CINGCOWONG AS ONE OF THE CULTURAL

TOURIST ATTRACTIONS
IN KUNINGAN REGENCY

A Paper
Submitted to the School of Foreign Languages
Tourism Foundation of Indonesia ABA-Bandung
In Partial Fulfillment of the Requirements
For Taking the Sarjana Degree (S.1)

By

TOTO HARYANTO
Registration Number: 20.111.166
ENGLISH DEPARTMENT

SCHOOL OF FOREIGN LANGUAGES

TOURISM FOUNDATION OF INDONESIA
ABA-BANDUNG
2004

Program S-1 Status Terakreditasi

BAN PT DEPDIKNAS RI
SK NO. 022/BAN-PT/AK-VIII/S1/VI/2004
 CINGCOWONG AS ONE OF THE
CULTURAL TOURIST ATTRACTIONS
IN KUNINGAN REGENCY

By:

TOTO HARIYANTO

Registration Number: 20.111.166

ENGLISH DEPARTMENT

Approved by:

Prof.Dahlan, HMD, Dr. H.Yep Sudjana Kartadimaja, Drs

First Sponsor Second Sponsor

Prof. H. Ilyas Purakusumah, Drs.Odo Fadloeli, Drs, MA.

Chairman of STBA Head of English Dept.
Life is something honorable for all human

being, but for a hero, glory and dignity is

more honor able than life.

(Learned Wise)

Dedicated to:

My Beloved father, mother, sister/brother,

relatives and Yanti

 PREFACE

The writer would like to thank Allah SWT for His blessing and

guidance that he has finally writing the paper entitled “CINGCOWONG AS

ONE OF THE TOURIST CULTURAL ATTRACTIONS IN KUNINGAN REGENCY”.

This paper is submitted to STBA YAPARI-ABA BANDUNG as one of the

requirements to take the Sarjana degree examination.

In writing this paper, the writer has faced some difficulties,

hardships and problems; however, due to the assistance and great

support from a number of people, he has finished this paper. Therefore,

in this occasion, he deserves to express his deepest gratitude and sincere

appreciation to:

1. Prof.Dr.HMD Dahlan, his First Sponsor and H.Yep Sudjana

Kartadimaja, Drs, his Second Sponsor, who have spared their time

checking the parts of the draft and giving suggestions in completing

his paper.

2. Odo Fadloeli, Drs, MA, the Head of English Department.

3. Prof. H. Ilyas Purakusumah, Drs., the Chairman of School of Foreign

Languages, Tourism Foundation of Indonesia, Bandung.

4. All the staffers of the Regional Tourism Office of Kuningan Regency,

the artists and the figures of Cingcowong and the people of

Lurangung Sub-District, Kuningan Regency for their valuable

information in his data collecting.

5. His beloved parents, sister/brother, and his relatives who have

supported him mentally, materially, financially, as well as, with their

greatest love to finish this paper.

6. His beloved dear Yanti Aprianti, who has always been accompanying

and helping him with her biggest support in finishing his paper.

7. Everybody who has given some helps and support, yet he could not

mention them one by one.

Only God knows how grateful the writer is to all of them

mentioned above.

Finally, the writer hopes that this paper would be useful for all

readers in general and students of School of Foreign Languages, Tourism

Foundation of Indonesia, Bandung in particular.

Bandung, December 2004

The Writer
 TABLE OF CONTENT

CHAPTER II........................................................5
I. A. General Description.................................................5
I. Tourism in Kuningan......................................................................8
 CHAPTER I

INTRODUCTION

West Java, which lies at the most western end of Java, is rich in

many excellent resorts as well as objects of cultural interest although it

is now gradually wiped out and changed by modern cultures that come

from foreign countries. Therefore, in order to preserve ancient culture

histories, the government has instructed its citizens to preserve and to

relive the traditional arts that have disappeared. One of the traditional

arts is Cingcowong, an art form of Kuningan Regency that is gradually

extinct.

Cingcowong actually has a good prospect to be a tourist attraction

if this art is activated and promoted. Because this art is found only in

the eastern part of West Java, the uniqueness of the art is not found in

other places.

Cingcowong is the art that has magical element, like Debus, Lais,

and Kuda Lumping. However, Cingcowong is more artistic than Debus,

Kuda Lumping, Lais and other magical arts in West Java, because this art

not only presents magic but it is also accompanied by another art, which

is more conspicuous. Like other traditional art, Cingcowong is also

accompanied by musical instruments, dancing and singing, so that the

performance is more exciting and interesting. Therefore, this

1
 2

performance will turn out to be an attractive tourist attraction if it is

properly developed.

A. The Aims of Writing the Paper

There are several aims in writing this paper, as follows:

1. To promote Indonesian traditional arts as a medium for supporting

tourism.

2. To introduce Cingcowong as an ancient cultural attraction with a

good potential to support tourism especially in Kuningan and

generally in Indonesia.

