The Reproduction of Javanese Ethnic Identity among Migrant Javanese Communities through Janengan Art in Kebumen Village.
Lampung Nur Julian Majid*.
Universitas Islam Negeri Sunan Kalijaga.
Yogyakarta.
Indonesia Chuna Kafia Dilla.
Universitas Islam Negeri Sunan Kalijaga.
Yogyakarta.
Indonesia
ABSTRACT
This article examines the role of Janengan performing art in reproducing Javanese ethnic identity among Javanese migrant communities in Kebumen Village.
Lampung.
Within a multiethnic social setting and migratory space.
Janengan is understood not merely as an Islamic-Javanese religious expression but as a cultural practice that actively sustains ethnic continuity.
The study addresses how Janengan functions as a medium for maintaining and renegotiating identity in a context marked by cultural interaction and social mobility.
Employing a qualitative approach grounded in cultural ethnography and oral history, data were collected through participant observation, in-depth interviews, and literature review.
The findings reveal that Janengan reproduces ethnic identity through the consistent use of the Javanese language, collective performance patterns, intergenerational transmission of religio-cultural values, and the reinterpretation of symbolic elements such as sajen.
At the same time, it serves as a space for social solidarity and adaptive negotiation of Islamic-Javanese identity within a multiethnic The article argues that Janengan operates as a dynamic cultural strategy through which Javanese migrants preserve and reconstruct their ethnic identity in migratory settings.
ARTICLE HISTORY
Submitted 27/11/2025 Revised 18/12/2025 Accepted 22/12/2025 Published 29/12/2025 KEYWORDS Cultural reproduction.
ethnic identity.
Janengan.
Javanese migrants.
Kebumen Village.
Lampung.
*CORRESPONDENCE AUTHOR
nurjulianmajid26@gmail.
DOI: https://doi.
org/10.
34007/warisan.
INTRODUCTION
Population migration does not merely represent physical movement.
it also carries with it values, social practices, and cultural expressions that shape a groupAos collective identity.
Within migrant communities, ethnic identity undergoes processes of renegotiation as a result of shifting social and cultural environments, prompting migrants to reaffirm their presence within new and multicultural social spaces (Yaqqin & Pratiwi, 2.
Identity in this context is not static.
it is continuously reproduced through symbolic practices that sustain collective attachment even when separated from the place of origin.
Islam, as a religious tradition, does not exist in isolation but consistently interacts with the local traditions that surround it.
Such interaction generates hybrid forms of religious practice that emerge from the encounter between Islamic teachings and local culture.
Within Javanese society, this process has given rise to expressions of Islam-Jawa, a form of religiosity that is acculturated with indigenous traditions.
Islam is therefore understood not only as a system of normative doctrine, but also as a lived cultural reality embedded in everyday life (Arianti et al.
, 2025.
Harahap et al.
One of the most significant media for the reproduction of identity is traditional art.
Art functions not merely as entertainment or aesthetic expression, but as a vehicle for the transmission of values, collective memory, and cultural symbols across generations.
Through artistic practice, ethnic identity is actively reproduced within social spaces that foster interaction, solidarity, and communal belonging.
In migration contexts, traditional art becomes a Auspace of memoryAy that enables communities to re-enact historical and cultural continuity without physically returning to their homeland (Ratnaduhita & Riyanto, 2.
Janengan is a traditional shalawatan-genre art form that employs the Javanese language and conveys religious teachings alongside moral advice for daily life.
While rooted in Javanese cultural regions.
Janengan has also flourished among migrant Javanese communities in Kebumen Village.
Lampung.
The persistence of Janengan in migratory settings demonstrates that its social significance extends beyond purely religious functions.
It operates as a space of solidarity, social cohesion, and symbolic differentiation within a multiethnic society (Ritawati, 2.
A 2025 The Author.
Published by Mahesa Research Center This is an Open Access article distributed under the terms of the Creative Common Attribution License .
ttps://creativecommons.
org/licenses/by/4.
