The Meaning Behind Rites
Symbolical Aspect of the Ngaruat Tradition with Cerita Batara Kala
Etti Rochaeti, Syihabuddin Syihabuddin, Ade Ma’mur Kartawinata and Iskandarwassid
Iskandarwassid
Program Studi Pendidikan Bahasa Indonesia, Sekolah Pascasarjana Universitas Pendidikan Indonesia, Jl. Dr. Setiabudhi
No. 229, Bandung, Indonesia
Keywords: Ngaruat Tradition, Batara Kala, Symbolic Meaning, Rites, Folklore.
Abstract: One of the folklore forms of Tatar Sunda which is related to religious ceremonies is Ngaruat Tradition (NT)
using Cerita Batara Kala (CBK). In the past, this tradition had an important role for the Sundanese. Along
with the advancement of the era, especially religion, the function and role of NT in the society was fading. It
is possible that in the future this tradition will vanish. As a cultural product that used to have a significant
role, NT possess hidden and beneficial essential values. Therefore, this study aims to preserve the nation’s
cultural product by revealing the values contained in the product. Using the qualitative method, this study
merged two interrelated things, namely NT and CBK, since most of the existing studies only focused on
CBK or NT. The results revealed that the traditions described in CBK and NT are symbols of Sundanese
values and views of life as follows: (1) humans as individuals; (2) humans relations with nature; (3) humans
relations with their social environment; (4) humans relations with God, and (5) humans and their desire to
pursue inner satisfaction. These results are expected to give a contribution in enriching studies about the
tradition comprehensively. Semiotic approach was used to acquire results in the form of cultural values that
could be used to strengthen the identity and character of the nation.
1 INTRODUCTION
Folklore is a part of culture that can be in the form
of people’s speech, traditional expressions like
proverbs, riddles, prose like mite, legend, and tales
(including anecdotes and jokes), folk song and
music, theatre, games, beliefs, architectures, fine arts
and paintings, gestures, and so on. Folklore can be
used as an object to analyse the collective
behaviours (mind set) of the supporters because it
has the functions as: 1) projection system, 2) cultural
ratification, 3) pedagogy, and 4) forcer of the
enactment of community norms and control.
Folklore also functions to strengthen the nation’s
identity and develop the local tourism (Bascom,
1965).
One of the forms of folklore (verbal tradition) in
Tatar Sunda which is related to religious ceremonies
and explored in this paper is ngaruat tradition (NT).
In the past, this tradition had an important role in
Sundanese people’s lives which was identified with
the existence of some vocabularies or terms related
to ngaruat ceremony and the vocabularies and terms
are still verbally transmitted among the society.
Seniors in nowadays’ villages still address the word
sandekala if they prohibit their children to go
outside during Maghrib; even though they (perhaps)
do not particularly understand the meaning behind
the prohibited action. In correlation with the ngaruat
tradition, one of the types of people that needs to be
ruat-ed is the ones that travel during sunset (dusk).
Based on the sound and literal meaning, the word
sandekala refers to Batara Kala, a central character
in NT. There are other things which are related to
NT and uttered in the life of the society in Tatar
Sunda today. The word sandekala, which used to
be expressed by the Sundanese, derives from the
Sanskrit word sandhyakala which means ‘twilight’
or ‘dusk’. The connection between sandekala and
ngaruat tradition is that someone who must be ruat
–ed is someone who travels when the sun sets (at
dusk). The word sandekala refers to Batara Kala, the
central character of NT.
The word ruwat is one of lemmas in KBBI that
is derived from Kawi Language which means
‘detached’ or ‘free’; rumuwat or mangruwat means
Rochaeti, E., Syihabuddin, S., Kartawinata, A. and Iskandarwassid, I.
The Meaning Behind Rites - Symbolical Aspect of the Ngaruat Tradition with Cerita Batara Kala.
DOI: 10.5220/0007172606490653
In Proceedings of the Tenth Conference on Applied Linguistics and the Second English Language Teaching and Technology Conference in collaboration with the First International Conference
on Language, Literature, Culture, and Education (CONAPLIN and ICOLLITE 2017) - Literacy, Culture, and Technology in Language Pedagogy and Use, pages 649-653
ISBN: 978-989-758-332-2
Copyright © 2018 by SCITEPRESS – Science and Technology Publications, Lda. All rights reserved
649

attenuating, releasing, freeing, or eliminating. A
word that is closely related to the word ruwat which
is sukerta (someone who must be ruat-ed). The word
sukerta appears in some Old Javanese texts,
including Hariwangs, Sumanasantaka,
Korawasrama, Nawaruci, and Sudamala stories.
