wayang kulit

Wayang is a Javanese word for particular kinds of theatre

When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by a gamelan orchestra in Java, and by gender wayang in Bali.

UNESCO designated wayang kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003. In return for the acknowledgment, UNESCO required Indonesians to preserve their heritage

Wayang is a generic term denoting traditional theatre in Indonesia. There is no evidence that wayang existed before Hinduism was brought to Southeast Asia from India around the first century CE. This leads to the hypothesis that the art was imported from India or China, both of which have a long tradition of shadow puppetry and theatre in general. However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre.

The first record of a wayang performance is from an inscription dated 930 CE which says si Galigi mawayang, or "Sir Galigi played wayang". From that time till today it seems certain features of traditional puppet theatre have remained. Galigi was an itinerant performer who was requested to perform for a special royal occasion. At that event he performed a story about the hero Bhima from the Mahabharata. The kakawin Arjunawiwaha composed by Mpu Kanwa, the poet of Airlangga's court of Kahuripan kingdom, in 1035 CE describes santoṣâhĕlĕtan kĕlir sira sakêng sang hyang Jagatkāraṇa, which means "He is steadfast and just a wayang screen away from the 'Mover of the World'." Kelir is Javanese word for wayang screen, the verse eloquently analogue actual life with wayang performance where the almighty Jagatkāraṇa (the mover of the world) as the ultimate dalang (puppet master) is just a thin screen away from us mortals.

Wayang kulit is a unique form of theatre employing light and shadow. The puppets are crafted from buffalo hide and mounted on bamboo sticks. When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen. The plays are invariably based on romantic tales, especially adaptations of the classic Indian epics, the Mahabharata and the Ramayana. Some of the plays are also based on local happening or other local secular stories. It is up to the conductor or dalang or master puppeteer to decide his direction

The dalang is the genius behind the entire performance. It is he who sits behind the screen and narrates the story. With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the dalang modulates his voice to create suspense thus heightening the drama. Invariably, the play climaxes with the triumph of good over evil.

The figures of the wayang are also present in the paintings of that time, for example, the roof murals of the courtroom in Klungkung, Bali. They are still present in traditional Balinese painting today. The figures are painted, flat woodcarvings (a maximum of 5 to 15 mm thick—barely half an inch) with movable arms. The head is solidly attached to the body. Wayang klitik can be used to perform puppet plays either during the day or at night. This type of wayang is relatively rare.

Wayang today is both the most ancient and most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers, dalang, who command extravagant fees and are international celebrities. Some of the most famous dalang in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunandar Sunarya, Ki Sugino, and Ki Manteb Sudarsono.

Wayang kulit, or shadow puppets, are without a doubt the best known of the Indonesian wayang. Kulit means skin, and refers to the leather construction of the puppets that are carefully chiselled with very fine tools and supported with carefully shaped buffalo horn handles and control rods. The stories are usually drawn from the Hindu epics the Ramayana, the Mahabharata or from the Serat Menak, (a story about the heroism of Amir Hamza

There is a family of characters in Javanese wayang called Punakawan; they are sometimes referred to as "clown-servants" because they normally are associated with the story's hero, and provide humorous and philosophical interludes. Semar is the father of Gareng (oldest son), Petruk, and Bagong (youngest son). These characters did not originate in the Hindu epics, but were added later, possibly to introduce mystical aspects of Islam into the Hindu-Javanese stories.They provide something akin to a political cabaret, dealing with gossip and contemporary affairs.

The puppet figures themselves vary from place to place. In Central Java the city of Surakarta (Solo) and city of Yogyakarta are most famous and the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found in West Java, Banyumas, Cirebon, Semarang, and East Java. Bali produces more compact and naturalistic figures, and Lombok has figures representing real people. Often modern-world objects as bicycles, automobiles, airplanes and ships will be added for comic effect, but for the most part the traditional puppet designs have changed little in the last 300 years.

Historically, the performance consisted of shadows cast on a cotton screen and an oil lamp. Today, the source of light used in wayang performance in Java is most often a halogen electric light. Some modern forms of wayang such as Wayang Sandosa created in the Art Academy at Surakarta (STSI) has employed spotlights, colored lights and other innovations.

