The Case for Banning Cilokak (Kecimol)

If a tradition causes more harm than joy, should it still be preserved? The Nyongkolan wedding tradition in Lombok has seen the rise of Cilokak (also known as Kecimol), an energetic musical procession featuring massive sound systems and dancers. While vibrant, this modern phenomenon has generated significant public controversy, shifting the focus from celebration to public nuisance. This essay argues that despite its popularity, Cilokak must be banned or strictly restricted from public roads. This necessity is based on three critical failures: its role in creating severe traffic congestion, its contribution to immoral behavior and violence, and its part in eroding the image of authentic Sasak culture.

The foremost reason for prohibiting Cilokak is its documented disruption to public order. The use of large sound systems and long, slow-moving processions on major public roads for Nyongkolan results in severe traffic congestion and chaos. Evidence gathered from local reports and government concerns shows that this practice is not just a minor inconvenience; it is a fundamental infringement on the rights of the general public to move freely. Authorities, including the Mataram City government, have repeatedly considered banning these street performances because the resulting public disorder and traffic paralysis are simply too great to manage safely.

Furthermore, Cilokak processions frequently lead to serious public safety and moral issues. Reports from various sources confirm that these events are often linked to hard alcohol consumption (miras), particularly among young participants and onlookers. This link causes frequent incidents of public intoxication, brawls, and group fights, posing a risk to all involved. Additionally, the performances themselves often draw criticism because dancers (jangger) are sometimes seen engaging in erotic and inappropriate movements. This conduct is considered by many locals to be a clear deviation from the conservative moral and religious values of the Sasak community.

Though defended as a form of cultural expression, Kecimol is, in fact, an imported and modern style that detracts from the authenticity of the Nyongkolan ceremony. Research classifies Kecimol as a contemporary, collaborative art form, not part of the original, established Sasak tradition. With its massive sound systems and pop choreography, it is criticized for displaying a “Westernized” style that fails to reflect the depth of the local heritage. By attracting more attention than the actual traditional elements, Cilokak ultimately diminishes the cultural value of the entire Nyongkolan procession.

Opponents of a ban often claim that Cilokak must be protected as a modern, creative form of entertainment and an essential source of income for many locals. While it is true that performers rely on these events, this argument is defeated by the availability of an alternative that meets both cultural and economic needs: Gendang Beleq. Gendang Beleq is the original and authentic Sasak wedding music that maintains cultural integrity while still providing livelihood for traditional artists. Unlike Cilokak, Gendang Beleq is better aligned with public order and is not associated with the same high level of traffic disruption or immoral conduct. Therefore, banning Cilokak does not eliminate celebration; it merely directs the community back toward a safer, more genuine, and equally engaging cultural form.

In conclusion, the time has come to ban or severely restrict Cilokak. The overwhelming evidence detailing its contribution to traffic chaos, public immorality, and cultural erosion proves that this popular entertainment has become too costly for society to bear. By setting clear boundaries, authorities can protect public welfare and, crucially, encourage the return to Gendang Beleq. This decision is not an attack on music, but a necessary step to restore dignity, safety, and authenticity to the beautiful and important tradition of Nyongkolan.

References

Gitan Prahana, Lalu. (2024, Januari 27). Pro Kontra Keberadaan Grup Kecimol, Bupati Loteng dan Pemerhati Beda Pandangan. Inside Lombok. https://insidelombok.id/lombok-tengah/pro-kontra-keberadaan-grup-kecimol-bupati-loteng-dan-pemerhati-beda-pandangan/

H. Lalu Anggawa Nuraksi. (2017, Oktober 31). Lembah Sempage Larang Penggunaan Kecimol Untuk Kegiatan Nyongkolan. Radar Lombok. https://radarlombok.co.id/lembah-sempage-larang-penggunaan-kecimol-untuk-kegiatan-nyongolan.html

Majelis Adat Sasak (MAS). (2025, Mei 27). Pemerhati Budaya Sasak Soroti Kontroversi Dancer Kecimol Terkesan Erotis. GONTB. https://gontb.com/2025/05/27/pemerhati-budaya-sasak-soroti-kontroversi-dancer-kecimol-terkesan-erotis/

Mi6 (Didu). (2024, Juni 6). Mi6 Tolak Larangan Kesenian Kecimol di Lombok. Media Sumbawa. https://mediasumbawa.com/2024/06/06/mi6-tolak-larangan-kesenian-kecimol-di-lombok/

Sumardi, Nur Kholis. (2020). Transformasi Etno-Musik Tradisional Sasak: Evolusi Budaya dan Pertentangan Kelas. ASANKA : Journal of Social Science and Education, 2(1). IAIN Ponorogo. https://jurnal.iainponorogo.ac.id/index.php/asanka/article/view/2484

Turmuzi (Kepala Desa Lembah Sempage). (2017, Oktober 31). Lembah Sempage Larang Penggunaan Kecimol Untuk Kegiatan Nyongkolan. Radar Lombok. https://radarlombok.co.id/lembah-sempage-larang-penggunaan-kecimol-untuk-kegiatan-nyongolan.html