Basically there are five versions of the popular story that emerged among the community about the origins of Reog and Warok, but one of the most famous story is the story of the rebellion Ki Ageng Kutu (a.k.a. Ki Ageng Surya Alam), a royal servant during Bhre Kertabhumi (a.k.a. Brawijaya The Fifth, Prabu Brawijaya V, Raden Alit, Ongkowijoyo Aryo Tejo), the last king of Majapahit who was in throne in the 15th century.
Ki Ageng Kutu showed anger upon the growing and powerful influence of the Chinese partner for the government and his king with its corrupt behavior, indeed his vision about the golden era of the Majapahit Kingdom that soon would be vanished. He then left the king. The name "Kutu" is named after the village where he dispute himself in, in Wengker area (now Ponorogo). He founded a community shields where he taught young children martial arts, science "kanuragan" (the study of immune / supernatural) in addition to mysticism and soldiering, self-defense, and the science of perfection in the hope that these young children could be the seeds of the revival again for the next Majapahit kingdom.
This community shield implemented a strict discipline for students who are comprised of young men, for example, they were prohibited from hanging out with women. To avoid contact with any female students, they were preserved with dormitory. Those who violate this unique prohibition, would lose his supernatural powers even that has been possessed. Although no one for sure has been claimed to be succeed in revealed the truth behind this theory.
Realizing that his forces were too small to fight the royal troops, then Ki Ageng Kutu political message conveyed through the performing arts called Reog, which were close to a "satire" to the King Bhre Kertabumi and his kingdom. This performances of Reog became a way of Ki Ageng Kutu build local resistance using Reog popularity. Since Ki Ageng Putu himself was an artist, it is nothing quite hard for him to create such an way to express his feeling.
Reog displayed a shaped of a lion head mask, known as "Singa Barong" (the king of the jungle), or "Dadak Merak" which became a symbol for Kertabumi. And above head of the mask, fully plugged in peacock feathers to resemble a giant fan that symbolized the powerful influence of his Chinese colleagues-or spouse, who manage all over his movement.
Bujang Ganong or Ganong for short (a.k.a. Warok), manifested in the form of a red masked clown with bulging eyes and long whiskers, a long nose that represents the creators of these arts, once was able to be a counselor for the king, that he would go asideif the king was angry. This was illustrated clearly when Bujang Ganong and Singo Barong dance together.
Bujang Ganong or Ganong for short (a.k.a. Warok), manifested in the form of a red masked clown with bulging eyes and long whiskers, a long nose that represents the creators of these arts, once was able to be a counselor for the king, that he would go asideif the king was angry. This was illustrated clearly when Bujang Ganong and Singo Barong dance together.
Jathilan (or horse braid), played by a group of Gemblak dancers riding a rocking-horse, became a symbol of the power of the Majapahit Empire troops, a contrast ratio compared to a the numbes of Warok that works alone. Played by men dressed women, it is intended as a description of the royal soldiers who had lost their manhood. In the dance the dancer is also illustrated as nonger discipline against the King (Singabarong).
With a noisy sound from musical percusion, accompanied by cheers and senggakan-senggakan or bursting mouth described by Bujang Ganong has been easily attracted people to witness the King's behavior as intended.
With a noisy sound from musical percusion, accompanied by cheers and senggakan-senggakan or bursting mouth described by Bujang Ganong has been easily attracted people to witness the King's behavior as intended.
This Reog of Ki Ageng Kutu popularity eventually caused King Bhre Kertabumi took action and led an ambush to this community shields, and without resistance a revolt by Warok quickly resolved. Then he forbid to continue his teaching about Warok, however the disciples Ki Ageng Kutu keep continues it in secret. But even so, the art performance of Reog itself is still allowed to be held for its popularity has been growing among the public.
But the way the story goes has been added with a new channel and character from Ponorogo folklore, namely Kelono Sewondono,the Goddess Songgolangit, and Sri Genthayu.
But the way the story goes has been added with a new channel and character from Ponorogo folklore, namely Kelono Sewondono,the Goddess Songgolangit, and Sri Genthayu.
The official version story line of Reog Ponorogo now is the story of King Ponorogo who intend to proposed the Lady from Kediri, Dewi Ragil Kuning, but amid the journey he was intercepted by King Singabarong from Kediri. King Singabarong forces consist of peacocks and lions, while the part of the Kingdom of Ponorogo, King Kelono and his Deputy Bujanganom, escorted by Warok (men dressed in black in the dance) and equipped with a deadly black magic. The whole dance resemble a dance of war between the Kingdom of Ponorogo and the Kingdom of Kediri, who also fight their black magic between them with the dancers in a state of 'trance' (kesurupan: javanese) when enacting the dance.
Until these days people of Ponorogo values and believes of their heritage as a very rich cultural inheritance. In his own art experience, Reog is a copyright of human creations that has been formed from the flow of an existing believes and faith from generation to generation and stay perceived. The ceremony itself also use the terms that are not easy for common people to meet them without a clear lineage, and so does parental lineage they keep embrace and traditional law which still applies.