The handwork involved in making a wayang kulit figure that is suitable for a performance takes several weeks, with the artists working together in groups. They start from master models (typically on paper) which are traced out onto skin or parchment, providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A further smoothing follows before individual painting, which is undertaken by yet another craftsman. Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week. However, unfortunately there is not strong continuing demand for the top skills of wayang craftspersons and the relatively few experts still skilled at the art sometimes find it difficult to earn a satisfactory income.[5]

The painting of less expensive puppets is handled expediently with a spray technique, using templates, and with a different person handling each color. Less expensive puppets, often sold to children during performances, are sometimes made on cardboard instead of leather.

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SHEEP’S FIGHTER

ATTRACTIONS SHEEP’S  FIGHTER FROM WEST JAVA.

sheep’s fighter is one of the typical folk art of west java are quite popular, especially in traditional circles. Art is an ancestor of the surviving relics of its existence until today.



Sheep queue waiting game ..
At its core is a showcase pitting dexterity livestock which in turn will raise the prestige of a particular livestock associations. The participants are ranchers, sheep ranchers are scattered in almost all western Java, especially the arrowroot, sumedang, Bandung, Majalengka and others. Pitting event held every year by a system of competition, almost every month this activity is carried out taking turns in these areas. In Bandung arena pitting one of which lies in the valley siliwangi (in addition to sports fields Sabuga ITB).



The atmosphere attractions ..
Each event would provoke, always crowded with spectators. This activity also has a fairly high prestige because a lot of leaders Sundanese which is also a fan as well as their owners, such as Kang Ibing, Etc..
The prize up for grabs also not arbitrary, a car or motorcycle is something familiar.This is not surprising because the price of a sheep, a penalty can reach tens of millions of dollars.
Like a boxing match, the arena is also equipped by a jury of evaluators, referees and coaches who come to dance jaipongan sheep every time his sheep in action.Usually every game is divided into two rounds, and each round consists of ten times the collision of the head. Adu dexterity is also divided into different classes based on the weight of sheep fighter.

 

One of the martial arts moves the winner ..
The event would provoke too often punctuated by the attractions of martial arts, traditional music as well. This makes a very festive and exciting activities.Unfortunately that still is internal peomosi among fans of sheep, making the value of tourism attractions that have not been able to attract foreign tourists and bring in foreign exchange for the region

title='sheeps'fighter'

article:attractions,sheeps fighter,west java,adu domba,garut,tradition,culture,java,indonesian

Batik indonesian

Batik is trully indonesian product

Batik is hstorically derived from the days of our father,known since the seventeenth century,written and painted on palm leaves.. . At that time batik motif or pattern is still dominated by the shapes of animals and plants. But in the history of the development of batik have evolved, from painting motifs of animals and plants slowly turned to abstract motif that resembles a cloud, temple reliefs, puppets beber and so on. Furthermore, through the merger of painting with the art of decorating style clothing, batik art emerge as we know it today.

Type and traditional batik patterns belonging very much, but the pattern and its variations in accordance with the philosophy and culture of each region are very diverse. Cultural treasures such a rich nation Indonesia has prompted the birth of various styles and types of batik tradisioanal with the characteristics of its own specialty.


The development of Batik in Indonesia

The history of batik in Indonesia associated with the development of the Majapahit kingdom and the kingdom afterward. In some records, the development of batik is mostly done in times of Mataram kingdom, then in the kingdom of Solo and Yogyakarta.

Batik art is art image on the cloth for clothing which became one of the family culture of the kings of ancient Indonesia. Initially batik is done only limited in the palace alone and proceeds to dress the king and his family and his followers. Because many of the followers of the king who lived outside the palace, the art of batik was brought by the palace and carried them out in place of each.

The process of making batik

In the development of batik art gradually imitated by the people nearest and further extends the work of women in the household to fill leisure time. Furthermore, batik clothes that used only the royal family, then became a popular folk clothing, both women and men.

White fabric that is used when it is the result of homespun. Coloring materials are being used consists of plants native to Indonesia made itself among others of: noni tree, tall, soga, indigo, and the material made from soda ash soda, and salt is made of mud.

