Warok

A warok is a traditional figure in East Java, especially in the region of Ponorogo, who is known for his skills in martial arts, magic, and religious knowledge. A warok is also a performer of reyog, a spectacular dance that involves wearing a heavy tiger mask and a peacock feather on the head. A warok is said to have supernatural powers that enable him to carry the mask, which can weigh up to 50 kg, by a wooden strut held between his teeth. A warok is also said to have a close bond with a young boy called gemblak, who accompanies him as a jatilan dancer in the reyog performance. Some scholars have suggested that the warok and the gemblak may have had homoerotic relationships with each other, based on the analysis of the Hikayat Hang Tuah, a Malay literary work that tells the tale of Hang Tuah and his adventures.

The origin of the warok tradition is linked to a mythology of rebellion against the Majapahit kingdom in the 15th century. According to one popular historical account, the warok tradition began with Ki Ageng Kutu, the court poet of the last king of Majapahit, Bra Kertabumi, who deserted him and established a school for teaching esoteric knowledge and martial arts to local young men. Ki Ageng Kutu also created reyog as a satire of the king and his court, using symbols such as the tiger mask, the peacock feather, and the effeminate jatilan dancers. However, Ki Ageng Kutu’s rebellion was crushed by the king’s forces and the warok practices were outlawed. The reyog performances were still permitted, but the satire and political critique were replaced by legends from the Panji cycle of myths and local folklore.

Today, the warok tradition is still alive in East Java, especially in Ponorogo, where reyog is considered as a symbol of local identity and culture. The warok are respected and admired by the villagers for their prowess and charisma. However, they also face some challenges and changes in their role and status. For example, due to government pressure and social stigma, the gemblak dancers have been replaced by young girls in some reyog performances. The warok also have to compete with other forms of entertainment and media that attract more audiences and sponsors. The warok also have to balance their commitment to their tradition with their personal and family life.

The warok are an example of how rural art forms in East Java reflect and shape the history, culture, and society of their people. They are also an example of how rural art forms adapt and survive in changing times and circumstances.

Video: [1].

Acknowledgements

This article was written by Roy Tan.