Kidul Artinya

Pati of the army of the Southern Sea

Nyi Roro Kidul is believed to be the pati of Kanjeng Ratu Kidul who leads the army of phantoms in the southern sea. Kiai Iman Sampurno from Blitar, East Java (19th century) issued a prophecy that Nyi Roro Kidul and Sunan Lawu would lead their respective armies and spread the plague to humans who behaved badly.

There is a local belief that wearing a green garment will bring the wearer bad luck, as green is Nyi Roro Kidul's favorite color.[6] Sea green (gadhung m'lathi in Javanese) is Nyi Roro Kidul's favorite color and no one should wear the color along the southern coast of Java.[7] Warnings are always given to people visiting the southern coast not to wear green garments. The myth is that they could be targeted by Nyai Rara Kidul to become her soldiers or servants (slaves). Logically, the reason arises because water on the southern coast tends to be greenish so drowning victims wearing green garments will be difficult to find.

Serat Centhini mentions that Gusti Kanjeng Nyai Rara Kidul has kampuh gadhung mlathi or "a long green dodot cloth with a white center" that is gold-toned.[8]

Sarang Burung are Javanese bird's nests and are some of the finest in the world. The edible bird's nests, in the form of bird's nest soup or sarang burung, find a ready market in Thailand, Malaysia, and Singapore are dedicated to Nyi Roro Kidul, mentioned by Sultan Agung in reports.

There are three harvests which are known as the Unduan-Kesongo, Unduan-Telor, and Unduan-Kepat, and take place in April, the latter part of August (the largest), and December. The places Rongkob and Karang Bolong along the south coast of central Java are famous for the edible bird's nests, made by the little sea swallows (so-called, but actually swiftlets), called Salanganen or Collocalia fuciphaga. The harvests are famous because of the wayang performances which are held, and the Javanese ritual dances which are performed with gamelan music as the traditional ceremony.

This happens in a cave (Karang Bolong) and when these are ended specially prepared offerings are made in a shed in what is known as "Ranjang Nyi Roro Kidul". This relic is hung with beautiful silk batik clothes, and a toilet mirror is placed against the green-colored pillows of the bed.[9]

Nyi Roro Kidul is the patron goddess of the bird's nest gatherers of South Java. The gatherers descend the sheer cliff face on coconut fiber ropes to an overhang some thirty feet above the water where a rickety bamboo platform has been built. From there they must await their wave, drop into it, and be swept beneath the overhang into the cave. Here they grope around in total darkness filling their bags with bird's nests. Going back needs very precise timing, to avoid misjudging the tides, and falling into the violent waves.[10]

Palabuhanratu, a small fishing town in West Java, Indonesia, celebrates an annual holiday in her honor on April 6. A memorial day for the locals, offering a lot of ceremonial "presents" to appease the queen. The local fishermen annually send the sedekah laut ceremony, offering gifts and sacrifices; from rice, vegetables, and agricultural produces, to chicken, batik fabrics, and cosmetics, to be larung (sent afloat to the sea) and finally drawn into the sea to appease the queen. The local fishermen believe that the ceremony will please the Queen of the Southern Sea, in return, this would provide plentiful catches in fisheries and bless the surrounding areas with better weather, and fewer storms and waves.

Nyi Roro Kidul is also associated with Parangtritis, Parangkusumo, Pangandaran, Karang Bolong, Ngliyep, Puger, Banyuwangi, and places all along the south coast of Java. There is a local belief that wearing a green garment in these areas instead of blue, purple, lavender, magenta, pink, and violet will anger her in the process and will bring misfortune to the wearer, as green is her sacred color.[11]

The Samudra Beach Hotel, Palabuhanratu, West Java, keeps room 308 furnished with green colors and reserved for Nyai Loro Kidul.[12] The first president of Indonesia, Sukarno, was involved with the exact location and the idea for the Samudra Beach Hotel. In front of room 308 is one Ketapang tree where Sukarno got his spiritual inspiration.[13] The painting of Nyai Rara Kidul by Basuki Abdullah, a famous Indonesian painter, is displayed in this room.