3. To gather some information about the existence of Cingcowong so

that the result is expected to be useful as well as helpful in

developing tourism and it is hoped that the public will know the art.

B. The Reasons for Choosing the Topic

In Kuningan Regency, there are many interesting tourist objects,

which attract tourists to visit, either the cultural tourist attraction or

the natural ones. But from many kinds of the tourist attractions in

Kuningan, the writer has some reasons for choosing the topic of the

paper as follows:

1. Cingcowong is a public art, found only in the eastern part of West

Java.
 3

2. Cingcowong has not been widely recognized by people so far,

especially by those outside the Kuningan Regency.

3. Since not many people know about Cingcowong the writer hopes after

finishing this paper, this art will be more popular and more famous.

C. Limitation of the Problem

Kuningan Regency is rich in tourist object either cultural or

natural. In this occasion, the writer would like to limit the topic only on

observing the Cingcowong as a tourist attraction in relation to the local

socio cultural life as one of the attractive regional cultures in Kuningan.

D. The Methods of Research

In writing the paper, the writer has done a descriptive research

that describes the facts factually and accurately. To collect and to

analyze the data, the writer has used several methods, like:

1. Direct Observation

To get more-detailed information about the historical background,

the existence, and the performance of Cingcowong, the writer has

visited the area where the art develops namely Luragung Sub-District at

Kuningan Regency so that he could get a real idea and data on it.

2. Direct Interview

By interviewing the officials of regional tourism office as well as

the artists, culturists, and elders who are familiar with Cingcowong, the
 4

writer can get the information about the art more accurately and

authentically.

3. Library Research

To browse some references relating to the existence of the object

in supporting tourism in Kuningan Regency, the writer has visited the

library of STBA Yapari – ABA Bandung. He has read some books,

magazines, and brochures such as Pesona Alam dan Budaya Kabupaten

Kuningan (Diparda Tk II Kuningan), Pengantar Ilmu Pariwisata (Marbun

SPH), Gelar Budaya JABAR (Diparda Tk II Kuningan), SEREN TAUN

(Lembaga Pengkajian Kebudayaan Nusantara) in order to collect some

data that are related to the topic.

Finally, the writer has described why he appointed Cingcowong as

his point of paper and how he collected data and information about the

object he wanted to present. The location where Cingcowong is usually

performed and the object that he has mentioned will be explained and

described in details in the next chapters.

 CHAPTER II

KUNINGAN AT A GLANCE

A. General Description

1. Historical Background of Kuningan Regency

Early in 8th Century, exactly in April 732 B.C., there was a country

called Kuningan whose the king is King Seuweukarma. Seuweukarma was

called by his people “Ranghyangtang Kuku” or Lord Kuku. As a matter of

fact Lord Seuweukarma was not a native of Kuningan but he came from

Galuh Kingdom and he stayed in Arile Village.

Seuweukarma was adhered to Sanghiang religion (Hindu) whose

rules embraced the Hindu faith. Seuweukarma had a supernatural magic

namely Ajian Dangiang Kuning. Seuweukarma became well known

because of his supernatural power and the people respected him. In his

reign, Kuningan Kingdom developed into a big country and respected by

other kingdoms.

At the end of 15th Century, the Islamic belief came to Kuningan

and Kuningan began to fall under the pressure of Islam’s advance that

derived from Cirebon. Little by little, Islamic belief influenced the

authorities of Kuningan so that they converted to Islam. The first Islamic

King in Kuningan Dynasty was Sang Adipati Kuningan. According to the

legend, the name of Kuningan Regency was taken from the name of Sang

Adipati Kuningan.
 6

2. Geography and Climate

Kuningan Regency is surrounded by part of large mountainous

territory. It lies at the eastern part of the slope of Ciremai Mount and

the borders on the Regency of Majalengka in the west, Cirebon Regency

in the north, and Brebes in the east (Central Java), and Ciamis Regency

in the south.

The area is about 1,178,57 Km2. Kuningan relatively consists of a

flat land with the various hills especially in the western and southern

territories with the height of 266 m to 720 m, while in the northern and

eastern parts the land is flat with the height of 120m to 222 m.

The climate is influenced by the tropical wind season with the

average temperature of 180 to 300C. The annual rainfall is 2.000 mm to

4.000 mm.

3. The Role of Cultural, Social and Economic Life

Kuningan Regency, which lies on Ciremai Mountain, is the highest

part area in West Java; almost 30 % of the area consists of mountainous

field with the potential nature and human resources of typical

characteristic culture.

The condition of environment causes the community to make their

living on farmland. Living under the fertile soil is suitable for Kuningan

to be an agricultural area. At present the agriculture of Kuningan

commonly comprises fields of clove, union, potato, torn, tobacco, and

melinjo. There are not found any industries, which cause pollution like
 7

smoke industries. Generally most of the people make their living as

farmers, breeders, traders and the rest as civil servants.

