Aesthetic Value in Legend

The Legend of Goa Ngerong, Tuban, East Java

Robby Arsyahdani (12141123095)
Bapak Moses Glorino Pandin, S.S., M.Psi., M.Phil.Psi. (197011112007011002)
robby.arsyahdani-2014@fib.unair.ac.id

Abstract

Aesthetic may come in various form. One of which is in a form of a cave. Goa Ngerong in
Tuban, East Java is one of the examples. The cave does not only have aesthetic value in nature, but
it is also surrounded by legend and myths that have been passed for generations. The very legend
and myths have survived for long time that in today society may seem to make more sense that it
was back then. The research will therefore try to present the legend and myths surrounding Goa
Ngerong. The data will be collected mainly from literature review and an interview with the local
people who live around the site of Goa Ngerong. The data will then be analyzed qualitatively by
employing Duras view about aesthetic and also Roland Barthes theory about mythology. it will
then try to uncover the underlying message of the legend and myths of Goa Ngerong with todays
logic science. The result shows that there is an underlying message behind these legeds and myths
and therefore nowadays society would have to look at these deeper in order to get that very
message.
Keywords: Goa Ngerong, Tuban, Duras view on aesthetic, Rolands Barthes Mythology,
underlying message, legend and myths.

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A. Introduction

1. Background
Having been born and raised in Tuban is one of the primary reason why the writer
choose the Legend of Goa Ngerong as his topic research in fulfilling the assignment
from ethic and aesthetic class. Furthermore, the writer has enough confidence and
experience firsthand regarding the legend itself. The writer used to pay a visit to Goa
Ngerong back in the day and therefore had been exposed to the legend for a long time.
This was possible because the writers home was close by the cite
The legend of Goa Ngreong is widely spread among the locals and people orm other
region. This legend is what drives the writer to make it as the research object. In
addition to it, the writer believes that there is more than what meets the eye. For
whatever that might happen, the legend has help Goa Ngerong in a way that it helps
preserving its beauty and nature. Therefore, its aesthetic value is still good up to the
present days.

2. Goals
Aside from fulfilling what has been assigned by Mr. Moses, the writer wish to dig
deeper about Goa Ngerong and its legendary story. As it is mentioned above that the
writer is also a local, the writer feels the need to know about the legend that spreads in
the community around and its effect to the society itself. In addition, knowing the
legend and its effect toward Goa Ngerong might also help in preserving its nature and
shape.

3. Advantages
As it is aimed and has been explained in the previous section, the research is then
advantageous in a way that it will help the writers to gain more knowledge about Goa
Ngerong and its legend. There is no better way to start preserving a natural cite than by
learning its details first. This research is then useful for the locals and all people in
general to help in preserving Goa Ngerong.

B. Object Description
Goa Ngerong is easily accessed because its located just next to a bridge and exactly next
to the main road. It is located in Rengel, Tuban Regency, East Java. Goa Ngerong is
considered as a water cave because the interior of the cave itself is a river. Thus, the inside
ecosystem is also water. Up until today, many researches, adventurers, and even local
government agree that the length of Goa Ngerong is approximately 1.8 Kilometers. It is
measured form the caves front door to the point after a small height waterfall is passed.
According to Viva, the caves potential length is 30 kilometers (Siswoyo & Handoko, 2015).
The word Ngerong comes from Rong which according to locals language means a hole.
It is cited from the website (Trieha, 2014) (which can also be found in some other websites)
that Rengel was once a karst mountain and it was once the territory of Gumenggeng Kingdom.
Its king, Raden Arya Bangah pitied his people due to te difficulty in finding fresh water for
daily. The king therefore held a competition among his territory to find clue how to get water.
There was a kyai (a name for religious teacher) namely Kyai Jala Ijo who heard about the
competition and then participated. He then went onto praying in one of the kingdoms territory
until he finally got a provision on how to find water source. He then set and punched his stick
in deep to the ground and prays.
Mandeng pucuking grana, sedakep saluki tunggal. Nutup babahan hawa songo, muji marang
kang mubeng wseso (Trieha, 2014)
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 Its meaning is literally translated as Facing the full moon, folding hands (like one of the
praying movements) and facing Him, the One and Only (GOD), holding back the nine source of
desire, praising Him who creates everything. Right after Kyai Mojo stacked his stick into the
ground of Gumenggeng Kingdoms territory, it was said that it then left a hole and water came
from the inside.
There are also other myths come from Goa Ngerong:
- Whoever comes inside the cave, they have to get out in the next 12 hours
maximum.
- The present of the tree white turtles that does not always reveal themselves. It is
strange that all the three gather right away when the Juru Kunci (Master) calls them
- The sacred fishes that live in the river in Goa Ngerong. It is believed that these fish
cannot be taken out from its home and if one tries to take it, then he or she will be
condemned with a bad thing. Some sources mention that once there was someone
who took the fish home to eat. Rumor has it that the person was dead with a strange
illness. There were people from other region who also took he fish home and within
the next few weeks they went back to Goa Ngerong to put back the fishes.
Apparently a spirit came in their dream and demanded them to put back the fish to
its home.
- Still about the fish, rumor has it that there is one dead fish swimming among other
fishes. The man who just finished the fish dreamt that he was demanded to bring
back the fish to its home. When he laid the fish in the water, the fish with only the
remaining of head and tail could swim just like other fishes. This fish is believed to
still swim among others (Rahmawaty, 2012) and is believed as one of the queen of
Ngerongs pets. (Siswoyo & Handoko, 2015)
People still come to the cave for many reasons. The local likes to use the river stream to take
bath or wash clothes. Some people come to meditate and look for mystical things, while some
others come to just spend time and relax.
In this research, an interview was also conducted to hopefully gain more access on the
legend of Goa Ngerong. The writer made contact to the family back home; it happens that the
writers family is also considered as local and had known Goa Ngerong since they were child.
The result from the interview confirms the data gathered from many sources. There is additional
rumor that during one of the expedition to the cave, a ship was found abandoned without its
crew floating out of the cave. The crews were believed to be dead, but the remaining was never
to be discovered.
C. Research Method
Procedure : Qualitative data analysis
Problem : Is there any logical explanation behind the legend of Goa Ngerong?
What is the aesthetic value behind the legend?
Hypothesis : There is correlation between the legends of Goa Ngerong with aesthetic and
there is logical explanation behind it.
Gathering Data : Literary review and interview with the locals
Instrument : Laptop and cellphone