From the word sukerta which appear in the tales, the
terms bocah sukerta and wong sukerta emerge. That
is why, at the period of time when bocah sukerta
circumcised or married, the occasion was celebrated
with a wayang show which performed overnight and
told the story of Murwakala (Soebalidinata, 1984) or
CBK.
As the era advanced, NT and CBK will someday
be forgotten. This is the reason why this study aims
to: 1) document the components the oral forms of
NT, 2) inventory NT devices, 3) reveal the implicit
meaning, and 4) seek for the alternative way of
socializing CBK as an interesting literary work.
2 RESEARCH METHODS
This study used qualitative method which tries to
comprehend and interpret the meaning of an event or
human interaction in a particular situation (Denzin
and Lincoln, 2005). The data collection was through
literature and field studies in various libraries and
places where NT and CBK could still be found.
Through in-depth and open interviews, the data were
gathered from traditional figures, puppetry artists,
and those who had experience or were familiar with
NT and CBK. In addition, the data were also
collected by recording an ngaruat ceremony with
CBK. The data were reduced by abstracting and
arranging them in units, and then categorization and
coding were conducted. The data analysis was
finished by checking the data validity and
interpreting it according to the semiotic approach.
3 RESULTS AND DISCUSSION
Ngaruat tradition (NT) is actually an effort to refuse
misfortunes for the sake of achieving salvation and
prosperity in leading a life. At least, that is what
Peursen and Hartoko (2000) state that ceremonies
from primitive tribes do not only function to repel
dangers, but also to console each other; also as a
preparation so that they can withstand adversities,
such as plagues, dry season, and many more. Ruatan
ceremony are hybrid, a mix; meaning that basic
myth about a classification of two elements, which
underlies all wayang play that has been mixed with
foreign elements. In this case, wayang play as a rite
of affirmation towards ancestors’ myths is mixed
with ngaruwat ceremony for its own purposes.
3.1 Ngaruat Tradition with Cerita
Batara Kala
Ngaruat tradition (NT), whether in Sunda or Java, is
not only meant for humans. It can also be used to
ngaruat a place. The difference between ngaruat
someone (sukerta) and ngaruat a place is the story
performed for the ceremony: Cerita Batara Kala
(CBK) or Murwakala is meant for ngaruat people,
whereas Babad Alas Amer and Bumi Loka is meant
for ngaruat a place. However, if sukerta’s
characteristic and group are observed, ngaruat
ceremony performed for a place is essentially meant
for people; the example is what Rosana (1964) says
to a sukerta on number 32, “People who, without
ethics, clear rice paddy fields, lands, places, and
forests; as well as establish buildings, houses, barns,
and sheds; are called Kalaamer”. In relation, in
ngaruat a place, still uses CBK at the end of the
ceremony.
CBK is a story in puppetry (pewayangan) which
is specially performed in ngaruat ceremony; in NT
in Java, this story is known with Murwakala as the
title and performed using shadow puppets (wayang
kulit) as the medium. Ngaruat tradition is
Sundanese’ life is generally conducted by
performing CBK through a puppet show (wayang
golek). However, in some places, there are also
people who perform this story through art
performance of wayang pantun, pantun, and beluk
without reducing the sacred nature of the ritual. In
Majalengka, as an instance, besides using a shadow
puppet show, ngaruat ceremony is also performed
throughpantun and/or gaok (another term for beluk)
show. According to several puppet masters and
locals, these performances are done to simplify the
requirements in order to ease those who are
incapable of paying a wayang group.
The aforementioned simplification of ngaruat
ceremony is not only in terms of the performance
media, but also in terms of the requirement such as
offerings and a series of rituals.
3.2 Ngaruat Tradition with Cerita
Batara Kala
There are five components that (must) be present in
NT, they are Sukerta, CBK as the medium, a
CONAPLIN and ICOLLITE 2017 - Tenth Conference on Applied Linguistics and the Second English Language Teaching and Technology
Conference in collaboration with the First International Conference on Language, Literature, Culture, and Education
650

storyteller, requirement/offerings, and/or
mantra/rajah.
Ngaruat or misfortune repellant is necessary for
people who are considered as sukerta, which is
people who need to be ruat-ed as an obligatory
based on the status of the child in the family,
physical deficiencies, and people who make a
mistake in doing some particular jobs. Based on
written data, people who must be ruat-ed or sukertas
is divided into three types consisting of four groups
based on: 1) birth processes (20 types), 2) physical
deficiencies (16 types), 3) relationships with siblings
and other family members (29 types); and 4) actions
(58 types). Some of the examples are; twins (sons
and daughters), dampit (a son and a daughter,
quadruplets), anak Sapar (a child who is born on
Sapar month), and so on.