At present the number of population of Kuningan takes the second

position from the list after Purwakarta Regency, and the potential

human resources have shown a great prestige. They are considered as

hard workers, diligent, and adroit people. The social life in Kuningan has

been going on harmoniously; they are on friendly terms although there

are various religions. They are aware of social life based on Pancasila,

the Indonesian Philosophy and UUD 1945 as the Indonesian constitution.

Moslems are the majority in the region of Kuningan that reaches

99, 9 % and the rest consist of Christians, Buddhists, Hinduists, and the

Madrais belief (Penghayat Kepercayaan Madrais).

The beauty of nature and fertile soil bring about the success for

the people in exploiting natural resources especially in farming (we

should thank god for the gift). They believe that the relationship

between a man, nature and god should be going on harmoniously. In

terms of there believes they have several cultural ceremonies such as

Seren Taun, Goong Renteng, Pesta Dadung, and many more.

The cultural ceremony of Kuningan farmers is a form of

manifestation of traditional society, which contains religious and sacred

elements and other social aspects to increase good relationship in the

community.
 8

Tourism in Kuningan

1. Places of Interest in Kuningan Regency

Kuningan Regency has various tourist attractions both cultural and

natural that are not found in many other places and they have good

prospects to be tourist attractions. There are at least 12 tourism objects

already developed and visited by many tourists. They are such as Telaga

Remis, Linggarjati Conference Building, The Beauty of Linggarjati,

Mandala Wisata, The Nature of Sangkanurip, Sitonjul Village, Cibulan

Swimming Pool, Cilengkrang Valley, Cipari Prehistoric Park, Cigugur

Swimming Pool & Angel Fish, Darma Dam and Darma Loka Holly Ponds.

a. Lake Remis

Lake Remiss is a natural lake located at Kameula Village,

Pasawahan District. Lake Remis has its own meaning. Remis is kinds of

mussel with yellow color living in the Lake. Lake Remis is a combination

of mountain, forest and mirror like water with refreshing cool mountain

air challenging to open the forest mystery. Lake Remis has facilities like:

Motorboat, Water Bike, Hiking track. You can also resting in here while

tasting traditional food.

b. The Linggarjati Conference Building

This building is located at Linggarjati Village, Cilimus District,

south east of mount Ciremai, 14 km to the north of Kuningan City or 26

km to the south of Cirebon City and approximately 100 m from

Linggarjati Indah tourism object. The conference took place from 11 to

 9

15 November 1946 with Dr. Van Bour as Dutch representative and Prime

Minister Sutan Syahrir, AK. Gani, Susanto Tirtodiprojo and Mr.

Mohammad Roem as Indonesian delegate. Acting as moderator is Lord

Killearn from United Kingdom. Linggarjati Agreement script was the

result of the conference, containing 17 chapters that will be signed in

Jakarta on 25th March 1946.

c. The Beauty of Linggarjati

It is located at Linggarjati Village of the Cilimus District. The

distance is 14 Km from Kuningan or 24 Km from the Cirebon. The Park

occupies a land of 11 hectares shaded by big city, trees and it has cool

air. It is provided with some recreational facilities, such as a swimming

pool, lake and water spring, camping area, a hall, food court, and a

fairly large parking lot.

d) Mandala Wisata

Located at Bandorasa Wetan Village of Cilimus District, 12 Km to

the Kuningan City or 24 Km to the south of Cirebon City. Mandala Wisata

has 2 Ha in enlargement and has been developed into 5 Ha. Facility

provided: Tourism Information Office, Entertainment Stage, Karaoke

Facilitated Restaurant, Souvenirs Kiosk, Kuningan Specialty Food,

Flowers garden and shop, Agro recreation, large parking space.

e. The Nature of Sangkanurip.

Located at Sangkanurip Village of Cilimus District, 12 Km to the

north of Kuningan City or 23 km to the south of Cirebon City.

 10

Sangkanurip Alami is a natural hot spring water recreation place where

people can bath and soaked in private or public pool. There is also a cold

water pool. Star rated hotels with its spa or local hotels are in

Sangkanurip surroundings and they have restaurants that serve the

famous Ikan Bakar or grilled fish, the best place for relaxing and tasting

delicious grilled fish.

f. Sitonjul Village

Located at Sangkanurip Village of Cilimus District covering Dusun

Simenyan, Tonjong and Munjul, 13 Km to the north of Kuningan City or

24 Km to the south of Cirebon City, this village recreation is 4 Km hiking

with panoramic villages such as: A quiet atmosphere of villages,

wonderful view, waterfall, fresh and non-polluted air, farmer activity,

river crossing, and beautiful sight of tropical plants.

g. Cibulan Swimming Pool

Cibulan pond is a big enough water sources filled with Kancra

Bodas fish (Labeobarbus Doumensis) or known to the public as Angle fish.

