Banyuwangi Cultural Festival: Revitalization and Commodification
of Locality-based Tradition Arts
Novi Anoegrajekti, Sudartomo Macaryus, Latifatul Izzah,
Muhammad Zamroni and Bambang Aris Kartika
Faculty of Humanities Universitas Jember and Faculty of Education Sarjanawiyata Taman Siswa Yogyakarta
Keywords: Festival, Commodification, Revitalisation, Ritual, Art Traditions.
Abstract: Tourism is one of the fields that has become the focus of community economic development. Placement of
various cultural events in Calender Banyuwangi Fesival (CBF) is one of the strategies that has proven
effective in increasing the number of domestic and foreign tourists to Banyuwangi. This paper aims to
explain the potential of traditional arts, rituals and culinary as a media for developing festival-based cultural
tourism. Art traditions, ritual and culinary in Banyuwangi which are packaged into agrarian culture based
festivals and tours can be seen every year in Banyuwangi. The development of agrarian tourism based on art
traditions, ritual and culinary; also contain strategic value because it provides educational space for tourists
and people in agricultural areas which become tourist attractions. The education room allows the growth of
awareness and love of the community towards agrarian culture and its natural environment. Tourism
development also has a cross-sectoral economic chain, such as lodging, transportation, culinary, souvenirs,
agricultural tourism packages, and guides. Art traditions, ritual of Seblang Bakungan, Seblang Olehsari,
Kebo-keboan, coffee processing festival, and festival ngopi sepuluh ewu have entered the CBF. This has the
potential to bring visitors in large numbers and become an opportunity for the public to socialize and market
creative industry products. With ethnographic methods, research begins by collecting library data. Library
data is complemented by field data obtained through observation, participation, and in-depth interviews with
selected informants. Data analysis and interpretation are carried out in cultural studies and treat the data as
cultural signs.
1 INTRODUCTION
The world-class immense Banyuwangi festival,
entitled Banyuwangi Ethno Carnival (BEC), which
took place from 2011 until now has entered its 9th
year. BEC raised a variety of themes, namely
traditional arts, rituals, and natural charm
(Anoegrajekti, et al. 2016; 2018; 2018a). The BEC
was followed by the unification of cultural activities
in Banyuwangi in the Calendar Banyuwangi Festival
(CBF), which was first launched in 2012. Every year
the CBF experiences an increase in the number of
festivals. The increase in number marks the
enthusiasm of the community to show the
achievements of the development of community art
and culture. Art and culture that developed, mostly
based on tradition in the form of stories and other
oral traditions, such as legend, myth, law, medicine,
spell, traditional art, ritual, and culinary. The various
oral traditions are representations and identities of
the supporting communities. In agrarian rural
communities, tradition can be seen in the life of
village cleansing ritual. In coastal communities,
tradition is seen in sea alms ritual, and in
mountainous areas it raises the ritual of mountain
alms. Tradition also shows how the community has
the ability to overcome various problems
encountered in everyday life.
This paper focuses on the study of how the
development of art-based education, art tradition,
ritual, and culinary containing strategic value and
educating tourists and their supporting communities.
All of that is packaged in an international standard
festival format.
Anoegrajekti, N., Macaryus, S., Izzah, L., Zamroni, M. and Aris Kartika, B.
Banyuwangi Cultural Festival: Revitalization and Commodification of Locality-based Tradition Arts.
DOI: 10.5220/0008999003590365
In Proceedings of the International Conference on Education, Language and Society (ICELS 2019), pages 359-365
ISBN: 978-989-758-405-3
Copyright
c
 2020 by SCITEPRESS – Science and Technology Publications, Lda. All rights reserved
359

2 THEORITICAL REVIEW
Banyuwangi raised tradition as the fashion theme of
Banyuwangi Ethno Carnival (BEC) which took
place since 2011. BEC took inspiration from Jember
Fashion Carnaval (JFC) which took place since
2001. The focus of BEC themes on Banyuwangi
ethnic culture, are namely traditional arts, rituals,
customs, customs, natural charms, and history. The
festival in Banyuwangi, partly takes place in the city
center, such as the Batik Festival, Gandrung Sewu,
Kuwung, and BEC. Other festivals are held in places
of origin of their respective cultures, such as Seblang
Olehsari, Seblang Bakungan, Keboan Aliyan, Kebo-
keboan Alasmalang, Barong Ider Bumi Kemiren, and
Petik Laut Muncar (Anoegrajekti, 2016:19‒20;
Anoegrajekti dan Macaryus, 2018). These various
activities inspired the emergence of creations such as
the culinary market in Olehsari which took place
every Saturday night, in Singojuruh, and the culinary
market in Kemiren which took place every Sunday
morning. The emergence of diversity that occurs in
other environments is in line with the views of
Cohen (2004: 48) which highlights backpacker
variants in general and based on the type and
intensity of drug use and preferred music.