The story that needs to be performed is CBK
through a shadow puppet show, which then develops
into a wayang golek, wayang pantun, carita pantun,
and beluk shows. The election of the medium for
this ceremony is based on the (economic)
capabilities of the organizer of ngaruat ceremony.
As for the storyteller who tells CBK in three
different shows is puppet masters (dalang), juru
pantun, and the leader of a wawacan (a long story
which is composed with canto (pupuh) rules)
manuscripts reading group.
As one of the sacred ritual traditions, ngaruat
has absolute rules which cannot be taken for
granted; starting from the procedures/ethics during
the ceremony, the responsibility of the audiences, to
the requirements that need to be provided by the
hosts of the ceremony. The requirements are
offerings (sesajen) and accessory (rarangken) which
have to be provided during the ngaruat ceremony
and includes: 13 types of food/drinks, 14 types of
groceries, 9 types of waters, 5 types of dressings and
accessories, 14 types of plants/leaves, 6 types of
tools/furniture, and 5 types of special equipment.
Besides offerings and show equipment for
ngaruat ceremony, in wayang show, there are also
several steps that need to be done including
reading/reciting kidung or rajah by the puppet
master which is intended for Batara character. The
mantra (rajah/kidung) is a symbol of cleansing
which is meant for eliminating every misfortune
which exist inside the sukerta.
3.3 Ritual Process
The complete ritual process starts with a
presentation of sesajen (offerings) in front of the
venue (wayang, pantun, beluk). The sukertas seat
around the venue or near sasajen wearing a white
fabric (ihrom). Then, dalang (puppet master) starts
telling Cerita Batara Kala which includes the
reading of rajah/kidung intended for (the body of)
wayang Batara Kala. During that time, wayang
Batara Kala is veiled with white fabric. After the
play finished, dalang chants a mantra to the
sukerta’s body/nape and then bathe him/her by
pouring the sukerta’s head with flower water. When
being bathed, sukerta wears usual clothing veiled
with white fabric. After that, all the clothing used
during ngaruat ceremony must be disposed or
submitted to dalang. Also, all offerings have to be
submitted to dalang.
Ngaruat ceremony through wayang (CBK) starts
during midnight or predawn and must be finished
before daybreak. During the Batara Kala play, there
are some rules for the audience including prohibition
to go home or leave the venue before the story is
finished and prohibition to not going to sleep or feel
sleepy. The mythical reason is that if someone goes
home in the middle of the show, they will be eaten
by Batara Kala on the way’. Some opinions, says
that it is meant for all attendees’ sake, so that they
can enjoy the whole story in the show. Furthermore,
the reason is that everyone can recite prayers
presented in the mantra or kidung/rajah.
3.4 Symbolic Meanings
Humans use language, clothing, ideas, moral values,
and life norms; all of them are the product of
symbolized behaviors. In this case, symbols can be
defined as expressions of wisdom, born and applied
in daily life of a particular society.
As a generally traditional society, Tatar Sunda’s
society (especially in the past) also has traditional
wisdom applied in their daily lives, for example
taboos or prohibitions. Prohibition or taboo is
sometimes disclosed in the forms of idioms. These
prohibitions have particular positive purposes and
aims, but they are not delivered in transparency. One
of the ritual traditions loaded with symbols and/or
traditional wisdoms is NT which has these following
implicit meanings:
3.4.1 Ngaruat
Ngaruat: Possess meanings of releasing,
eliminating, and/or getting rid of something bad/evil
from within humans. There is an opinion that
phonetically, ngaruat is identical with the word
ngarawat (merawat); which means taking care of.
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All meanings contained in the term ngaruat refer to
its purpose for achieving life salvation.
3.4.2 Sukerta
Sukerta which consists of four groups is considered
as a misfortunate person so that his/her life is
threatened by disastrous matters. Accordingly,
misfortunes have to be released or eliminated from
within him-/herself so that his/her life is safe and
prosperous. If it is explored or analyzed thoroughly,
these four groups have psychological problems in
their life so that their life journeys do not run
smoothly or normally. Thus, NT is a traditional
psychotherapy used by people in the past so that the
sukertas can lead a fair life.
3.4.3 Cerita Batara Kala
Cerita Batara Kala: The central character of this act
is Batara Kala, son of Batara Guru (from Dewi
Tanana and/or Dewi Uma), who is born
unexpectedly due to Batara Guru’s irrepressible
lust. Batara Kala has a malicious character and is
fond of consuming human flesh. This can be a
lesson for people that having an intercourse cannot
be done with a random person and even though it is
done with one’s own wife, it still needs to be done
ethically by considering the place and time.
Like the other wayang characters which are
symbolized by physical appearance (color, head and
eye gestures, and so on), Batara Kala’s figure,
which can be considered as a giant, is enough to
indicate greedy, fierce/evil, and voracious.
