beatiful of kuda kepang

kuda kepang

Initially, according to history, the art of "Kuda Kepang" was born as a symbol that people also have the ability (superiority) in the face of the enemy or against the power elite who have the royal army. In addition, also as a medium for presenting entertainment that cheap but the phenomenal to the people at large.

Above is one of the stanza tune of "dangdut Rhoma's" Rhythm of the game that inspired folk art, dance "horse braid", which is still grown in many communities in the archipelago.

Traditional dances that are played on a "no pattern" by the common people has been born and liked the community, especially in Java, since the ancient kingdoms doeloe tempo.

Now, the art "Kuda Kepang" still be a show that is enough to make the hearts of the audience captivated. Although the existence of these cultural relics began to compete strictly by the entry of foreign art and culture to their homeland, the dance still showed high attraction. Until now, we do not know who or where that sparked community groups (creating) "Horse braid" was first. In fact, art "Kuda Kepang" found in many areas and each recognizes the arts as one of their traditional culture. Including, pointed out some time ago, recognized also by the people of Johor in Malaysia as its own in addition to Reog Ponorogo. The phenomenon spread of the art of "Kuda Kepang" in various places, with various and pattern, can be an indicator that the art culture that seemed full of magic is back "on the rise" as a cultural art which should be noted as an original Indonesian art.

Whipped, Eat glass (broken glass / mirrors / cups / plates etc) and sprinkles of Fire

I do not know what can make the players is like a man possessed. Judging from the way his game, the dancers like lumping horse has tremendous power, even seem to have supernatural powers. Art of dance that uses a fake horse made of woven bamboo and accompanied by gamelan music such as gongs, kenong, percussion and trumpet it, was able to make the audience impressed by any attractions penunggan (dancer) "The horse braid". Remarkably, dancers horse "horse braid" of the original traditional generally played by girls who dress like a soldier boy kingdom. Currently, players "Kuda Lumping" more acted by boys.

The sound of a prod (whip) of the players who deliberately imposed this art, became the beginning of the game and the entry of a mystical power that can eliminate the consciousness-players. With the climb of woven bamboo horses, horse rider who was given his ankles began to rattle this prancing, jumping up rolling on the ground. In addition to jumping, horse dancers did lumping other attractions, like eating glass and peel the coconut with his teeth. Glass (glass) that is eaten is the usual light bulb as the lights of our homes. He avidly ate like a shard of people starving, do not wince in pain and no blood at the time he ate the glass-shard.

When viewed from the overall game lumping horse, sound prod endless series of attractions that appear to dominate. Presumably, any prod by sipenunggang against itself, which is on foot or other body parts, will give a magical effect. That is, when the crack length of woven rattan and on the feet and swung his body, the dancer lumping horse will feel stronger, more powerful, more Digdaya. Generally, in that condition, he will increasingly wild and the power of doing things and not abstruse absurd healthy normal humans.

Lively and festive games lumping horse becomes more complete with a display of flame attraction. Bursts of fire coming out of the mouths of the other players, beginning with gasoline accommodate in their mouth and then sprayed on a fire that burns in a small sprig of iron which ends made in such a manner so that fire does not die before and after petrol was sprayed from his mouth. In lumping horse game, another meaning that is contained is the color. The colors are very dominant in this permaian namely: red, white and black. The red color symbolizes the courage and spirit. The white color symbolizes purity which is in the heart is also thought to reflect on all five senses so that it can serve as a role model in black.

As an attraction full of mystical and dangerous, dance "horse braid" done under the supervision of a "supernatural leadership." Usually, this leader is a person who has a high unseen which can restore the dancer back to consciousness as usual. He is also responsible for the way of attractions, as well as heal pain experienced by the players lumping horse if something undesirable and cause illness or injury to the dancer. Therefore, although regarded as a folk game, "horse braid" can not be played by just anyone, but must be under the direction and supervision of the leadership.

Need to Keep Maintained and Developed

Broadly speaking, so much art and culture in Indonesia familial inherited from ancestors of Indonesia until the current generation. Now, we as a successor to the nation is the heir of the art of traditional culture as they must keep and maintain it properly. Our task is to maintain and develop it, so from day to day is not vanished and disappeared from the artistic treasures of our society.

