Asian Research Journal of Arts & Social Sciences

Aims: This study aims to examine the representation of Javanese cosmology in the Jaranan Dance, with a particular focus on the significance of the kiblat papat lima pancer concept as a philosophical foundation shaping the dance’s structure, symbolism, and meaning.

Study Design: This study employs an ethnocoreological approach, relying on qualitative data.

Place and Duration of Study: The research was conducted in Gandon Hamlet, Gandu Village, Tembarak District, Temanggung Regency, with a research duration of approximately two years.

Methodology: Within the ethnochoreological approach, research involves both fieldwork and non-field studies. This study combines ethnographic methods to explore the form, meaning, and social role of the Jaranan Dance with a literature study that examines its philosophical and historical dimensions in Javanese culture.

Results: The Jaranan Dance, widely practiced in rural Java, is preserved as an integral part of local cultural traditions. Beyond entertainment, it embodies the Javanese worldview and value system, particularly through the expression of Javanese cosmology in the concept of kiblat papat lima pancer. In Gandon Hamlet, four dancers represent the four human desires linked to the kiblat papat, whose energies must remain in balance. The combat segment symbolize this self-control, positioning the dance as both an artistic expression and a symbolic enactment of Javanese cosmological and ethical principles.

Conclusion: This phenomenon highlights that the Jaranan Dance represents a multidimensional cultural text that integrates aesthetics, philosophy, and cultural identity. It embodies a philosophical meaning related to cosmic balance, reflected in its performative style from the Javanese cultural perspective. Thus, the Jaranan Dance not only conveys a cosmological worldview but also serves as a medium for preserving local values and constructing collective identity within Javanese rural communities.