Maret, Surakarta, Indonesia

kundharu.uns@gmail.com

Keywords: Dakwah, Dongkrek, Culture, Performing Art, Sociology of Art.

Abstract: Dakwah is means of spreading Islam religion. One of the problems on Dakwah that appear when its contact

to society is tradition culture which grow in society. Three is culture which contradiction with Islam law and

there is also culture which appropriate with Islam law. This study is a descriptive qualitative study with the

approach of sociology of performing arts. The results showed that Dongkrek is a society culture which

appropriate with Islam law. Because of that reason in this research will be discuss about the method of

dakwah by using dongkrek method as dakwah and also to perpetuate society tradition. Dakwah is Al a’dah

and Al urf. Al a’dah means repeated behaviour to be a custom, characters and culture. Al urf means

anything which doesn’t contra with Islam law. Dongkrek art as a means of dakwah does not turn to Islam

law, on the contrary both support each other in innovation and perpetuation.

1 INTRODUCTION

Dakwah means call, appeal, or invitation. Dakwah

conceptually interpreted as an attempt to persuade,

motivate and lead people toward goodness (Siddiq,

2005). Thus, dakwah is proselytize a particular

belief based on the substance of Islam is amar

ma’ruf nahi munkar. Dakwah and Islam are the two

interrelated things, a progress and deterioration

depend on Muslim’s’ dakwah. Muslims are required

to disseminate the teaching of Islam that can guide

mankind. Yahya’s research (2007) states that the

strategy in proselytizing the teaching of Islam is

quite diverse, he adds that arts and civilization are

two crucial aspects to optimize the message. The

phenomenon of dakwah in Islam is also seen in

religious activities in a Friday sermon. Friday

sermon discourse has become the object of research

studies since 2011 (Saddhono, 2011; 2012a; 2012b;

2014; 2015a; 2015b; 2016)

Dakwah is a systematic process that involves the

elements of da’I (the subject), maadah (material),

thoriqoh (methods), washilah (media) and mad'u

(objects) to achieve maqashid (the goal). Siswayanti

(2015) provides a different overview of culture of

dakwah in Sendang Duwur. On the other side, the

manner or method of dakwah activities is prudent.

The method used is cultural approach as Wali used

to teach Javanese Islam in syncretism, in which be

able to understand the socio-cultural of Javanese

(Sofwan et al, 2004). This because Javanese was

dominated by Hinduism and Buddhism, but the

process of Islam proselytizing carried out by Wali

went without conflict and peacefully. Thus, dakwah

transformed Islam as doctrine became tangible in

society and civilization which be based on Islamic

view rooted from Qur’an and sunnah (Bachtiar,

2013).

Development of da'wah made by Wali is still

closely influence. Mostly da’i in Eater Java use

sociocultural approach. In western of East Java, in

Mejayan village, Madiun regency da’i use dongkrek

to convey teaching. Dongkrek is an original culture

of its village. Dongkrek includes into the fragment

of performance art that brings the storyline.

Dongkrek was created by the late R. Bei Lo

Prawirodipuro while at that time served as Palang in

Mejayan (Caruban). Palang, a governmental

position, is head for 4-5 villages. Palang as a "Head

of village chief" (Hoofd Leader) is directly

responsible to Wedana, the chief.

Dongkrek Art was claimed its existence as a

culture with educational value. In the current

development dongkrek has evolved as a medium of

dakwah. From point of view, the relation between

dakwah and dongkrek is described as local wisdom

is able to lead every dakwah activity skilfully,

wisely and to touch every person so it gives optimal

194

Saddhono, K., Rohmadi, M. and Lestari, W.

Dongkrek - Dakwah Strategy in Islam with Sociology of Performing Arts Approach.

In Proceedings of the 2nd International Conference on Sociology Education (ICSE 2017) - Volume 2, pages 194-201

ISBN: 978-989-758-316-2

result for social balance and development. The local

culture is a form of different patterns to convey the

message. Mulyati (2006) elaborates tasawuf in

Indonesia. Tasawuf is the study of how to purify that

applied in Indonesia areas. The local cultural context

is also carried out by Sofwan (2004) and Hasan

(2013), they present on the idea of dakwah in local

cultural perspective. This topic restores the concept

of media that can be used to optimize the process of

delivering a message.