So this batik in Indonesia has been known since the time of the Majapahit kingdom and continued to grow until the next kingdom. As for starting the spread of this batik art belongs to the people of Indonesia and Java in particular tribe is after the end of the eighteenth century or early nineteenth century. Produced batik batik is all up to the early twentieth century and printed batik is known only after the world war was over unity or about 1920. Now, batik has become part of Indonesia's traditional clothing.

Batik Pekalongan

Although no official records began to be known when the batik in Pekalongan, but according to estimates already exist in Pekalongan batik around the year 1800. In fact, according to data recorded at the Ministry, batik was made 1802, like a small tree motif in the form of clothing material.

However, a significant development expected to occur after a major war in the year 1825-1830 in the kingdom of Mataram are often referred to war or war Diponegoro Java. With the onset of this battle royal family and urged his followers to leave many areas of the kingdom. They then spread toward the East and West. Later in the area - a new area that the family and followers develop batik.

To the east of Solo and Yogyakarta Batik batik patterns that have been perfected in Mojokerto and Tulungagung to spread to Gresik, Surabaya and Madura. Batik is being developed westward in Banyumas, Kebumen, Tegal, Cirebon and Pekalongan. Given this migration, the batik Pekalongan preexisting growing.

Over time, Batik Pekalongan have evolved considerably in comparison with other regions. In this area Batik developed around the coastal areas, namely in the area of thecity and the region buaran pekalongan ,pekajangan and wonogiri

Pekalongan public encounter with various nations such as China, Dutch, Arabic, Indian, Malay and Japanese in ancient times have colored the dynamics in full color motifs and batik art.

In connection with the several types of batik motifs influence the results of these various countries that became known as Pekalongan batik identity. Motive, namely batik Jlamprang, inspired from India and Arabia. Then batik Encim and Klengenan, influenced by the Peranakan Chinese. Dutch batik, batik Morning Afternoon, and batik Hokokai, growing rapidly since the Japanese occupation.


Cultural development of printing techniques using dye lid motif night (candles) on the cloth which was then called batik, indeed inseparable from the influence of those countries. This shows the context of flexibility batik from time to time.

Pekalongan batik became highly distinctive because it relies entirely on hundreds of small businesses, rather than on a handful of entrepreneurs have capital. Since decades ago until now, most of the production process Pekalongan batik done in homes. As a result, Pekalongan batik fused Pekalongan closely with community life which is now divided into two administrative regions, namely the Municipal and District Pekalongan Pekalongan.

Pekalongan batik tidal development, Pekalongan show worthy of being an icon for the development of batik in the archipelago. Icon for works of art that never gave up with the times and always dynamic. Now, batik has become a breath of everyday life Pekalongan residents and is one of the flagship product. This is because many industries that produce batik products. Because the product is famous for its batik, Pekalongan known as BATIK CITY. The nickname comes from a long tradition rooted in Pekalongan. During that long period, various properties, the variety of uses, type design, and quality of batik is determined by the climate and the presence of fibers of local, historical factors, commerce and community readiness to accept and understand new ideas.

Batik is an art culture that is admired the world, among the traditional variety produced by dye technology hurdles, none of which can be present as beautiful and as smooth as batik Pekalongan.

article:batik,product,tradition,culture,java,indonesian

the kris or keris

everything about the kris or keris

The kris or keris is an asymmetrical dagger or sword nowadays most strongly associated with the culture of Indonesia, but also indigenous to Malaysia, Southern Thailand and Brunei. It is known as kalis in the southern Philippines. The kris is famous for its distinctive wavy blade (luk), but many have straight blades as well. The numbers of luks is always odd numbered, ranged from three to thirteen waves, however there is also luks that reach 29. Kris can be divided into three parts: bilah (blade), hulu (hilt), and warangka (sheath). These parts of kris are the object of art, often carved in meticulous details and made from various materials; metal, precious rare types of wood to gold or ivory. A kris' aesthetic value covers the dhapur (the form and design of the blade, with around 150 variants), the pamor (the pattern of metal alloy decoration on the blade, with around 60 variants), and tangguh referring to the age and origin of a kris

Both a weapon and spiritual object, kris are often considered to have an essence or presence, often considered to possess magical powers, with some blades possessing good luck and others possessing bad. Krises are used for display, as talismans with magical powers, weapons, sanctified heirloom (pusaka), auxiliary equipment for court soldiers, as an accessory for ceremonial dress, an indicator of social status, a symbol of heroism, etc.Legendary krisses that possess supernatural power and extraordinary ability were mentioned in traditional folktales, such as the krisses of Mpu Gandring, Taming Sari, and Setan Kober.

