JURNAL KAJIAN BALI
Hlm. 01­—

Journal of Bali Studies

...

p-ISSN 2088-4443 # e-ISSN 2580-0698 Volume 15, Number 01, April 2025

Reviving the Sanghyang Grodog Ritual
Dance: Promoting Social Harmony and
Sustainable Cultural Tourism in
Nusa Lembongan Island, Bali
Ni Made Arshiniwati1 , Ida Bagus Gede Surya Peradantha2*
1
Indonesian Institute of the Arts Bali, Indonesia
2
Indonesian Institute of Arts and Culture Tanah Papua, Indonesia
DOI: https://doi.org/10.24843/JKB.2025.v15.i01.p03

Abstract: This article explores the artistic significance and revitalization of the
Sanghyang Grodog ritual in Lembongan Village, Bali, following a three-decade
hiatus. Using a socio-artistic approach supported by social cohesion and semiotic
theories, this study examines the ritual’s role in fostering social identity and
promoting sustainable, culture-based tourism. Data were collected through
participant observation, interviews, and secondary sources, with findings reinforced
by focus group discussions. The results highlight the ritual’s embodiment of spiritual,
social, and environmental harmony while addressing challenges posed by increasing
tourism pressure. Despite limited public awareness, the ritual’s aesthetic and symbolic
values serve as a catalyst for communal unity and sustainable cultural tourism. This
study proposes a community-based tourism development strategy that includes the
creation of a local mascot, visual branding, and the integration of arts into ecotourism
and education, ensuring both cultural preservation and economic benefits for the
community.
Keywords: Sanghyang Grodog; cultural revival; social harmony; sustainable tourism;
Lembongan village

1. Introduction
he Sanghyang Grodog sacred ritual dance in Lembongan Village, Klungkung
Regency, Bali, is rich in symbolic and aesthetic elements, representing the
community’s spiritual response to societal crises such as disease outbreaks
(Putri, 2017). This dance, performed through twenty-three genres of sanghyang
over eleven days (Pramada et al., 2022, p. 442; Wak Laba, 2014), holds profound

T
*

Corresponding author’s email: peradantha@outlook.com
Submitted: 3 January 2025; Accepted: 10 February 2025; Published: April 2025
Copyright © 2025 by the author (s). This article is published by Jurnal Kajian Bali (Journal of Bali Studies),
University of Udayana, Bali, Indonesia, under a Creative Commons Attribution 4.0 International License
(http://creativecommons.org/licenses/by/4.0/).

http://ojs.unud.ac.id/index.php/kajianbali

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cultural values that have evolved over time, enhancing social cohesion and
preserving Balinese heritage (Kasih, 2023). However, after a 30-year hiatus, the
loss of generational knowledge and understanding of its significance has posed
a threat to the continuity of this ritual, according to a member of the Lembongan
Sabha Desa customary association, I Wayan Suwarbawa (Interview, 21 August
2024).
In light of these challenges, this research was conducted in Lembongan
Village, located on Nusa Lembongan Island. The island is approximately
11.6 km from Kusamba Beach, Southeast Bali, and about 19 km from Sanur
Village Harbor, Denpasar. The village’s geographical coordinates are 8°41’24”
S, 115°26’24” E (Figure 1). The selection of Lembongan Village for this study
is driven by the significant role the Sanghyang Grodog ritual plays in the
community, both in its traditional context and in confronting modern challenges
like globalization and tourism.