From the viewpoint of the local culture, the

relationship between dakwah and local culture can

be overly described that dakwah can be a valuable

contribution to the sustainability and worthiness of

local culture itself. Wekke and Sari (2014) states

about the entity of dakwah in perspective of local

culture. This study expands the segmentation on

dakwah perfective. Dakwah can be a source of

inspiration for local culture to maintain and develop

themselves in the midst of global culture

competition. The same opinion is stated in

Jabrohim’s research (2012) in his research on

dakwah media that possibly be used to deliver a

message. Jabrohim’s research uses srundul as an

alternative medium. Van Dijk (1998) in his research

about value and content of dakwah discusses the

different views, but at its conclusion, Van Dijk

discusses media and the values contained in dakwah.

The relation between dakwah and local culture,

especially dongkrek looks similar in its reciprocal

shape, synergic and cohesion. Its support each

other's existence. The local culture supports

sustainability and success of the missionary.

Meanwhile, dakwah supports the sustainability and

preservation of local culture.

2 METHODOLOGY

This research is literature review in which the

researcher collects data from the literature research

and uses 'world of text’ as the main object of

analysis. In this state, the researcher conducts a

systematic description, factual, and accurate about

the facts and the characteristic of a particular object.

Operationally, the conceptual framework (theory),

operational concept is conducted to produce variable

and indicator. This research aims to describe the

reality of what is happening without explaining the

relation between variables (Kriyantono, 2006).

In this study, the emphasis is on the study of

communication strategies of da’I by using dongkrek

as medium. Dongkrek is the original art of Mejayan

village and is now starting to be used as a medium of

dakwah, by collecting relevant data and concepts

then next be compiled and analyzed, classified, and

the draw conclusions. Data analysis model used is

qualitative methods. According to Sutopo (1998),

qualitative analysis methods is to analyze the data

without using of certain categories and correlate.

3 RESULTS AND DISCUSSION

3.1 History of Dongkrek Performing

Art

Dongkrek was created by the late R. Bei Lo

Prawirodipuro at that time served as Palang in

Mejayan (Caruban). Palang is a governmental

position that leads 4-5 villages. Palang as a "Head of

village chief" (Hoofd Leader) is directly responsible

to Wedana, the chief. Raden Bei Lo Prawirodipuro

was the last Palang in the system of government at

that time until his death in about 1915/1916. Palang

position had been erased before the period but the

late Raden Bei Lo Prawirodipuro had priority to be

in charge. This assumed because of prominent

personality of leadership, and integrity owned by

Raden Bei Lo Prawirodipuro so the authorities took

an action to establish a special Palang department of

his time.

It is estimated dongkrek was born around 1910.

Some sources explain that since the onset of

dongkrek art of the late Dongkrek R. Bei Lo

Prawirodipuro, the other arts in Caruban areas were

desperately retreated. Dongkrek born and grew

rapidly and became the most famous art at that time.

But the glory of Dongkrek art did not last. It was

retreat and pushed. Over time, this art drowns and

even most Caruban people do not know its name.

The reasons are not clear yet. Perhaps because of

the death of the creator who is known in his lifetime

as the sacred and had great authority. So, subsided of

Dongkrek was after being abandoned by the only

strong, potential and credible creator. Or it caused

by the static and monotonous dongkrek and

conferred spacious chance to new art from Central

Java as new entertainment to Madiun people

especially in Caruban (Department of Education and

Culture, Madiun regency, 2011). The emergence of

dongkrek art began when Menjayan was stricken by

plague. When sick in daylight, died in afternoon, or

sick in morning then died in night. As a leader,

Raden Ngabehi Lo Prawirodipuro thought to find the

right method to annihilate of the plague. After doing

reflection and meditation in Kidul mountain of

Dongkrek - Dakwah Strategy in Islam with Sociology of Performing Arts Approach

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Caruban, he got inspired to make sort of dance or art

that can chase it away.