The festival as a cultural expression is a medium
of communication and response to social events that
occur in society, as stated by Croose (2017: 6) which
states that the UK-Caribbean carnival in 1970 was
positioned in the racially threatening cultural
domain. In Singapore the phenomenon of ethnic
hybridity takes place at the lowest and highest
hierarchies, while the local segment experiences
minimal racial interaction. Hybridization took place
between non-white residents, for example, between
Chinese and Indian groups, in the procession of the
Silver Chariot Trans and body-piercing that took
place during the Hindu Taipusam festival. In this
event hybridization took place starting from the
leading (Goh, 2011: 116).
The City of Scone, Australia is known as the
Horse Capital of Australia. Scones make horses as
capital and identity. Human-horse relations with the
local community and with people from outside,
become the focus of attention. The popularity of the
Scone carnival was supported by media publications
which had a great influence on the various cultural
events that took place. Promotion provides an
opportunity to maintain regional and cultural
identity (Graham, 2016: 220) which is considered in
maintaining carnival activities for a long period of
time. Meanwhile, Marsden (2010: 29) which
highlights the activities of the fair in America states
that the fair in America has been going on for
hundreds of years and in the future, has the potential
to become a tradition, if rural and aesthetic values
are developed aggressively and more creatively. For
example, the development of a country fair in
America makes it feasible and attracts viewers from
outside and inside.
Another interesting phenomenon occurs in Kota
Gede, Special Region of Yogyakarta, Indonesia
which organizes cultural parade as a medium to
attract tourists. Culture can be accepted by the
community, amid the turmoil in the cultural relations
of the palace, Muhammadiyah and Java. Cultural
roots underlie cultural contexts that are part of the
past (Storey, 2003: 81; Schlehe, 2017: 17) which are
public. Other rituals, in slametan format, represent
religious, social and economic values. The social
sciences offer scientific evidence of this
understanding, but are seen as showing a decline in
the Javanese slametan tradition (van den Boogert,
2017: 18).
Modern packed festivals contain local and global
values. Local proponents, managers and
entrepreneurs who have succeeded in facing global
challenges related to sponsors, viewers and
participants. It affects the character of the festival
and achievement (Waterman, 1998: 69). World-class
fashions, such as JFC, commonly take local themes
to the international stage. At the international level,
carnivals are not a representation of the traditions
and identities of nations, such as Africa, France,
Rome, or Brazil. Culturally, carnival defines cultural
diversity at the global level, such as Africa, India,
America, Australia, and China (Zavitz and Allahar,
2002: 143).
The festival, which presents a large number of
guests, becomes a medium for socializing,
promoting and staging community culinary
products. Culinary related to gastronomy which by
Gilleisole (2001: 235; Krisnadi, 2018: 384; Santich,
2016; Ketaren, 2017; Ermawati, et al., 2019) is said
to be the art or science of healthy eating (good
eating). The expertise and art of cooking take care of
human health with the best nutrition and enjoyment
through delicious food. In addition, cooking skills
also ensure that food and drinks are hygienic and
ready to be consumed in certain ways. All of that is
the topic of study of cooking skills (Sormaz, et al.,
2016: 726). Pamantung (2015) in his dissertation
examined the naming of food which was formulated
based on folklore myths that have symbols, mythic
values, and Minahasa cultural concepts. Components
ICELS 2019 - International Conference on Education, Language, and Society
360

of meaning that appear on the lexical device or
lexical unit of tinutuan are the basic ingredients of
food, the location of manufacture, and the use of
local languages in Minahasa (Pamantung, 2015).