It is believed that the earliest kris prototype can be traced to Dong Son bronze culture in Vietnam circa 300 BC that spread to other parts of Southeast Asia. Another theory is that the kris was based on daggers from India. Some of the most famous renderings of a kris appear on the bas-reliefs of Borobudur (825 CE) and Prambanan temple (850CE). However from Raffles' (1817) study of the Candi Sukuh that the kris recognized today came into existence around 1361 AD in the kingdom of Majapahit, East Java.

In 2005, UNESCO gave the title Masterpiece of the Oral and Intangible Heritage of Humanity to the kris of Indonesia. In return, UNESCO urged Indonesia to preserve their heritage.

The origin of the word kris derived from the old Javanese term ngiris which means to stab, wedge or sliver. "Kris" is the more frequently-used spelling in the West, but "keris" is more popular in the dagger's native lands, as exemplified by the late Bambang Harsrinuksmo's popular book entitled Ensiklopedi Keris (Keris Encyclopedia). Two notable exceptions are the Philippines, where it is usually called kalis or kris, and Thailand where it is always spelled and pronounced as kris. Other spellings used by European colonists include "cryse", "crise", "criss", "kriss" and "creese"

Kris history is generally traced through the study of carvings and bas-relief panels found in Southeast Asia. It is widely believed by archaeologists that the earliest kris prototype can be traced to Dong Son in Vietnam circa 300 BC. Another theory is that the kris was based on daggers from India.Frey (2003) concludes from Raffles' (1817) study of the Candi Sukuh that the kris recognized today came into existence around 1361 AD in the kingdom of Majapahit in Java. The scene in bas relief of Sukuh Temple in Central Java dated from 15th century Majapahit era, shows the workshop of a Javanese keris blacksmith. The scene depicted Bhima as the blacksmith on the left forging the metal, Ganesha in the center, and Arjuna on the right operating the piston bellows to blow air into the furnace. The wall behind the blacksmith displays various items manufactured in the forge, including kris. These representations of the kris in Candi Sukuh established the fact that by the year 1437 the kris had already gained an important place within Javanese culture.

There exist claims of earlier forms predating the Majapahit kris but none are verifiable. In the past, the majority of kris had straight blades but this became less frequent over time. Some of the most famous renderings of a kris appear on the Borobudur temple (825 CE) and Prambanan temple (850CE). Tome Pires, in early 16th century, describe the importance of Kris to the Javanese:

Kris were worn on a daily basis, especially when travelling because it might be needed for self-defense against wild animals or bandits. During wartime it is the weapon of choice together with kris-edged spear (tombak). During time of peace, people wore kris as part of ceremonial attire. Ceremonial kris oftern meticulously decorated with intricate carving in gold and precious stones. Heirloom blades were handed down through successive generations and worn during special events such as weddings and other ceremonies. Men usually wore only one kris but the famous admiral Hang Tuah is said in the Hikayat Hang Tuah to have armed himself with one short and one long kris. As women were also permitted to learn silat, they sometimes also wore kris, though of a smaller size than a man's. In battle, a fighter might carried more than one kris, some carried three kris: his own, one from his father-in-law, and one as a family heirloom. The extra two served as parrying daggers but if none were available, the sheath would serve the same purpose.

Kris were often broken in battle and required repairs. Yearly cleanings, required as part of the spirituality and mythology surrounding the weapon, often left ancient blades worn and thin. The repair materials depended on location and it is quite usual to find a weapon with fittings from several areas. For example, a kris may have a blade from Java, a hilt from Bali and a sheath from Madura.

In many parts of Indonesia, the kris was the choice weapon for execution. The executioner's kris had a long, straight, slender blade. The condemned knelt before the executioner, who placed a wad of cotton or similar material on the subject's shoulder or clavicle area. The blade was thrust through the padding, piercing the subclavian artery and the heart. Upon withdrawal, the cotton wiped the blade clean. Death came within seconds.

In 16th century, European colonial power introduced firearms into the archipelago that contribute to the decline of kris' prominence as the weapon of choice in battle. However its spiritual and ceremonial function still continued and celebrated mainly in kratons and istanas (courts) throughout Indonesia and Malaysia.