In the story, the prophecy describes the royal

courtier spirits or gendruwo spirits attacked Caruban

people could be defeated by expelling them from

Caruban area. So, they made sort of art depicting the

exorcising that brought pagebluk out. This art is

experienced its glory in the range of 1867-1902 and

afterward, its development experienced ups and

downs along the changing political situation in

Indonesia.

In the Dutch colonial period, dongkrek was

banned by the government of the Netherlands to be

shown as folk performances. This is because they

were apprehensive about dongkrek positive growth

and possibly used as medium to fight against the

Dutch government. At glory era of the Indonesian

Communist Party (PKI) in Madiun, this art was

perceived as "genjer-genjer" developed by PKI to

deceive the public. So dongkrek art had been

affected by politics. In 1973, dongkrek was arisen

and re-developed by the Department of Education

and Culture Madiun regency together with East

Java.

The beginning of dongkrek may be traced back

through following Gambuh: 'Allow talks:

Keparenga amatur

allow me to tal

Sekar gambuh amurwani atur

this Gambuh song as opening

Seni dongkrek angirta dongkrek kang asli

the original dongkrek art

Ngleluri budaya luhung

preserving the noble culture

Ciptane leluhur kita

creation of our ancestor

Semangke kang cinatur

This the stor

will be tell

Riwa

at don

krek en

kan

asl

The real story of dongkrek

Asal saking Dusun Mejayan kang asli

Originated from Mejayan

Palang kalenggahanipun

Its the Palang

Priya luhur kang yasa

The noble creato

amane kan

kapun

kur

Long time ago

Duk semana Mejayan kang dusun

In Mejayan Village

Katrajang ing pagablug akeh pepati

Miserable and men downed

Tambah-tambah polah ipun

People were confuse

Kawula ngudi usada

To find the cure

erkah kan

Maha A

Blessed by The Almighty

Eyang Palang hang sakti kalangkung

The sacred Eyang Palang

Metu brata angenta dongkrek mauwarni

Meditated and found dongkrek

Kinarya mbrasta pageblug

To exterminated plague

Sirna tapis tanpa sisa

With nothing left

Suka sukur yang Agung

The Almighty’s grace

Para kawula bingah kalangkung

People were happy

Eyang Palang aparing dhawuh sayekti

Eyang Palang messaged

Istinen budaya luhung

We must preserve the noble culture

Nirkala suka raharja

To be saved from calamity

(SK Desa No 2/DK/4/414.107.07/0/2003)

Based on the book written by the Department of

Education and Culture Madiun regency, the origin of

dongkrek name was taken from the sound 2 (two)

instrument of the drum and lighter. The sound of

drum beats echoes dhung and krek the sound of

lighted matches, so that turns out and continues

duhung-krek-dhung-krek in harmony. This was the

beginning of dongkrek name and later became folk

art. It is important to remember that the arrangement

of Dongkrek instruments consists of several types of

instruments namely drum and matches.

Drum and matches is apparently essential and

dominant instrument. Essential means absolute

presence meanwhile dominant means important and

prominent. And both instruments that provide

unique and essential patterns of dongkrek art.

Especially lighter instrument uniqueness and

specialty that none of other instruments have.

Dongkrek is one of the performing arts. The

original of dongkrek brings messages one of which

is amar ma’ruf nahi mungkar in which evil will be

defeated by goodness. Dongkrek performing arts

begins with gamelan consisting of kenthonga,

kenong, bedug, korek, gong beri, gong gedhe that

each of instrument has a philosophical meaning.

Kenthong, symbolizes sign to gather or mobilize

people to unite "Saiyeg saeka praya." There are 3

Kentongan instrument in dongkrek performances,

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intended to gather people when hearing "titir". Titir

is the other name of beaten kentongan.

Kenong, symbolizes silence, creativity, initiative,

works to the Creator. There is only one kenong in

dongkrek performances. It stimulates peace and

tranquillity.

Bedug, symbolizes the Palang Mejayan sacred as

the chosen warriors, "ora tedas tapa paluning pande"

(dug deng). There is one bedug instruments provided

in dongkrek performance, it refers to the unity of

God. No one can exceed the power of God.