0/),
which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
190 | Nur Julian Majid & Chuna Kafia Dilla Within the multiethnic landscape of Lampung.
Janengan serves as a mechanism of social differentiation, marking symbolic boundaries between AuusAy and AuothersAy without adopting an exclusive or confrontational stance.
Its language, rhythm, and ritual structure affirm the distinctiveness of Javanese identity while simultaneously opening avenues for interethnic dialogue within relatively harmonious social relations.
The flexibility of the practiceAiwhether in performance scheduling, performer composition, or social contextAiillustrates that the continuity of tradition depends less on formal purity than on its capacity to adapt to the social needs of its supporting community (Jurdi & Amiruddin.
The religious dimension of Janengan also carries strong social implications.
The verses and recitations of shalawat function not only as instruments of religious outreach but as a collective moral foundation that reinforces cohesion among migrant communities.
In migratory contexts, religion becomes a source of symbolic stability, and Janengan bridges normative Islamic teachings with the lived experiences of diaspora life.
The involvement of younger generations ensures the sustainability of the tradition while providing an informal arena for cultural learning (Mukti & Waningyun.
Santi, 2.
Unlike previous studies that have framed Janengan broadly as an expression of Islamic-Javanese religious culture (Ningsih et al.
, 2025.
Silvia, 2025.
Wahyuda et al.
, 2.
, this research focuses specifically on the practice of Janengan among migrant Javanese communities in Kebumen Village.
Lampung, as a multiethnic social space.
Employing a qualitative approach through cultural ethnography and oral history methods, this study analyzes the practices, symbolic meanings, and social functions of Janengan.
It argues that Janengan functions as a cultural strategy through which migrant Javanese communities dynamically reproduce their ethnic identityAithrough the use of the Javanese language, collective performance structures, the transmission of religio-cultural values, and symbolic negotiation amid social The ethnographic and oral history approaches are essential for capturing Janengan as a living practice continuously negotiated through collective memory and social experience.
This study contributes to broader discussions on the relationship between culture, religion, and identity in Indonesia by underscoring that ethnic identity is not a given condition, but one that is sustained and reproduced through contextual cultural practices.
Janengan in Kebumen Village.
Lampung, thus provides a concrete example of how traditional art functions as a strategy for identity reproduction within a dynamic migratory setting.
METHOD
This study adopts a qualitative approach employing cultural ethnography and oral history methods to understand Janengan as a living cultural practice within the migrant Javanese community of Kebumen Village.
Lampung.
This approach enables the researcher to capture experiential dimensions, symbolic meanings, and the social relations that shape and sustain the practice within a migratory context.
Data were collected through participant observation of Janengan performances, in-depth interviews with artists and community leaders, and a review of relevant scholarly Interviews were positioned as part of the oral tradition representing the communityAos collective memory and were therefore analyzed contextually, with attention to experiential narratives, the dynamics of memory, and the evolving constructions of meaning embedded within them.
Data analysis was conducted qualitatively through thematic coding to identify patterns of practice, performance structure, the use of the Javanese language, symbolic elements such as sajen, and the social functions of the art form.
The field data were subsequently interpreted using a conceptual framework of ethnic identity reproduction and art as a system of cultural symbols.
This framework facilitates an explanation of how Janengan operates as a site for negotiating Islam-Javanese identity, strengthening social solidarity, and transmitting religious and cultural values across generations within the multiethnic context of Kebumen Village.
Lampung (Mahendra et al.
, 2.
RESULT AND DISCUSSION
Janengan within the Social Context of Migrant Javanese Communities in Kebumen Village.
Lampung Kebumen Village.
Lampung, is inhabited by a migrant Javanese community formed through processes of migration and transmigration over the past several decades.
The presence of Javanese migrants in this region does not merely signify demographic relocation.
it also entails the transfer of values, social practices, and cultural expressions from their place The Reproduction of Javanese Ethnic Identity among Migrant Javanese Communities through Janengan Art A| 191 of origin.