Until the 1990s, kris-making activities in Java had almost come to a standstill due to economic difficulties and changing socio-cultural values. However, thanks to several concerned kris experts, the tradition is being revived and kris craftsmanship has increased again.

Over the past three decades, krises have lost their prominent social and spiritual meaning in society. Although active and honoured empus who produce high quality krises in the traditional way can still be found on some places such Madura, Surakarta, Yogyakarta, Makassar And Palembang, their number is dramatically decreasing, and it is more difficult for them to find successors to whom they may transmit their skills

A kris' aesthetic value covers the dhapur (the form and design of the blade, with around 150 variants), the pamor (the pattern of metal alloy decoration on the blade, with around 60 variants), and tangguh referring to the age and origin of a kris.

Kris blade is called wilah or bilah. Kris blades are usually narrow with a wide, asymmetrical base. Kris is famous for its wavy blades (luk), however the older types of kris dated from Majapahit era are straight blades ones. The numbers of luks is always odd numbered,[1] the common numbers of luks ranged from three to thirteen waves, however there is also luks that reach 29. Today the wavy blade kris is more commonly found than the straight ones. The exact purpose of wavy blade is unknown. It was suggested that wavy blade is symbolize both fire and water, the two elements present during the forging of metal blade. In Bali kris is associated with Nāga (dragon serpent) which also symbolyze irrigation canals, rivers, springs, wells, spouts, waterfalls and rainbows, thus the wavy blade symbolyze the movement of the serpent. Some keris have a naga or serpent head carved near its base with the body and tail following the curves of the blade to the tip. A wavy kris is a naga in motion, aggressive and alive; a straight blade is one at rest, its power dormant but ready to come into action.

Another theory suggested that the wavy blade design was meant to inflict severe wound upon victim. During keris stabbing, the wavy blades severes more blood vessels, creating wider wound which caused the victim to easily bleed to death. However in older Javanese tradition it is also common to apply various types of poisons upon keris blade, which can inflict more potent mortality upon battle.

Different types of whetstones, acidic juice of citrus fruits and poisonous arsenic bring out the contrast between the dark black iron and the light colored silvery nickel layers which together form pamor, damascene patterns on the blade. The distinctive pamor patterns has specific meanings and names which indicate their special magical property.

Kris handle or hilt (hulu keris) is the object of art, often carved in meticulous details and made from various materials; precious rare types of wood to gold or ivory. In Bali kris handle is carved in demon-like creature coated in gold and adorned with semi precious and precious stones, such as rubies. In Java kris handle is made in various type, the most common design is the abstract stylized representation of human. The example of kris hilt styles such as Tunggak Semi Putri Kinurung hilt from Surakarta, Hulu keris Batara Guru and Pulasir from Madura, hulu keris Punukan from Palembang, Ratmaja from Bali, hulu keris Pulungan from Cirebon, and seabird-like hilt from Lampung and Sulawesi.

The kris usually has a curved pistol-grip hilt that aids in stabbing strikes. It allows the palm of the holding hand to add pressure to the blade while stabbing. A kris only offers minimal protection for the hand by the broad blade at the hilt. In rare cases, the blade may be forged so its axis lies at an angle to the hilt's axis. The intention is to get the blade automatically turning to slip past the ribs but this works poorly and makes the weapon less durable

Just like kris hilt, its sheath (warangka) is also the object of art. It can be made from various materials, usually wooden frame to hold the blade which can be coated with metals; such as brass, iron, silver, or even gold, usually carved in sulur floral motifs. The upper part of sheath formed a broad curved handle made from wood or sometimes ivory. It could be adorned with precious or semi-precious stones.

The making of a kris was the specialised duty of metalworkers called empu or pandai besi. In Bali this occupation was preserved by the Pande clan to this day, members of whom also made jewellery. A blade smith, or empu, makes the blade in layers of different iron ores and meteorite nickel. Some blades can be made in a relatively short time, while more legendary weapons take years to complete. In high quality kris blades, the metal is folded dozens or hundreds of times and handled with the utmost precision. Empu are highly respected craftsmen with additional knowledge in literature, history, the occult, etc.