Yogyakarta and Central Java

The legend of Queen Kidul is often associated with beaches in Yogyakarta, especially Parangkusumo and Parangtritis. Parangkusumo in particular is special since it was the place believed to be the location of the first spiritual encounter between the Queen with Panembahan Senopati. Legends recount her love for Senopati and the famous Sultan Agung of Mataram, which continues to be recounted in the ritualized Bedhaya dance by the royal line of Surakarta, and she is honored by the susuhunans of Solo/Surakarta and the sultans of Yogyakarta, Central-Java. When Sri Sultan Hamengkubuwono IX died on October 3, 1988, the Tempo news magazine reported her sighting by palace servants, who were sure that she was paying her final tribute to the deceased King.[14]

Nyi Roro Kidul is often equated with Kanjeng Ratu Kidul, though they are different individuals.

Kanjeng Ratu Kidul is often illustrated as a mermaid with a tail as well as the lower body parts of a fish. The mythical creature is claimed to be able to take the soul of any who she wishes for.[15] According to local popular beliefs around coastal villages in Southern Java, the Queen often claims the lives of fishermen or visitors who bathe on the beach, and she usually prefers handsome young men.

The role of Kanjeng Ratu Kidul as a Javanese Spirit-Queen became a popular motif in traditional Javanese folklore and palace mythologies, as well as being tied in with the beauty of Sundanese and Javanese princesses. Another aspect of her mythology was her ability to change shape and her appearance several times a day.[16] Sultan Hamengkubuwono IX of Yogyakarta described his experience on spiritual encounters with the spirit Queen in his memoir; the queen could change shapes and appearance, as a beautiful young woman usually during a full moon, and appear as an old woman at other times.[17]

Kanjeng Ratu Kidul is in control of the violent waves of the Indian Ocean from her dwelling place in the heart of the ocean in a significant amount of the folklore that surrounds her. Sometimes she is referred to as one of the spiritual queens or wives of the Susuhunan of Solo or Surakarta and the Sultan of Yogyakarta. Her literal positioning is considered to correspond to the Merapi-Kraton-South Sea axis in the Solo Sultanate and Yogyakarta Sultanate.[18]

Another pervasive part of folklore surrounding her is the color aqua green, gadhung m'lathi in Javanese, which is favored and referred to by her and is thus forbidden to wear along the southern coast of Java.[19] She is often described as wearing clothes or selendang (silky sashes) in this color.

• The myth of Nyi Loro Kidul as the queen of the southern ocean has become a popular source of inspiration in Indonesian culture, both traditional and modern.

• Some local traditional theaters, particularly Sundanese Sandiwara and Javanese Kethoprak, may retell this legend in their performances. It has become the main theme of mystery, horror, and epic genres of Indonesian film and sinetron TV series.[20]

• The tale of the Queen of the Southern Ocean has become the source of one of Mobile Legends: Bang Bang character, Kadita from the Kingdom of Sunda.[21] She is also the inspiration behind the song “Queen of the South” by the Bandung band The Panturas [id].

Seperti ditulis pada artikel sebelumnya, Tafsir Jawa atas Kuasa dan Kekuasaan, pandangan kosmologi Jawa meyakini adanya kesejajaran antara makrokosmos (jagat gede) dan mikrokosmos (jagat cilik).

Menurut kepercayaan ini, keseluruhan tatanan sosial yang terdiri dari masyarakat luas di luar benteng kraton, para abdi dalem, dan lapisan kelompok para priyayi, serta berpuncak hirarkis pada diri raja, pada derajat tertentu merupakan representasi kosmis itu sendiri. Sekalipun dimaknai demikian, secara simultan tatanan sosial juga selalu berada di bawah pengaruh daya-daya kosmis alam semesta.

Dalam kerangka konsepsi Dewa-Raja atau Ratu-Binanthara inilah, kesanggupan seorang raja untuk mengharmoniskan keseluruhan tatanan sosial dan sekaligus daya-daya kosmis alam semesta, ialah kata kunci bisa atau tidaknya menghasilkan kemakmuran dan kesejahteraan bagi masyarakatnya.

Sedangkan bicara perihal daya-daya kosmis, selain didasarkan pada wahyu, daya kosmis lainnya ialah restu para leluhur tanah Jawa dan pusaka. Dalam konteks inilah, bicara restu leluhur tanah Jawa sudah tentu bukan hanya satu dan tunggal. Namun begitu, salah satu mitos yang diyakini kuat oleh masyarakat Jawa ialah Kanjeng Ratu Kidul.

Bagaimana menonjolnya mitos Kanjeng Ratu Kidul atau disingkat KRK, tanpa mengenal mitos ini orang tidak bakalan dapat memahami makna tarian sakral Bedhaya Ketawang; juga makna artefak bangunan Panggung Sanggabuawana di Kraton Surakarta; tak kecuali adanya folklore tentang jin bernama lampor maupun ritus sedekah laut yang lazim dilakukan masyarakat Jawa di sepanjang daerah pesisir Samudra Hindia.