Korek, symbolizes as cleaner any kind of visible

and invisible dangers. Dongkrek uses three matches

referring to exorcise any evil spirit.

Gong beri, it symbolizes the creator is a noble

man berbudi wibowo laksono, rawe-rawe rantas

malang-malang putung together to heal the plague. It

made from a thin yellow metal, rounded and as large

as clay water pot and cracked in the middle to hang

on rope.

Gong gedhe, symbolizes end of successful effort

as mentioned in manj jadda wajada 'there is a will

there is a way. "dongkrek performing arts usually

uses one gong gedhe referring to successful effort.

Gamelan is played in fragment of story in Eyang

Palang, the spirits or genie that wears red, black,

green, yellow and white mask. The genie attacked

people and Eyang prayed to The Creator to be

blessed a solution and as God wished the plague

disappeared.

3.2 As Dongkrek as Means of Dakwah

The more various kind’s phenomenon and media of

dakwah, the more challenges people face. Dakwah

object is very diverse, so is the culture of the da’i.

(Siswayanti, 2015). The word of dakwah is often

expressed in verses of Qur’an directly by god. This

proves that dakwha is very important in human’s

life. M. Iqbal, a Pakistani reformer states "most

influential thing in my life is my dad’s advice saying

‘my son, recite Qur’an as if it were revealed to you"

(Basit, 2006).

Preaching has to encourage, instruct the public in

accordance with Islamic law. The goal should be

right on target, in order to achieve the purpose of

dakwah then media is required. The media is divided

into two types; first, oral dakwah. This type is

mostly used by da’I because has personal contact

with mad’u. One of them is through sermons,

advice, speeches, talks, lectures, discussions

(dialogue), seminars, consultations and others. In the

Qur’an found on cue of verbal media, for instance in

Q.S. Al-A’raf: 158. Meaning: Say (O Muhammad):

"O mankind! Indeed, I am the messenger of Allah to

you all, (from Him) to whom belongs the dominion

of the heavens and the earth. There is no deity

except Him; He gives life and causes death. So,

believe in Allah and His Messenger, the unlettered

prophet, who believe in Allah and His word, and

follow him that you may be guided.” One-way

dakwah is commonly used among Muslims as

advice and as developmental step to enhance

dakwah should be conducted for both sides also

known as bi-al-Mujadalah dakwah or by question

and answer. Mujadalah in dakwah is the exchange of

ideas between one another because of different

backgrounds to convey the truth that aims to lead in

the way of Allah, through the exchange of good,

scientific, rational and objective ideas. It is intended

to give an opportunity to the audience to express

their opinions or while asking questions they do not

really understand.

Second, dakwah through writing is conducted by

using writing media, such as books, magazines,

newspaper, bulletin, essay, written lectures,

pamphlet, written announcement, banners, billboards

and etc. Those do not directly find in the Quran but

implicitly written in Al-Qalam verse 1. In this

chapter Allah swears by ‘nun’ letter as the crucial

sign of the importance of letter, pen and writing in

conveying Islam teaching. That is: Nuun. By the Pen

and what the (angels) write (in the record of the

men). Prophet had given example by instructing his

friends to write letter addressed to non-Muslim head

of states to accept Ilam, as his letter to Kisra in

Persia (Iran), King of Najasyi of Habasyah

(Ethiopia), Hercules of Byzantium and Maukukis of

Egypt. Prophet’s letter is "I asked master to embrace

Allah’s calling, accept Islam so you will be safe."

This shows that the Prophet conducted dakwah both

oral and written (letter). A mufti conducts dakwah

using knowledge or called bi-al-ilmi such as

teaching, writing and counseling education. The rich

or the property owner possibly conducts dakwah

using wealth to help the poor, helping orphans or

giving scholarship to less fortunate Muslim students.

People in government position might help using

authority such as foods, cloths, housing material

fulfilment or creating security for society. (Ahmad,

2013).