Krises were worn at special ceremonies, with heirloom blades being handed down through successive generations. Both men and women might wear them, though those for women are smaller. A rich spirituality and mythology developed around the weapon. Krises are used for display, as talismans with magical powers, weapons, sanctified heirloom, auxiliary equipment for court soldiers, as an accessory for ceremonial dress, an indicator of social status, a symbol of heroism, etc.[3]

In Javanese culture kris is revered as tosan aji (Javanese for "sacred heirloom weapon") and considered as pusaka. Kris is believed to have ability to infused bravery upon its holder, this property is known as piyandel in Javanese which means "to add self-confidence". The pusaka kris or kris-tipped spear given by a Javanese king to nobles or his subjects, was meant to symbolize the king's confidence bestowed upon the receiver and considered as a great honor. During Javanese wedding ceremony, kris is required to be adorned with chains of jasmine flower arrangement as an important part of Javanese groom's wedding costume. The addition of jasmine arrangement around the kris was meant as a symbol that a man should not easily be angry, cruel, fierce, too aggressive, tyrannical and abusive.

Kris-makers did more than forge the weapon, they carried out the old rituals which could infuse the blade with mystical powers. For this reason, kris are considered almost alive because they may be vessels of spirits, either good or evil. Legends tell of kris that could move of their own volition and killed individuals at will. Some kris are rumored to stand upright when their real names are called by their masters. It was said that some kris helped prevent fires, death, agricultural failure, and many other problems. Likewise, they could also bring fortune, such as bountiful harvests. Many of these beliefs, however, were erroneously derived from the possession of different kris by different people. For example, there is a type of kris in Java that was called Beras Wutah, which was believed to grant its possessor an easy life without famine. In reality, this kris was mainly assigned to government officers that were paid, in whole or in part with foodstuff such as rice.

There are several ways of testing whether a kris is lucky or not. A series of cuts on a leaf, based on blade width and other factors, could determine if a blade was good or bad. Also, if the owner slept with the blade under their pillow, the spirit of the kris would communicate with the owner via dream. If the owner had a bad dream, the blade was unlucky and had to be discarded, whereas if the owner had a good dream the dagger would bring good fortune. However, just because a blade was bad for one person didn't mean it would be bad for another. Harmony between the weapon and its owner was critical.

Because some kris are considered sacred and believed to possess magical powers, specific rites needed to be completed to avoid calling down evil fates which is the reason warriors often made offerings to their kris at a shrine. There is also the belief that pointing a kris at someone means they will die soon, so silat practitioners precede their demonstrations by touching the points of the blades to the ground so as to neutralise this effect

Several folktales — linked to historical figures — were mentioning about the legendary krises that possess supernatural power and extraordinary ability. Most of the magical krises are from Javanese origin, while the tales are derived from Javanese ancient manuscript, Babad (Javanese chronicle) and Malay Annals.

One of the most famous legends from Java derived from Pararaton (The Book of Kings), describes a legendary bladesmith called Mpu Gandring and his impatient customer, Ken Arok, that took place during the end of Kediri kingdom. The customer ordered a powerful kris to kill the mighty chieftain of Tumapel, Tunggul Ametung. Ken Arok eventually stabbed the old bladesmith to death because he kept delaying the scheduled completion of the kris. Dying, the bladesmith cursed the kris through prophesied that the unfinished or incomplete kris would kill seven men, including Ken Arok. Ken Arok uses the Mpu Gandring's cursed kris to assassin Tunggul Ametung, cunningly put the blame to Kebo Ijo, and build a new kingdom of Singhasari. The prophecy finally came true, with four men enlisted as the kris' first death roll, including Mpu Gandring himself, Tunggul Ametung, Kebo Ijo to whom Ken Arok lent the weapon, and finally Ken Arok himself. The unfinished kris then disappeared.

Another version of the tale describes that the kris passed to Ken Arok's stepson Anusapati which in turn killed his stepfather after recognized that his genuine father was killed by Ken Arok with the same kris. The bloody revenge continued on and on until the reign of Kertanegara, the last king of Singhasari kingdom.

