Islamic Religious Values in Begalan Banyumasan Ceremony: Education

This paper presents a descriptive qualitative research on the Begalan Banyumasan traditional ceremony, a ritual performed during marriage ceremonies in Banyumas, Central Java. The study investigates the form of the ceremony, the meanings embedded within the brenang kepang (kitchen equipment), and the Islamic religious values it embodies. The research employs observation, interviews, and document analysis to understand the symbolic meanings of the ceremony's components, including the dialogues, tools, and performance time. The findings reveal that Begalan serves as a source of character education, emphasizing values such as religiousness, honesty, and responsibility, which are relevant for students. The report highlights the distinction between ancient and modern forms of brenang kepang, and how the ceremony's structure and dialogue provide advice to the bride and groom, making it a valuable tradition for character building. The study concludes that the Begalan ceremony is a unique tradition that reflects Islamic values and can be a useful educational tool.

International Journal of Islamic and Civilizational StudiesFull PaperUMRAN
| 01 – 1 (2017) pp. 71 - 77 | www.http://jurnalumran.utm.my/index.php/umran |
© 2017 Penerbit UTM Press. All rights reserved
Islamic Religious Value in Traditional Ceremony of Begalan Banyumasan
as Educational Character for Student at Senior High Schools In Central
Java
Kundharu Saddhono, a,* Alva Kuniawan,b
aGraduate Program, Universitas Sebelas Maret.
bGraduate Program, Universitas Sebelas Maret.
*Corresponding author: [e-mail]
Article history
Received: 10/10/2016 Received in revised form: 09/03/2017 Accepted: 14/03/2017
Abstract
The purpose of this paper is to describe: (1) the form of Begalan traditional ceremony, (2) the meaning contained in
brenang kepang, (3) the religious values of Islam in a Begalan traditional ceremony. This research is descriptive
qualitative. The data collection techniques in this study are observation, interview, and reviewing documents and
archives. The object of this study is a religious value in a traditional ceremony of Begalan Banyumasan. The data
analysis technique in this research is qualitative descriptive analysis and interactive. Begalan Banyumasan traditional
ceremony is a form of ritual to get rid of negative things. From the order of performance time, speech, and tools brought
in Begalan have meaning and religious value. Therefore, the traditional ceremony of Begalan Banyumas is very
suitable as a source of educational character in schools.
Keywords: Islam; religious value; Begalan; Bayumasan; character building

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1.0 INTRODUCTION
Begalan is a traditional performance in a series of marriage ceremony in Banyumas residence. This
tradition began when the groom and his family entered the yard of the bride’s house. This tradition
is carried out when the groom is the eldest son of a family (Herusatoto, 2008: 235). The interesting
part of Begalan traditional ceremony isthe dialogue between the robbed victims (dibegal) and the
robber (pembegal). The dialogues usually contain criticism and advice for the bride and the groom
that delivered in a funny and humorous style. Begalan is a combination of dance and the art of
speech or comedy with musical accompaniment.
Begalan ceremony is a combination of dance with "verbal speech" as part of a wedding
ceremony. That is when the groom's family entered the yard of the bride’s house (Suwito, 2008:
5). The tools carried as the luggage are kitchen equipment. Each the luggage especially kitchen tool
has a symbolic meaning according to the philosophy of Java, especially Banyumasan. The
equipment takenwas: ilir(fan), ian, cething, kukusan, saringanampas, tampah, sorokan, centhong,
siwur, irus, kendhikarowangkring, and others.
The dialogue in Begalan ceremony contains some advices to the bride and the groom in
marriage. Begalan often uses fresh jokes related to the relationship between men and women. In
Banyumas community philosophy, the thing that being robbed is not his wealth but bajang sawane,
the blessing of the bride’s parents. There were two dancers (one male and one pancer brother of
the groom), the one is carrying the kitchen equipment, while the others served as the robber. The
robber usually carries a wooden sword. The clothes of the player is quite simple, they are generally
dressed in Java style. Dialogue delivered from both performances is in the form of a language
symbol that translates from the names of the types of goods carried. Usually, after the show, the
kitchen equipment brought was given to the audience as a door prize (Suwito, 2008: 6).