The above description shows the festival in the
form of carnival, cultural parade, and ritual as an
expression of identity, cultural resistance, tourism
promotion media, and community religiosity. The
focus of this paper is on the issue of the festival as a
medium to globalize the local culture. It is important
to do as one of the evaluations of activities that have
been going on for almost a decade, the preconditions
that underlie the implementation of fashion in
Banyuwangi, and the opportunities for development
after gaining recognition and being part of the event.
3 METHOD
By analysing cultural phenomena in cultural studies,
this paper emphasizes in-depth descriptions of
various social and cultural forces in Banyuwangi and
how the cultural process as a representation of
identity. With ethnographic analysis as a re-
examination of the field notes to look for cultural
symbols (which are usually expressed in native
language) can be useful to build a systematic
understanding of human culture from the perspective
of people who have experienced or studied the
culture and to discover how the community
organizes culture in their minds and then use that
culture in life (Spradley, 1997; Anoegrajekti, 2015;
2018; 2019). In addition, in a more critical aspect
ethnographic methods can also look at cultural
issues that occur in a society or society related to
issues of power, tactics, and negotiations conducted
by its members.
Identity according to Hall (1997; Anoegrajekti,
2016; 2019) connects representation with politics. It
is politics that makes the scenic postcards and
Balinese dancers can be considered to represent
Bali. This can be identified that the politics of
culture that can create local literature in the
Banyuwangi performance art can represent Using,
Tengger, and Java (Bantul).
Cultural identity is always associated with
hybridity. According to Hall (1993; Melani, 2005:
38) identity is not the essence, but a number of
identification attributes that show how we are
positioned and positioned ourselves in society,
because cultural and historical aspects are a
necessity. Hall stresses that identity as a production
is never complete, always in process and always
built in representation. Identity is not static; it is
always constructed in time and space, and is
complex. In other terms, Eriksen (1993: 117;
Anoegrajekti, 2015; 2019) said that "identity is
situational and can change."
4 RESULTS AND DISCUSSION
Tradition in Indonesia has various functions in
society. One of them is the function of educating.
This is possible through the contents contained in
traditions and the process of socialization and
internalization of cross-generational traditions.
4.1 Mocoan
Mocoan
1
is one of the traditions of Using
community that has been going on for a long time.
The material read is the story of the Prophet Joseph
written in the palm leaf. Information from Mocoan
Lontar Yusuf's doers stated that Yusuf expulsion was
spread by Ki Buyut Cungking in Giri District. The
manuscript was rewritten on paper in 1829-1900 by
Carik Janah (Narijana) who lived in Cungking.
Lontar is also called young leaves of gebang cut into
pieces like the size of a fan. A stationery in the form
of a coconut shell (bathok) whose tip is burned. The
tip of the burning coconut shell is black and is used
for writing. Lontar Yusuf uses Arabic letters (Senari,
2016), Javanese (Kawi).
"Mocoan" traditional art takes place routinely
every 7 days. In Kemiren there are two groups that
are named according to the day of the event, namely
Reboan which is held every day during the night and
Kemisan which is held every Wednesday Night. The
venue for rotation takes place in each member's
home. The participants sat cross-legged and took
turns reading Joseph's ejection part by part and
1 Mocoan experienced a metamorphosis from the pure
Lontar Yusuf reading activities, and then innovations were
made by Aljin that included jokes so that the meeting
became an opportunity to get entertainment. In the latest
development, mocoan also gave rise to "Mocoan Baru
Campursari" which emphasizes entertainment because it is
filled with jokes and songs that are popular in the
community. Please see, Novi Anoegrajekti, Optimalisasi
Seni Pertunjukan: Kontestasi Negara, Pasar, dan Agama,
(Yogyakarta: Ombak, 2016a), 45–51 dan Novi
Anoegrajekti, "Perubahan Sosial Berbasis Lintas Budaya:
Identitas dan Ruang Negosiasi Global-Lokal." Dalam
Jejak Langkah Perubahan: dari Using sampai Indonesia,
(Jember: Pusat Penelitian Budaya Etnik dan Komunitas
and HISKI Komisariat Jember working together with
Penerbit Ombak, 2016b).
Banyuwangi Cultural Festival: Revitalization and Commodification of Locality-based Tradition Arts
361

transmitted it using a loudspeaker, so that residents
could be listened to by the loudspeaker transmission.
