 Kuda Lumping dance during a festival inYogyakarta,Indonesia | |
| Native name | ꦗꦫꦤ꧀ꦏꦺꦥꦁ (Javanese) Tari Kuda Lumping (Indonesian) |
|---|---|
| Genre | Traditional dance |
| Instrument(s) | Gamelan,Gong,Kendhang,Angklung |
| Inventor | Javanese |
| Origin | Indonesia |
| Kuda Lumping |
|---|
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| Burma |
| Cambodia |
| Indonesia |
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| Laos |
| Malaysia |
| Philippines |
| Singapore |
| Thailand |
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| Vietnam |
Kuda Lumping (Javanese: ꦗꦫꦤ꧀ꦏꦺꦥꦁ,Jaran Kepang orJathilan,Indonesian:Kuda Lumping orKuda Kepang, English:Flat Horse) is a traditionalJavanesedance originated fromPonorogo,East Java,Indonesia depicting a group ofhorsemen. Dancers "ride" horses made from woven bamboo and decorated with colorful paints and cloth. Generally, the dance portrays troops riding horses, but another type ofKuda Lumping performance also incorporates trances and magic tricks. When the "possessed" dancer is performing the dance in trance conditions, he can display unusual abilities, such as eating glass and resistance to the effects of whipping or hot coals.
Although the dance is native toJava,Indonesia, it is also performed by theJavanese communities diaspora inSuriname,Malaysia andSingapore, popularly known asKuda Kepang.
TheKuda Lumping is originated in Java island,Indonesian. Two main hypotheses have been proposed. The first suggests thatKuda Lumping may have arisen out ofDiponegoro'swar against theDutch colonial forces, as a ritual reenactment of battles. While the second theory suggests that it is based onMataram-era troops riding against the Dutch.[1]
However,Kuda Lumping is known under different names in different areas ofIndonesia.Kuda Lumping is the most common name inWest Java, inCentral Java it is known asJaran Kepang orJathilan inEast Java, while inBali, it is known asSang Hyang Jaran.[2] In BalineseSanghyang dance refer to the type of dance involvingtrance by spirit identified ashyang.
Kuda Lumping may be performed in celebration of a special event, such as a boy'scircumcision or rite of passage.[3] It may also be performed as entertainment, in abusker style.[1] It is generally performed in a cordoned-off area, with the audience separated from the dancers.[4]
Kuda Lumping is traditionally performed by a group of men drawn from the local community; this group can number from two to eight.[2][4][5] The performers mountrattan horses and dance while traditional instruments such as theangklung,gongs, anddog-dog drums are played.[1][4][5] This portion of the performance ends when a dancer enters a trance, which is traditionally said to be caused byspirit possession.[1] InSang Hyang Jaran, the audience may participate by forming a chorus and singing.[2]
During their trances, the dancers may pretend to eat grass or drink water, while another performer orshaman uses a whip to direct them. In some performances, dancers may walk on coals or eat glass or fire, which can cause various injuries. The dancers also interact with the audience; in busker performances they may ask for money. In some areas the dancers serve as oracles to deliver prophecies. After awakening from their trances, performers claim not to remember anything done while performing.[1][2]
InEast Java, the similar dance is calledJathilan, and is a part ofReog Ponorogo performance. A Jathil is the youthful handsome horsemen riding horses made of weaved bamboo. Unlike common jaran kepang however, jathil never performed trance dances and stunts such as eating glass or walk on fiery charcoal. Traditionally jathilan dance was performed by gemblakan, today Jathil usually performed by female dancers.
Dancers perform using rattan horses, generally colourful and decorated with beads and sequins. Adults use larger horses than children. Children's horses may also be cut from bamboo mats.[6] Performers wear colorful clothes and may occasionally dress as soldiers. The costume may also include small bells strung around the ankle.[1] In comparison to the shaman, the dancers' costumes are more feminized.[7]
Henry Spiller suggests thatKuda Lumping represents spiritual power and masculine virility, which is "wild and uncontrolled ... yet ultimately a good thing".[8] Max Richter notes that the erratic movements of the "feminized" dancers may "draw on ideas about the subordinate 'irrational' female", while the slower, more deliberate movements of theshaman "may be seen as masculine and potent". However, he considers this secondary to the conflicts of science versus magic, and good versus bad.[7] He also notes that it serves as a way for young boys to release energy in a non-violent manner.[9] These, of course, are the interpretations of Western academics and do not reflect the views and intentions of the native dancers.
Kuda Lumping is widely popular. But, individual observer opinions vary. Some view it as being related to theevil spirit, while others see it as being a good influence. A shift in meaning, from a mainly spiritual ritual to entertainment, has been noted.[9]
Kuda Lumping has been used as the basis for adangdut song of the same name.[5]
In August 2025, three men pleaded guilty in theSyariah Court inBatu Pahat, Johor, Malaysia, for charges under Section 3 of the Syariah Criminal Offences Enactment ofJohor 1997 of incorrect acts of worship (syirik [ms]) after a video of the men performingKuda Kepang went viral.[10][11] The JohorMufti later added that the dance can be preserved due to its cultural heritage but it cannot compromise on Islamic principles.[12]
Footnotes
Bibliography
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