Discussions related to regional cultural identity sparked community enthusiasm. Especially with the discourse on the legality of indigenous culture through the Main Thoughts of Regional Culture (PPKD). Various regions in Indonesia are encouraged to explore various regional cultural potentials. With a view to maximizing bargaining value and data collection on regional cultural assets at the national level. The discourse is contained in Law no. 10 of 2017 concerning the Advancement of Culture as a form of concretization of the protection and development of local cultural assets.
Frengki Nur Fariya, in his thesis research entitled “THE POWER OF PRABU KELANA SEWANDANA: VERNACULARIZATION AND THE REYOG PONOROGO NARRATIVE WAR” sees this in the midst of a cultural environment. The current contextualization debate has led to the emergence of polarizations that are tense over the position of locutor. The role of power becomes important in the struggle for position as a narrative locutor. The artistic narrative of Reyog Ponorogo is a form of artistic narrative tension. The various versions and the strength of the support base for the narrative version have made Reyog Ponorogo’s art never find a clear periodization. Moreover, there are traces of Reyog Ponorogo’s involvement in the People’s Arts Institute (Lekra) which the government declared was affiliated with the PKI.
In this case, Frengki Nur Fariya through his research guided by Dr. Sukarjo Waluyo, M.Hum. found findings such as findings of records regarding Reyog Ponorogo in Serat Centhini (1814 AD) and Rejog Panaraga’s remains (early 20th century). Both of these manuscripts can support historical data. The context found in the text can be used as a foothold for the changing forms and narratives of Reyog Ponorogo in the past. Manuscript texts and archival evidence can be juxtaposed to bring up alternative interpretations. Such as the basis found in the Rejog Ponorogo story regarding the foundation of the Panji story in the Reyog Ponorogo performance.
The conclusion of this research is that Reyog Ponorogo, which is considered the only art name, actually has similarities to the names of arts in other regions. divided into two forms of performance, namely Reyog Obyog and Reyog festivals, there are various narratives. Two forms of performance, namely Reyog Obyog which uses satire Ki Ageng Kutu for Brawijaya V and Reyog Festival which is based on KSB narratives, show the persistence of past and present forms. This can be understood as the dynamics of the existence of the Reyog Ponorogo form. The existence of a variety of Reyog Ponorogo narratives is more directed at the involvement of political elements that underlie it.
The findings of Frengki Nur Fariya Pratama’s research were tested in front of the examiners, Dr. Redyanto Noor, M. Hum., Prof. Dr. Mudjahirin Thohir, M.A., and Dr. M. Suryadi, M.Hum., on April 18, 2023.
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