Jejak-jejak Diskrusif

Merujuk artikel Robert Wessing yang berjudul “A Princess from Sunda: Some Aspects of Nyai Roro Kidul,” Asian Folklore Studies Vol. 56 tahun 1997, setidaknya ditemui beberapa versi sejarah. Menurut Wessing, sebagai seorang putri Sunda, umumnya KRK diceritakan sebagai puteri penguasa kerajaan Pajajaran di Jawa Barat, meskipun perihal siapa ayahnya ada beberapa nama mengemuka. Ada yang menyebutkan KRK ialah putri dari Prabu Mundingsari, lainnya menyebut nama Prabu Munding Wangi, atau juga disebut nama Prabu Siliwangi maupun Prabu Cakrabuwana.

Selain Pajajaran, cerita lain mengisahkan asal-usul KRK ialah kerajaan Galuh. Prabu Sindhula dari abad ke-13 merupakan ayahnya. Tempat asal lainnya yang disebutkan ialah kerajaan Kediri di Jawa Timur, saat diperintah oleh “Notradamus Jawa” yaitu yang legendaris, Raja Jayabaya; atau bahkan berasal dari kerajaan yang lebih tua, Kahuripan, diperintah oleh Raja Airlangga juga berlokasi di Jawa Timur. Namun demikian dari semua kisah itu, bagaimanapun kerajaan Pajajaran merupakan asal-usul KRK yang paling sering disebutkan.

Bagaimana kisah terjadinya transformasi dari seorang putri menjadi Dewi Samudra juga muncul banyak versi. Kisah paling umum menuturkan, dia adalah seorang puteri cantik yang, karena sihir ibu tirinya yang jahat dan cemburu, terjangkit penyakit kulit. Sakit kulit itu membawa bau yang menjijikkan sehingga memaksanya meninggalkan istana, dan pergi mencari perlindungan ke hutan. Beberapa kisah mengatakan, dibalut duka yang mendalam puteri itu lalu bermeditasi dan moksha.

Merujuk Poerbatjaraka dan Woodward, Wessing mencatat versi lain. Konon diceritakan, permaisuri raja Galuh melahirkan anak perempuan. Keanehan muncul, ia laiknya Yesus sejak usia bayi sudah dapat bicara dan berkata:

“Aku Ratu Ayu, akulah penguasa semua lelembut di Tanah Jawa. Istanaku berada di Laut Kidul.”

Raja Sidhula, yaitu raja Galuh yang telah lama meninggal, dikisahkan kemudian muncul memberi tanda dan bersabda bahwa puteri itu ialah cucunya. Untuk menjaga kesuciannya dia tidak akan pernah menikah hingga nanti tiba saatnya seorang raja Muslim muncul dan memerintah Jawa. Sosok inilah yang nanti jadi suaminya.

Menunggu dua abad lebih, hingga suatu saat datanglah Panembahan Senapati, pendiri wangsa Mataram-Islam. Historigrafi Jawa yaitu Babad Tanah Jawa meriwayatkan, bagaimana Panembahan Senopati mula pertama bertemu dengan KRK. Pertemuan yang bermuara menjadi hubungan percintaan ini mengawali kisah, di mana KRK bukan hanya menjadi “istri” Panembahan Senopati, melainkan juga raja-raja Mataram-Islam penerusnya.

Awalnya dikisahkan dia pergi bertapa di Sungai Opak (bahasa Jawa: kungkum), lalu berenang (tapa ngeli) ke arah muara hingga mencapai Pantai Selatan. Sampai di sana Panembahan Senapati meneruskan bertapa dan memohon petunjuk untuk memenangkan peperangan melawan Sultan Hadiwijaya di Pajang. Konon, berkat ketekunan bertapa membuat Samudera Hindia bergolak. Istana gaib tempat singgasana KRK menjadi porak-peranda karena kekuatan meditasi sang pemuda itu.

Walhasil, KRK pun muncul. Namun pucuk dicinta ulam tiba, KRK justru tertegun dan terpesona melihat seorang pemuda gagah tengah bermeditasi. Dia langsung jatuh hati dan bersimpuh di kaki Panembahan Senapati. Setelah bercinta tiga hari tiga malam di istana gaib Laut Selatan, KRK berjanji akan membantu Penembahan Senapati dan anak cucu keturunannya.