In migratory contexts, however, transplanted culture cannot always be preserved in its original form.
Instead, it undergoes adaptation and transformation in response to evolving social structures, intergroup relations, and local dynamics within Kebumen Village.
Lampung.
This process underscores the adaptive character of migrant culture and its continual negotiation with new social environments.
As a multiethnic social space.
Kebumen Village.
Lampung, brings together diverse groups with varied cultural Within such a setting.
Javanese ethnic identity does not operate as a dominant identity.
rather, it is continuously negotiated through everyday interactions with other communities.
Identity is therefore understood as a dynamic process rather than a fixed entity.
This condition encourages the emergence of particular social spaces that enable Javanese migrants to preserve and affirm their cultural identity without engaging in competitive or confrontational interethnic dynamics.
The reproduction of identity unfolds through cultural practices that reactivate collective memory and sustain a sense of attachment to cultural origins.
In this context, the art of Janengan assumes a strategic role.
It is not merely maintained as a religious expression of Islam-Jawa tradition but is actively mobilized as a medium for expressing and reproducing Javanese ethnic identity within the migratory setting.
The use of the Javanese language, the recitation of shalawat, and the collective performance structure emphasizing communal togetherness position Janengan as a relatively secure cultural space in which the Javanese community can reinforce internal solidarity.
This practice demonstrates that traditional art functions as a cultural strategy for sustaining ethnic identity amid the continually shifting social dynamics of Kebumen Village.
Lampung (Arianti et al.
, 2025.
Azizurahman & Santosa, 2.
The Performative Form of Janengan as an IslamAeJavanese Cultural Practice Janengan is a traditional shalawatan-genre art form that developed within Javanese society, particularly among communities originating from Kebumen.
Central Java.
In practice.
Janengan integrates Islamic religious elements with Javanese cultural expression, making it one of the cultural articulations of IslamAeJavanese identity.
Oral tradition maintains that Janengan was created by a religious scholar named Syeikh Zamzani or Jamjani, although the historical origins of this figure have not yet been fully verified through written sources.
In the context of Kebumen Village.
Lampung, the presence of Janengan is believed to have been brought by the early generations of Javanese migrants who settled in the area, as conveyed by Mulya based on the communityAos collective memory (Mulya et al.
, 2.
Janengan performances are presented collectively, accompanied by percussion instruments such as kendang, terbang, ketipung, and kecrek, which frame the recitation of verses in the Javanese language.
The ensemble typically consists of 15Ae20 performers seated cross-legged and dressed in Muslim attire, thereby affirming both religious identity and social equality within the community (Irawansyah & Pugu, 2025.
Lestari et al.
, 2.
Janengan is performed during Islamic holy day commemorations and communal celebrations, with many of its verses derived from al-Barzanji and transliterated from Arabic Pegon script into Latin characters.
The integration of akidah, syariah, and tasawuf values into Javanese metrical structures reflects a contextualized IslamAeJavanese character.
Over time, the development of this practice has expanded its function from a medium of religious outreach to a vehicle for education, communal entertainment, and the strengthening of social relationships (Mulya et al.
, 2.
In terms of content.
Janengan songs represent an integration of akidah, syariah, and tasawuf values articulated through Javanese poetic meter and aesthetics.
In its early stages.
Janengan functioned primarily as an accessible and communicative medium for Islamic propagation.
Shifts in social context have encouraged the expansion of this function, so that Janengan now operates not only as a vehicle for religious outreach but also as a means of cultural education, collective entertainment, and reinforcement of community cohesion.
Its performative form, therefore, cannot be understood merely as aesthetic expression.
it constitutes a cultural practice that simultaneously embodies religious and social dimensions.
The structure of performance, the use of language, and the embedded value system position Janengan as a cultural practice that enables the integration of religious expression and Javanese cultural identity.