Figure 1. Lembongan Village (blue pin drop), southeast of Bali’s mainland,
Indonesia (Source: Google Earth, 2024)
In recent decades, the rapid growth of tourism on Nusa Lembongan Island
and Nusa Penida has transformed the area from a modest fishing village into
a sought-after tourist destination. The islands gained international recognition
after being featured in the 2022 movie Ticket to Paradise, starring Hollywood
icons George Clooney and Julia Roberts (Bestari, 2023). Though the film was
actually shot in Queensland, Australia, several scenes showcased Balinese
customs and cultural landscapes (Wicahyani et al., 2023, p. 255). While tourism
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has provided economic benefits, concerns have arisen about the preservation of
local culture amidst commercialization pressures (Harmini, 2017; Jubaedah &
Anas, 2019).
The rapid development of tourism in Nusa Lembongan and Nusa Penida
has significantly increased visitor numbers and improved tourism facilities.
In 2024, daily tourist arrivals in Lembongan reached 5,000–7,000 (Widyati,
2024), up from 3,000–5,000 during peak season in 2023 (Krista, 2023), with
hotel occupancy rates stabilizing at 80–90%. This growth has shifted tourism
trends from one-day trips to extended stays, especially among Australian and
European visitors (Lily Dianasari et al., 2020). To accommodate this influx,
the islands have developed various tourism facilities, including 44 hotels and
99 accommodations in Lembongan, and an additional 99 accommodations
in Jungut Batu (Widowati, 2024). Key attractions include pristine white sand
beaches, a mangrove forest, vibrant marine life for snorkeling, and the iconic
Yellow Bridge connecting Lembongan to Nusa Ceningan (Bali Provincial
Government, 2025; Orsel, 2024). However, alongside economic benefits, this
surge in tourism presents challenges in maintaining cultural integrity and
environmental sustainability
Amidst rapid tourism growth, preserving and promoting cultural
heritage has become increasingly vital. One key effort is the revival of the longabsent Sanghyang Grodog ritual, aimed at reconnecting the community with its
traditions and integrating culture into sustainable tourism (Rosalina et al., 2022).
With its deep cultural meaning and aesthetic appeal, the ritual has contributed
to social harmony and the promotion of sustainable tourism in Lembongan
(Ermilova, 2020; Golovei, 2021; Jhosua & Widyastuti, 2022).
This study, employing a socio-artistic approach, examined the ritual’s
artistic value and its role in educating younger generations on balancing
tradition and modernity in tourism development. The central questions of this
study were: 1) How did the artistic significance of the Sanghyang Grodog ritual
contribute to identity and social cohesion in Lembongan Village? 2) In what
ways could the revitalization of this ritual dance support sustainable cultural
tourism? This study aimed to provide practical insights for cultural heritage
management and tourism stakeholders, enhancing both the preservation of
Balinese traditions and the development of responsible cultural tourism.
2. Literature Review
Previous studies on the Sanghyang Grodog ritual have addressed various
aspects. However, this research attempted to fill significant gaps in knowledge
thereby emphasizing its novelty and urgency. For instance, Artiningsih (2020)
focused on the form, religious aspects and the impact of Sanghyang Grodog in
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the socio cultural. Roseadi and Kandiraras (2021) examined the cultural values
embedded in the ritual but did not consider the potential for tourism or its role
in fostering social harmony. Similarly, Pramada, Mariasa, and Trisakti (2022)
explored the philosophical concept of Tri Hita Karana but limited their analysis
of its social implications and developmental opportunities, particularly in the
context of tourism. These gaps highlight the necessity of a broader examination
of the social and tourism-related implications of the Sanghyang Grodog, which
this study undertakes.
Social cohesion, a key element for sustainable culture-based tourism,
is shaped by multiple factors such as reliance on natural resources, social
infrastructure, and cultural heritage. Research suggests that an over-reliance
on natural resources can disrupt social cohesion, particularly in areas
with centralized resource control (Tsopmo et al., 2024). Conversely, social
infrastructure, such as public spaces that encourage interaction, can promote
social harmony and well-being (Kustov & Pardelli, 2024; Zahnow, 2024).
Furthermore, greater engagement with cultural assets strengthens social
ties, enhancing the effectiveness of culture-based tourism initiatives (Li et al.,
2024; Young et al., 2024). This highlights the importance of cultural heritage
in promoting social cohesion, an essential element for sustainable tourism
development.
As globalization accelerates, the intersection of culture-based tourism
and environmental conservation presents both challenges and opportunities
for local traditions, such as Sanghyang Grodog (Jiang & Dai, 2024; Sakcharoen
et al., 2023; Wang et al., 2024). While commercialization may jeopardize cultural
heritage (Workneh, 2023), it also holds significant potential for cultural tourism,
ensuring that cultural practices remain relevant in the modern world (Singhal
et al., 2021). This ongoing debate highlights the need for a deeper exploration
of how traditional rituals can evolve in a globalized context, balancing the
demands of cultural preservation with the pressures of tourism.
Nusa Lembongan, with its rich natural resources, including mangrove
forests and coral reefs, offers significant potential for cultural tourism (Ginantra
& Sundra, 2023; Pratama & Albasri, 2021). However, environmental challenges
and the limited research on the relationship between cultural heritage and
sustainable tourism development call for further study. Sanghyang Grodog,
as an integral part of local cultural identity, plays a vital role in preserving
traditions and reinforcing social cohesion, both of which are crucial for
sustainable culture-based tourism.
There is limited literature on the intersection of ritual, social dynamics,
and tourism in Nusa Lembongan, particularly regarding how local cultural
practices like the Sanghyang Grodog ritual can adapt to globalization while
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preserving traditional values. This study adopts a socio-artistic approach,
utilizing theories of social cohesion and semiotics, to address this gap. It explores
how the ritual can serve as a strategic tool to balance cultural preservation with
the development of sustainable tourism. By examining the dynamic relationship
between cultural heritage and tourism through these theoretical frameworks,
this research aims to contribute new insights into how communities can
navigate the challenges posed by global influences while safeguarding their
unique cultural identities (Ruiz-Ballesteros & González-Portillo, 2024).
3. Method and Theory
3.1 Method
3.1.1 Data Collection
Data was collected through a participant observer method and semistructured interviews for a period of eleven days; providing an opportunity
for this author to directly engage with the ritual, which offered insights into
its dynamics and significance. An ethnographic stance supported not only
observations of the ceremony but also its impact on the social interactions
within the community. To gain multiple perspectives on the Sanghyang Grodog
ritual, semi-structured interviews were conducted with a diverse group of local
community members including:
1. I Komang Erawan, the Bendesa (traditional village leader) of Lembongan,
who provided historical context and insight into the ritual’s process;
2. Mangku Wija, a Bali Hindu priest, who shared detailed information about
the sequence of the ritual’s phases;
3. I Wayan Suwarbawa, a local cultural observer and academic, who offered
contextual understanding of the ritual’s significance in the broader cultural
landscape;
4. I Komang Tengah, a local entrepreneur, who presented the commercial and
tourism-related aspects of the ritual; and
5. I Kadek Wiarta, a youth and creative entrepreneur, who discussed the
younger generation’s involvement in the ritual and its potential for tourism
and cultural innovation.
Secondary data was collected from interviews which explored the cultural
importance of the Sanghyang Grodog ritual conducted by members of Forum
Krama Banjar Adat Kelod Desa Lembongan and posted on their YouTube
channel Sangging TV (2022).