Menurut De Graaf, Ki Ageng Pemanahan tercatat meninggal di tahun 1583, dan sebagai gantinya ialah putranya Panembahan Senopati. Jika pembacaan De Graaf itu valid, menarik disimak pernyataan Sri Sultan Hamengkubuwono IX yang berkuasa pada 1940–1988, terhitung hampir berselang empat abad kemudian sejak Panembahan Senopati.

Dalam biografinya “Tahta untuk Rakyat” yang disusun oleh Atmakusumah (editor), ketika diwawancarai dan ditanya apakah benar dia adalah "suami" dari KRK dan apakah pernah "berhubungan" dengannya, Sultan Hamengku Buwono IX menjawab:

“Menurut kepercayaan lama memang demikianlah halnya. Saya menyebutnya Eyang Rara Kidul saja. Dan saya pernah mendapat kesempatan "melihatnya" setelah menjalani ketentuan yang berlaku seperti berpuasa selama beherapa hari dan sebagainya. Pada waktu bulan naik, Eyang Rara Kidul akan tampak sebagai gadis yang amat cantik; sebaliknya apabila bulan menurun, ia tampil sebagai wanita yang makin tua.”

Ketimbang “istri”, pada anak cucu penerus Panembahan Senapati setelah memasuki abad ke-20, posisi KRK tampaknya lebih berfungsi sebagai pepunden atau pamomong, atau sebutlah itu leluhur. Demikianlah catatan Jhon Pemberton dalam bukunya On The Subject of Java perihal cerita popular di Solo. Masyarakat Solo beranggapan raja sebagai “suami” KRK hanya sampai masa Paku Buwono IX.

Konon, diceritakan Paku Buwono X suatu ketika tengah naik ke Panggung Sanggabuwono. Tempat ini merupakan ruang pertemuan antara KRK dan Susuhunan. Di dalam bilik itu disediakan kursi dan pakaian serta sesaji untuk KRK. Diceritakan suatu saat PB X terpeleset saat menaiki tangga bangunan itu, dan KRK berucap kaget: “….Ooo, kepiye ngger!?” (Ooo, bagaimana kau nak!?). Nah, gara-gara dipanggil “ngger” itulah, Paku Buwono X tak pernah lagi dianggap sebagai “suami” KRK.

Pemberton juga memiliki catatan lain yang menarik. Paku Buwono yang memerintah pada 1823--1830, seperti diketahui dibuang ke Ambon oleh Pemerintah Hindia Belanda karena ketahuan mendukung pemberontakan Pangeran Diponegoro dalam Perang Jawa (1825--1830). Pemberton mencatat, salah satu alasan kuat Belanda untuk membuang Susuhunan ini dikarenakan dia diketahui sering “berkunjung dan menemui” KRT hingga mendapat tuduhan tengah merencanakan sebuah makar.

Menarik juga dicermati, sekalipun keberadaan KRK katakanlah lekat dengan sejarah wangsa Mataram-Islam, ritus sedekah laut bukan hanya dilakukan oleh institusi keraton. Melainkan, juga dilaksanakan oleh masyarakat yang tinggal di wilayah pesisir selatan Pulau Jawa. Ini artinya, masyarakat luas juga merasa memiliki KRK sebagai penguasa dan pelindung hidup mereka.

Itulah sebabnya pelbagai ritus terhadap KRK nisbi sering dilakukan oleh orang Jawa. Dari yang sifatnya pribadi hingga yang sifatnya kolektif atau massal. Pewaris Mataram-Islam, sebutlah Kasultanan di Yogyakarta, hingga kini setahun sekali masih melaksanakan upacara labuhan.

Kata labuhan berarti membuang barang-barang tertentu di laut atau kawah gunung sebagai sesaji. Barang yang dilabuh, antara lain, seperangkat pakaian untuk KRK. Pakaian dan kebutuhan wanita itu berupa kain panjang, semekan atau kain tutup dada, tusuk konde dan berbagai macam pakaian wanita beserta perlengkapan lain seperti param, ratus, minyak cendana, dan kepingan uang logam.

Bukan hanya ritus labuhan, kraton juga mengenal ritus sakral lain berupa pementasan Tari Bedhaya Ketawang. Menurut Kitab Wedhapradangga, pencipta tarian ini adalah Sultan Agung, raja paling agung yang berkuasa pada 1613--1645. Meskipun demikian kepercayaan tradisional meyakini, tarian ini diciptakan oleh KRK sendiri. Wajar saja, tarian ini bukan hanya semata sakral, tapi juga bahkan dianggap sebagai pusaka.