Listening to listening to Lontar Yusuf's reading, the
surrounding community felt comfort, coolness, and
received educational entertainment.
Another reading area is the response of residents
who have a public interest, want to perform the
pilgrimage, clean the village, or a festival organized
by the government through the Office of Culture and
Tourism. In this room the reading is done all night
long by a team member of about 10 people. Clean
village held in Kopen Kidul Hamlet, Glagah
Subdistrict, Banyuwangi, always held “mocoan” at
night before the implementation of Earth Earth.
Revitalization and commodification took place by
making a new style of “mocoan” mixed with
“tembang” and jokes. Thus, change leads to
performance art and entertainment.
4.2 Barong
Many barong groups are found in Banyuwangi,
mainly combined with jaranan (lumping horses). In
Kemiren Village there is a barong traditional arts
group with plays. In Kemiren there are three groups
of barong, namely Old Barong, Barong Lancing, and
Small Barong. Old Barong originated from the ritual
of meeting Barong with great-grandfather Chile. The
old barong group is led by Sapi'i.
2
Barong Lancing
stood at the initiative of Sucipto and innovated by
developing various plays. Various plays were created
by Sucipto, the leader of this barong lancing group.
3
Little Barong that was founded in 2006 has the same
single play, as in the old barong.
Narrated by Saperi, the leader and founder of
Barong Cilik was begun with awareness, if you have
a son, you will be included in the Barong group.
Saperi slowly buys barong equipment and children
who often gather at his home are trained to play
barong. One time, the barong group that was trained
was asked to accompany the procession
(procession). Since then the barong group has
received responses from Bulu, Payung, Rogojampi,
Anyer Village, and is known by the name Barong
Cilik, because the players are still children. The
story content of the stage response is the same as the
old barong, starting with the scene of Jakripah, Pak
2. Currently the heir is Fandik.
3. Sucipto has created several plays, which are: Geger
Cilacap, Pendekar Alas Purwo, Sarjulo Kamandoko,
Puspolonggo Edan, Alap-Alap Bojonegoro, Satrio Alas
Sambulungan, and Lahirnya Maheso Anggoro. The
various stories created by Sucipto make the barong
lancing which he leads be seen as similar to Janger's.
Mantri, and Macan Lundoyo.
4
With the development of the model, the little
barong group later became part of the old barong
group and was approved by Saperi. Since then, Little
Barong has been a part of Old Barong. This step has
an educational value, which is to become an arena
for cadres in Barong Kemiren. In addition, the
gathering of children in an art group enables them to
have a shared sense of responsibility, building a
sense of cohesiveness in addressing the tone,
rhythm, and movement in barong art. The love and
appreciation of the arts also developed well through
this group.
4.The story that plays in the stage response is as follows.
Tiger Lundoyo asked the Teacher (Panji
Kudawaningpati) to be allowed to become a human. The
teacher agreed with the condition that he became a good
human being. Tigers are transformed into humans and
live in the midst of society. One day he was fascinated
by the beauty of Siti Ambarsari, one of Pak Mantri's
wives and Lundoyo, who kidnapped her. When returning
from traveling Pak Mantri was angry because Siti
Ambarsari was missing. His servant was asked to look
for Siti Ambarsari. Lundoyo was finally punished,
bound tightly, and put in a closed box. Pak Mantri
conveyed to Lundoyo, if he could break away from that
bond, he could marry Siti Ambarsari. Lundoyo was
apparently able to break away from bonds and then
bring Siti Ambarsari into the forest.
In the Forest, Lundoyo meets the Teacher (Panji
Kundhawaningpati). Ludoyo is considered broken promise
and returned to a wild and ferocious tiger. At that time, the
tiger Lundoyo experienced a trance possessed by the
great-grandfather of Chile. Then the handler tries to
awaken through a fight scene which at the same time
becomes the climax of the barong story stage or the night
response, because it is usually held at night.
ICELS 2019 - International Conference on Education, Language, and Society
362

Figure 1: Barong Kemiren became a BEC theme in 2012
(Left) and Using Bride became a BEC theme in 2015
(Right) (Taken from the Banyuwangi Culture and Tourism
Office website).
In the digital age, barong plays and rituals "Ider
Bumi" which take place every time have been
published online that can be accessed by the global
community. Banyuwangi, which since 2011
developed traditional art-based fashion, raised
themes of art and rituals that lived in the community.
