This study aimed to determine the description of, the history of Jemblung
art, and the philosophical philosophy of Jemblung art in Karangpetir Village.
Based on teh research problems and objectives, this study was conducted by
historical research which analyzed the reality of the past. The research stages of
historical methods were: 1. Heuristic; searching and collecting historical sources.
2. Criticism, which was devided into two; external criticism (criticism from the
external/authenticity of the source) and internal criticism ( criticism from the
credibility/reliability of the source). 3. Interpretation; interpreting or providing
meaning to historical facts. 4. Historiography; writing history. The research
findings were in the form of a description of Karangpetir Village as the research
setting. Karangpetir Village was in Tambak sub-district and was directly adjacent
to Kebumen Regency. The majority of the people made a living as farmers and
farm labourers. Here, there was a Jemblung art which had revived after a long
disappearance. The history of Jemblung art was estimated to have existed since
the 1960s, but lack of interest contributed to the art then disappeared. However,
in 2007, Jemblung art in Karangpetir Village revived with the presence of the
Setia Budaya arts group. In 2008, the group was finally recognized by the
Karangpetir Village goverment and successfully performed in the city of
Surakarta, which respresented Banyumas regency. The government continued to
give more attention by providing a large number of Jemblung art training for the
public in Karangpetir. The philosohy of Jemblung art depicated strong community
solidarity, especially the Banyumas community.