The Jaipong dance

The Jaipong dance is  The Traditional Art of West Java

              Jaipongan is a genre of dance that was born from the creativity of an artist from Bandung, Gugum Gumbira. Attention to folk art, one of which is Tap Tilu know and know well make it word of  dance movement patterns that exist in the tradition Kliningan or Tap Tilu. Opening movements, pencugan, nibakeun and several kinds of motion of several arts mincid above have enough inspiration to develop a dance or art that is now known as the Jaipongan. As a social dance,  Jaipong successfully developed by the artist dances are popular in the community of Sunda and highly favored by the people of West Java (in particular), and even popular until outside West Java.
CALL Jaipongan actually will not only remind people in a kind of attractive traditional Sundanese dance with dynamic motion. Hands, shoulders, and hips always been a dominant part in the pattern of the agile movement, accompanied by beating drums. Especially in female dancers, all of it is always accompanied with a sweet smile and cast in the eye. This is the kind of social dance in traditional Sundanese dance that emerged in the late 1970s that its popularity to this day still live in the community.

History
                    Before this form of performance art show, there are several forms of dance influences behind this association. In West Java, for example, social dance is the influence of the Ball Room, which is usually in a dance-dance association could not be separated from existence and pamogoran ronggeng. Ronggeng in social dance is no longer functioning for activities of the ceremony, but for entertainment or a way of hanging out. The existence ronggeng in the performing arts has an appeal that invites sympathy for the pamogoran. For example on Tilu Tap dance is so well known by the Sundanese people, is expected this art popular around the year 1916. As the folk performing arts, this art is supported only by simple elements, such as waditra that includes fiddle, drums, two kulanter, three percussion, and gongs. Similarly, the dance movements that do not have a standard pattern of motion, a simple costume dancer as a reflection of democracy.

Along with the waning type of art above, the former pamogoran (spectators who play an active role in the performing arts Tap Tilu / Doger / Tayub) switched its attention on the performing arts Kliningan, which in the north coast of West Java (Karawang, Bekasi, Purwakarta, Indramayu, and Subang ) known as Kliningan Bajidoran dance patterns and events that show has some similarities with the previous art (Tap Tilu / Doger / Tayub). In the meantime, the existence of masked dances in Banjet quite popular, especially in Karachi, where some Bajidoran motion pattern taken from the dance in this Banjet Mask. In koreografis dance is still reveal the patterns of tradition (Tap Tilu) which contains elements of the opening movements, pencugan, nibakeun and several kinds of motion mincid which in turn become the basis of the creation of dance Jaipongan. Some basic dance movements Jaipongan apart from Tap Tilu, Ibing Bajidor and Mask Banjet is Tayuban and Pencak Silat.

The emergence of dance works Gugum Gumbira initially called Tap Tilu development, that is because it is a basic dance from Tap Tilu development. The first work Gugum Gumbira still very thick with color Ibing Tilu Tap, both in terms of choreography and iringannya, who then dance it became popularly known as Jaipongan.

Typical Jaipongan kaleran style, which is fun, erotic, humorous, excitement, spontaneity, and simplicity (naturally, whatever they are). This was reflected in the pattern of presentation of dance on the show, there is a given pattern (Ibing pattern) as in art Jaipongan in Bandung, also there are also dances that are not dipola (Ibing Saka), for example in art Jaipongan Subang and Karawang. This term can be found in Jaipongan kaleran style, especially in the area of ​​Subang. In the presentation, this kaleran Jaipongan style, as follows: 1) Tatalu; 2) Flower Gadung; 3) Fruit Kawung Gopar; 4) Dance Opening (Ibing Pattern), usually performed by a single dancer or Sinden Tatandakan (sinden attack but can not sing but dance songs called  sinden /5) Jeblokan and Jabanan, is part performance when the audience (Bajidor) give a money (jabanan) while greeting paste. Jeblokan term is defined as couples who settled between sinden and the audience (Bajidor).

Dance Development Jaipong
                    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 girls and dance in pairs (boys and girls). From the dance that emerged a few names that are reliable Jaipongan dancers like Tati Saleh, Yeti Mamat, Eli Somali, and Pepen Dedi Kurniadi. Early emergence of the dance had become a conversation, the central issue is the movement of the erotic and vulgar. But from the few print media exposure, name Gugum Gumbira becoming known society, especially after the dance Jaipongan in 1980 staged at the central station TVRI Jakarta. The impact of the popularity of the more increases the frequency of performances, both in the medium of television, a celebration or celebrations held by the private sector and government.