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3.1.2 Data Analysis
An interpretive sociology analysis was employed to more deeply
understand (verstehen), as invoked by Max Weber, the social meanings and
cultural contexts embedded in the ritual (Tucker, 1965). This method focuses
on interpreting human actions and interactions within their social and cultural
framework. Through this lens, the ritual’s symbolism and its effects on social
cohesion within the community were analyzed. To ensure data accuracy,
the findings from observations and interviews were cross-checked with the
secondary data sources and corroborated with the interviewees to validate the
interpretation and provide a comprehensive overview of the ritual’s significance.
3.2 Theory
This research examines the Sanghyang Grodog ritual in Lembongan
Village through a socio-artistic perspective (Surya Peradantha, 2024; Taghi
Sheykhi, 2019), which views art as symbolic communication that reflects
cultural, social, and ecological values. Each artistic element in the ritual, such as
dance, music, and ritual objects, is not only an aesthetic expression, but also part
of a cultural discourse that conveys social, spiritual, and ecological messages to
the community (Surya Peradantha et al. 2023)
To analyze the meaning of these elements, this study integrates Roland
Barthes’ semiotic theory (Dweich & Al Ghabra, 2020; Jazeri & Susanto, 2020),
specifically the concepts of signifier and signified. The artistic elements in this
ritual function as signifiers that point to deeper meanings. For example, the
bamboo in Sanghyang Bumbung is not only a ritual element but also signifies
ecological harmony, while the barong in Sanghyang Barong represents the
balance of life dualism. This approach shows how ritual symbols strengthen
the cultural identity and social cohesion of Lembongan society.
In addition, social cohesion theories of Durkheim, Malinowski, Van
Gennep, and Fortes (Giovagnoli, 2021) are used to understand how these rituals
strengthen social solidarity. Shared rituals not only build collective identity, but
also bind individuals into meaningful social structures (Hann, 2023; Shteynberg
et al., 2022). Thus, this study analyzes the role of Sanghyang Grodog as an
artistic expression that strengthens social networks and preserves spiritual and
ecological values.
This integration of theories seeks to address two primary inquiries: (1)
the role of the artistic elements of Sanghyang Grodog in fostering identity
and social cohesion in Lembongan, and (2) the potential of its revitalization to
enhance sustainable cultural tourism. The semiotic theory is utilized to analyze
the artistic meaning of the Sanghyang Grodog’s artistic elements, while social
cohesion theory examines the relationship between these meanings in fostering
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social cohesion and how the preservation of Sanghyang Grodog can respond to
modern demands. This theoretical framework establishes a basis for examining
a balance between innovation and the safeguarding of spiritual values in the
advancement of culture-based tourism.
4. Result and Discussion
4.1 Results
4.1.1 Artistic Elements in the Sanghyang Grodog Ritual: Shaping Cultural Identity
and Social Cohesion
The Sanghyang Grodog is a sacred ritual dance performed in Lembongan
Village, Bali, comprising a series of rites featuring various manifestations of
“Sanghyang.” While “Sanghyang” typically refers to a sacred divine presence
in Balinese rituals, the term “Grodog” derives from the rhythmic sound created
when a wooden wheel, upon which the sacred objects of the sanghyang are
placed, is dragged across the ground during the procession. The tighter the
wheel is turned, the louder the distinctive “grodog...grodog...” sound becomes,
hence the name Sanghyang Grodog (Sudibya et al., 2023). Unlike other
sanghyang rituals that typically feature trance in specific dancers, Sanghyang
Grodog embodies a spirit of joy and gratitude, with the community coming
together to push a wheeled wooden structure adorned with symbolic figures
of sanghyang (Mantra, 2023). The sequence of Sanghyang Grodog performances
in Lembongan Village, along with their timing and specific characteristics, is
detailed in Table 1.
Table 1. The sequence of Sanghyang Grodog sacred ritual dance
No. Sanghyang Grodog
Day of
Artistic Element and the Meaning
Form
the Ritual
1. Sanghyang Sampat
Day 1
Uses a broomstick (sampat);
Symbolizing cleansing; emphasizes
spiritual and moral cleanliness.
2. Sanghyang Lingga
Day 2
Lingga attribute symbolizes Lord Shiva;
Represents the infusion of divine
essence into humanity.
3. Sanghyang Penyalin
Day 2, 4, Emphasizes resilience and adaptability;
5, 6
Rattan (penyalin), symbolizes intimacy
and collective strength
4. Sanghyang Joged
Day 3
Features a statue of a female joged
dancer; Represents the connection
between individuals and mastery of
human desire.
5. Sanghyang Bumbung Day 3
Uses bamboo (bumbung); Symbolizes
multi-functionality and environmental
harmony.
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No.
6.

7.
8.

9.
10.
11.
12.
13.
14.

15.

16.

17.
18.

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Sanghyang Grodog
Form
Sanghyang Dukuh
Ngaba Cicing

Day of
Artistic Element and the Meaning
the Ritual
Day 4
Symbolizes elder man (dukuh) and
hunting dog (cicing) connection;
Emphasizes environmental harmony
(palemahan).
Sanghyang Jaran
Day 4
Jaran (horse) represents power, courage,
and self-discipline; Symbol of profound
self-control (parahyangan).
Sanghyang Dukuh
Day 5
Represents wisdom and ecological
Ngaba Bubu
balance; Dukuh (elder man) adorned
with bubu (traditioal fishing tools)
symbolizes human wisdom in fishing.
Sanghyang Sampi
Day 5
Sampi (cow); Symbolizes equilibrium in
cattle farming; reflects environmental
harmony (palemahan).
Sanghyang Kebo
Day 6
Kebo (buffalo); Symbolizes conservation;
crucial for agriculture and rice
cultivation.
Sanghyang BanguDay 6
Bangu-bangu (crane); Represents crane
bangu
and mangrove habitat conservation;
stresses environmental importance.
Sanghyang Enjo-enjo Day 7
Abstract masculine statue; Symbolizes
fertility and connection to nature.
Sanghyang TilingDay 8
Abstract female genitalia; Symbolizes
tiling
fertility and ecological equilibrium.
Sanghyang Menjangan Day 8
Deer (menjangan) puppet, despite the
absence of deer in the local ecosystem,
representing a blend of mythology and
tradition.
Sanghyang Barong
Day 8
Barong figure; Represents life's dualism
and the need for balance between
positive and negative energies
(parahyangan).
Sanghyang Jangolan
Day 8
Jangolan (traditional boat); dukuh ngaba
Dukuh Ngaba Penyu
penyu (figure of the elder man carrying
a turtle); Symbolizes preservation
of fishing profession and marine
environment.
Sanghyang Tutut
Day 8
Male and female doll figurines;
Emphasizes balance for harmonious
existence (pawongan).
Sanghyang Kelor
Day 9
Uses two moringa (kelor) tree branches
containing kelor leaves; Symbolizing
nutritional properties of food and
warding off negative energies
(palemahan)