Barong Kemiren which is rooted in rituals and has a
play that lives as local (oral) literature was appointed
as a BEC theme in 2012 that can be accessed by the
international community. The Using bridal tradition
is part of the Banyuwangi tradition until now is still
being lived by the Using community and was
adopted as the BEC theme in 2015. Using the Bride
who was appointed as a festival theme (BEC) shows
that fashion as a form of modern art expression has
the potential to package tradition into global stage.
Sri Tanjung Sidopekso which is a legend from
the name of Banyuwangi until now leaves various
fragments of the story. The story of the Sri Tanjung
Well in Temenggungan Village, being a Janger
traditional art play, and being adopted as the BEC
theme in 2016 is a fragment of the story of Sri
Tanjung and Sidopekso with the final estuary in
festival format.
4.3 Culinary
Culinary in Banyuwangi grows and develops in line
with the development of tourism which is one of the
leading developments in Banyuwangi. The ritual is
held in series with the salvation that serves
Banyuwangi culinary specialties, such as pecel pitik,
ointment, and other dishes. The development of
tourism makes dishes that were originally as part of
salvation, such as pecel pitik, and then develop into
culinary offerings that are sold to tourists. The
culinary offerings educate the public and tourists
about a variety of local-based culinary flavours.
Figure 2: After the Nglungsuri ceremony was attended by
the community and the Seblang ritual organizing
committee (Research Team Documentation).
Innovations also occur with the emergence of
new recipes such as rujak soto, sega cawuk, and
sambal tempong. The development of rituals,
traditional arts, and culinary in Banyuwangi shows
signs of mutual support and interdependence.
However, all of them boils down to the
implementation of the festival which in 2019
reached 99 (Ninety-Nine) festivals.
Figure 3: Calendar Banyuwangi Festival 2017.
Banyuwangi Cultural Festival: Revitalization and Commodification of Locality-based Tradition Arts
363

The 2017 CBF above shows a variety of
traditions that lead to the festival's major activities.
Through online publications that can be accessed by
the global community the festival has the potential
to be attended by large numbers of guests and from
various regions, countries and professions. All of
that becomes an arena of cultural-based socialization
and promotion.
5 CONCLUSIONS
Traditional terminology refers to various areas of
life whose inheritance occurs across generations.
Lontar Yusuf as a written script, the wat how to
enjoy it, is by spoken. It gives an auditive
appreciation space for the people who listen to it.
Placement of Lontar Yusuf as a local Banyuwangi
literary because of the unique way of enjoying, that
is by routinely speaking once a week and rotating
from house to house. Revitalization and
commodification lead to performing arts and
entertainment which begins with reading a part of
the story in Lontar Yusuf.
Barong Kemiren has two characters, namely
sacred and profane. The sacred barong is saved and
only issued during the Barong Ider Bumi Kemiren
village ritual which is held every year on the second
Eid day. Barong profan as a performance art with the
story of Barong Jakripah, Mr. Mantri, and Macan
Lundoyo as oral literature visualized in the form of
folk theatre performance art and became fashion as a
BEC theme that is accessible to the global
community. Revitalization and commodification
lead to the development of a number of groups in
stages in terms of age, namely old barong (the
earliest with adult players), barong lancing with teen
players, and young barongs with child players.
Traditional arts, rituals and culinary arts as part
of a culture that is still being lived by the Using
community, some have been appointed as BEC
themes which are world-class fashion. Culinary,
tourism and ritual are interrelated, mutually
supportive and interdependent fields. Culinary is
also a part of festival events, such as tumpeng sewu,
ngopi sepuluh ewu, sangrai kopi, festival bakul, dan
sega lemang & kopi uthek. The educational aspects
that are built through rituals, traditional arts, and
culinary, bring the connoisseurs closer to the natural
environment (animals, plants, geographical
locations), social (living together, mutual
cooperation, cooperation, marriage institutions).
ACKNOWLEDGEMENT
This article is one of the results of the study
"Optimizing the Potential of Banyuwangi Coastal
Culture and Creative Industries for Productivity and
Welfare" funded by the Ministry of Research,
Technology and Higher Education (2019-2021); No.
1802/UN25.3.1/LT/2019.
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