Attendance Jaipongan significant contribution towards the instigators of the art of dance to more actively explore the types of folk dances that were previously less attention. With the emergence of dance Jaipongan, used by activists to organize dance courses dance Jaipongan, used also by businessmen pubs as a decoy night invited guests, where the development of further business opportunities this kind of dance was formed by activists as an effort by the economic empowerment Dance Studio names or groups in some areas of West Java, for example in Subang with Jaipongan style "kaleran" (north).


Further development occurred in taahun dance Jaipongan 1980-1990's, where Gugum Gumbira create another dance such as Toka-toka, Setra Sari, Sonteng, Pencug, Heron dazed, motorcade procession Leaf-Puring, Rawayan and dance Kawung Anten. From these dances appear some skilled dancers Jaipongan include Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepy, Agah, Aa Suryabrata and Asep.

Today the dance Jaipongan be called as one of identity keseniaan West Java, this is apparent on several important events relating to visitors from foreign countries who came to West Java, it was greeted with Jaipongan dance performances. Similarly, with art missions to foreign countries, always equipped with a dance Jaipongan. Dance Jaipongan affect many other crafts in the community of West Java, both on the art of wayang, gamelan, Genjring / Terbangan, Kacapi jaipong, and almost all public performances as well as on modern dangdut music which collaborated with Jaipong.

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Tags:the jaipong,dance,traditional,art,west java,culture,sunda,tradition,wayang golek,indonesian

dayak music

dayak music from kanythn for life

Urakng Dayak is a native of mostly inhabit the hinterland of Kalimantan. 

Territory settlement covers the entire island of Borneo, namely West Kalimantan, Central Kalimantan, East Kalimantan and South Kalimantan. Besides, they inhabit the North Borneo territory which is now a federation of Malaysia and the Sultanate of Brunei Darussalam. Sub Dayak tribes who inhabited the area that is Dayak Murut who inhabit the region of East Malaysia, Sabah and northern part of Borneo Timur.1.

Name Dayak is the name for another resident who had no religion Islam.2. This name is sometimes used to distinguish the tribe who live in remote areas with ethnic Malays who inhabited the coastal areas. Besides, there is also the Dayak are Muslims, but they're still called Malays, so that the name is often used to distinguish the Dayak tribes who still embrace the original (Kaharingan), Protestant and Catholic, with people who converted to Islam.
Dayak tribes included in the Austronesian family who migrated to Southeast Asia between 2500 BC-1500 BC. Migration started from several regions around Yunnan, the area of ​​South China, Yang Tse Kiang river, Mekhong and challenging. They headed through West Malaysia Indonesia later spread to Sumatra, Java, Bali and Kalimantan in part to that included in the Mongoloid race or have a match with the characteristics of race tersebut.3.

Dayak tribe migration takes place in a long period of time and differentiated into Proto-Malays (Melayu old) and Deutro-Melayu (Malay youth) to show their displacement wave. The first wave took place around the year 300 BC or Neolithikum era. The second wave after cultured metal then known as the tribe Dayak.4. Of the many tribes in Borneo, one of which is a sub tribe Dayak Kanayatn rich in traditional arts, especially music.

Kanayatn Dayak communities have different order of life or customs customs that run. Everything related to the customs is the ideal form of culture that were held in everyday life. He is a cultural system in which there are systems of norms and legal systems that guide life in society. They consider their own cultural systems that have high value, valuable, meaningful, important to be lived and run in life. Dayak communities also have a concept of God, wisdom to manage the forest in the traditional way, and the arts as a result of pouring a sense of aesthetic religious. All that considered a valuable heritage that must be preserved and passed back to the next generation.

Kanayatn Dayak Music is an important part of a ceremony. He not only has a role in life, but contains the religious values ​​of society in accordance with the customs and beliefs adopted by the Dayak Kanayatn. The importance of music is not just limited to the fulfillment of the aesthetic satisfaction (entertainment) and the depiction of culture, but is believed to have functions, symbols, and cultural values ​​in accordance with its position as a place of creativity and intellectual community. This is because the music covers understanding the integration process elements tradisional.5. This means that the elements of tradition in the life of the Dayak Kanayatn depicted in the music they had and considered to contain a particular symbol as a reflection of the lives they lead. He is the disclosure of the aesthetic value and emotional expression in accordance with the scope of culture.

Kanayatn Dayak music is one element of culture that was born from the intellect and interpreted together by the community owner. He is a cultural product that was born of social togetherness which is collective. He is also a container based on the creativity of the community with aesthetic values ​​in which there is shared meaning system. This is because the rhythm of the music Dayak Kanayatn is the result of social processes rather than individual processes. This means that although the music was created by one person, but in its development, it is changing because society as a collective behavior of such music, then automatically the collective experience of meaning as well, according to the nature of community supporters.
Proximity to music with the life of the Dayak Kanayatn music affects a person can be said to interpret something that is felt and believed, or as container-related appreciative of life. He is the disclosure of symbols, values, and functions, so that the three elements to support the existence of music and give special meaning to people's lives.