The word kala derives from Sanskrit which
means time; this term kala also implies a meaning
that humans need to remember about time and has to
make use of time for positive things so that their
lives are always in salvation. Storyteller or dalang
(puppeteer) as the symbol of Life’s most sovereign.
3.4.4 Ruatan Equipment and Offerings
Ruatan Equipment and Offerings: Essentially, the
function of offerings is to be a means or something
that bonds the importance of food, household
furniture, farming tools, plants, pets, vegetation, and
so on. The presence of offerings reminds humans
that, essentially, humans’ life is inseparable with
their natural surroundings as a means to undergo
their daily lives.
Another thing that needs to be explored
concerning the offerings is terms or vocabularies of
the offerings. In the group of plants, there is a jukut
palias and sulangkar. In Sundanese, palias means
amit-amit or “God forbid”; this word is used to refer
to something gross, scary; so that no one would want
to do or experience it. Palias plant can be an
ointment (lulur) after being pulverized.
There is also a term called kapaliasan which
means a mantra to repel misfortunes. Meanwhile,
sulangakar is an acronym of sulaya and ingkar, both
of them mean that human, when leading their life,
cannotbreak/escape from norms. Regarding the
sulangkar plant, this plant (perhaps) scientifically
possesses a property that can be made use of by
humans because our ancestors has decided to make
the plant as an offering and they could not be
reckless about it, instead they chose it with a clear
significance. This supposition has to be proven by
laboratory tests to sulangkar plant. In the food
group, there is a ketupat (a type of dumpling made
from rice packed inside a diamond-shaped container
of woven palm leaf pouch) named kupat salamet and
kupat tangtang angin; linguistically, it is clear that
these ketupat dishes are prayers of salvation
(salamet) and antidotes of dangers symbolized by
the words tangtang angin (challenging the wind).
Likewise, offerings in the water group consist of
water taken from the river and it is called cai
mulang. River is a symbol of human life which runs
like a river flowing through the creek, a final
destination (mulang). Water is a symbol for humans
to make meaning of, especially for the ones that
need to be ruat-ed.
3.4.5 Ruatan Mantra or Rajah/Kidung
Ruatan Mantra or Rajah/Kidung: Reciting this
mantra is a symbol in releasing and banishing the
misfortunes inside the sukerta’s body so that he/she
can be pure from all the things that block salvation.
Batara Kala’s body is actually the symbol of all
body limbs of someone that is being ruat-ed at that
time. Rajah/kidung in ngaruat ceremony also means:
apologies to the God for all the mistakes, prayers for
salvation in leading a life, and casting out entities
that disturb human’s life.
From the discussion regarding the components
and structure of ngaruat with CBK, it was revealed
that the tradition is a symbol of Sundanese values
and views of life which consist of: (1) humans as
individuals (symbolized by the ego of Batara Kala
character); (2) humans with nature (symbolized by
the offerings); (3) humans with their social
environment (symbolized by the clothing and
taboos); (4) humans with God (symbolized by the
presence of dalang or puppet master and special
equipment), and (5) humans and their desire to
CONAPLIN and ICOLLITE 2017 - Tenth Conference on Applied Linguistics and the Second English Language Teaching and Technology
Conference in collaboration with the First International Conference on Language, Literature, Culture, and Education
652

pursue inner satisfaction (symbolized by the
mantra/kidung).
4 CONCLUSIONS
Ngaruat Tradition (NT) is also a product of the
development of a culture that shows a variety of
steps in Indonesian culture; and has a silver lining
between each step. Ceremonially, ngaruat
ceremony is oftentimes conducted during cultural
events, nowadays. Even though there have been
many changes, in the frame of preserving the
culture, this is a chance to preserve and develop NT
as a product of a culture which is useful for science
and society as:
 Source of research for a study of: local
languages (including dictionary making),
literature, anthropology, sociology,
psychology, biology, ethics/morality, religious
systems, arts, and history of the development
of culture;
 Source in humanities education;
 The result of the study towards components of
NT probably can be revitalized for the sake of
empowerment of people’s economy, for
example to become one of the packaging
(model) of cultural product for the benefit of
tourism.
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Bascom, W., 1965. The Forms of Folklore: Prose
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78(307). Pp.3-20.
Denzin, N. K., Lincoln, Y. S., 1994. Handbook of
qualitative research, Sage publications, inc.
Peursen, C. A., Hartoko, D., 2000. Strategi kebudayaan,
Kanisius.
Rosana, S., 1964. Ngaruat, PT Adjisak. Bandung.
Soebalidinata, R. S., 1984. Cerita Murwakala dan
Ruwatan di Jawa, Proyek Penelitian dan Pengkajian
Kebudayaan Nusantara (Javanologi). Yogyakarta.
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