Cibulan pond was developed into swimming pool in 1960 and since then

the Angle fish lived there and become a friend of swim that is good

either for children or adults. Heavy and cooling tropical plants are

surrounding the premise. This is where ancient sites were found which is

said that it was from Prabu Siliwangi (King Siliwangi). The sites are 7

small water sources (sumur) named: Sumur Kejayaan. Sumur Kemulyaan,

 11

Sumur Pengabulan, Sumur Cirancana, Sumur Cisadane, Sumur

Kemudahan, Sumur Keselamatan.

h) Cilengkrang Valley

Cilengkrang Valley tourism object has 3 specialty zones. Zone 1:

Daily tour, camping ground and bird watching, Zone 2: Natural hot water

spring, exclusive camp and sabuk waterfall and Zone 3: Natural hot

water spring and sewer waterfall. This tourism object is facilitated with:

security post, parking space, resting hut and food & beverage deli.

Cilengkrang Valley is geographically located at west of Pajambon Village,

Kramatmulya district or about 13, 5 km to the north of Kuningan City.

i) Cipari Prehistoric Park.

This typical park is located at Cipari Village, Cigugur District. The

distance from Kuningan City is about 4, 7 km. This site was found in 1972

as a stone grave. A systematically research was conducted in 1975 by

Teguh Asmar MA from National Bureau of Prehistoric and Legacy and

resulting findings like stone tools, ceramic clay and prehistoric building

foundation. The research on Cipari site shows that the site had 2 times

of civilization. One is at the end of Neolithic era and other is at the

beginning of bronze material introduction on 1000 BC to 500 AD. The

society at that time had already known organization and beliefs like

ancestor worshipping. The culture to build a building from big stone is

called Megalith. The Cipari Prehistoric Park and Museum was opened on
 12

23 February 1978 by Education and culture Minister Mr. Prof. Dr. Syarief

Thayes.

j) Cigugur Swimming Pool and Angle fish

Located at Cigugur Village, Cigugur District, this pool is about 3

km from Kuningan City. Cigugur tourism object is a pond filled with rare

fish called Kancra Bodas fish (Labeobarbus Doumensis) the same as the

one in Cibulan and Darmaloka, Cigugur village previously called Padara

village (devided from the word Padan and Tara means Tapa or To

Meditate is also known by the ceremony of rice pounding (Seren Taun)

usually held annually on the 22 nd

of Dzulhizah. This traditional ceremony

is held to thanks God the Almighty for blessing their successful harvest.

k) Darma Dam

It is located at the South West of Kuningan City, in Darma District,

on Cirebon – Kuningan- Ciamis highway, 12 km from Kuningan City or 37

km from Cirebon City, Darma Dam is 425 Ha in enlargement of

39.000.000 M3 water capacity. Besides functioned as a dam, Darma Dam

is also nice place for recreation purpose and it has a magnificent sunset

view. This tourism object is facilitated with: Camping ground, Children

swimming pool, Motorboat, Cottages, etc.

l) Darma Loka Holly Pond

This Holly Pond is located at Darma Village, Darma District on

Cirebon – Kuningan – Ciamis highway. The distance from Kuningan City is

13, 5 km to the south or 48 km to the south of Cirebon City. It is said

 13

that Darmaloka Holly Pond was a legacy from 9 Wali (Wali Sanga) on the

mission of Islam spreading hundreds years ago. Darma Loka Holly Pond

consists of Ageung pond, Bangsal pond, Beunteur pond, Kambang pond,

and Cibinuang water source. These ponds are also filled with Angle fish

and surrounded with cooling tropical plants. Syekh Rama Gusti, 9 Wali’s

disciple to spread Islam in this territory was buried here.

2. Supporting Facilities

The government of Kuningan Regency has been doing many efforts

in developing tourism in this area. It has been provided with fairly good

facilities, in a way to give detail information, the writer tries to do her

best to complete the paper by interviewing the person in charge of

developing the tourist facilities of DIPARDA TK II Kuningan.

Kuningan Regency provides fairly good accommodation such as

Purnama Hotel on Jl. Siliwangi, Sangkanurip Hotel on Jl. Linggarjati, and

Sangkan Indah Park Resort on Jl. Cilimus.

Besides the accommodation above it is also completed with some

restaurants, shopping centers, rental cars, and the public transportations

to reach each of the tourist objects entirely. Those public

transportations are:

a. Angkot, means city transportation,

b. Ojeg, means motor cycle transport,

c. Delman, means horse drawn cart, and

d. Buses.
 14

That is a few lines about Kuningan Regency where it is very

potential regency to develop to become one of tourist destination area

in West Java in particular and in Indonesia in general. Although there are

still some constraints that has to be taken care of, the local authorities

and the society itself must get together to handle them since they are

not only the responsibility of the local but they are also the

responsibility of the society.