Begalan traditional ceremony is a unique tradition in marriage. Begalan means there can be a
robbing in marriage. The similar unique tradition is I Serahen Ku Guru in the Ngerje marriage
ceremony (Selian, 2007), this tradition is a tradition of giving advice by the petua or tengku. The
advices contain the main points of belief and responsibility of husband and wife. It also explains
about how to live in the society along with examples and the proverb of Gayo. The difference
between I Serahen Ku Guru and Begalan is in the implementation time and the delivery of the
advice. Begalan give the advice by explaining the symbols of household furniture.
Begalan tradition in Banyumas at least three meanings contained in it, namely the textual
meaning, contextual meaning and symbolic meaning. The textual meaning of Begalan ritual is in
the form of the provision to the bride about the household. The contextual meaning of Begalan
ritual is asking for the safety in life.
The concept of the values of character establishment is very diverse. The value of forming a
complete character is proposed by the Curriculum Center of the Education Development and
Culture and National Character. The character pillar value according to the Center for Curriculum,
Research and the Ministry of Education was formulated as much as eighteen items of value that
should be developed to shape the character of the students in Indonesia (Wibowo, 2013: 15-16).The
purpose of education character by Suhartono (2008: 103) is improving the quality of education in
schools and the students’ achievement, students’ noble establishment, integrated and balanced
according to the standards competency. Those values are (1) religious, (2) honest, (3) tolerance, (4)
discipline, (5) hard work, (6) creative, (7) independent, (8) democratic, (9) curiosity, (10) the spirit
of nationalism, (11) patriotism, (12) the achievements, (13) friendly or communicative, (14)
pacifist, (15) improving the reading habits, (16) environment caring, (17) social caring, and (18)
responsibility.

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2.0 RESEARCH METHODOLOGY
The study about the equipment of the brenang kepang in Begalan Banyumasan traditional
ceremonies carried out in Banyumas. This study was a qualitative research. The type of the study
was qualitative descriptive. That is by performing a research of the objects finding and interpret
the relationship of the various elements in it (Sutopo, 2006: 86). The data collection techniques in
this study were observation, interview, and reviewing documents and archives (content analysis).
The data analysis technique in this research is qualitative descriptive analysis and interactive, the
data analysis focuses on the meaning, descriptions, and placement of data on the each context
(Sutopo, 2006: 107).
3.0 THE FORM OF BEGALAN
The results showed the form of brenang kepang developed in the community is divided into two
types: The ancient brenang kepang and modern brenang kepang. The ancient brenang kepang
contained twelve kinds of kitchen equipment that made from natural materials. The equipment of
ancient brenang kepang were ian, ilir, embatan, kukusan, cirimuthu, cething, centhong, tampah,
siwur, irus, kendhil pratala, kekeb, sorok, sapulidi, danpadi. The form of brenag kepang developed
in the Banyumas society was mostly using the ancient brenangkepang. The kitchen equipment used
in modern or contemporary brenangkepangwas not made from the natural materials and some of
the equipment are being replaced without reduced its function.
The modern or contemporary brenang kepang was the form of brenang kepang that consist of
kitchen equipment but the material was not from the nature, like bamboo. Some of the equipment
was replaced with the modern one, such as: cething was replaced with magic jar, siwur was
replaced with plastic water dipper, sorok replaced with stainless sorok, and another kitchen
equipment made of plastic. Thus, not all of the equipment carried in modern brenang kepang is
made of natural materials.
The reason of using the modern kitchen equipment were: (1) the house owner thought that it
is more efficient, it is easy to get those things; (2) the householder thought that the modern kitchen
equipment can replaced the old kitchen equipment because it has the same function; (3) Some
people who held Begalan Banyumasan was having difficulties to find the kitchen equipment in
ancient brenang kepang. The form of brenang kepang usually provided and assembled by the
Begalan Banyumasan performances. So, they can know about the equipment that being used and
arranged to explain it to the audience.