One thing we must be aware that Indonesia is still colonized until now with the influx of foreign culture that tries to get rid of local cultures. Therefore, we as the future generation rose up together to bring back culture since ancient extinct there and not to swallow the modern age. To that end, the Government and the community is expected to continually exploring what cultural back until now hardly heard from again, to then re-developed and preserved cultural values of Indonesia.

video kuda kepang performance by sri ulan from indonesia tags: video/kudakepang/java/tradition/culture

jaipongan

Jaipong dance's

jaipong dance is a dance that was born from the creativity of an artist from Bandung, Gugum Gumbira. He was inspired by the folk art one of them is Tilu Tap into treasury well know and recognize movement patterns that exist in traditional dance or Bajidoran Kliningan or Tap Tilu. So that he can develop a dance or art that is now known by the name Jaipongan.

DANCE HISTORY

The work Jaipongan first began to be known by the public is dance "Leaves Pulus KESER Bojong" and "Rendeng Bojong" both of which are types of dance daughters and dance in pairs (male and female). Early appearance of the dance was originally seen as a movement of erotic and vulgar, but the longer it is the more popular dance and began to increase both the frequency of her performance in the television media, celebration, and celebrations disenggelarakan by the government or by private parties.

C. DEVELOPMENT DANCING Jaipong

From dance Jaipong this nascent powerful Jaipongan some dancers like Tati Saleh, Yeti Mamat, Eli Somali, and Pepen Dedi Kirniadi. The presence Jaipongan dance has contributed greatly to the art lovers of dance to more actively explore the types of folk dances that were previously lacking in notice. With the advent of this Jaipongan dance that many are making Jaipongan dance courses, and widely used by employers to decoy invited guests.

In Subang Jaipongan style "Kaleran" has a characteristic that is fun, erotic, humorous, excitement, spontaneity, and simplicity. This was reflected in the pattern of representation of dance in the show, there is a given pattern (Ibing pattern) as in art Jaipongan in Bandung, there are also dances that are not patterned (Ibing Saka), for example in Subang Jaipongan art and Falkirk. This term can be found in Jaipongan kaleran style, especially in the area of ​​Subang.

Dance Jaipongan today can be called as one of the West Javanese dances, looks at important events arrival of guests from foreign countries who came to West Java, always welcomed with dance performances Jaipongan. Jaipongan dance this much influence on other art-art that is in West Java, both in art wayang, gamelan, and other Genjring has even collaborated with Modern dangdut by Mr. Nur and Leni to be art-Dut Pong.

TYPICAL FEATURE PRESENTATION FORM 

and

Characteristic Jaipongan kaleran style, which is fun, erotic, humorous, excitement, spontaneity and simplicity (natural / whatever they are). This was reflected in the pattern of presentation of taxis on the show, there is a given pattern (Ibing pattern) as in art Jaipongan in Bandung, there are also dances that are not patterned (Ibing Saka), for example in Subang jaipongan Arts and Falkirk. This term can be found in Jaipongan Kaleran style, especially in the area of ​​Subang. In the presentation, Jaipongan kaleran style is as follows: 1) Tatalu, 2) Develop Gadung 3) Fruit Kawung Gopar; 4) Dance Opening (Ibing Pattern), usually performed by a single dancer or Sinde Tatandakan (a Sinden but not sing but dance songs sinden / interpreter kawih); 5) Jeblokan and Jabanan, performing as part of the audience (Bajidor) sawer money (Jabanan) while greeting temple. Jeblokan term is defined as a couple who settled between sinden and the audience (Bajidor).

Further development of Jaipongan occurred in 1980-1990's, where Gugum Gumbira creating dances such as Toka-toka, Setra Sari, Sonteng, Pencug, egrets Man gut, procession firing Leaf Croton, Rawayan and Dance Kawung Anten. From taritarian appeared several dancers Jaipongan reliable among others Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, CEPI, Agah, Aa Suryabrata and Intercessory Asep.