 CHAPTER III

THE CHARACTERISTIC OF CINGCOWONG

AS ONE OF THE CULTURAL TOURIST ATTRACTIONS

IN KUNINGAN

A. The Historical Background of Cingcowong

Cingcowong is one of the lively traditional arts at Duragung

Landeuh, Luragung Sub-District, Kuningan Regency. It is estimated that

this art appeared in 1920’s.

According to Mrs. Nawita’s interpretation, one of the figures of

Cingcowong from Luragung Landeuh, Cingcowong is the sign of overcast

cloud at the sky. Nevertheless, some interpret that Cingcowong is a

scarecrow.

In fact, the origin of Cingcowong began when there was a dry

season and they were many farmers sustained a loss since they were

failed to harvest. As no less of their paddy plantings was blooming, they

tried to plant other crops, such as singkong (cassava), corn, ubi jalar

(sweet potato) and many others but the results were unexpected as

there was no water to make their lands and plantations fertile. Hence,

the farmers did not have a chance to benefit from the harvest as they

had expected.

15
 16

In such a situation, there was a figure named Mrs. Rantasih who

asked a bunch of farmers to try to find the well source, but their effort

was useless. Seeing such a reality, she was not desperate over such a

condition. She believed that begging to Almighty God was the last effort

namely carrying out Shalat Istisqo (The Islamic prayer to ask for rain)

together. To implement the prayer, Mrs. Rantasih had difficulty in

gathering people for they had their own stern faith that arose earlier

compared to Islam. To make the people easy to gather, Mrs. Rantasih

made use of an art as a media to get their attention. One of the arts

used as a media at that time was Cingcowong where it was performed at

the open square.

Certainly, they were happy and satisfied after the art had been

carried out. This, of course, got Mrs. Rantasih’s attention. So, with her

intelligence and wide perspective, the implementation of Cingcowong

art performance was staged between the Maghrib and Isya prayers. This

was aimed that people were gathered and they could pray together,

especially performing Sholat Istisqo. All the activities were Mrs.

Rantasih’s idea and the people did not realize that. Because of the

occurrence, there came one argument that the art of Cingcowong could

bring rain.

It is undeniable that the development of Cingcowong cannot be

irrespective of the roles of four figures below as they were the ones who

promoted this typical art and they are as follows:

 17

1. The late Mrs. Rantasih,

2. The late Mrs. Asih,

3. The late Entah Suki,

4. The late Mrs. Nawita.

B. The Area of Dissemination

Cingcowong is a kind of art that has magical element such as

Sintren, Kuda Lumping, and Debus. In its development, the art is not

widely spread to some areas. This art is not like other arts such as

Calung (angklung=musical instrument consisting of suspended bamboo

tubes which sound when shaken), Jaipong, or Reog. Since not everybody

is deserved to play this art, it only arises and develops at Luragung

Village, Luragung Sub-District, Kuningan Regency.

Since the performance is in accordance with the necessities, this

art is staged in certain occasions such as at Kuningan Anniversary or in

the Art Appreciation at Local or National Level.

C. The Functions of Cingcowong Art according to the Community’s

Way of Thinking

At the beginning of its flourishing, Cingcowong functioned as an

entertainment media for farmers after they had farmed all day long and

as a mean of gathering mass before they performed Shalat Istisqo.

 18

Along with the transition and development of the era, the art of

Cingcowong has changed in its function whereas its development as a

means of entertainment commercially such as the order of Kuningan

Anniversary or the development exhibition in the framework of the

appreciation of art at Taman Mini (Indonesian Miniature Park) Jakarta.

The writer has observed and has come to his analyzing regarding

of the functions of Cingcowong clearly in details as follows:

1. Entertaining Function

In daily life, people find out that entertainment is necessary for

refreshing their minds after having done their daily activities. Even so,

the art of Cingcowong functions as a means of entertainment that is able

to bring joy and happiness.

Apart from Cingcowong, there are some other arts can be

functioned as means of entertainment such as Jaipong, Calung, Sintren,

and Wayang Golek arts. Cingcowong, which has a function of

consolation, can be enjoyed from the beginning until the end of the

stage both from Karawitan and from story sides. Cingcowong is often

performed in both local and national special occasions such as Kuningan

Anniversary and National Appreciation of Art and Culture.

2. Religious Function

As one of the ancestors’ inheritance, the art of Cingcowong has

bound the ancestors who created the art and the local society who have
 19

the duty to preserve the art. Then, the society were responsible for the

flourishing the art.

As respecting to the ancestors, before the performance is about to

begin, the society will perform a preliminary ritual purposed to ask for

the permission in order that the performance will be running well.

According to the faith of the local society, at the ancient times

people performed Cingcowong to ask for rain in order to get the

ancestors’ blessing.

Therefore, in every performance, the offerings are served in the

form of:

1. Parukuyan (ignition), a place of burning incense as a mediator to

deliver their messages to the directed spirit.

2. Pangradinan, consisting of betel, lime, gambier, comb, mirror,

coconut oil, and flowers.