Dayak music Kanayatn considered closely related to the context of cultural activity dilaksanakan.6. He is a realization of a concept of community thinking and behavior in accordance with the prevailing customs and traditions, so that everything contained in it is the owner transpormasi value of community life.

Kanayatn Dayak music is divided into two parts, the music associated with the worldly or profane music, such as Jonggan, and music associated with religious belief or who is often called the ritual music. The difference is the wasp Dau pattern as the main instrument, meant to determine the types of music can be heard through the sound Dau.7 game.

The rhythm of music as a whole is divided into eight sections, namely: (1) Rhythm Music Bagu, (2) Rhythm Music Bawakng; (3) Rhythm Music Jubata; (4) Rhythm Music Panyinggon; (5) Rhythms Music Sipanyakng Nails, (6) Rhythms Music Ngaranto; (7) The rhythm of music Dendo; and (8) Rhythm Totokng music. All wasps were used for the accompaniment of dance and the arts ensemble Jonggan or one Kanayatn Dayak traditional musical arts. Overall the music was born from the tradition of shamanism trusted and considered to have magical powers, so it is always used in the ceremony Baliatn, Balenggang, and Badendo.8.

Understanding the rhythm is not like understanding in Western music, namely as the strains of the tones that make up one or more integral part of a musical. Understanding the rhythm for the Dayak Kanayatn same motif played by the instrument wasps Dau, because of differences in rhythm with each other lies from wasp Dau. Besides, the Dayak Kanayatn not have specific naming of rhythm or beat of motives, it is possible they are taking the term in Western music, where "the same rhythm with the song. Understanding song here is not like the sense of the song intact, but the musical rhythms or motifs being played wasps. For example, when they want to play rhythm Jubata, they often call with Jubata song. From here it can be seen that the reference to the same rhythm with the beat of a song or motive by the Dayak Kanayatn Dau.

Most long musical motif Dayak Kanayatn consists of one bar, but there is also a fully charge two or more space-bar. Besides, among other motifs to each motif there are many similarities, especially the motives of wasps in a single clump. This is due to the variation of the beat pattern, such as reversal, narrowing, and widening pattern of rhythm and melody patterns. For example, the rhythm of music and Jubata Jubata Babulakng Pulakng rhythm patterns that have a common wasps Dau mind. As for the form of motive is explained in section IV.

Technological developments and the influx of modern art (popular) cause the Dayak people began to leave the traditional music culture slowly. This phenomenon can be seen with the outbreak of pop music that much-loved young people, compared to their traditional arts. In addition, the scarcity of documentation is because there are no written record of musical rhythms, with the exception of certain music in certain ceremonial contexts as well, causing the lack of public knowledge of the music. Although the rhythm of the music Dayak Kanayatn still used in some ceremonies and entertainment, but people do not understand the significance contained therein. Though the existence of such music as the basis for the musical tradition is very important Dayak Kanayatn known and studied for supporting the development of culture and community owners.

The meaning of existence Kanayatn Dayak music directing the public's understanding that the music it contains the value of philosophy and symbolic meaning of public life. This is because the rhythm of the music Dayak Kanayatn contain noble values ​​as the embodiment of cultural reality. Any characteristic of public life reflected in it, then the music it represents the community's mind about the concepts of religion, customs, and behavior to be lived and studied as a guide their lives. He is the embodiment of indigenous values ​​and traditions, therefore it can be said as a local cultural identity.

Deterioration of cultural values ​​in society can influence the development of art music Dayak Kanayatn existence. Gradually the musical culture will disappear and be replaced with a new culture that did not support the development of culture and society. The loss of traditional music as well as the loss of identity and influential for the existence and development of society itself. When urakng Dayak loss of identity and culture, then, want to be called what they are.

Seeing this phenomenon, it is very important in documenting in writing to seek answers from some of the problems of music available in the community. This should be done so that people understand that the rhythm of the music Dayak Kanayatn can be used as the carrying capacity of the community and local development, so that people can see the importance of music as a discourse of science and knowledge for the development of creativity and intellect. This documentation is expected to grow and develop the awareness of society to put the rhythm of the music Dayak Kanayatn as one of the traditional arts in the right position to be lived, a reference, and supporting capacity development of other traditional arts.

B. Problem Formulation
The problem will be appointed in a written documentation should be limited to writing can be directed in accordance with specified plans and discussion. Restrictions of this problem can also facilitate the assessment of field data for more accurate and relevant, in accordance with the issues discussed. The problem in this documentation is limited to: (1) How musical rhythms function Dayak Kanayatn in ceremonies, symbols and values ​​are contained in it. (2) How musical aspects contained in the Dayak music Kanayatn.


footnote

1.Mikhail Coomans, Dayak Man: In the past, Present, Future (New York: Scholastic, 1987), p. 53.