The meaning intercultural dakwah initially is

attempt in faith actualizing which manifested in

faithful human’s life system in civilization that

performed regularly to influence the way of

thinking, feeling, acting and behaving among human

being or social cultural to create Islam teaching in

every aspect of human’s life using certain method

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(Razi, 2007). Dakwah consists of da’i, mad'u,

methods, materials, and media. Communicator,

communicant, message, media and effect is being

the elements in communication. Farida’s research

results (2016) also shows the same thing. That

communication should be based on other forming

elements of the message to be conveyed

appropriately. Both have the same meaning in

dakwah term but the effects are not included. But

surely any good communication is covered in

dakwah. Da’i is required to be able to convey

material clearly to mad’u so that it can be accepted,

this is a must. As da’i is succeed if mad’u

understands the teaching. In communications, it is

called effective communication. To meet these

demands, da’I must be able to understand the

conditions of Mad'u. This is the importance of cross-

cultural communication, because by understanding

the culture, the teaching can be implemented

properly. Aligned with Abdullah’s research (2009)

describes the relationship of rhetoric and dakwah in

the view of Islam. Cross cultural communication

cannot be separated from the context of the rhetoric

that implicitly or explicitly into one unity.

One of the methods used in dakwah is bil

hikmah, which is conducted wisely and prudently. It

is approach in which the object of dakwah can

perform dakwah on his own will without force,

pressure or conflict. This is a workable concept in

cross-cultural missionary. The existence dakwah

will always come contact with the socio-cultural

realities surrounding, according to the consequences

of dakwah, dakwah as a variable and problematic

social life as other variables, so the presence of

dakwah in the community can be seen from the

function and role in affecting social change, so

idealized society will be created. (khoiru ummah).

Arifani (2008) elaborates the synergy and strategy of

dakwah in cultural perspective. Substantially

dakwah is public education, which in practice is not

much different from the future of national education.

The purpose of education as written in national

education put religious moral dimension as

important part of dakwah process.

Intercultural dakwah is process that considers the

cultural diversity among da’i (subject of da'wah) and

mad'u (object of da'wah), and the diversity causes of

interaction disturbance in intercultural level. To

convey the message of the dakwah is to keep

peaceful state (Aripudin, 2011). Intercultural

dakwah is the process of the dakwah invites a man

to convey the message and behavior of Islam

according to developed culture concept in society.

Intercultural nature of dakwah is how to teach using

culture of mad’u as material, method, tools, and

strategy). Don and Yunus (2009) links between

dakwah and its alternative towards the object of

dakwah. Because every person, every place and

environment have different sociocultural because

dakwah is transformation process of Islamic value

into society, therefore dakwah will never cease to

interact with the culture of the society itself. There is

the concept of dakwah that promotes sympathetic,

wiser and more humane ways (Pimay, 2005).

Based on research and other studies, including

Sunyoto (2010) states that the influence of literature

and art correlate with the medium used to convey the

message of dakwah. One of them, a method of

dakwah by using dongkrek media and other cultural

elements as a means of dakwah had been done by

Wali sanga, as did Sunan Kalijaga. In similar

studies, Muhsin (2008) describes in detail the

communication model of dakwah in the countryside.

Javanese tradition that inspired Sunan Kalijaga at

that time to bring out gamelan. People who heard the

sound of the gamelan gathered to source of the

sound to watch. Before watching they were asked to

perform ablution and witnessing on syahadah so that

they converted to Islam. In the middle of gamelan

performance, they were told about and introduced to

Islam. (Purwadi, 2007). In their dakwah, Wali used

ten principles as following:

First, sugih tanpa bandha means happiness does

not depend on wealth, dakwah does not depend on

wealth but happiness does depend on heart and soul

peace. Second, nglurug tanpa bala means the success

of dakwah does not judged by the number followers

but the success of God's help. Third, menang tanpa

ngasorake means da’i must not underestimate

mad’u, all humans are equal before God. Fourth,

mulya tanpa punggawa means nobility is determined

only because of belief and good deeds, not

followers. Fifth, mletik tanpa Sutang means dakwah

to every layer faithfully that Allah will give His

help. Sixth, mabur tanpa lar means conducting

dakwah to the way to the people selflessly. Seventh,

digdaya tanpa aji-aji, means that although they were

abused, humiliated, physically and mentally

wounded but they stay strong and fighting. Eighth,

menang tanpa tanding means conducting dakwah by

the way of wisdom, courtesy, and good advice with

no pressure and violence. Ninth, Kuncara tanpa

wara-wara means continues move to see people with

no one knows. Tenth, Kalimasada senjatane means

conducting dakwah in everywhere to enforce

Kalimasada (shahada).

