JARANAN -- JARANANThe horse dance and trance in East Java -- Copyright -- Contents -- Acknowledgements -- Part One The dramatic genre of the horse dance (jaranan) -- CHAPTER I The horse dance (jaranan) -- Prelude in Pulihrejo and introduction to Samboyo Putro -- The aim of this book -- Arrangement of the book -- CHAPTER II The horse dance under the Orde Baru -- The horse dance in Java -- The popularity of the horse dance in Kediri -- The supporters of the horse dance -- The trance in the horse dance -- Contacts with the immaterial world -- Some theories about the trance in the horse dance -- Comments -- The trance master (gambuh) -- The relation between the gambuh and the dhalang ruwat -- The horse dance in the interface between a national and a regional identity -- Part Two Aspects of the genre of the horse dance -- CHAPTER III Samboyo Putro and other genres ofhorse dance groups -- Introduction -- The history of Samboyo Putro -- The members of Samboyo Putro -- The actors' props, parts and costumes -- The jaranan sénthéréwé according to the report Deskripsi rekapitulasi -- The jaranan jawa Haswo Usodo and other genres of horse dance groups -- The jaranan pégon -- The jaranan brèng -- The jaranan képang -- The jaranan buta -- Conclusion -- CHAPTER IV Performances by horse dance groups -- Introduction -- Occasions for performances by horse dance groups -- Kaul -- Family celebrations: weddings and circumcisions -- Village or neighbourhood community celebrations -- Community celebrations by private or government institutions -- Processions -- Itinerant horse dance groups (jaranan barangan) -- The kuda képang in Jombor -- Comments -- The jathilan in Yogyakarta -- Comments -- Sedentary horse dance groups -- The slametan, a typical ritual in Javanese society -- The slametan for young people in Menang -- Comments.

The slametan for young people in Mlorah -- Comments -- A horse dance demonstration by Samboyo Putro -- Comments -- Bu Dhukun's surprise in Menang -- Comments -- The blessing of the penis (njurungi planangan) in Sumberagung -- Comments -- The performance for a konduran -- Comments -- Ad hoc groups in Yogyakarta and Dongko -- A prayer for rain -- Comments -- The Turonggo Yakso in Dongko -- Comments -- The baritan ritual -- Comments -- The place and the significance of the horse dance in the festivities -- CHAPTER V Rituals surrounding horse dance performances -- Introduction -- Rituals surrounding the production and maintenance of stage requisites -- The ritual preparation of the performers -- Samboyo Putro's opening ceremony -- The opening ceremony in Mojoroto -- Comments -- The offerings -- The closing ceremony -- CHAPTER VI The trance -- Introduction -- The trance of the four horsemen, a helper and several spectators -- Comments -- The triggering of the trance, and the trance master's role -- The different phases of the trance -- The entry of a spirit -- The surrender to the trance -- The 'recovery' of the trance dancers -- The dangers of the trance -- The significance of the trance -- CHAPTER VII The significance of the horse dance legend -- Introduction -- The horse dance legend according to Harjono -- Comments -- The earliest reports of the horse dance legend -- Comments -- A few Central Javanese horse dance legends -- The story of Prince Panji and Princess Sekar Taji -- Comments -- The downfall of Ki Ageng Mangir -- Comments -- The legend as told by Samboyo Putro members -- The story of Dèwi Sanggalangit according to Pak Samboyo -- Comments -- The story of Dèwi Sanggalangit according to Pak Dhalang -- Comments -- The symbolism of the barong -- The significance of the legend for the horse dance.

Part Three Theme and variations The performance in Pulihrejo -- CHAPTER VIII Pak Dhalang's verbal contribution in Pulihrejo -- Introduction -- The structure of the performance -- The role played by Pak Dhalang -- The presentation of the legend -- Comments -- The remaining, chanted contributions -- Comments -- Pak Dhalang's contribution as master of ceremonies -- Comments -- CHAPTER IX The character of the opening dancesin Pulihrejo -- Introduction -- Explanation of the symbols -- Jaranan nem: the dance of the six horsemen -- Comments -- Jaranan pat: the dance of the four horsemen -- Comments -- Jaranan ro: the dance of the two horsemen -- Comments -- Kucingan: the dance of Toh Bagus, Pujangga-Anom, Singa kumbang, Kethèk, andMacan -- Comments -- Barongan-cèlèngan: the dance of the six horsemen, Toh Bagus, Singabarong, andKala Srenggi -- Comments -- CHAPTER X The element of play in the performancein Pulihrejo -- Introduction -- The wayang play (jaranan ro) -- Comments -- Interlude: a bridhèn dance led by youths from Samboyo Putro -- Comments -- The action in act four (kucingan) -- Comments -- The final act (barongan-cèlèngan) -- Comments -- The character of the performance in Pulihrejo -- CHAPTER XI Conclusion -- APPENDIX Transcription of the CD recording -- Bibliography -- Index.