2.Ibid, p. 2.

3.Paulus Florus, ed., Culture Dayak: Actualization and Transpormasi (Pontianak: Institut Dayakologi, prints to-2, 2005), p. 86.

4.Ibid., Pp. 86-87.
Umar Kayam, Art, Tradition, Public (Jakarta: Sinar Harapan, 1981), p. 58.

5.Krismus Purba, Tilhang Serindo Opera Batak: Toba Batak Binder Cultural Society in Jakarta (Yogyakarta: Kalika, 2002), p. 201.

Miden 6.Maniamas Sood, "Dayak Music Kanayatn and Creator" in Nico Julipin Andasputra and Vincent, ed., Observing Dayak Kanayatn (Pontianak: Institute of Dayakology Research and Development, 1997), P. 92.

7.Wawancara directly with Maniamas Miden Sood, Artist and Shaman Dendo, 17 April 2006, the DSN. Asong Pala, Ds. Aur Sampuk, Kec. Sengah Temila, Kab. Hedgehogs, West Kalimantan. Allowed to be quoted.

8.Alan P. Merriam, "The Anthropology of Music", as quoted in his book Ancient Krismus Tilhang Serindo Opera Batak: Toba Batak Binder Cultural Society in Jakarta, op.cit., P. 11.

the adventure,dayakmusic,fromkanythn,culture,kalimantan,tradition,indonesian

Angklung bandung

history of angklung

In ancient times, instrument Angklung is an instrument which has the function of religious ritual. The main function is as a media angklung Invitor Dewi Sri (the goddess of rice / fertility) to descend to earth and give fertility in the growing season. Angklung used berlaraskan tritonik (three tones), tonic tetra (four tones) tonics and Penta (five tones). Angklung this type are often referred to by the term angklung Buhun which means "old Angklung" are not influenced from the outside elements. Until today in some villages still found a variety of activities which utilize angklung Buhun ceremony, among them: the harvest feast, ngaseuk pare, nginebkeun pare, pare ngampihkeun, seren epidemic, nadran, helaran, down earth, earth, etc. charity.
Angklung Traditional
Angklung Baduy

It is not known from where the origin Baduy Angklung Angklung and since when did this type began to emerge. Its distribution is not too large. This is expected because the shape of her show a monotonous and boring for those who see it. In Badui people Jero, Angklung Baduy used as the arts that support the traditional ceremony honoring Sang Hyang Sri Asri or goddess as a goddess of agriculture and fertility. The ceremony is known by the name ngaseuk pare, which is executed when the ceremonial planting of rice in the fields, and pare ngampihkeun ceremony, which is when transporting rice harvest to the barn.

Angklung Baduy consists of four rack, each of which is called a king-king, indo, panempas, and gong-gong. Dog-dog and the drum serves as an accompaniment rhythm and tempo rhythm track. The players wore black or white shucks, lomar, and iket. Number of players reached fifteen men, comprised of nine people who play the Angklung, three drum players, and the others acted as a dancer.

In the game, Angklung and dog-dog accompany their singing and dancing (ngalagu jeung ngalage). Chants performed by bersahut-replication, while dancing, and moving around. Songs played among others, entitled Swing-swing, Aunt Lenjang, Cik Arileu, Hiah-hiah Long, Jari Gandang, Keupat Rendang, Lili-Liyang, Nganteh, Ngaseh, Oray-orayan, Pong-groups, Salaela, Yandi Bibi armpit-armpit, and Pileuleuyan.
Angklung Beans

Angklung Bean first made by Mr. Bonce in the year 1795 in Kampung Cipurut, Village Baros, Arjasari, Bandung. Tell, Mr. Bonce the day-to-day work as pembubu fish in the river, a river where he found the time to save Bubu overflow flooded. The flood sweep over some bamboo sticks and then he brought home and stored on the stove. Once dry, the bamboo was pounded and turned out to produce sound good and loud. The bamboo is then processed and made an instrument Angklung music. Angklung Angklung is then called Beans. Pak Bonce create seven sets of Angklung Beans are then sold to Aki Dartiam. By Aki Dartiam, Angklung-angklung are then combined with dog-dog and trumpet.