In conveying Islam, Wali did not speech or

lecture in public as shown nowadays but limited in

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halaqah-halaqah even most of dakwah conducted

secretly, face to face, then passed from mouth to

mouth. When his followers increased, and then there

were tabligh held in the subunit college, called

madrasah or boarding school (Mulyati, 2006).

The use of traditional arts as a medium of

dakwah is popular with the public. It can be seen

from da’i uses culture in rural or urban environment,

as Emha Ainun Najib does or prominently known as

Cak Nun, and Kiai Kanjeng use gamelan to

proselytize. In addition to the study of Pahlevi

(2016) also describes the cultural dakwah. So, do it

will not be trouble if dongkrek also becomes a media

of dakwah or supporting media because dongkrek is

a whole performance and also has noble value of

Java and Islam that deserves to be preserved. Society

in the propaganda system also has the perception to

translate messages received, it is in line with the

findings Enjang (2011).

The use of art and culture as a media of dakwah

is inseparable from Islam organization Nahdatul

Ulama with the main goal is the enactment of the

teachings of Islam that embraces the ideology of

Ahlusunnah wal Jama’ah to the realization of social

justice for the welfare and the order of society and to

get blessed with universe. In order to achieve these

objectives, the efforts are made, among others are in

education, teaching and cultural field endeavour the

realization of an education and the teaching and

development of culture in accordance with the

teachings of Islam, to foster noble, virtuous,

knowledgeable, and skilled Muslim and useful for

the religion, the nation and the State (Razi, 2011).

The tendency of Dakwah activity in society is

positively accepted when activity uses information

and communication technology. The success of

dakwah by Yusuf Mansur, Aa Gym, Ary Ginanjar,

Dhompet Dhuafa are small example of dakwah

activity that fully utilize information and

communication media, such as television, mobile

phones, internet, newspapers and so forth (Basit,

2013). It is undeniable that the paradigm

development of dakwah must be prudently faced by

getting along with advance but remaining still in

syariah.

Value is an understanding or adjective used to

reward goods or objects. Value of dakwah as pointed

by Nangim et al. (2013) about the important values

promoted in dakwah. People assume that something

is worth, because he feels the need or appreciate.

With reason and mind, human values world and its

nature to have self-satisfaction, for owning,

advantaging and satisfying.

The core of the educational value is a cultural

process that is always trying to improve human

dignity, humanizing education, humanities

education. Educational value is also an activity that

is specifically aimed to inculcate certain values, such

as religious values (religious education), moral

values (civics), and aesthetics (art education).

In relation to dongkrek staging / performing arts,

the values contained include: cultural values,

educational values, moral values, and religious

values, values of leadership, heroism value and

aesthetic value. It can be seen from the element of

musical instruments, masks, makeup and costumes

(showing symbols of role’s character), the value of

moral education means that a crime will be defeated

by goodness in the human mind that is portrayed by

voice. Context of musical instruments and other

media have also been discussed by Suresman and

Suryana (2015) describes the implementation of

Islamic propaganda through the art of music.

One part of the highest and the most abstract is

the cultural value (Koentjaraningrat, 1990). Cultural

value system is the concepts of what they assume

worthy, valuable, and important in their life, so it

can serve as a guideline that can give direction and

orientation to lives of citizens. The importance of

understanding social plurality is point discussed, in

accordance with Huriyudin (2015) that conveys the

social plurality in dakwah.