3. Paramanten, various food served for the ancestors consist of

a. Puncak Manik (rice steamer whereas on top of it is placed a

chicken egg).

b. Tumpeng Kepal Keupeul, Tangtang Angin, Sambel Bakal, Cerutu,

Tembakau, Daun Kawung, Gula Batu, Tangkue, and various

beverages.

3. Social Function

Since a long time ago, people have acknowledged art, but

generally, they assume that art is only a means of entertainment. In

 20

fact, it is not only a means of such case but it is also a means of

education and enlightenment for the society.

By means of the art of Cingcowong, people can deliver the

government messages as before the performance begin or by the guide

of performance such as planning family, agriculture, religion, security,

neighborhood and cleanliness.

D. The Development/Dissemination of the Material

The writer has observed that the epoch becomes more advance to

the change from the era of simplicity to the era of modernization. One

of the examples taken into consideration is the transition in the point of

view of opportunities or employment, from agricultural field of work to

industrial field of work, but it does not mean that agricultural field of

work has been left behind. This transition will influence the society, the

culture, and the traditional art. There are many traditional arts function

as means of ceremony, entertainment, or intercourse. Such arts are

among others Pantun Cingcowong, Tarawangsa Sintren, and Reog

Jaipongan.

However, people nowadays are so much fond of the contemporary

arts, in this case modern arts which functions as a means of

entertainment. Although, there are some disadvantaging side effects in

modern art such as in music performance whereas the singer often wears
 21

unsuitable clothes and they tend to refer to pornography and sadism,

people still tend to like more modern art.

It is another matter with the art of Cingcowong, which emerges

from the life of the origin society whereas the art has magical element.

In its development, the art has some obstacles so that the request of the

art has become lesser. Nowadays, the condition of Cingcowong either

organizational structure or the personnel is very concerning. This is

resulted by the several factors as follows:

1. The figures who truly know the emergence or the existence of

Cingcowong have already passed away.

2. The next generation is reluctant to study the art for a lot of them turn

away to other kinds of arts.

3. Most of the artists of the art turn to other arts such as Jaipongan and

the rest of them change their professions to the ones that can obtain

their daily needs.

4. Unwell-preserved equipments make them decayed and malfunctioned

properly.

5. Most of artists come to advanced ages.

6. Lack of the materials of Cingcowong is to be commercialized

compared to other arts such as Jaipongan, Wayang Golek, Calung, and

Dangdut.

Based on the facts above, nowadays Cingcowong is about to come

to extinction. Nevertheless, some of the existing figures still expect that

 22

this art can be enjoyed by the society. Moreover, they are still conscious

to perform the art at any time it is required and they still preserve the

art.

To achieve such willingness requires a helping hand especially

from the local government of National Education as a technical founder

and the society itself generally and the organizer of art performing or in

other words, it is required that the artists organize the performance.

Finally, after having got attention or special establishment, it is

hoped that Cingcowong will be performed frequently at surrounding or at

the ceremonies of National Special Days.

E. The Typical Costumes and Make Up In Performing Cingcowong

Before coming into the plot of Cingcowong, the writer has asked

the readers to know at a glance what kind of costumes that the actors,

the actresses and Cingcowong will be wearing on the stage. They are as

follows:

1. Costume for Cingcowong:

a. Kebaya dress

b. Kain Samping

c. Sampur/shawl

Besides the costumes, the writer explains what type of make up

that they use. In regard with a small scope of traditional artists’ insight
 23

and acknowledgement, then the make up used is simple in manner

compared to one that of art.

To make it clear, he categorizes into two types as the following:

a. The particular make up for Cingcowong.

In the previous time, the particular make up for Cingcowong is

only using white chalk and charcoal. Nevertheless, nowadays, the make

up used is powder and eyebrow pencil while earring and necklace usually

use frangipani.

b. The particular make-ups for actors, actresses, and supporting ones

are:

1. Eyebrow pencil, used to make eyebrows or to thicken eyebrows.

2. Base powder, used to provide a basis for soft powder.

3. Compact powder, used to level the face part.

4. Face powder, used to soften the coarse powder.

F. The Main Instruments Used in Performing Cingcowong

The main instruments used in the performance of Cingcowong are:

1. Buwu

This buwu is a kind of equipment for catching fish made of

bamboo with the length of about one meter. It is shaped like little long

bamboo cage and used as a body of Cingcowong.

2. Canting
 24

Canting is a kind of equipment to get water shaped of a scoop and

it is made of a piece of coconut shell. It is used as head Cingcowong.

3. Taraje emas (gold ladder)

This kind of ladder consists of five stairs made of bamboo and

functions as the main path for Cingcowong if it comes to stage.

4. Bokor

This kind of equipment is brought by four to ten mojang. It is

made of piece of coconut shell and usually filled with variety of flowers

namely bunga tujuh rupa (seven kinds of flowers).