Beans Angklung played as an art that accompanied the ceremony - the ceremony of the people or events that involved many people, including ceremonies nginebkeun bitter melon or transporting rice from the fields to the house, ceremony or parade heleran accompany circumcision circumcised children from home to home Bengkong (pengkhitan ), a wedding, and in welcoming national holidays.
Angklung Gubrag

In ancient times, Kampung Cipining, Bogor, threatened by famine due to crop rice in the fields that do not grow well. Residents believe that the incident occurred as a result of anger Dewi Sri, who was depressed because of less get entertainment, or being angry with the population. Population is also believed that Goddess Sri dwells in space and then made great efforts to invite back Dewi Sri to come down to earth and gave his blessing for the fertility of rice plant population. Several attempts were made, among which is to provide alms offerings, organized arts events such as the flute performances, performances Karinding, and others.

But those efforts did not bring results. Dewi Sri still not acceptable down to earth, and the rice plant population still does not grow well. Finally, arose then a young man named Mukhtar. He invites his friends to go to Mount Cirangsad to cut down bamboo trees letters. Bamboo is then dried and while doing dead Geni for forty days, Mukhtar processing bamboo into waditra Angklung. Angklung is then enhanced with added two-dog dog lojor. He teaches the game Angklung kemudin to residents and organize a ceremony to Dewi Sri, using the arts as a medium Angklung. It turned out after the ceremony, the population of rice plants grow well, fertile, and the grains were so pithy.

It is believed as a sign that the Goddess Sri has received the ceremony, down to earth and willing to give a blessing of fertility. Because it was able to lure Angklung Dewi Sri, to descend from the sky (in Sundanese Ngagubrag), is then called Angklung Angklung Gubrag. Angklung Gubrag played at the ceremony seren epidemic, namely the ceremony besarbesaran at the end of the harvest. Moreover, Angklung Gubrag also played at the family celebration ceremonies, events, holidays, national holidays and other events related to and involving many people.
Angklung Bungko

Angklung Bungko Bungko located in the Village which is located on the border between Cirebon and Indramayu. Angklung Bungko first believed to have made more than 600 years old. Even so, the first Bungko Angklung is still there, stored properly, even when not pitched longer. This first Bungko Angklung always included in every performance Bungko Angklung art performances such as its official symbol. Angklung Bungko preserved by a figure named Sheikh society or Ki Gede Bungko Bentong, after use as the arts that accompany Bungko Village residents fight pirate attacks. By Ki Gede Bungko, Angklung Bungko then used as the arts that support the spread of Islam. In addition to these types of Angklung, there are many more other types Angklung spread in almost all corners of the West Java area. Angklung Jinjing noted there is often played in the entertainment events, there is no vocal arts in the region Angklung Baduy, with lyrics Angklung art form in the region susualan Panamping, Sered Angklung art in the form of Tasikmalaya district race waditra Angklung play for children, and etc.

One of the efforts of conservation and development of arts Angklung have traditionally been done by Udjo Ngalagena through training programs arts Angklung traditional studio art Saung Angklungnya, where each - each trainee is required to learn and master the first Angklung traditional before moving into training Angklung modern or artistic Sunda other which has been modified.
Modern Angklung (Padaeng)

In 1938, Daeng, a teacher Hollandsch Inlandsche School (HIS) in Kuningan regency, West Java, are considered to have succeeded very well put back angklung position in the middle of the modernization of society by performing Angklung musical instruments from simple tools and just scale scales pentatonic scale into complex Angklung diatonic scales. Angklung is then known by the name of Angklung Daeng or also called Angklung Padaeng. Angklung Daeng, seen from the layout and scale the ladder to play the tone, it is possible to reach the popular song repertoire, repertory, not only contained in the repertoire of national music, but also other Western music.

Daeng since childhood is very fond angklung. At the time teaching at HIS Brass, learn the ins and outs of Angklung Daeng in more depth, including the process of manufacture and maintenance of a character named Mr. Maker angklung Djaja. Daeng which is currently still studying in Kweekschool studied Western music, and then try to make Angklung who take the stairs tone diatonic scale. Daeng considers Angklung scale diatonic tend to be more communicative to be taught in schools. In addition, the public has become more familiar with scales scales diatonic than the scale ladder pentatonic melodies.

With the help of Mr. Djaja, Daeng successfully created a set of Angklung diatonic which was first introduced to children Scouts where Daeng itself acts as a builder. Musical instruments are then quickly accepted into the art facilities in Pramukanya group life, especially in the scouting meetings and camp. Meanwhile, Angklung Padaeng at Drogheda began to be recognized widely in various circles. In 1946 the arts group Angklung Daeng trusted skill demonstration on entertainment events in Negotiations Linggar Teak. In 1950, Daeng moved to Bandung and teaching at SMP 2 Bandung. While in Bandung also, Angklung Daeng develop given the honor of diatonic and displays them in art events in the Asian-African Conference in 1955.