The Keris Taming Sari (translation: Flower Shield Kris) (Taming Sari's kris) is one of the most well-known kris in Malay literature, said to be so skilfully crafted that anyone wielding it was unbeatable. In some versions of the legend, the weapon would grant its user physical invulnerability. The legend took place sometimes during the fall of Majapahit Empire and the rise of Malacca Sultanate. Tun Sri Lanang's book, the Sejarah Melayu, tells that it was made by javanese empu and first used by the champion of Majapahit, a pendekar named Taming Sari. He was defeated in a duel to the death by the Melakan admiral Hang Tuah, after which the king of Majapahit presented the weapon to the victor.

After being framed by a jealous official, Hang Tuah was ordered to be executed, but he managed to escape and go into hiding with the help of a minister who knew the truth. Hang Tuah's kris and title of Laksamana (admiral) were passed on to his comrade Hang Jebat. Furious that his best friend was unfairly put to death, Hang Jebat rebelled against the royalty and took over the palace. The desperate ruler of Melaka pardoned the minister so long as Hang Tuah could win him back the throne. Having trained under the same master since childhood the two friends were nearly equals but of the two, Tuah was the superior fighter. However, even after a long battle in the palace, neither could best the other because the Kris Taming Sari evened the odds. Only after taking his weapon back did Hang Tuah manage to stab Jebat, who died soon after.

Another Javanese folk story tells of Arya Penangsang, the mighty Adipati of Jipang who was killed by his own kris called Keris Setan Kober (Javanese for: Devil of the Grave Kris). This kris is a powerful one with 13 luks and tangguh Pajajaran (created in kingdom of Pajajaran) by Mpu Bayu Aji, a skillful bladesmith. Near the finish when the Mpu tried to infuse spiritual power into the kris, he was disturbed by the crying demon (jinn) of the graveyard. As a result, although powerful, the kris is defective. Since Mpu Bayu Aji is so ambitious to create a powerful weapon, plus the disturbance from the devil, the kris has a temperamental evil nature that causes the wielder to be overly ambitious and impatient.

The story took place during the fall of Demak Sultanate that had replaced Majapahit as the ruler of Java. The Keris Setan Kober were safely kept by Sunan Kudus, one of nine Islamic saints of Java. However Sunan Prawoto, son of Prince Trenggana and grandson of Raden Patah, stole it and used it to assassinate his uncle Raden Kikin by the river, since then Raden Kikin also refer as Sekar Seda Lepen (flower that fell by the river). Raden Trenggana rise as Sultan and later after his death, replaced by Sunan Prawoto. Kikin's son, Arya Penangsang of Jipang with the help of his teacher, Sunan Kudus, took revenge by sending an assassin to kill Prawoto using Keris Setan Kober. Prawoto younger sister Ratu Kalinyamat seeks revenge on Penangsang, since Penangsang also murdered her husband. She urged her brother in-law, Hadiwijaya (Joko Tingkir) the ruler of Pajang, to kill Arya Penangsang. Hadiwijaya sent his adopted son and also his son in-law Sutawijaya, who would later become the first ruler of the Mataram dynasty.

During a battle, Sutawijaya stabbed Penangsang with Kyai Plered spear right in his gut. Arya Penangsang is bathing in his own blood, and his intestines were hanging from his gut. However because Arya Penangsang is a mighty fighter that possess aji or kesaktian (spiritual power in martial art), he keep fighting with an open wounded stomach. He encircled his hanging intestines on his kris hilt, and continue to fight. When trying to attack his opponent, the reckless, fierce and impatience Panangsang pulled his own Keris Setan Kober off its sheath, foolishly cut his own intestines, and finally died.

The Javanese tradition of putting jasmine garlands chain around the kris' hilt, especially on groom's kris during the wedding ceremony, are actually derived from this tale. It is to symbolyze that the groom should not be reckless, easily get angry, impatient and abusive like Arya Panangsang.[ To replace the intestine, the kris is coiled with a floral garland of jasmine chain that resemble intestine. The jasmine is to symbolize sacredeness, patience, grace, humility, kindness and benevolence, the qualities lack in Panangsang. However another source mentioned that actually Sutawijaya admired Penangsang's fighting spirits, still fighting although his intestine encircled around his kris. Impressed by Penangsang's deed, later he command his male descendants to follow his step, adorned the kris with "intestine" made from the chain of jasmine, as a symbol of bravery. The story of Arya Penangsang has inspired and performed as Javanese ketoprak drama