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 The data was gathered through literary review from online sources and library books.
Interview was also conducted to gain more information. The data was then analyzed
qualitatively and the research will try to find the correlation between the legend and logical
explanation to find the aesthetic value of Goa Ngerong.
D. Theoretical Framework

1. Duras Theory
In her rather gloomy life journey, Maurite Duras experienced so many down falls to
the extent that it affected her way in seeing the world, including aesthetic value. She found
that aesthetic is not always about beauty, happiness, or something fun, but it is including
sadness, death, and unhappiness. In defining ones aesthetic value, he or she must consider
both sides and present it as it is in the real world. For instance, Duras invites people to see
the world ass how it is in reality. She encourages people to broaden the scope of our sight
so they would see the world as a whole unit; not just focusing on one single point or spot.
As the point above, it is then vital to not put negative experiences aside as it is, according
to Duras, considered as aesthetic as well (WIbowo, 2005).

2. Roland Barthes Mythology

Roland Barthes presents a theory that society never really lives in reality, yet in and
around opinions instead. These opinions are embraced among society and people are the
subject to believe these opinions. Explaining even further, Barthes mentions that these
opinions are not only communicated orally, but also verbally through medium such as
writings, paintings, and also actions. For instance, all these opinions are called myths. In
order to understand these myths, the society needs to recognize the present of myths first
and understand it as a mean of communicating meanings. This so because, according to
Barthes, people tend to just take it for grated when it comes to understand myths. They
tend to just stay on the linguistic surface and therefore do not get the underlying message
behind it. Alternatively, Barthes suggests the semiotic approach which includes 3 main
components in analyzing myths. They are signifier, signified, and sign. The three elements
will ease the understanding of myths meaning and therefore will help uncover what might
be hidden behind it (Ismidayanti, 2006).

E. Analysis
As it is mentioned by Duras and reflected in her way of viewing aesthetic that sadness,
death, and imperfection is also considered as aesthetic, we can also find aesthetic in the legend
of Goa Ngerong. As it is explained in the previous section about the legend itself, we can
already find the aesthetic value in it. The pity feelings of Raden Arya Bangah towards his people
who suffer water deficit demonstrate a beautiful relationship between a leader and its people.
This leads to another aesthetic as well. Kyai Jala Ijo who also shared Raden Aryas feelings and
joined the competition also showed us the beauty of aesthetic. Even further, this had led to
another beauty which was, according to the legend, the finding of Goa Ngerong itself. As a
whole, we have evidence of Duras theory that aesthetic or beauty does not always come out of
happiness, smile, but also form sadness, tragedy, and even death.
Other legends and myths which are widely spread among people reveal another side of
aesthetic as well. We learn that the rule which prohibits people from coming into the cave more
than 12 hours has kept the cave interior preserved for no hands have touched it. The white turtle
could live long. The sacred fish legend that spreads a terror tone to society has contributed in
keeping the fish population high. The death myth that revolves has brought up another side of
beauty and aesthetic by keeping the species good and provides a relief joy for any local or inter-