There were some of the house owners that held Begalan Banyumasan ceremony provided
ancient brenangkepang. It was easier for the performances of Begalan Banyumasan because they
did not need to carry and arrange the kitchen equipment used in brenangkepang. The performances
of Begalan Banyumasan just recited the meaning of all the symbols in the form of kitchen
equipment and gave some advices on married life provision (Herusatoto, 2008: 239).The second
form of brenang kepang is modern or contemporary brenang kepang. The forms has been modified
and developed in some of the kitchen equipmnet used. The modern or contemporary brenang
kepang was the form of brenang kepang that consist of kitchen equipment but the material was not
from the nature.
Begalan Banyumasan traditional ceremony was one of ritual to rid of the negative things from
the brides (sukerta). This has been done by explaining the meanings conveyed through the
symbolization of brenang kepang equipment. Thus were appropriate with the results of study by
Sunarto (2013: 70-78) titled Leather Puppet in Javanese Ritual Ceremony. The results showed that
the shadow puppet show can be used as a tool of ritual to get rid of negative things (larung sukerta)
for someone.
A discussion of forms of performance art of Begalan outlines everything related to the
performing arts of Begalan and attendance can be felt by the senses. Performing arts of Begalan
time to adjust to Panggih wedding ceremony. If Panggih wedding ceremony held during the day,

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then Begalan staged during the day. But if Panggih wedding ceremony held the evening, then
Begalan staged night. The time for the staging is not mandatory, but is highly dependent on the will
of the responders or adjust the existing circumstances
Performing arts of Begalan starting from the entry of the bride or groom to the ceremony
location, accompanied by his parents and guided by a bridal makeup artist. Normally execution
took place in the front yard of the bride, accompanied by gendhing Kebogiro, escorted by two
players Begalan complete with its brenang braid. Players Begalan swordbearer escorting the
bride, while the players Begalan brenang kepang carrier escort the groom. Arriving at the place
set up, the bride and groom sit accompanied by parents each bride.
After coming to a place prepared, groom sitting next to his parents, and the bride was
accompanied by her parents sat in the sitting position facing each other to jointly witness the
Begalan. Begalan performances staged in the middle so that both the bride and her parents all can
clearly follow the show, so understand all the contents of the advice outlined by Begalan players.
Both interpreter robber then danced the piece Banyumasan dish. After serving Gendhing
suwuk (stop), the players stopped dancing. Players who are in charge of carrying brenang kepang
laying luggage. In this section, both players were in the show ring, but the new active players to
one. The second player to act as if it has not entered into a staging arena. Players to one (messenger
of the princess) then performed a monologue.
Performances further illustrate the groom's envoy trip, followed by the introduction between
the two envoys. In this section two players to have started to actively interact with the player first.
One of the players (usually carrier brenang braid) introduced himself by name Surantani, the
messenger of the kingdom Medang Kamulan, while the second player (robber) said his name Sura
Dhenta, the messenger of the kingdom Kahuripan.
Motion used in Begalan no specific action guidelines. Motion used are movements of
improvisation or spontaneous, monotonous, and seen their own wishes, which is important in
accordance with the rhythms. Examples range of motion is a motion Begalan include: walking or
lumaksana, sindhetan Banyumasan, geyol, entrakan, and others. Motion used is not patterned sequence
and performed repeated.
No accompaniment in the traditional arts that use accompaniment internal, external, and some
use to both. On Performing arts of Begalan classified accompaniment accompaniment used
externally. Before the rapidly developing technology implemented directly accompaniment, along
with the development of technology, no accompaniment accompaniment can be used directly, for
example using a cassette and CD.