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Reviving the Sanghyang Grodog Ritual Dance: Promoting Social Harmony ...

Sanghyang Grodog
Form
19 Sanghyang Capah

20.
21.

22.
23.
24.

Day of
Artistic Element and the Meaning
the Ritual
Day 9
Capah (balinese traditional offerings
form); Spiritual connection between
humanity and divine authority,
highlighting the central role of ritual
practices in the religious realm
(parahayangan)
Sanghyang Perahu
Day 9
Boat (perahu); Symbolizes spiritual
voyage and religious realm
(parahayangan)
Sanghyang Sumbul
Day 10
Sumbul (decoration of flower
arrangement); Symbolizes community's
elation and veneration of religious
realm (parahayangan)
Sanghyang Payung
Day 11
Traditional umbrella (payung);
Symbolizes divine descent; shield and
emblem of devotion.
Sanghyang Bunga
Day 11
Floral tower; Symbolizes appreciation
and gratitude for divine blessings.
Ngeluarang Ceremony Day 12
Marks the conclusion of the ritual
sequence; Reflects balance between
humanity and nature.

Source: Author’s Observation
According to I Wayan Suwarbawa, a cultural expert and academic, and
Mangku Wija, a spiritual leader, the Sanghyang Grodog ritual is an immutable
system, as each stage represents a profound philosophy of life balance (Interview,
August 22, 2024). I Komang Erawan, a community leader and local customary
authority, further explains that this ritual is not merely an artistic expression
but also a spiritual medium embodying the principle of Tri Hita Karana (three
causes of goodness or prosperity), namely a harmonious relationship of human
beings toward three matters: the parahyangan (sacred places/God), palemahan
(environment), and pawongan (all human beings) (interview, August 22, 2024).
The ritual begins with Sanghyang Sampat, signifying the purification
of both the physical and spiritual realms (see Figure 2). This is followed by
successive stages aimed at cleansing the heart and mind while cultivating
self-restraint, as represented in Sanghyang Bumbung, Sanghyang Penyalin,
Sanghyang Lingga, and Sanghyang Joged. Once spiritual clarity is attained,
individuals are guided toward karma control through Sanghyang Dukuh Ngaba
Cicing and Sanghyang Jaran, ultimately leading to a deeper understanding of
harmony with nature, symbolized by Dukuh Ngaba Bubu, Sampi,and Penyalin.

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Figure 2. The Sanghyang Sampat ritual (Source: Wiarta, 2024)
The ritual progresses with Sanghyang Bangu-Bangu and Kebo, which
emphasize the balance of the ecosystem. This is followed by the fertility
symbolism in Sanghyang Enjo-enjo, Tiling-tiling, and Menjangan. The unification
of life’s dualities is commemorated through Sanghyang Tutut and Jangolan, with
the ritual reaching its peak during the full moon with the invocation of sacred
power via Sanghyang Kelor, Capah, and Perahu. Sanghyang Perahu is regarded
as the culminating ritual, symbolizing the descent of divine power in the
form of a boat to bless humanity (see Figure 3). The final days of the ritual
express gratitude through Sanghyang Sumbul, Payung, and Bunga. This sequence
cannot be altered, as each stage is interconnected, maintaining the harmony
between human life, nature, and divine power. The eleventh day concludes
with the Ngeluarang Ceremony, a gesture of gratitude and the formal end of
the Sanghyang Grodog ritual. According to Mangku Wija, Ngeluarang, derived
from the word luar meaning “outside” or “beyond,” reflects both the completion
of the ritual and the emphasis on harmony between humanity, nature, and
spiritual entities (Interview, August 22, 2024).

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Figure 3. The Sanghyang Perahu ritual (Source: Wiarta, 2024)
The analysis of the ritual’s sequence and the meanings reflected in each
artistic element reveals that the Sanghyang Grodog ritual encompasses not
only the teachings of the Tri Hita Karana harmony but also the concept of a
continuous life cycle. This interpretation is grounded in the Hindu concept
of Tri Kona (Wiraputra, 2022), which emphasizes the cyclical nature of life: Uthpti
(creation), Sthiti (preservation), and Pralina (dissolution). The ritual structure
mirrors this cycle, where the initial stages mark the balance of the ecosystem,
followed by processes of fertility, and culminating in the invocation of divine
blessings, before concluding with an expression of gratitude. This pattern
reinforces the notion that the ritual not only preserves cultural heritage but
also serves as an ecological and spiritual mechanism ensuring the continuity
of the relationship between humanity, nature, and transcendental power.
The Sanghyang Grodog ritual functions not only as an expression of collective
belief but also as a model of cultural and ecological sustainability (Table 2).