5. Water

Water functions as an additional material to be sprayed at the

corners of the stage and outside of the stage.

Apart from those instruments, there are also those that function

as a Waditra accompaniment in running the performance of Cingcowong

and they are as follows:

1. Ceneng

Ceneng is a kind of equipment made of brass and it is used and

has function as a kebutan.

2. Lodong

Lodong is made of joints of bamboo arranged from the small range

until the big one, but in the accompaniment of this Cingcowong, it only

uses two joints of bamboo or three pieces of Lodong. This Lodong

 25

functions as a melody that can arrange the rhythm of the song during the

performance.

3. Kendang

In the art of Cingcowong, kendang is made of buyung (big-bellied

earthenware or metal jar) made of red soil whereas buyung is usually

used by the local society to get the water from the source well. The

function of kendang is to strengthen the vocal expression by beating it

using a brush made of shards of bamboo.

4. Goong

This instrument is made of big and long joints of bamboo and

functions as an accompaniment of verse of the song by blowing it using

the little lodong in order to get the better sound.

5. Kecrek

A long time ago, kecrek was played by using 3-5 spoons.

Fortunately, thanks to the advance of the age, kecrek is made of iron or

brass and the experts are the ones who handle the making of it.

G. The Plot of the Cingcowong

The art of Cingcowong can be performed on the outdoor stage,

which means it can be performed in the open square. Actors, actresses

and the audience are level with each other whereas at this point either

actors and actors or audience has no certain distance or border as at the

 26

indoor stage where the stage or Belandungan (Sundanese) borders the

audience.

In its performance, this typical art is unique and different from

the others. According to a figure, Mrs.Nawita, a day before the

performance, Cingcowong, dressed up as if the scarecrow looks like a

woman both the costumes and the make up. After having been dressed

up and made up, before the maghrib prayer, Cingcowong is brought to

some location called “Solokan” (Sundanese) and laid down together with

the placement of sesajen (offering of flowers or food) whereas a Punduh

gives some magical words to the Cingcowong which are aimed at calling

the young woman spirit. In the following day, after the Isya prayer to be

exact, the Cingcowong is taken into the required square.

For more details, the sequences of the performance will be

presented as follows:

1. Bubuka (the beginning of the act)

In every traditional art performance, the instruments (waditra)

mainly support the art either in the form of gamelan or in the form of

contemporary art such as the arts of sintren, wayang golek, seni calung,

and jaipongan. Such arts always begin with the musical accompaniment

called gending bubuka or tataku. It is carried out in order to take up the

time while waiting for the audience and for the actors or actresses to

prepare themselves. Usually, along with it, a Punduh (an old man who

has the magical power to control the performance and is in charge of the
 27

running of the performance) is doing his duty namely to pray in order to

ask the permissions to the ancestors facing a parukuyan (ignition) and

sesajen.

2. First Act

In the first stage, it begins with the coming of mojang (typical

Sundanese girl) bringing taraje emas (gold ladder). They come forward

at the stage with the steps in accordance with the rhythm of the song.

The song presented in the first act is Sujud Syukur song sung by a group

of vocalists, in laras pelog.

3. Second Act

There comes a Punduh bringing bokor and duduk sila (sits cross-

legged) carrying out the pray and ask for the permissions to the

ancestors facing a parukuyan and sesajen. After praying, a song is sung

in laras salendro.

4. Third Act

In this third act, there comes a group of mojang bringing bokor

made of piece of coconut shell whose content is a variety of flowers and

they throw the flowers at the stage, and then they take their position

sitting at the right and left of taraje emas.

5. Fourth Act

In this act, accompanied by barely sound of ceneng and some

music that bring the situation into silence and along with it, there comes

a Punduh who brings Cingcowong held by two mojangs walking through

 28

five stairs of taraje emas towards the seats served for Punduh and

Cingcowong.

After Punduh and the Cingcowong have their seats neatly in the

silent situation, there is barely heard a song sekar wirahma tandak from

Punduh and Cingcowong accompanied by the mojangs and other vocalists

in laras salendro.

6. Fifth Act

After having sung the song of Cingcowong Punduh, with the aids of

the actors and actresses, there come suddenly a screaming sounds

hujaaaaaaan………hujaaaaaaaaaaaaaaaaan…………………… (Rain). Screaming

together, they spray the water all over the place.

It is believed that saying the word hujan (Rain) makes the sky

become cloudy and the windy thunder comes to exist and then there

comes the storm from the sky simultaneously if it is only a coincidence.

Nevertheless, if the occurrence does not come into reality, there will be

long rain three days until a week after the performance.

H. The Prospect of Cingcowong

Although it is not developed so well as the modern art,

Cingcowong, the traditional tourist attraction from Kuningan, is one of

the tourist attractions in Indonesia that has the prospect. Therefore, all

the reliable infrastructures and human resource are aimed at supporting

this prospect.
 29

From the data of the regional tourism office of Kuningan Regency

about Cingcowong, this tourist attraction has some typical uniqueness

that can be preserved its originality in order that people, especially

foreign tourists, are interested in watching and finding out what

Cingcowong is.