Performing arts of Begalan cosmetology used includes dressing character as it aims to
establish the desired characters. There are two figures in Begalan of the character and the mugger
mugged. Overall makeup used on Begalan art is both simple and straightforward both in terms of
the materials used, color scheme, as well as how to use it. Makeup used, among others: (1) the
powder, sinwit white (instead of powder), (2) an eyebrow pencil, and (3) lipstick. Sinwit and
powder used to polish the face to make it look white. Eyebrow pencil is used to reinforce the
eyebrows, sideburns, mustache and beard to bring heroic characters. Lipstick is used for lipstick
and blush on the face. Overall the makeup is makeup manly types. Hair dressing dancer son left to
decompose enough then given iket or blangkon as headgear
Floor pattern used in the presentation of Begalan in Banyumas is a pattern of the floor face to face.
The pattern of the floor face to face is used in almost all Begalan presentation. The venue of Begalan
usually done in the yard before the bride down the aisle or reception hall. As the times Begalan also
often staged in the building, with a position in front of the bride. Begalan lighting art performances
staged during the day if only rely on the sun, and when the evening was staged lighting harness the
power source using fluorescent lamps as illumination. Before the use of electric lighting Begalan art
show at night by utilizing lighting petromaks, senthir, and blencong (Sefiati, 2014)

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In order for the show smoothly staging performances Begalan must consider elements of
sound. Supplies sound system equipment is needed in an organization of presentation begalan.
Sound system used among others mike is immediately taken by the player begalan. Property
performances Begalan be some kitchen utensils. Among the group Begalan one and the other can
be different in kind but still property used in performing arts of Begalan among others: Ian, Ilir,
Kukusan, Pedaringan, layah or ciri, Muthu, Irus, siwur, Rice, Wangkring, Sapu sada Suket, muthu,
cething, Daun Salam, and Tampah. Luggage is usually called brenang kepang. Harrier property in
the form of a wooden sword called wlira (Budiastuti, 2015).
4.0 THE RELIGIOUS VALUES IN BRENANG KEPANG EQUIPMENT
The kinds of kitchen equipment in brenang kepang consisted some advices, pitutur, dan pitudhuh
the bride and groom who married, and the audience at the ceremony. Ian is a square-shaped kitchen
appliance and used as a base to cool the rice (angi). Ian made of woven bamboo and clamped on
all four sides, but it is bigger than ilir. The general meaning of Ian was for the bride that they should
be lived in harmony. (mikrokosmos). Ian is also a symbol of character (do well). Moreover it must
work in order to make living without leaving the God (eling).
Ilir is one of kitchen equipment to make the rice cool (angi). The shape of Iliris a square made
from woven bamboo, but it is smaller than Ian. The meaning of Ilir was as people live in married
life, should not be concerned with their own wishes and had selfish attitude, because it would
increase the problems in a family. Additionally, ilir or fan was a symbol of reassuring the life or
symbolize that people should not be a provocateur.
Pikulan/wangkringis made rom bamboo and used to carry something heavy in hand. The value
that can be taken from the kitchen equipment embatan are mutual cooperation and discussion
dealing with a problem in the family. People should not distinguish with another religions and
respectful.
Kukusan had meaning that in a marriage life, they had to change the mindset. This is in
accordance with the kukusan function; it converts something uncooked to be cooked. The basic
guiding, that every married people should think more mature because he had entered a higher stage
of life.
Ciri and muthu was the kitchen equipment that used as a tool to make the kitchen spices
smooth. This tool also symbolizing the phallus and yoni, the two are inseparable and always united
to get delicious flavors (Chusmeru, 2011: 6). The meaning indicated are complementary and help
each other.
Cething was the kitchen equipment that used as a rice basket. That a husband or wife should
work to make money, saved as much as possible and used it well. Moreover, it has a meaning that
people who live in a society should obey some certain rules. Therefore, people should not act as
they pleased because he would be responsible for their attitude.
The meaning of centhong was in the marriage living should be able to process a bad situation
into a good one and always put discussion and equity.
Tampah was a tool used to select whether the good or bad rice. It symbolized that people
should choose the good things and avoids the bad things. Tampahcame from
keratabasameansditata men rawutah. Thus were the lesson for a husband to organize and manage
his family as the leader of the family.
Siwur was kitchen equipment used to take water made from coconut shell that given a handle.