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Table 2. The Phases and Meanings of the Tri Kona Concept in the Context of the
Sanghyang Grodog Ritual Dance
No. Phase of Tri Kona
1.

Uthpti (creation)

2.

Sthiti (preservation)

3.

Pralina (dissolution)

Meaning
Humans connect with divine spiritual forces,
seeking blessings from nature and knowledge.
Humans engage in life's activities, aligning with
the principles of Tri Hita Karana by fostering
connections among humans, nature, and the
divine.
Humans express gratitude for the blessings of
nature and knowledge necessary for survival.

Source: Author’s Interpretation.
In the Uthpti phase, humans strive to establish a connection with spiritual
forces and seek blessings for the balance of life. This is represented in various
symbolic artistic elements such as: Sapu (broom), lingga, rotan (rattan), boneka
penari joged (joged dancer puppet), and two bamboo poles (see Table 1), all
of which signify that the early stages of life in Lembongan society are rooted
in spirituality and a harmonious relationship with the forces of the universe.
The Uthpti phase is observed from the first to the third day of the Sanghyang
Grodog ritual.
The Sthiti phase indicates that humans begin to engage in daily life
by managing natural resources and maintaining social balance. The artistic
elements used become more concrete, depicting humans, animals, and plants,
as seen in the Sanghyang Grodog ritual from the fourth to the ninth day (see Table
1). In this phase, the philosophy of Tri Hita Karana is clearly evident, where
humans maintain balance in their relationships with others, nature, and God.
These concrete artistic elements illustrate how the Lembongan community
understands and practices their professions within the cycle of life.
The final phase of this cycle is Pralina, in which humans express gratitude
for the blessings received from nature and spirituality. The artistic elements
in this stage return to an abstract form, reflecting a release from the material
world and a return to God. The main symbols in this phase include: Perahu
(boat), Sumbul, Payung (umbrella), and Bunga (flower), which are carried out
from the ninth to the eleventh day (see Table 1). On the twelfth day, the entire
community members gather at the ritual center to perform the Ngeluarang
ceremony. This interpretation aligns with the explanations of informants I
Wayan Suwarbawa and Mangku Wija, who highlight that the sequence of
the Sanghyang Grodog ritual cannot be randomized due to its interconnectedness.
This interpretation demonstrates that the ritual functions as a continuous
cycle: (1) Seeking divine blessings in the Uthpti phase, (2) utilizing nature and
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maintaining social harmony in the Sthiti phase, and (3) expressing gratitude to
divine forces in the Pralina phase (Figure 4).

Figure 4. The Tri Kona cycle as illustrated in the sequence of the Sanghyang
Grodog ritual (Source: Authors’ Interpretation)
The cultural identity of the Lembongan community in this ritual is
reflected in the involvement of the various banjars (village hamlets), namely Br.
Kaja, Br. Pegadungan, Br. Kangin, Br. Batu Melawang, Br. Kelod, Br. Anggrek,
Br. Kawan, Br. Gili Mekar, Br. Parangan, Br. Amben Tiing, and Br. Ceningan.
Each banjar takes turns preparing and carrying out the ritual, based on customary
deliberation. For example, Br. Pegadungan, which is scheduled to perform the
Sanghyang Sumbul ritual in 2024 (Figure 5). According to I Komang Erawan, a
bendesa or traditional village leader in Lembongan, this rotation system ensures
that all community members have a role in maintaining the continuity of the
tradition, making the Sanghyang Grodog ritual a social glue that strengthens
solidarity among the banjars (Interview, August 22, 2024). This was underscored
by Mangku Wija, who pointed out that the absence of a specific dancer in the
ritual, as well as the freedom for anyone to push the wooden cart carrying the
Sanghyang figures, reflects the concept of togetherness and inclusivity in the
culture of the Lembongan community (Interview, August 22, 2024).

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Figure 5. The Br. Pegadungan community preparing the artistic elements for the
Sanghyang Sumbul ceremonial accoutrements (Source: Br. Pegadungan, 2024)
The creation of artistic elements in this ritual is carried out collectively,
reinforcing the value of mutual cooperation within the community. The
lengthy process of preparing Sanghyang figures, floral towers, and other
ritual ornaments reflects that this ritual is not merely a performance but also a
medium for strengthening social bonds. For instance, during the preparation of
the Sanghyang Bunga ritual, community members take the initiative to gather
white, yellow, and red frangipani flowers, which are then collected at the Catus
Pata Desa pavilion, the central site of the ritual procession (Figure 6). According
to Suwarbawa, even schoolchildren in the Lembongan area are encouraged to
help gather flowers for the ritual. This concept aligns with Durkheim’s theory
of ritual as a means of reinforcing social solidarity, where active community
participation in cultural practices strengthens interpersonal connections (Syah,
2023; Zidniyatul Hidayah, 2022).
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Figure 6. The Sanghyang Bunga ritual (Source: Peradantha, 2024)
The artistic elements of the Sanghyang Grodog ritual symbolically reflect
principles of environmental sustainability. Observations on the materials used in
these artistic elements indicate that all components are derived from natural, ecofriendly materials. Ritual elements made from organic materials such as wood,
leaves, and flowers demonstrate the Lembongan community’s awareness of
ecological balance. As noted by I Komang Erawan, the Sanghyang Grodog ritual
serves not only as a religious practice but also as an educational medium for
fostering harmony between humans, nature, and the divine (Interview, August
21, 2024). By embedding environmental consciousness and gratitude within its
practices, Sanghyang Grodog functions not only as a cultural heritage but also as
a social mechanism contributing to environmental and communal sustainability.
Based on the various aspects discussed, it can be underscored that the
Sanghyang Grodog ritual plays a central role in shaping the cultural identity
of the Lembongan community, which is deeply rooted in Hindu spirituality,
communal solidarity, and ecological wisdom. The ritual’s artistic and symbolic
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elements not only embody the community’s history, beliefs, and social values
but also serve as a platform for strengthening social cohesion and maintaining
harmony with nature and spirituality. Thus, Sanghyang Grodog is more than
an artistic and cultural expression; it is a living representation of how the
Lembongan community understands and celebrates their existence within a
harmonious cosmic balance.
4.1.2 Revitalization of Sanghyang Grodog for Sustainable Cultural Tourism
The revitalization of the Sanghyang Grodog ritual is not only essential
for preserving local cultural values but also holds significant potential for
supporting sustainable cultural tourism in Lembongan. The ritual’s recognition
through a communal intellectual property protection certificate from the
Government of Indonesia underscores the importance of safeguarding its
authenticity and cultural integrity (Figure 7). This official recognition affirms
the cultural significance of Sanghyang Grodog as an intangible cultural heritage
that must be preserved. Moreover, the certification provides a strong legal
foundation for the management and development of the ritual, including its
integration into the tourism sector.