Within the migrant Javanese community of Kebumen Village.
Lampung, this performative form provides a crucial foundation for JanenganAos role as a medium for the reproduction of ethnic identity, which will be examined further in the following subsection (Hanifa et al.
, 2.
192 | Nur Julian Majid & Chuna Kafia Dilla Janengan as a Medium for the Reproduction of Javanese Ethnic Identity Within the everyday life of migrant Javanese communities in Kebumen Village.
Lampung.
Janengan is practiced not only as a religious tradition but also as a medium for the reproduction of ethnic identity.
Identity reproduction is understood here as an ongoing social and cultural process sustained through practices, symbols, and social interactions involving members of the community.
Janengan becomes a representational space in which Javanese identity is reproduced, negotiated, and reaffirmed within the broader context of a migrant community living in a multiethnic environment.
This dimension is reflected in the lived experiences of Janengan practitioners who actively sustain the tradition.
Mulyan, one of the Janengan performers in Kebumen Village.
Lampung, explained that from its earliest practice in the area.
Janengan functioned as a means of AuNgumpule wong JawaAy .
athering Javanese peopl.
and preserving long-standing habits so that they would not disappear in the diaspora.
This statement indicates that Janengan is understood not merely as a religious activity, but as a cultural space that strengthens communal solidarity and reinforces the ethnic identity of the Javanese community (Barelly et al.
, 2022.
Wijaya et al.
, 2.
The use of the Javanese language in the verses of shalawat and traditional songs constitutes a central element of Janengan practice.
Mbah Mingin, a member of the Janengan group, emphasized that the Javanese language is deliberately maintained so that younger generations remain Aungerti asal-usulyAy .
ware of their origin.
, even while growing up in a multiethnic setting.
In this context, language functions not merely as a tool of communication but as a symbolic marker of identity distinguishing the Javanese community from other ethnic groups in the surrounding In migratory conditions, the use of Javanese in Janengan represents an effort to sustain cultural continuity with the homeland while simultaneously serving as a mechanism for transmitting identity to younger generations.
The Javanese language thus appears not simply as a linguistic inheritance, but as a signifier of belonging and ethnic solidarity.
The performance structure and patterns of social interaction embedded in Janengan further reinforce the process of identity reproduction.
The collective nature of JanenganAitypically performed on Thursday evenings or during specific religious occasionsAicreates a regular meeting space for the Javanese community.
These gatherings foster social solidarity, strengthen kinship networks, and reproduce collective memories that bind the community to its ethnic identity.
Within migrant contexts, such artistic assemblies become crucial mechanisms for sustaining social and cultural continuity amid shifting environments.
Janengan also functions as a site for the transmission of values and cultural knowledge.
The religious teachings, life advice, and moral values embedded in its verses not only reinforce the religious dimension of the practice but also reproduce the Javanese cultural ethos emphasizing harmony, togetherness, and respect for tradition.
This process of transmission occurs informally and intergenerationally, positioning Janengan as an effective vehicle for cultural education in contexts where formal avenues for the inheritance of ethnic culture are limited within migrant communities (Murtazza, 2.
The practice of Janengan in Kebumen Village.
Lampung, may therefore be understood as a cultural strategy that enables migrant Javanese communities to sustain the continuity of their ethnic identity.
Through its language, collective performance structure, and embedded value system.
Janengan functions as a medium that actively reproduces Javanese ethnic identity within the dynamic social and cultural landscape of a multiethnic Janengan.
IslamAeJavanese Expression, and the Negotiation of Identity in a Multiethnic Space Within the multiethnic context of Kebumen.
Lampung, the practice of Janengan does not unfold within a homogeneous social environment.
The presence of other ethnic groups, each with distinct cultural backgrounds and religious traditions, situates Janengan in a setting where identity must not only be preserved but also continually negotiated.
Under such conditions.