Based on the explanations above, it is obvious that the prospect of

Cingcowong can be reliable in supporting the richness of tourism in

Indonesia.

I. Promotion of Cingcowong

Tourism in developing countries like Indonesia is so lack of

promotion that many interesting and fascinating tourist attractions for

tourist industry in Indonesia do not get serious attention.

Talking about tourist promotion, the regional tourist office of

Kuningan Regency has promoted Cingcowong in order that it is more well

known though it is not fully implemented.

J. Problems Encountered and Their Solutions

In developing Cingcowong, there are some problems encountered

as follows:

1. A shortage of tourist guides,

2. Lack of qualified people of Cingcowong,

3. Lack of promotion of the art,

 30

In order to solve the problems above, the local administration,

especially the regional tourist office of Kuningan Regency, keeps trying

to create good efforts to attract the visitors to come. Such efforts as

setting up an English training for the tourist employees and a better

corporation among related persons and institutions are carried out in

order to increase the interest of the tourists to watch the attraction.

Therefore, the importance of the art performance will be one of

important sides in order that the art will not be extinct and people will

realize it that the art is one of the attractions, which can be seen its

actualization in supporting the tourism development in Kuningan

Regency.

Hence, the writer feels that the information of Cingcowong as one

of Sundanese traditional tourist attractions is quite a lot described. In

order to complete his paper, he will write the conclusions and

suggestions about this traditional tourist attraction in the next chapter.

 CHAPTER IV

CONCLUSIONS AND SUGGESTIONS

A. Conclusions

In accordance with the result of the research and collection of the

data, the writer tries to have some conclusions as follows:

1. In the art of Cingcowong, there are several aspects how the art to be

packed and to have become an art performance and they are the

following:

a. the existence of the developed karawitan accompaniment,

b. the presence of the dancing performed by the mojangs,

c. the plot, and

d. the maintenance of dressmaking.

2. The performance of Cingcowong is very different from other art

performances. The most prominence at the performance is its

implementation itself both before and after the performances

namely: the equipments, the day before the performance, are kept

in a certain place.

3. In its dissemination, Cingcowong is just developed in certain locations,

not like the other arts.

4. Recently, the condition of the art of Cingcowong is still possible to

improve better either in the packaging of the art or in the

accompaniment of karawitan.

31
 32

5. Nowadays, the condition of the art of Cingcowong is very concern

since it is not supported by the society’s interest compared with the

other arts.

6. One of the supporting factors in the development of Cingcowong is

that it is staged in particular events such as National Holidays.

7. While, the obstacle factor is the art itself will not be able to develop

if the present figures of the art only hold on to the principle that

Cingcowong only functions as a beg for rain.

B. Suggestions

With regard to West Java Province Regulation No.7/1959

regarding the preservation, establishment, and development of art and

culture of West Java and the policy of the local government of Kuningan

Regency in the framework of tourist object, the art of Cingcowong is one

of supporting sites of tourism, needs preserving the existence.

Therefore, the writer hopes:

1. The local government should be active to preserve and to develop the

existence of Cingcowong.

2. Traditional art festivals should be staged frequently especially the

typical local arts as a promotion site and a supporting tourism in

Kuningan Regency.
 33

3. Such an art should be performed frequently for example, at the

Anniversary of Kuningan and art performance in the framework of the

development exhibition.

4. In promoting Sundanese arts implemented by the Art Department of

West Java Regional Office, Cingcowog will be one of the programs in

filling the art performance activities.

5. The artists or figures who have the roles in preserving and improving

Cingcowong must be involved in activities related to the art such as

seminars or art upgrading implemented by the Art Department of

Regional Office of National Education Department of West Java

Province.

With his conclusions and suggestions, the writer eventually ends

his paper. Hoping that it will be of a great value to the development of

tourism.
 BIBLIOGRAPHY

Depdikbud (1993/1994), Fungsi Upacara Tradisional pada Masyarakat,

Harsoyo (1970), Kebudayaan Sunda,

Kantor Wilayah Provinsi Jawa Barat (1989), Majalah Kanwil Proyek

Pembinaan dan Pengembangan Kesenian Daerah Jawa Barat,

Marbun, S.P.H, Drs, Sprachdipl (2000), PARIWISATA INDONESIA SELAYANG

PANDANG III,

Saini KM (1993), Pembinaan Budaya,

Sopandi Atik(1989), Seni Tradisi dan Pariwisata,

Subino (1982), Bimbingan Skripsi, Akademi Bahasa Asing, YAPARI-ABA

Bandung.

Sumyana Anjar(1977), Sistem Pembinaan dan Pengembangan Kesenian

Daerah Jawa Barat,