Figure 7. Communal Intellectual Property Registration Certificate for the
Sanghyang Grodog Ritual (Source: DJKI Kemenkumham RI, 2024)
The concept of sustainable cultural tourism requires a balance between
cultural heritage preservation, environmental protection, and economic
development through tourism (Aulia et al., 2024; Hikmah & Vidiati, 2024;
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Krogmann et al., 2021; Wasela, 2023). In this context, active participation from
the local community is crucial in ensuring the continuity of the ritual (Cole, 2006;
Zunaidi et al., 2022). For instance, in the ritual implementation report presented
on August 22, 2024 by I Wayan Wira Candra, the head of the organizing
committee, it was noted that the total financial contribution for the Sanghyang
Grodog ritual amounted to IDR 235,000,000 (approximately USD 14,400)
(Bagian Protokol dan Komunikasi Pimpinan Kabupaten Klungkung, 2024).
This substantial funding reflects the Lembongan community’s commitment
to preserving their cultural heritage. According to I Komang Tengah, these
funds were sourced from personal donations, local businesses, and external
companies, all of whom collaborated to support the event (Interview, August
22, 2024). This well-organized financial support not only demonstrates the
solidarity within the community but also serves as a model for cultural tourism
that integrates the local economy into its framework.
The revitalization of this ritual within the context of sustainable cultural
tourism can be achieved by ensuring that its management remains in the
hands of the local community, which actively participates in all aspects of its
preparation and execution. Visitors can be encouraged to develop a deeper
understanding of the ritual’s artistic elements and, in some cases, engage in
aspects of its production or organization, such as assisting in the creation of
Sanghyang figures or joining specific processions, while always respecting
traditional boundaries (see Figure 8). Through this immersive experience,
tourists do not remain passive spectators but gain firsthand appreciation of the
authenticity and depth of local cultural traditions.

Figure 8. Participation of Foreign Tourists in the Sanghyang Penyalin Ritual
(Source: Wiarta, 2024)
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However, with the growth of tourism and the influence of global cultural
dynamics, it is essential to integrate this ritual into the context of sustainable
cultural tourism (Wirawan & Devi Rosalina, 2024). The revitalization of
the Sanghyang Grodog ritual must be carried out carefully to maintain its
authenticity and traditional values while creating opportunities for interaction
with tourists who can participate in this cultural practice. According to recent
data from the Bali Central Statistics Bureau, which shows a significant recovery
in the number of foreign tourists, there is a great opportunity to develop more
sustainable culture-based tourism. In 2023, Bali attracted over 5.2 million
foreign tourists, and in 2024, that number continues to grow rapidly (see Table
3). This increase opens opportunities to promote the Sanghyang Grodog ritual
as a profound cultural attraction, offering a unique experience for tourists.
Table 3. Number of Foreign Tourists Visiting Bali 2019-2024
No.
Year
Number of Foreign Tourists (persons)
1.
2019
6,275,210
2.
2020
1,069,473
3.
2021
51
4.
2022
2,155,747
5.
2023
5,273,258
6.
2024
4,155,540 (January – August)
Source: Biro Pusat Statistik Bali (2024)