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 local tourist who pays a visit there. For instance, the death and mystery has revealed another yet
happy moment.
This analysis is not yet passing beyond the linguistic surface. Hence, we cannot achieve
the ultimate purpose of myths, as it is proposed by Barthes, which is to understand the message
behind these myths. Employing his theory, we will also discuss the legend and try to uncover
the message.
When we take a look and try to identify each myth or legend one by one, then it would not
make a sense and we will only be looking at piece of story. If we look at it as a whole big
legend, then we will begin to find connection. This is what Barthes first step in identifying myth
which is to look at a myth or legend and begin to find any signifier. In the legend of Goa
Ngerong, the fishes and the bats are signifiers. Each signifies its own life. As in the further
point, it signifies the life of human. To put it in another words, both fishes and bats symbolize
the life all organism, including human whom this myth is intended for. The last element is the
sign of the signifiers. Those signifiers must have meant something and therefore create a sign, a
concept for the society to easily understand. Here we can start seeing the connection of all. The
fish are not to be eaten because its food has been mostly the bats fesses that fall down right into
the river. Now fesses contain ammonia which is dangerous for humans body. Therefore, eating
the fishes from Goa Ngerong might be dangerous thing to do. In the New York Health
Department website, it is mentioned that high level of ammonia inside humans blood (interacts
with liquid) will create ammonium hydroxide that could destroy human cells. This could lead to
serious injure and even death.
It is also the same case with those who wish to enter the cave. Legend has it that they can
only have 12 hours maximum. NY Health Department also mentions that healing too much
ammonia would be dangerous as well (Health, 2014). In addition, BlokTuban website, it is
explained that there are rules that require people who wish to enter the cave to go only at
midnight (Rahayu, 2016). This is done for the safety of these people themselves. This is related
to the nocturnal habit of bats. They go out at night to hunt. It is mentioned that bats in Goa
Ngerong go out at 5pm. The net twelve hours would exactly be at 5am the time when the bats
coming back to the cave.
It is now clear that everything lines up together and creates one single meaning. It is clear
that the myth has aimed in humans wellbeing. The messages conveyed is or human to avoid
from a grave danger. To put it in another word, the legend or myth of Goa Ngerong can be
explained by science. Eventually this explanation reveal the beauty for beauty always make its
way in life. For instance, we understand the message of the legend and enjoy the aesthetic of it
and the aesthetic of Goa Ngerongs nature and ecosystem.
F. Implementation
The very first implementation of the legend is the living manifestation and practical of the
legend itself. Local people and others in general have never broken the rules. No one has ever
taken the fish home. Although it is not basing on science, they do not take out the fish, no matter
what their motivation is. As it is suggested by the NY Health Department, it is not good to eat
that fish due to ammonia (Health, 2014).
Another implementation is for those who wish to enter the cave. They can follow the rules
and not going inside unless it is dark. Otherwise the will be running into thousand groups of
bats. Therefore, this is a very practical suggestion for those people, as it is written in BlokTuban
website (Rahayu, 2016).

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 In general, the implementation of this legend is to living its message which is to live the
life well. We need to keep our health and maintain a good life support that will be useful not just
for ourselves, but also for the place we live in. one of the way is by preserving and keep things
the way they are.
G. Closing
1. Conclusion
This can be concluded that behind the legendary legend and myths story of Goa
Ngerong lays an important message for people. We have discussed in details the legend by
employing both Duras and Barthes theory. Furthermore, it is how people live the message
and understand it in life. It tells people to pay attention to the ecosystem of Goa Ngerong
and not to falsely break the message, for example consuming the fish, for it would put the
life in risk of death.
2. Suggestion
The research is still far from perfect and therefore any further research regarding the
legend of Goa Ngerong would benefit more if the researcher could get much more data and
conduct more interview to gain firsthand information. With that, it would make the research
so rich in data gathering and hence might uncover more messages behind the legend and
myths. As for the message that has been reveled through the study, it is suggested for the
society to follow them for the sake of their own safety, and no because living or trusting the
legend.
H. Reference
Health, N. S. (2014, July 28). Emergency Preparedness and Response. Retrieved November 30,
2016, from NY State Health Department:
https://www.health.ny.gov/environmental/emergency/chemical_terrorism/ammonia_tech.ht
m
Ismidayanti, S. (2006). Roland Barthes dan Mitologi. Language and Art, 1-12.

Rahayu, D. (2016, September 3). Blok Tuban. Retrieved November 30, 2016, from Blok Tuban:
http://bloktuban.com/berita-read.php/?show=5545-susur-goa-ngerong-wisata-alternatif-di-
tuban-bagian-1.html

Rahmawaty, A. T. (2012, February 15). Traveler's Story. Retrieved November 25, 2016, from
Traveler's Story: https://travel.detik.com/read/2012/02/15/150400/1842712/1025/misteri-
kelelawar-dan-ikan-keramat-di-gua-ngerong#

Siswoyo , H., & Handoko, D. (2015, September 19). Traveler's Story. Retrieved November 2016,
25, from Traveler's Story: http://nasional.news.viva.co.id/news/read/676143-legenda-ikan-
buta-dan-lele-tinggal-tulang-di-gua-ngerong

Trieha, U. (2014, October 11). Lokasi Wisata. Retrieved November 25, 2016, from Lokasi Wisata:
http://ensiklo.com/2014/10/legenda-ikan-keramat-dan-kelelawar-di-gua-ngerong-
tuban/#Wilayah_Rengel_Tuban

WIbowo, W. (2005). Penyakit Kesedihan: Marguerite Duras (Analisis Julia Kristeva Terhadap
Novel-novel Karya Marguerite Duras. In M. Sutrisno, Teks-teks Kunci Estetika: Filsafat
Seni (pp. 165-182). Yogyakarta: Galangpress .
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