Throughout the archipelago, kris is a symbol of heroism, martial prowess, power and authority. As a cultural symbol, the meticulously decorated keris represent refinement, art and beauty, as the pride and prized possession for its owner; however, as a weapon it is associated with violence, death and bloodshed. Probably for this reason, although the kris is widespread in Javanese culture, it is not used to symbolise Javanese culture or royalty, as Javanese tradition promotes harmony and discourages direct confrontation (hence the absence of knives on Indonesian dinner tables). This is also why the Javanese traditionally wear the kris on their back, to symbolize violence as the last resort. However, in other parts of archipelago, from Sumatra to the Malay Peninsula and to Sulawesi, the kris is worn on the front or left side on the hip.

The kris is depicted on different emblems, coats and logos. For example, it can be seen in historical flag of Mataram Sultanate and former emblem of Siam to represent Malay minority in Southern Thailand. Kris is displayed in emblems of Riau, Riau Islands Province, Terengganu and Selangor. It also can be seen on an obverse copper-zinc-tin RM1 coin with a songket pattern in the background. The Malaya and British Borneo dollar 1 cent coin of 1962 also depicted a pair of crossed kris.

Since the independence of Malaysia, the kris has become something of a symbol of Malay nationalism. It is still regarded by some as a symbol of ketuanan Melayu, the doctrine of Malay as the dominant race at their homeland, and has been incorporated into the Sang Saka Bangsa, the official flag of the United Malays National Organisation.

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The village of Tablanusu

The exoticism of Papua in the village of Tablanusu

Papua not only had the story of melancholy question of horizontal conflicts. There is a beautiful exotic places in the New Guinea and named the village Tablanusu. It will change your view of Papua.

The village of Tablanusu is located in district Depapre, Jayapura Regency, Papua. This village has become tourism village by the provincial Government of Papua. If you are from the town of Jayapura, You can get on the bus to the city which is 33 kilometers Sentani, then went on a trip by car to the dock Depapre chartered approximately 1.5 hours. Then from the dock Depapre trip just spent 20 minutes to arrive in the village of Tablanasu.

There are 3 types of tours that you will encounter in the village of Tablanasu, i.e. natural history tours, tours, and cultural tourism. The village of Tablanasu has also been well managed and has several facilities, such as lodging, tour guides, boat rentals and others who made this comfortable place for your vacation.

A visit to this place, You will be greeted by beautiful suasanan, cool, green mountains scenery and clean beaches. Uniquely, the beach where it should not be confused with the beach somewhere else. The beach does not have a white sand beach, but it has a coral rocks. However, it turns out that coral rock along the coast could serve as a natural reflection massage the soles.

The village of tablanasu, which means sunset place, inhabited by the people’s livelihood-eyed as fishermen. Typical inhabitants of the place of food is the same as food Papua in General, the areca nut.

For those of you fans of activities diving, crystal clear sea water, the diversity of fish and coral reefs that are still very awake will pamper Your activities. If you are lucky, You may encounter sharks in this place. In addition, You can feel a fisherman with a join the fishermen fish hunting at night.

The village has an area of 230,5 hectares is also has a Lake Dukumbo. You can fish whitefish, oreochromis mossambicus and mas in the pristine Lake while accompanied by loud, various birds and various types of plants. In addition, there are two islets are not far away from the village who have Orchid flowers endemic to New Guinea. In the afternoon, two of the island also hosts an various types of birds. The birds were resting in the branches of the trees and seems to line up to form a beautiful view towards the sunset.

The village of Tablanusu also has remains of Allied soldiers in World War II. Historically, this village used to be one of the Allied army base in eastern Indonesia. Then, You can find the gun emplacements and former Allied soldiers landing dock. In addition, there is also a tomb and Memorial Cross near the Church. The tomb is a local socialite and one of the founders of the Church. As for the inscription of the cross was erected to commemorate the entry of the Christian religion to the village of Tablanusu in the early 1900 ‘s.

The village is divided into ten tribes, namely The Sumile, Danya, Suwae, Apaserai, Serantow, Wambena, Semisu, Selli, Yufuwai, and Yakurimlen. Then, it would be a lot of cultural diversity that you encounter on the site

article from : http://learnindonesia.com

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