Jathilan: The Javanese Horse Dance of Yogyakarta and Central Java
What the jathilan dance is and where it is performed
The jathilan dance is a Javanese horse dance in which performers ride flat horses woven from bamboo, and in which some of the dancers fall into a trance. It is a familiar sight in the Special Region of Yogyakarta and across Central Java, where the same dance is also called jaran kepang. Other names for the tradition include jaranan and kuda lumping, and in Malaysia it is known as kuda kepang. The dance is generally traced back to Ponorogo in East Java, and each region has grown its own versions, some with the stunts and trance described below and some without.
A performance is not a theatre piece in the usual sense. It turns up at village celebrations, at weddings and at festivals, and it asks the audience to take the spiritual side seriously rather than treat it as entertainment alone. The horse dance is loud, physical and sometimes unsettling to watch, which is a large part of its pull.
The woven horses and the costume
The horse at the centre of jathilan is a flat, two-dimensional shape made of woven bamboo. It is painted and covered with coloured cloth. The horse is not a costume added to the body. It is a prop that defines the dance, and the performer’s movements are built around it, so that the dancer seems to ride and rein in an animal that is only an outline.
The dancers wear bright clothing that stands out against the dust of an open yard, and the painted horses add to the colour. Because the riders and their horses move together in groups, the whole troupe reads from a distance as a moving line of colour, which suits a dance usually staged in the open air, in front of a crowd that stands on every side.
The sequence of the performance
A jathilan performance has a recognisable shape. It begins with the music, and the dancers enter the performance area riding their woven horses in formations that circle, cross and break apart. The movements are energetic, with the horses lifted and swung in time with the drums and gongs.
As the performance continues, some dancers show the signs of trance. Their movements become erratic, their expressions turn strange and they may stumble or fall. Handlers stay close to the dancers and step in when someone needs help, because a dancer in trance can behave in ways that need watching. The moment of trance is the part many in the audience wait for, and the performance may pause while it is dealt with. Many groups see the trance as what separates jathilan from an ordinary dance, and a performance after dark can feel more intense than one in daylight.
Afterwards the spirits are driven out of the dancers, and the performers return to themselves. Some spirits are said to be harder to dislodge than others, and the dancers are usually tired once it is over, though they typically appear unharmed.
Trance and beliefs about spirits
Trance is the heart of jathilan, and the belief behind it is that spirits enter the dancers during the performance. Within the tradition the dancers are possessed, and that idea explains both the strength of the dancers and the unusual things some of them do. Dancers may be offered flowers, incense and fruit, which they eat eagerly while in trance, and some performers go on to take part in more dangerous stunts, which can lead to injury. Afterwards dancers often say they do not remember what they did.
The practice sits alongside the other religious and cultural traditions of Java rather than following a single doctrine. For visitors, the most respectful approach is to watch quietly, accept that the performers are taking the beliefs seriously, and avoid joking about the trance or the dancers in the crowd.
The explanations people give differ from one village to another, and each group keeps its own ways of working with the dance. Anyone who wants to understand it better is best served by watching more than one troupe and noticing how the formations, the music and the handling of the trance differ from group to group.
Preparation and the rites before a performance
Groups commonly carry out preparations before they perform, and a ritual leader often has a part in the show. The horses are bamboo props, but the group treats them with care, and the offerings of flowers, incense and fruit that dancers receive in trance are part of the same ritual world. Each troupe has its own habits, and the preparations are usually done out of the audience’s sight.
These rites show how the performers see their role. They are not simply putting on a show. They are inviting spirits to join the event, and they are responsible for bringing the dance to a safe end. A visitor who is invited to watch any preparation should keep a respectful distance, speak softly and follow the instructions of the group.
How the dance has changed
The dance has kept its core structure of horses, music and trance. Some groups perform at festivals or on stages, and in those settings the show is shaped more for an audience. Even so, the village performance remains the place where the tradition feels most complete, because the music, the crowd and the ritual all belong to the same occasion. A stage version can show the costumes, the horses and the formations clearly, while a village version gives a better sense of the community that keeps the dance going and of the way the audience crowds close around the dancers.
Music and instruments
The music of jathilan is built around gamelan, and the drums set the tempo. Gongs mark the phrases, and the result is melodic and repetitive, a pattern that carries the dancers forward and helps bring on the trance.
Listening to the music is one of the best ways to follow the performance. The sound shifts as the dance moves from its opening to its climax, and the audience learns to anticipate the changes. A visitor with some familiarity with Javanese gamelan will find that the same instruments run through many other forms of performance in the region.
Attending a performance respectfully
Jathilan is often performed outdoors, in a village yard, in a square or at a festival ground. Find a place at the edge of the crowd and stay out of the path of the horses. Follow the lead of local people on where to stand and how close to go. The dancers can move suddenly, so keep a distance and watch for signals from the organisers.
Photography is common at performances, but flash can disturb a dancer who is in trance, and close photographs of a dancer in a difficult moment can be intrusive. Ask before photographing a performer up close, and avoid photographing offerings or the areas where the group prepares. Dress modestly and keep voices low during the quieter passages of the music.
Frequently asked questions
Is jathilan the same as kuda lumping?
The names describe the same horse-dance tradition. Jathilan and jaran kepang are the names used in Central Java and Yogyakarta, kuda lumping is another common name, and in Malaysia the dance is called kuda kepang.
Is it safe to watch a performance?
The performance is physical and dancers in trance can be unpredictable. Keep a distance from the horses, follow the instructions of the organisers and do not enter the performance area unless invited.
Can visitors take part in the dance?
Taking part is not usually open to outsiders, because the roles are learned within the group. Visitors who are interested can ask a troupe whether they may watch a rehearsal or meet the performers.
When can I see a jathilan performance?
Performances take place at village events, weddings and festivals, so the timing is not fixed. Local people are the best guide to when and where one will be held.
Other traditional performances to see in the region
Jathilan belongs to a wider world of Javanese performance that combines music, dance, drama and ritual. The same gamelan that drives the horse dance underlies much of that tradition, and the Javanese gamelan page describes the instruments and how they are played. The shadow puppet theatre of the region, which tells stories from the old epics, is the subject of the wayang kulit page, and the dances and music of the Yogyakarta palace are explained in the Javanese court culture guide.
For the wider region, the Yogyakarta travel guide is the best starting point for planning a trip that includes performances, temples and the surrounding countryside.
Related guides: grontol jagung, langendriyan, javanese wedding traditions, pantai wohkudu.