Menariknya, Sunan Kalijaga sebagai juru syiar Islam di tanah Jawa juga ikut memberikan patokan-patokan saat menciptakan titi nada gending tarian tersebut. Titi nada gamelan itu disebut diberi nama Gending Ketawang Gedhe berlaras pelog pathet 5.

Tari ini melukiskan proses jatuh cintanya KRK pada Panembahan Sanapati. Segala gerakannya melukiskan bujuk rayu dan cumbu birahi. Untuk itu KRT memohon Sinuhun tidak tergesa pulang, namun Sinuhun tidak mau. Dia masih ingin mencapai “sangkan paran dumadi”, yaitu hakikat kemanunggalan diri dengan Tuhan.

Namun Panembahan Senapati berkenan memperistri KRT, bahkan janji hingga turun-temurun. Siapa saja keturunannya yang bertahta di tanah Jawa akan mengikat janji dengan KRT pada detik kenaikan tahtanya (jumenengan nata). Karena itulah tarian sakral ini hanya ditarikan ketika pelantikan raja atau peringatan momen tersebut di setiap tahunnya.

Konon, saat tarian sakral ini ditarikan KRT selalu hadir dan turut menari di antara sembilan penari lainnya. Bahkan KRT jugalah yang konon mengajar secara langsung Tari Bedhaya Ketawang pada penari-penari kesayangan raja tersebut. (W-1)

Under moonlight, throngs of Javanese look for sacred offerings floating in the waves on Parangtritis Beach in Central Java collecting flowers they believe are mystical and spiritual, bringing luck, good health and prosperity. This extremely unique event happens on what is called a Jumat Kliwon on the Javanese calendar, when thousands pray at this remote beach to the Queen of the South Seas (Ratu Kidul). Legend has it the Ratu Kidul and the first Sultan of Yogjakarta had a sexual encounter upon a rock near this beach centuries ago during the Majapahit era (1293-1500 AD). The Queen of the South Seas also has spiritual connection to the spirit that is believed to reside in Mount Merapi, the most mystical and active volcano on the island of Java.

Pushished in National Geographic magazine

Under moonlight, throngs of Javanese look for sacred offerings floating in the waves on Parangtritis Beach in Central Java collecting flowers they believe are mystical and spiritual, bringing luck, good health and prosperity. This extremely unique event happens on what is called a Jumat Kliwon on the Javanese calendar, when thousands pray at this remote beach to the Queen of the South Seas (Ratu Kidul). Legend has it the Ratu Kidul and the first Sultan of Yogjakarta had a sexual encounter upon a rock near this beach centuries ago during the Majapahit era (1293-1500 AD). The Queen of the South Seas also has spiritual connection to the spirit that is believed to reside in Mount Merapi, the most mystical and active volcano on the island of Java.

Pushished in National Geographic magazine

Under moonlight, throngs of Javanese look for sacred offerings floating in the waves on Parangtritis Beach in Central Java collecting flowers they believe are mystical and spiritual, bringing luck, good health and prosperity. This extremely unique event happens on what is called a Jumat Kliwon on the Javanese calendar, when thousands pray at this remote beach to the Queen of the South Seas (Ratu Kidul). Legend has it the Ratu Kidul and the first Sultan of Yogjakarta had a sexual encounter upon a rock near this beach centuries ago during the Majapahit era (1293-1500 AD). The Queen of the South Seas also has spiritual connection to the spirit that is believed to reside in Mount Merapi, the most mystical and active volcano on the island of Java.

Pushished in National Geographic magazine

Princess Banyu Bening Gelang Kencana

Another Sundanese folktale mentions Banyoe Bening (meaning clear water) becoming Queen of the Djojo Koelon Kingdom. She suffered from leprosy and later traveled to the south where she was taken up by a huge wave to disappear into the Ocean.[3]

Nyi Roro Kidul is sometimes depicted in the form of a mermaid with her lower body in the form of a snake or fish, sometimes also depicted as a very beautiful woman. She is believed to take the soul of anyone she wants.[4] Sometimes she is said to have the form of a snake. This belief may stem from the legend about the Princess of Pajajaran who suffered from leprosy. Her skin disease was probably thought to be the same as a snake shedding its skin.[5]

Indonesian goddess of the sea

Nyi Roro Kidul (or Nyai Rara Kidul) is a supernatural being in Indonesian folklore. She is the Queen of the Southern Sea in Sundanese and Javanese mythology.