Tags:video/jaipong/dance/soendha/west java/art/culture

VIDEO FOR REOG PONOROGO

wayang golek

story  of wayang golek

The origin story  of wayang golek  show is not known for certain because there is no complete information, both written and oral. Attendance puppet show can not be separated from wayang kulit (the shadow puppets) for a wayang golek (puppet show )is a progression of wayang kulit. However, Salmun (1986) mentions that in the year 1583 AD Sunan Kudus make wayang out of wood which was then called the wayang golek (puppet show) to be staged in the afternoon. Correspondingly Ismunandar (1988) states that at the beginning of the 16th century Sunan Kudus make-up `puppet` purwo some 70 pieces with a story accompanied by gamelan Salendro Menak. The performance is at noon. Puppet does not require color. The shape resembles a doll made of wood (instead of leather as well as leather puppets). So, like a marionette. Therefore, it is referred to as a puppet show.

At first performance  the puppet show is the story of the banner and puppet puppet show called menak. That said, this new puppet show there since Panembahan Queen (great-grandson of Sunan Gunung Jati (1540-1650)). There (in the Cirebon) called Papak or wayang puppet show smacking because of the shape of his head flat. In the days of Prince Girilaya (1650-1662) smacking puppet comes with a story taken from the Chronicle and a history of the land of Java. The play-a play that brought the time range in the spread of Islam. Furthermore, puppet show with the play Ramayana and Mahabharata (puppet show prototype) was born in 1840 (Somantri, 1988).

Birth puppet show initiated by Karang Dalem Anyar (Wiranata Koesoemah III) at the end of his tenure. At that time, ordered Ki Dalem Darman (penyungging shadow puppets from Tegal) living in Cibiru, Edge Berung, to make puppets out of wood. Forms of puppets made originally shaped flat and patterned on the shadow puppets. However, the further development, at the instigation of Dalem, Ki Darman create a rounded puppet show is not much different from the puppet show now. In areas Priangan itself known at the beginning of the 19th century. Introduction to Sundanese puppet show possible since the opening Daendels highway linking the coast with the mountainous Priangan. Originally puppet show in Priangan using the Java language. However, after the Sundanese smart performer, the language used is the language.

 2. Marionette Puppet Types

There are three types of puppet show, namely: smacking puppet show, puppet show prototype, and modern puppet show. Puppet show Papak (cropped) famous in Cirebon to chronicle stories and legends as well as the language of Cirebon. Puppet show puppet show prototype is specifically the story of the Mahabharata and the Ramayana with the introduction Sundanese. Meanwhile, modern as wayang puppet show prototype (the story of Mahabharata and Ramayana, but in the play use electricity to make the tricks. Creation tricks to adjust the puppet show with modern life. Puppet show pioneered by RU Partasuanda modern and developed by Asep Sunandar years 1970 to 1980.

3. Manufacture

Puppet made of Albasiah or lame. How to make it is to whittle and carve it, to resemble the desired shape. To color and draw eyes, eyebrows, lips and motifs on the head puppet, used paint Duko. Cat makes the puppet look brighter. Staining puppet is an important part because it can produce a variety of character. The basic colors used in wayang there are four, namely: red, white, prada, and black.

4. Cultural Values

Puppet show as an art contains not only the aesthetic value alone, but includes the whole range of values

contained in the supporting community. These values ​​articulated by the artists and artist who bear the code of conduct puppetry puppetry. Code of Conduct puppetry is called "Seven Precepts Honorary Artist of West Javanese puppetry artist". The formulation of the code of conduct is the result of deliberation puppetry artists puppetry artist on February 28, 1964 in Bandung. Its contents are as follows: One: Artists and puppetry artist is a true artist because it must keep its value. Two: Educate the public. That is why obliged to give examples, either in the form of speech or behavior. Three: Interpreter lights. Because it is required to convey messages or assist government and spreading all the ideals of the nation state to the public. Four: Social Indonesia. Because it required make strong spirit of mutual help in any matter. Five: Susilawan. Are required to maintain ethics in society. Six: Having a personality of its own, it is required to maintain its own identity and nation. Seven: Setiawan. Then required to submit and obey and respect the laws of the Republic of Indonesia, as well as the customs of the nation

video/wayang/golek/tradition/culture/java

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.

video/wayang/kulit/tradition/culture/java