Janengan functions as a medium through which the Javanese community can express its religious and ethnic identity in cultural terms without engaging in confrontation with surrounding groups.
As a shalawatan-genre art form.
Janengan represents a mode of Islam that has acculturated with Javanese The integration of poetic praises to the Prophet, moral teachings, and the use of the Javanese language reflects a flexible and contextual IslamAeJavanese character.
Junaidi observes that in Javanese cultural practice.
Islam is not experienced solely as a normative doctrine, but as an integral dimension of everyday social and cultural life.
Kebumen.
Lampung, this IslamAeJavanese character becomes particularly significant, as it enables religious practice to assume forms that are socially acceptable within a pluralistic environment (Shadra & Subekti, 2.
The Reproduction of Javanese Ethnic Identity among Migrant Javanese Communities through Janengan Art A| 193 The experiences of Janengan practitioners indicate that this art form also serves as a strategy of cultural Mulyan, one of the performers, explained that Janengan is maintained because it is perceived as Auora gemrungsung, nanging tetep islamiAy .
ot excessive, yet still Islami.
, making it socially acceptable within a diverse This statement reveals that preserving the distinct IslamAeJavanese form of Janengan is not a neutral choice, but rather the outcome of social considerations shaped by cultural and religious diversity within the migratory setting.
At the same time.
Janengan functions as a symbolic cultural boundary marker.
Its practice is not intended to assert exclusivity, but to safeguard the continuity of internal Javanese identity.
Manaf, one of the youngest members, noted that Janengan is usually conducted within the community itself, yet remains open to the attendance of individuals from other groups as observers.
This pattern demonstrates that Janengan operates as an inclusive cultural space while still preserving the ethnic and religious symbols of its supporting community (Putri et al.
, 2.
Beyond language and performative form, the negotiation between Islam and Javanese tradition in Janengan is also reflected in the presence of symbolic elements such as sajen .
itual offering.
In this context, sajen is not understood as an autonomous ritual act, but as a component of Javanese cultural symbolism reinterpreted within an Islamic framework.
Several Janengan practitioners view sajen primarily as a marker of tradition and respect for ancestors, rather than as an act of worship or a theologically grounded religious practice.
The inclusion of sajen in Janengan further illustrates the flexibility of IslamAeJavanese tradition as an adaptive cultural form.
In a multiethnic social space such as Kebumen.
Lampung, practices of this kind enable the Javanese community to preserve its cultural symbols without generating tension with other religious expressions.
Accordingly, sajen in Janengan does not function as a symbol of exclusivity or difference, but as part of a cultural strategy through which the Javanese community maintains continuity of tradition amid the social and religious dynamics of migrant life (Silvia, 2.
Janengan in Kebumen.
Lampung, can thus be understood as a cultural practice operating in two simultaneous directions: inwardly, as a means of reinforcing the ethnic and religious identity of the Javanese community.
outwardly, as an adaptive form of cultural expression within a multiethnic social environment.
The identity negotiation that unfolds through Janengan demonstrates how IslamAeJavanese tradition is not merely preserved as inherited heritage but creatively reworked as a strategy for coexistence within the dynamic realities of migrant society.
Janengan as a Space of Solidarity and Social Cohesion within the Javanese Community Beyond functioning as a medium for the reproduction of ethnic identity.
Janengan also plays a strategic role in building and sustaining social solidarity among migrant Javanese communities in Kebumen Village.
Lampung.
The collective and recurring nature of Janengan practice creates a social gathering space that fosters intensive interaction among its Within migrant contexts, such spaces carry particular significance, as they serve to reinforce social bonds that may otherwise become fragmented under economic pressures, differing backgrounds, and the complex dynamics of life in diaspora.
Janengan offers a cultural forum that brings individuals together within a shared value framework, thereby cultivating a sustained sense of communal belonging.
Typically held on Thursday evenings or during specific religious occasions.
Janengan is understood not only as an act of worship but also as a venue for silaturahmi .
ocial bondin.
and communal consolidation.