Growth
3,37 %
-82,96 %
144.37%
21.55%

Looking at the historical emergence of the Kecak performance, which
originated from the Sanghyang Dedari ritual choir in the 1930s (Erawati,
2019; Seriasih, 2019), a similar development approach could be applied to
the Sanghyang Grodog ritual. The process, adapted by Walter Spies with the
help of local artist I Wayan Limbak, ensured that the Sanghyang Dedari ritual
remained a sacred art, preserving its authenticity, while the Kecak dance was
created to meet the demands of tourism (Seramasara, 2017). In this context, the
concept of “rite of passage” provides a framework for revitalizing Sanghyang
Grodog in a way that aligns with its original cultural values.
The “rite of passage” concept, as proposed by Arnold van Gennep, offers
a relevant lens for understanding cultural change dynamics in the context of
sustainable tourism (Burrow, 2023). Van Gennep explains that every cultural
transition undergoes three main stages: separation, transition (liminality), and
incorporation (Freeman et al., 2022). This concept can be applied to the strategy
for developing the Sanghyang Grodog ritual in Lembongan, ensuring that
local culture is preserved while remaining relevant within the modern tourism
landscape.
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In the separation stage, the sacred elements of the Sanghyang Grodog
ritual are distinguished from the more flexible components that can be adapted
into a performance art form. Similar to how the Kecak Dance was inspired by
the Sanghyang Dedari, the reinterpretation of symbols in the artistic elements
of Sanghyang Grodog and vocal music can be developed into new creative
works without altering the ritual’s sacred essence. In the transition stage, these
elements are adapted and adjusted, with the local community playing a crucial
role in ensuring the preservation of the ritual’s spiritual values. Technologies
such as lighting and stage design can be used to make the performance more
engaging for tourists without diminishing its philosophical meaning. This
process also helps the performing arts become a source of income for local
artists and communities. The final stage, incorporation, sees the transformed
Sanghyang Grodog accepted as part of Lembongan’s cultural identity in two
forms: the ritual, preserved in accordance with tradition, and the new tourist
performance. This approach supports the principles of sustainable tourism,
where culture is preserved while allowing for innovation that respects tradition.
By applying the concept of rite of passage, the development of Sanghyang
Grodog for tourism need not lead to commercialization that diminishes
cultural values; rather, it can become a controlled process of cultural evolution.
The successful transformation of Kecak into a global performance art in Bali
demonstrates that cultural revitalization can occur while maintaining a clear
distinction between the sacred and entertainment. If this strategy is effectively
implemented, Lembongan could serve as an example of how cultural tourism
can support the sustainability of tradition without compromising the cultural
identity of the local community.
However, to ensure sustainability, attention to environmental preservation
and natural resource conservation must be prioritized. Since this ritual uses
natural materials in its artistic elements, it is essential to manage these resources
wisely and sustainably. Natural resources such as flowers, leaves, wood, and
trees used in the ritual must be maintained to prevent over-exploitation that
could harm the local ecosystem. This aligns with traditional religious practices
in Ghana, such as totemism and the worship of deities, where the intent is
more spiritual than ecological, yet these practices indirectly contribute to
environmental protection (Benson, 2021). Similarly, in Papua, cultural practices
like the Isolo dance are not merely cultural expressions but also carry ecological
educational values (Surya Peradantha et al. 2023; Surya Peradantha et al. 2023).
This ritual preserves cultural heritage while also upholding the sustainability of
the natural world. The natural world is an inseparable aspect of the Lembongan
community’s traditions and is maintained through an environmentally
responsible approach.
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Thus, the revitalization of the Sanghyang Grodog ritual can support
sustainable cultural tourism by developing it as a rite of passage that functions
not only as a spiritual heritage but also as a source of inspiration for the creation
of structured cultural attractions (Garfinkel, 2018). With active community
involvement, the ritual can reinforce cultural identity and environmental
awareness. Adopting a model like Kecak, balancing sacredness with tourism,
alongside intellectual property protection and transparent funding can
sustain economic benefits while preserving authenticity. This approach
ensures Sanghyang Grodog’s revitalization strengthens cultural tourism while
remaining relevant in modern society.
4.2 Discussion: Cultural Tourism as a Challenge and Opportunity for Social
Cohesion
Durkheim distinguishes between mechanical solidarity, based on
shared values in traditional societies, and organic solidarity, grounded in
interdependence in modern societies (Sidiq et al., 2021; Söylemez & Ergun,
2024). The growth of tourism has driven a shift from a community-based social
system to a more individualistic economic model, fragmenting society into
those who preserve tradition, pursue economic gain, or adapt culture for the
market. This imbalance in the process can undermine social cohesion.
Tourism may preserve the existence of rituals, but it risks diminishing
their meaning. Research indicates that after 30 years of inactivity, public
understanding of the Sanghyang Grodog ritual’s significance has weakened,
particularly among the younger generation. According to Mangku Wija
(Interview, August 22, 2024), modernization in Sanghyang Grodog has been
limited to visual aspects, such as the use of stapless instead of semat (a traditional
bamboo pin used for sewing coconut leaves) and the adoption of bondres masks,
which are typically used in Balinese comedy performances, on Sanghyang
figures. These masks, known for their exaggerated expressions and humorous
characterizations, represent a shift towards incorporating more contemporary
or playful visual elements into the traditionally solemn ritual. However, I
Wayan Dangled, Ni Wayan Enpe (Sangging TV, 2022), Suwarbawa (Interview,
August 22, 2024), and I Kadek Wiarta (Interview, September 15, 2024) highlight
that these adaptations have not been accompanied by a deeper understanding
of the ritual’s core meaning.
The loss of intergenerational knowledge threatens the sustainability of
the ritual, impacting cultural transmission and social cohesion, in line with
Malinowski’s perspective on the role of rituals in maintaining community
balance (Bowie, 2021; Ramadhan et al., 2023). As a result, while visual appeal
may increase, the spiritual and social dimensions of the ritual risk being
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diminished. To ensure sustainable cultural tourism, local communities must be
mindful of balancing innovation with the preservation of the ritual’s meaning,
ensuring that Sanghyang Grodog continues to function as a social unifier for
the people of Lembongan. Moreover, tourism attractions in Lembongan remain
limited (Shantika et al., 2018, p. 180), making it crucial for local communities to
balance innovation with the preservation of the ritual’s meaning. Given these
opportunities, we propose several forms of development for Sanghyang Grodog
to support sustainable cultural tourism in Lembongan, as follows:
1. The authors suggested that the creation of a local mascot based on a dance
inspired by the Sanghyang figure can increase tourism appeal and highlight
the uniqueness of the local culture in Lembongan Village. We anticipate
that the mascot will enhance the village’s cultural repertoire and serve as
an educational tool, imparting spiritual values and ecological equilibrium
to both the community and visitors (Julianto et al., 2021; Ruspawati, 2020).
2. The branding of tourism with visual components from the Sanghyang Grodog
ritual can enhance tourist understanding of cultural values via distinctive
gifts. One such case in Guizhou, China of Miao-themed souvenirs illustrates
the effectiveness of the representation of rituals in enhancing local branding
and bolstering the local economy (Jiangwei & Keai, 2024). This approach
suggests that Lembongan Village can enhance its tourism appeal and
increase tourist understanding of traditional values by integrating visual
elements of the Sanghyang Grodog ritual into tourism branding. Inspired
by the successful use of Miao-themed souvenirs in Guizhou, China, this
strategy can help strengthen local branding and support the local economy.
3. Third, the incorporation of arts and culture into ecotourism, including dance
performances and installations, can function as a vehicle for environmental
education, according to the principle of Tri Hita Karana. This could enhance
ecological understanding among both tourists and the community, hence
supporting environmental conservation in Lembongan (Akamani, 2020).
4. Fourth, to enhance the younger generation’s comprehension, education
rooted in local wisdom must be incorporated into school and art studio
curricula. This is significant given the prolonged absence of the ritual’s
execution and can enhance cultural continuity in the future (Nguyen et al.,
2023).
5. Fifth, organizing inclusive cultural festivals and parades can actively
engage tourists, fostering a distinctive tourism experience and reinforcing
Lembongan’s character as a sustainable tourism destination (Quan-Baffour,
2023).