Differences with traditional Angklung Angklung Daeng, except in scale scales, also present in how to play. Angklung Angklung is a traditional jointly played by one player only, while Angklung Daeng is made to be played together, where each player plays only one note only, and harmony can be achieved with kerjasana song that neatly between the players. As a teacher, Daeng see it as something positive for education, especially in the educational formation of character. Appear in the game Angklung properties work together, discipline, precision, skill and sense of responsibility. Similarly, on matters which are basic staple in music education, such as raising attention to the music, turn on music and develop musicality, melody, rhythm and harmony.

Daeng Sutigna not only succeeded in enriching the treasury instrument Angklung, which previously only berlaraskan gamut of traditional (pentatonic), to be added by Angklung berlaraskan diatonic chromatic scale, but Mr Daeng is also very instrumental in the development of a tool of modern music, including melody area of 3 ½ octaves, is equipped with a chord or akompanyemen Angklung (big and small), to accompany these Angklung music instrument.

Angklung melodies have a number for each angklung, which will be converted to a certain tone, according to the basic tone is used. While angklung accompanist / akompanyemen already have a fixed chord, and will not change despite the song being played to have different basic tones. Broadly speaking, the division of Angklung Padaeng is as given below:
Trend Angklung in Indonesia
A Miracle Angklung

Another thing is to develop meaningful values in art education sound like:

* Generating interest in music.
* Turning on musicality.
* Develop sense of rhythm, melody, harmony, and others.
* Another thing that is no less important are:
* The development of intelligence.
* Creativity, discipline.
* Support the distribution of emotions, expressions for happiness in playing music.
* As well as train the coordination of body movements when the music DaLA order neural psychomotor development.
* Even today, in some medical centers have found research that angklung can be therapeutic as disclosed above regarding neurological psychomotor development.
* Further, through the traditional arts are expected to stimulate the ideals and interests of young generation towards the existence of Sundanese traditional arts and environmental conservation.

This is according to our language, is "A Miracle Angklung".
Angklung & Character Building

Angklung of the many charms and charm, has another good side effect is also due to some real benefits are: Through the arts angklung, expected to be able to cultivate good values contained therein, especially in the character-Building, such as:

Cooperation, Mutual Assistance, Discipline, Diligence, Savviness, Responsibility and others.
tag: the adventure,history,of,angklung,bamboo,art,sunda,culture,tradition,west,java,indonesian
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4.dayak music from kanythn for life
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6.Debus of another tradition from banten
7.story of wayang golek
8.kecak dance
9.Shaman Dance from Aceh
10.Sangkuriang the Legend Story

Ancient Settlements Kete complex

want to see the original settlement came to Kete Toraja trouble. More than 400 years old. That said, the conditions remain as 400 years ago. Kete is a complex difficulties tongkonan (Toraja traditional houses) of the most popular and most beautiful in Toraja.

Object Location
Difficulties lies in the village of Kete Bonoran, Village Tikunna Malenong, District Sanggalangi, Tana Toraja, South Sulawesi, Indonesia. Located about four kilometers south of Rantepao, or 14 kilometers north of Makale.

Overview
As tourist attractions, Kete trouble quite complete, especially for those who want to take pictures of traditional communal life of Toraja people. Kete difficulties is an area where some tongkonan stood in a row, complete with barns (Imperata sura), the area's funeral (rante), and the customary meeting place.

Tongkonan-tongkonan was complete with various ornaments, such as carved Toraja buffalo horn arranged in advance. As more and more high-arranged horn indicating higher degrees of social inhabitants. Inside the complex there is also a museum of Kete trouble holding many ancient artefacts.

While the difficulties surrounding the complex Kete there liang (traditional burial ground) in the form of holes in the rock. There is also a beautiful panorama of rice fields extend. Kete trouble with it all is a central hub where people live, determine the institution, through life, and meet various needs.

Tongkonan is erected by Puang Ri difficulties and inherited from generation to generation to kekerabatannya. Ri Puang derivatives difficulties still alive today. Complex it becomes the cultural preservation, still used as a venue for traditional activities but not livable. Kete trouble is a portrait of megalithic culture in Tana Toraja is the most complete.

Various souvenirs peddled tongkonan residents around the complex. There are trays, coasters, bracelets, necklaces, statues, wall hangings, and paintings. Overall Toraja carvings patterned their handiwork. Coasters sold at Rp 1,000, Rp 20,000 to Rp 25,000 trays, while a painting that could be carved out millions of dollars.

Access
From the direction of Rantepao, visitors turn into the lane as far as three miles that can be passed two vehicles. Could be by private vehicles or transport facilities of the hotel

.

Sign
To get in trouble Kete, visitors subject to tariffs of Rp 5,000 per person as a contribution towards maintenance costs. the adventure/ancient-settlements-kete-complex/culture/tradition/indonesian

Megalith A Unique of Village

Megalith A Unique of Village

STONE-stone towered up as high as 7-8 meters in the field. That is the work of human sculpture called megaliths or menhirs. Toraja people call simbuang stone. The location is called rante (funeral place).