In Javanese mythology, Kanjeng Ratu Kidul is a creation of Dewa Kaping Telu who fills the realm of life as the goddess of harvest and other goddesses of nature. Meanwhile, Nyi Roro Kidul was originally the daughter of Sunda Kingdom, who was expelled by her father because of her stepmother.

Some equate Nyi Roro Kidul with Kanjeng Ratu Kidul, although in Kejawen belief, Nyi Roro Kidul is a loyal subordinate of Kanjeng Ratu Kidul.

Nyi Roro Kidul's position as the Phantom Queen of Java is a popular motif in folklore and mythology, as well as being associated with the beauty of Sundanese princesses.

Nyi Roro Kidul is also known by various names that reflect different stories of her origins, legends, mythology, and hereditary stories. She is commonly called by the names Ratu Laut Selatan and Gusti Kanjeng Ratu Kidul. According to Javanese customs, the use of honorifics such as Nyai, Kanjeng, and Gusti to refer to her is essential for the sake of politeness.

Sometimes people also refer to her as Nyai Loro Kidul. Javanese loro is a homograph for "two - 2" and "pain, suffering". While the Javanese of rara (or roro) means "girl". A Dutch orthographer predicted a change from the old Javanese roro to the new Javanese loro, resulting in a change in meaning from "beautiful girl" to "sick person".[1]

The legend of Nyi Rara Kidul originated from the Sunda Kingdom Pajajaran of the 15th century and is older than that of the Islamic Mataram Kingdom of the 18th century. However, research into the cultural anthropology of the Javanese and Sundanese peoples suggests that the legend of Java's Queen of the Southern Sea may have originated from a much older prehistoric animistic belief, a pre-Hindu-Buddhist goddess of the southern ocean. The fierce Indian Ocean waves of Java's southern coast, its storms and sometimes tsunamis, may have evoked a sense of reverence and fear for the forces of nature, which came to be regarded as the spiritual realm of the gods and ancestors inhabiting the southern seas led by their queen, a goddess, later identified as Ratu Kidul.

One of the Sundanese folktales tells the story of Dewi Kadita, a beautiful princess of the Sunda kingdom Pajajaran who fled to the southern ocean after being cursed. The curse was cast by a shaman at the behest of a rival in the palace and left the princess with a disgusting skin disease. She jumped into the violent waves of the ocean but she instead was cured and restored to beauty. The phantoms then made her the legendary Phantom Queen of the Southern Sea.[2]

A similar version is Kandita, the only daughter of King Munding Wangi of Galuh Pakuan. Because of her beauty, she was nicknamed Dewi Srêngéngé ("Sun Goddess"). Despite having a beautiful daughter, King Munding Wangi was saddened that he did not have a son to succeed him as king. The king then married Dewi Mutiara and had a son from their marriage.

Dewi Mutiara wants her son to become king without any obstacles in the future, so she tries to get rid of Kandita. Dewi Mutiara went to The King and asked him to ban Kandita away from the palace. The King said that he would not let anyone who wanted to be rude to his daughter. Hearing this, Dewi Mutiara smiled and spoke sweet words until The King was no longer mad at her.

The next day, before sunrise, Dewi Mutiara sent her servant to summon a shaman. She told the shaman to cast a curse on Kandita. By nightfall, Kandita's body was itchy with scabies, foul smelling, and full of boils. She cried not knowing what to do. The King invited many healers to cure Kandita and realized that the disease was not natural, it must have come from a curse. Dewi Mutiara forced The King to ban his daughter away as she would bring bad luck to the whole kingdom. Since The King did not want his daughter to be the talk of the whole kingdom, he was forced to agree to Dewi Mutiara's proposal to exile his daughter from the kingdom.

Kandita wandered alone aimlessly and could hardly cry anymore. She did not hold a grudge against her stepmother but requested for Sanghyang Kersa to accompany her in her suffering. After almost seven days and seven nights, she finally arrived at the Southern Sea. The ocean water was clean and clear, unlike other oceans that were blue or green. Suddenly she heard a supernatural voice telling her to jump into the Southern Sea. She jumped in and swam, and the waters of the Southern Sea removed her boils without leaving a mark, making her even more beautiful. She had power over the Southern Sea and became a goddess called Nyi Roro Kidul who lived forever. The place of Palabuhanratu Bay is particularly associated with this legend.