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Meyer Fortes emphasizes the importance of kinship structure in
maintaining social stability (Evans et al., 2021; Fortes, 2013), which in Balinese
society is manifested through the role of the banjar as the center of adat and
social activities. The challenges faced by the Lembongan community highlight
the impact of tourism development on social dynamics. The Sanghyang Grodog
ritual, which takes place every two years over a 12-day period, is now hindered
by the busy schedules of community members employed in the tourism
sector. This shift reflects changes in kinship structures and the traditional role
of the banjar in organizing adat rituals, which are increasingly influenced by
economic pressures. Commercialization and modernization affect not only the
economic aspects but also the cultural and religious dimensions, potentially
altering the social values that form the foundation of Bali’s identity and the
social structures that support the sustainability of such rituals.
The community’s awareness of this ritual highlights the enduring
strength of cultural values. As Suwarbawa notes, Lembongan’s younger
generation recognizes the need for preservation, though deeper understanding
is still required (Interview, August 22, 2024). If traditional village leaders allow
flexibility in task distribution and scheduling, the ritual can continue without
hindering economic activities. Rather than a constraint, this challenge presents
an opportunity to balance tradition with sustainable tourism. Tourism has
significantly boosted Lembongan’s economy, raising monthly incomes from
IDR 1,000,000–2,000,000 in the era of seaweed farming to IDR 4,000,000–
5,000,000 today (Shantika et al., 2018, p. 179). However, economic growth must
align with cultural preservation to maintain social cohesion (Darma Putra
& Pitana, 2010). Community-based tourism, which actively involves locals
(Dyah Krismawintari & Rai Utama, 2019), offers a solution, ensuring tourism
strengthens both financial stability and cultural identity (Azwar et al., 2023;
Dłużewska & Giampiccoli, 2021). Success depends on strong community
engagement and supportive policies at the village and district levels.
Conclusion
This study reveals the fundamental role of the Sanghyang Grodog ritual
in shaping cultural identity and strengthening social cohesion in Lembongan
Village. The ritual serves as both a preservation of ancestral values and a
platform for the community to adapt to social changes. However, the increasing
pressures of tourism present challenges in maintaining the sacred essence of the
ritual amidst commercialization demands.
The revitalization of this ritual, within the context of sustainable tourism,
offers potential as an adaptive cultural conservation strategy. In response
to these challenges, this research proposes a community-based tourism
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development approach. This includes steps such as the creation of a village
mascot based on the ritual, the use of ritual visual elements for local branding,
and the integration of art and culture into ecotourism and educational curricula.
These initiatives not only raise community awareness but also contribute to
strengthening local cultural identity, while offering economic benefits that help
mitigate the commercialization pressures.
Despite the promising direction, the study acknowledges limitations in
exploring the long-term impacts of ritual revitalization on community identity.
Further research is needed to explore the role of the younger generation in
preserving this practice, as well as to develop an interdisciplinary approach
that incorporates economic, cultural, and ecological perspectives, ensuring the
ritual’s sustainability for future generations.
Acknowledgements
We would like to extend our deepest gratitude to all the informants who
generously shared their time and insights for this research. We are especially
grateful to I Kadek Wiarta for kindly allowing us to use his photographic
documentation in this study at no cost. We also sincerely thank Cintya
Dharmayanti for her invaluable assistance as a native speaker in reviewing the
language of our writing. Their support and contributions have been invaluable
in completing this study.
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Authors’ Profiles
Dr. Ni Made Arshiniwati holds a Ph.D in Cultural Studies, with a focus on
dance studies. She serves as a faculty member across several programs,
including the Bachelor of Dance, Master of Art Education, Master of Arts
Management, Master of Arts, and the Doctoral Programme in Art Studies. She
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teaches research methodology courses and is currently the Senate Chair at the
Indonesian Institute of the Arts Denpasar. Email: arshiniwati@gmail.com
Dr. Ida Bagus Gede Surya Peradantha holds a Ph.D in Performing Arts Studies,
with a primary focus on Dance Studies. He is a lecturer in dance studies at the
Indonesian Institute of Arts and Culture Tanah Papua, Indonesia. His current
work focuses on the analysis and preservation of traditional performance arts in
Indonesia, particularly Papua. Email: peradantha@outlook.com

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