Object Location
Kampong famous megaliths were Bori and Karasik. Bori is located about five kilometers north of Rantepao. While Karasik is located just one kilometer south of Rantepao, Tana Toraja, South Sulawesi, Indonesia.

General description
The main tourist objects in Bori is Rante Kalimbuang. There are 102 or menhir megalith standing grandly in the middle of the field. Consisting of 24 pieces megalith large, 24 medium-size fruit megalith, megaliths and 54 small sized fruit.

Toraja people will only develop when a dead menhirs are traditional leaders or respectable. The ceremony is called rapasan sapurandanan, the highest death rituals in the traditional strata in Toraja. At the ceremony rapasan sapurandan, the number of buffaloes which was sacrificed at least 24 individuals.

In 1657, at the funeral ceremony held Rante Kalimbuang Ne 'Ramba. Two of the megaliths was established and as many as 100 buffaloes were sacrificed. Year 1807 held a funeral for a bigger Tonapa Ne 'Padda. Megalith five established and 200 buffaloes were sacrificed.

Furthermore, the megaliths continue established since 1907 to reach 102 the number of megaliths fruit. Ritual of the last death in Rante Kalimbuang held in 1962 for the funeral mengiring Sa'pang (Ne 'Lai). The whole ceremony in Rante Kalimbuang ceremony for the dead person is respected.

While in Karasik, there are only 12 pieces megaliths were visible. There are still tens of megaliths that are embedded in the ground. This location is called Rante Karasik is only used as a burial place of nobles from Tongkonan Kamiri, Buntu Pune. Rante Karasik into use early-19th century by maramba Pong Solo for the ritual signs.

What makes is different from the ward Karassik other megalith is the artwork that was there. There are a few homes painted colorful bamboo, lined the ceremony location. There is also no souvenir sellers.

Access
Bori can be reached from Rantepao by private vehicle or rental car facilities and hotel delivery. While Karasik, because of its location so close to Rantepao, can be reached by public transportation. Furthermore, tourists need only walk a few meters.

Sign Tariff
To enter into this tourist complex of two tourist complexes subject to tariffs of Rp 5,000 as a contribution towards maintenance.






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Rock Tombs Lemo

Lemo cemetery is a place shaped holes in the wall rocks. This place is the result of human creations exceptional Toraja. Has existed since the 16th century. Made by chiseling. At that time, of course with the equipment it is.

Location of Object
Lemo is located in the village (valley) Lemo. Approximately 12 kilometers south of Rantepao or six kilometers north of Makale.

General description
Lemo named because some models of the round hole of the stone, freckled like oranges or lemons. Stone graves were also called liang During his'.

There are 75 holes in the wall rocks. Some of them have statues lined up so-called tau-tau. The statues are a symbol of social position, status, and their role during the life as a local nobleman.

These objects visited since 1960. Besides watching the grave stone, tourists can also buy various souvenirs or walking path around the object Pangi who witnessed the fruit ripened fruit brown. The fruit is ready to be processed and consumed as a food typical Toraja tribe that called pantollo pamarrasan.

Access
Lemo can be accessed from Rantepao and Makale with private vehicles, public transport (petepete), or transportation facilities of the hotel.

Fare
To enter the location of this site, visitors are charged Rp 5,000 as a contribution towards maintenance.

http://www.enjoysulawesi.com the adventure/rock-tombs-lemo/stone/culture/tradition/sulawesi/indonesian

Londa, the Cemetery on the Wall Rocks

LONDA burial caves are hundreds of years old. Shows the megalithic culture characterized by the use of rocks. Toraja people able to sculpt the rock resembles a form of house and decorated it with statues called tautau.

Object Location
Londa tourist attraction located in the village of Sandan UAI, District Sanggalangi, Tana Toraja, South Sulawesi, Indonesia. Approximately 7 miles south of Rantepao, or 11 kilometers north of the town Makale.

Overview
Once upon a time, Londa is the funeral of prominent people in Toraja. Not just anyone can be buried there. The bodies of the princes were placed in a coffin-shaped box by the local animal called erong. Once the parents, the bodies were now living bones.

Some erong had rotted with age. Some are damaged so that the bones of its princes can be seen that the Toraja. For each magnifying who died and was buried there made a statue (tau-tau). Face the statues had been made to resemble the face of those who died.

Tourists can get into the caves. But to find out more, tourists should hire the services of a guide (guide) who has been trained and professional. Leases typically guide services into one package with a kerosene lamp (instrument lights) so that tourists can see the atmosphere in the cave with the obvious.

