Musical Transformation of the Cowongan Tradition in Cilacap, Central Java

Abstract

The Cowongan tradition was originally a sacred ritual of rain invocation practiced by agrarian communities, using a puppet as the medium and collective vocal chants without instrumental accompaniment as the core of the procession. Over time, Cowongan has transformed into a performing art, with the most prominent indicator of change evident in its musical presentation. This study aims to describe and analyze the transformation of Cowongan’s musical presentation in Kubang Wungu Hamlet, Pekuncen Village, Kroya Subdistrict, Cilacap Regency. The research employed a qualitative approach with ethnographic and ethnomusicological perspectives. Data were collected through participant observation, in-depth interviews with elders and practitioners, audio-visual documentation, and local archival sources. Validity was ensured through triangulation of sources, techniques, and time, while analysis was conducted using reduction, thematic presentation, and conclusion drawing within Alan P. Merriam’s concept–behavior–sound framework. The findings reveal that Cowongan underwent gradual transformation: from a sacred ritual with collective vocal performance without instruments, to a revitalization phase with broader participation and simple accompaniment, and eventually into an organized performing art featuring formal art groups, traditional instruments, the role of a sinden (female vocalist), stage arrangements, costumes, as well as sound technology and documentation support. These changes signify a shift in Cowongan’s function from an agrarian ritual to a public performance, expanding its audience and opening economic opportunities, while simultaneously posing challenges in maintaining ritual authenticity and meaning.