Siwur also known as cidhuk/gayung. Siwur had the meaning that nek wis isi aja diawur-awur. It
means that in family living should use everything in accordance with the needs and should not be
in awur-awur (extravagant). The implicit meaning conveyed through siwur was saving.
The purpose of Kendhil Pratala and its contents was as a person who married must attempt to
work to make living. It was symbolized as coins and rice. People are required to work to collect

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the money to be used wisely. Moreover, Kendhil made from the soil. It was a symbol that human
in the future buried. Thus can make people be obedient to the God.
Sorok is a kitchen equipment used for taking something fried. Sorok can be interpreted as aja seneng
carak-corok. It means that as a human being, we should not envy and reproach to others.
Sapu lidi or broom had meaning that in a marriage should live in harmony. Broom symbolizes
that a marriage life must be united and do not stand alone. The value delivered through the broom
is togetherness, unity and integrity (guyub pillar) in building real life.
Pari/rice was the part of usual crops symbolized as Dewi Sri, the Goddess of Fertility, and the
Goddess of Prosperity. The philosophy of rice can be concluded that a human should fight, work
and study when young and stay humble once their aged.
The study about the equipment used in brenang kepang was one of the studies that used the
meaningful signs. This study was as same as the study done by Doina dkk (2012) entitled Specific
Cultural Communication through Archaic Signs and Symbols. The research result was a pattern to
read the symbols and signs on the specifics cultural communication. The result in the form of a
diagram that starts from reading the marker, sign, symbol and then back again to the marker.
5.0 THE RELIGIOUS VALUE OF BEGALAN BANYUMASAN AS A
SOURCE OF THE EDUCATIONAL CHARACTER VALUE IN
SCHOOL
The implementation of Begalan tradition was an activity that leads to the religious value. Based on
the description and the meaning of kitchen equipment, the value can be applied into daily life.
Brenang kepang contained some meaning, pitutur, and pitudhuh to the bride and groom who
married, and the audience at the ceremony. The advice was for the bride to build up their character
related with God. It was reflected by their attitude in doing some religious practices. Then, with the
religious value taught can made a vertically relationship. It was the relationship between human,
associated with mutual respect in the marriage and the environment.
Based on the explanation about kitchen equipment and educational character value, it can be
applied to learning process in schools. The educational value of these characters can also be used
as a source of education, especially religious values and guidelines for learning in schools. Study
by Dwiningrum (2013) produced several factors and underlying social capital and supporting
character education of students in the school. These factors included participation and social
relationships, beliefs, social norms, social rules, and proactive behavior. Based on these factors, the
characteristics of students can be. There were also other elements that support the student's
character that is about the educational environment in the family, school and community.
Based on the above description that one of the educational value that is contained in the
performing arts of Begalan is ethics education. Ethics education in question is the ethics education
or education about good and bad teachings that must be understood by the student to be applied in
life in the world of education. Ethics education in the performing arts of Begalan aims to provide
learning to students in order to get along in harmony and balance in life in educational
environments.
Education ethics contained in the performing arts of Begalan included in group normative
ethics for explaining a judgment of good and bad, as well as showing what should be done by the
students. Java Ethics outlines submitted in two ways, first through pituduh (advice,
recommendation) whose contents give advice in the form of a recommendation. Both through
pepali (wewaler) means that the Javanese away from bad deeds. Advice and ban is the core of
morality or ethics. The purpose of giving advice and prohibition is unharmed or slamet. Manners
or ethics for the Java community is a necessity. Java manners or ethics delivered from a particular
party to another party who have not the same position. Java ethics implemented in an effort to keep
the harmony of human life (Endraswara, 2003: 37).

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6.0 CONCLUSSION
The role of religiosity in Begalan Banyumasan as a character education in schools had an important
role. From the order of events, speech, and equipment brought in Begalan had each meaning or
religious values. The brenang kepang equipment contained many values of educational character
that is relevant to the curriculum and learning process in schools, especially in high school level.
Through the high school level, the value of religiosity character education, especially in the
traditional ceremony Begalan Banyumasan can be used as a source and tool in teaching and
learning activities.
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