Mulyan noted that Janengan often provides an opportunity for Javanese residents to reconnect and converse after being absorbed in their daily work routines.
In this sense, the practice functions as a social mechanism that strengthens internal solidarity within the Javanese community while maintaining relational networks that form the foundation of social cohesion.
The solidarity nurtured through Janengan illustrates how traditional art operates as an effective social institution capable of binding migrant communities together (Hernawan et al.
, 2020.
Zakiyya, 2.
The social cohesion generated through Janengan is not merely emotional in character but also carries practical The networks formed through these gatherings are frequently mobilized for mutual assistance in social, religious, and everyday matters.
Within this framework.
Janengan functions as an informal cultural institution that supports the sustainability of social life among migrant Javanese communities and strengthens their position as a cohesive group within the broader multiethnic society of Kebumen Village.
Lampung.
194 | Nur Julian Majid & Chuna Kafia Dilla The continuity of Janengan in Kebumen Village.
Lampung, depends significantly on the intergenerational transmission of identity.
In migratory settings, this process faces particular challenges, as younger generations grow up within social and cultural environments distinct from those experienced by their predecessors.
Janengan provides a medium through which Javanese cultural values and ethnic identity can be transmitted continuously through living collective practice.
This transmission does not occur through formal mechanisms but through the direct involvement of younger generations in artistic practice.
Mulyan explained that children and adolescents are often invited to attend and participate, whether as percussion players, vocalists of the verses, or members of the audience.
Such participation enables younger members of the community to grasp the values, symbols, and meanings embedded in Janengan through lived experience, while simultaneously fostering a sense of ownership toward the tradition (Arianti et al.
, 2025.
Ritawati, 2.
Nevertheless, this process of transmission encounters challenges, particularly due to shifting cultural preferences and the influence of modern media shaping the interests of younger generations.
Several Janengan practitioners acknowledged that the enthusiasm of youth is not always as strong as that of earlier generations.
Responses to this situation have taken the form of adaptive measures, including adjustments to performance duration and greater involvement of youth in organizing activities.
These dynamics indicate that identity transmission through Janengan unfolds in a negotiated and adaptive manner, aligned with the evolving social context of migrant communities.
In this light.
Janengan functions not only as a vehicle for preserving religious and cultural traditions but also as a strategic space for ethnic identity learning among the younger generation of Javanese society in Kebumen Village.
Lampung.
Through this mechanism of transmission, the continuity of Javanese ethnic identity is maintained amid the ongoing currents of social and cultural change.
CONCLUSION
This study demonstrates that Janengan in Kebumen Village.
Lampung, cannot be understood merely as a religious tradition or an aesthetic expression.
Rather, it constitutes a cultural practice that actively reproduces Javanese ethnic identity within a migratory context.
In a multiethnic society.
Janengan functions as a cultural medium through which the Javanese community is able to preserve, affirm, and negotiate its ethnic and religious identity in ways that are adaptive and non-confrontational.
The use of the Javanese language, the collective structure of performance, and the religious and moral values embedded in its verses operate as mechanisms of symbolic reproduction that strengthen internal solidarity and social cohesion within the migrant community.
The reinterpretation of cultural symbols such as sajen further illustrates the flexibility of IslamAeJavanese tradition as a contextual form that remains responsive to evolving social dynamics.
This research is limited by its focus on a single migrant community in Kebumen Village.
Lampung, and therefore does not fully capture the diversity of Janengan practices across other migratory settings.
Comparative studies involving Javanese migrant communities in different regions would offer broader perspectives on the patterns of adaptation and transformation associated with this art form.
Interdisciplinary approaches integrating cultural-economic analysis and digital media perspectives could also enrich understanding of the dynamics of traditional arts within the context of The findings open important avenues for academic reflection on the role of local arts as arenas for the production, reproduction, and negotiation of identity within IndonesiaAos multiethnic society.
REFERENCES