Nggayuh Indhang

THE FILM

Nggayuh Indhang is a participatory documentary that explores the world of the ébég hobby-horse trance dance of Banyumas, Central Java, through the perspective of Rachmat Basuki, a revered Muslim educator, expert in Javanese kejawén animism, and leader of the ébég troupe "Ngesthi Kawendhar".

The film creatively intertwines private and public ritual activities, intimate glimpses of everyday life, and a dynamic performance with autobiographical storytelling, offering a multifaceted exploration of the socio-cultural significance and distinctive musical and choreutic elements of this practice.

ÉBÉG OF BANYUMAS

The ébég is a regional variant of the Javanese hobby-horse trance dance known as jaran kepang or kuda lumping, which have been practiced in the island for centuries. This performing genre blends dance, music and phenomena of spirit possession into staged dramatic plays.

This practice is strongly connected to the kejawén, a syncretic animistic tradition that combines metaphysics, mysticism and other esoteric doctrines of Buddhist, Hindu and Islamic origin.

Ébég performances are very popular among Banyumas' audiences. They are traditionally held outdoors in local villages during commonal or private celebrations. They provide public entertainment while serving the ritual function of maintaining a connection between humans and spiritual beings known as indhang, the spirits of ancestors.

It is within this cultural and ritual context that the film follows Rachmat and his ébég troupe.

THE RESEARCH

The film is the result of extensive research conducted in Banyumas, a culturally hybrid district on the border between Central and West Java, Indonesia. The geographical position and historical development of the area have contributed to a strong sense of regional identity among local populations, who present distinct cultural traits and a rich variety of performing arts.

Local music and culture were explored through different methodological approaches, including participant observation, practice-led research, and collaborative filmmaking.

The idea of making a film on the ébég of Banyumas was strongly supported by the late Pak Suherman, a prominent politician and founder of the ébég troupe association 'PAKUMAS'. Discussions at his house in Purwokerto, our operational base, involved the filming crew from 'Oemah Seni Production', the film company we created in 2024, and many of the film's participants.

These discussions contributed to the development of a collaborative approach to research and filmmaking, prioritizing the intimate perspective of local experts and seeking to create forms of knowledge that are ethically shared.

Suherman introduced us to the 85-year-old Pak Rachmat Besuki from Pagelarang Village. As a Muslim educator, a kejawén expert, and the leader of the ébég troupe 'Nghesti Kawendhar', Rachmat appeared to perfectly embody the concept of Javanese religious syncretism. He embraced the project with great curiosity and took an active part in its practical realization.

FROM RESEARCH TO FILM

Once Rachmat became the central figure of the project, we developed a flexible screenplay outlining the structure of the documentary. His autobiographical narration became the framework through which we explored the persistence and significance of animistic beliefs and ritual practices in contemporary Javanese society.

At the same time, we engaged the knowledge of expert local artists to investigate the musical and choreutic features of ébég performances. We also decided to highlight the crucial role of institutional support in sustaining, preserving, and developing this tradition.

We chose to centre the film on a single ébég performance and the ritual preparations leading up to it. We closely followed Rachmat during the days preceding the performance, which was scheduled for March 8, 2024, two days before the onset of Ramadan.

Working with a small team and non-intrusive equipment allowed us to embrace documentary realism while giving extensive freedom to the local participants, whose voices articulate and comment on the footage.

We avoided traditional "talking-head" interviews, opting instead for co-scripted voice-overs. This approach fostered participant engagement and created a sense of intimacy and immediacy.

The ethnographic importance of the film lies in its commitment to presenting cultural practices from an insider's point of view and prioritizing the voices of local participants. In this way, the vibrant spirit of ébég can take center stage, enhancing the immediacy of its representation.

BEYOND THE FILM

Nggayuh Indhang seeks to move beyond conventional salvage ethnography by portraying ébég as a dynamic and transformative tradition. Through collaborative practices and economic sustainability, the project aims to support the local communities involved in its creation while enhancing the visibility and recognition of their artistic heritage for future generations. More broadly, the project aims to highlight the value of participatory methods in ethnographic research and filmmaking.

Watch the trailer: https://dzprod.it/nggayuh-indhang/

Website: https://dzprod.it/nggayuh-indhang/