In connection with the expulsion of plague

(exorcism), the ritual is done in several ways,

namely: (1) the chosen Paraga 'figure’, that is

assumed to be able to perform rituals are brought

first in the Palangan pavilion, to be guided by Palang

grandfather, preparation and everything should

implement both physical and spiritual; (2) the Paraga

'figure’ begins ‘walking’ lelampah according to the

instructions that have been set, as has been prepared,

and so forth; (3) on chosen night, legi Friday

evening, all the leaders gather at the gazebo to held

salvation (barokahan) begging for God’s for the

occurrence of gendruwo set of devils and its

instrument and the necessary equipment; and (4)

when midnight (legi Friday night) with the

accompaniment of prayer and praise, the exorcism

ritual of plague is began slowly on way from

pendapa dalem palangan to Mejayan village until

dawn. In this ritual, dongkrek leaders particularly

gendruwon are required to be unclothed (all figures

consist of men).

The ritual rules are: (1) torch made of bamboo;

(2) smouldering incense carried by prayer; (3)

Palangan heritage brought by the selected heirs

under majestic umbrellas (Palangan heirloom); (4)

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some terms to exorcise, an assorted food and takhir

(shaped from banana leaves) plontang which

contains a variety of rice porridge and planted

pointed areas, such as at a crossroads, t junction and

at the corners of the village; (5) gendruwon and

other equipment; and (6) gamben-gamben elders

(highly knowledgeable). The procession is only run

once and regular move dongkrek around village so

the plague will disappear by itself.

Leadership values in dongkrek art is something

that is good and true, which is owned by a leader to

be able to lead his follower or the people well,

honestly, fairly, wisely, and prudently. Leadership

value in the arts dongkrek portrayed by actor R.

Tumenggung Prawirodipoero as Palang grandfather

who led Mejayan people wisely, responsibly and

wisely.

The concept of heroism can be seen from bravery

and sacrifice one gives to defend the righteous path

and is a true warrior (Supratno, 2010). While the

definition of the heroism value in this research is

something that is good and true that is owned by

stand out figures because his bravery and sacrifice to

defend in dongkrek art. Heroism values in dongkrek

art portrayed by character of Raden Tumenggung

Prawirodipora as Palang grandfather who fought

bravely against buto/gendruwo to save his people

from plague. As an art Pujiyanto (2012) discusses

the use of the media to convey the message in a

dakwah and later on the messages and media

becomes unity to provide understanding to recipient.

In additional, Abdullah et al. (2012) explains

conveyed in dakwah. Delivering messages has

important strategy.

Aesthetic concept can be interpreted as a

philosophy of beauty both in nature and man-made

art. Aesthetics emerges in Western culture

environment began in ancient Greece in which since

Plato, Aristotle, and Socrates were there (Sumardjo,

2000). On the other hand, definition of the aesthetic

value of this research is something wonderful,

enjoyable and entertaining. Aesthetic value of

dongkrek art can be seen and heard through the

sound of the instrument, the shape of its instrument,

make up and mask, dance and elements of drama /

stories shown in dongkrek art. Upheld by Puteh

(2006) reports art is part of a message in the media

dakwah.

4 CONCLUSIONS

Dakwah is a way of spreading Islam, da’i conveys

introduction and understanding the teachings of

Islam. Methods of dakwah developed in the

community are varies from the mass media,

electronics and gadgets. But direct dakwah, face to

face, is still much in demand. Intercultural dakwah is

a process that considers the diversity of cultural

among da’i (subject of dakwah) and mad'u (object of

dakwah), and the diversity causes interaction barrier

in intercultural level, so that messages can be

conveyed if peaceful state is maintained.

Intercultural dakwah is process of inviting human to

spread teaching of Islam and to behave as Muslim in

accordance with existed culture. The nature of

Intercultural dakwah is how to preach, using culture

as materials, methods, tools, and strategies aligned

with subject of dakwah state (mad’u). Because every

person, every place and environment have different

sociocultural condition because dakwah is a process

of moral values transformation of Islam into society,

therefore dakwah will never stop interacting with

society culture. There is the concept of dakwah that

promotes sympathetic, wise and more humane ways.

In the middle of information flow at this time

dakwah innovates its delivery method, one of is

using Dongkrek media. Dongkrek is a traditional

performing art that develops in Mejayan village and

some areas nearby. Dongkrek as media adapts from

what Wali had done previous. The relationship

between dakwah and dongkrek is mutual benefit in

which renewing dakwah and culture.

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