This cave tombs have some kind of fortress named Tarangenge. It is located on the back of this natural cave. This object is very easy to visit because it has good road infrastructure.

Access
Londa can be accessed from Rantepao and Makale by private vehicle or transportation facilities of the hotel.

Sign Tariff
To enter the location of this site, visitors are charged Rp 5,000 per person as a contribution towards maintenance. While for the tourist guide services and patromax enough to pay Rp 20,000.
http://www.enjoysulawesi.com

the adventure/londa-cemetery-on-wall-rocks/stone/culture/tradition/sulawesi/indonesian

keraton yogyakarta

keraton yogyakarta

Kraton Ngayogyakarta Hadiningrat is one of the assets owned by Indonesia, which is the heart of Javanese culture, particularly for Culture. Kraton themselves are morphologically derived from the words of Queen, which is where bersemayamnya queens.

History of the palace can not be separated from a number of myths surrounding. For example the fertility goddess myth tells the story of brothers and Raden Dwi Sri Sadhana who cursed his father King Purwacarita because they do not want to live in the palace.

In the course of its history, culture wheel Palace Ngayogyakarta Hadiningrat driven by people ranging from the highest strata, namely the sovereign, until the lowest, ie servants in the palace. The Sultan who led the palace (from Prince Mangkubumi who were in power until the lane X) is the main figures who control the cultural palace of wheels. At lower levels there are the soldiers palace which is divided into 12 unitary with different tasks and functions.

Collection of heritage objects, including golden carriage, sacred weapons, flags, and musical instruments are still stored in the palace. Kiai Kangjeng Pleret heirloom weapons in the form of a spear is considered the most sacred heritage and the highest dignity. This inheritance is believed to be closely related to the history of the founding of the kingdom of Mataram by Panembahan Senopati which is the forerunner of the kings of Java in Surakarta and Yogyakarta.

In addition there were more weapons and heritage Kangjeng Godotapan Kiai Kiai Kangjeng Godowedono (form penggada), Kangjeng Kiai teat (dagger), and Kangjeng Kiai Pengarabarab (large knife like a sword).

Musical instruments that can be seen in the palace is Kanjeng Kiai Tudhung Mungguh (cymbal), Kangjeng Kiai Simo (cymbal), Kangjeng Kiai Udanarum (cymbal), Kangjeng Kiai Meyek (drums), Kangjeng Kiai Guntursari (one unit of gamelan), Kangjeng Kiai Keboganggang (gamelan), and Kangjeng Kiai Lindhu (gamelan).

As a once glorious empire of the era, at the Palace environment Ngayogyakarta born Hadiningrat many cultural works, among them the arts of dance, shadow puppets, puppet people, and gamelan. Two dances are still frequently performed in the palace is a dance and dance Bedoyo Serimpi.

Yogyakarta Palace with an area of 1.3 km2, a typology is still associated with the physical layout palace-palace in Java. Arstitektur building is divided into seven sections according to the assumption that inherited from the Hindu religion, that the number seven is a perfect number. Also in accordance with the principles of Javanese cosmology is that the world is divided into three layers, namely the "world above" bersemayamnya place of the gods, "middle world" where humans, and the "underworld" who represent the forces of evil in nature. Then, the world's top and bottom are divided into three sections, so that the world into seven layers.

In the context of the palace buildings, seven layers of the world is embodied in the seven spatial structure that forms a unity. Environment I is the North Square to North Hinggil Siti, Environment II (Keben or North Kemandungan), Environment III (Sri Manganti), IV Environmental Center (Kraton), Environment V (Kemagangan), Environment VI (Kemandungan Kidul), and Lingkunagn VII (Square of the South to South Sitihinggil).

Tags:the adventure,keraton,yogyakarta,sultan hamengku buwono,9,alun-alun,culture,tradition,east,java,indonesian

Nyi roro kidul

history about nyi roro kidul

Nyai Loro Kidul (also spelled Nyi Roro Kidul]) is a legendary Indonesian goddess, known as the Queen of the Southern Sea of Java (Indian Ocean or Samudra Kidul south of Java island) in Javanese and Sundanese mythology. She is also the legendary consort of the Sultans of Mataram and Yogyakarta, beginning with Senopati and continuing to the present day.
Nyai Roro Kidul has many different names, which reflect the diverse stories of her origin in a lot of sagas, legends, myths and traditional folklore. Other names include Ratu Laut Selatan ("Queen of the South Sea," meaning the Indian Ocean) and Gusti Kangjeng Ratu Kidul [1][2] . Many Javanese believe it is important to use various honorifics when referring to her, such as Nyai, Kangjeng, and Gusti. People who invoke her also call her Eyang (grandmother). In mermaid form she is referred to as Nyai Blorong.

The Javanese word loro literally means two - 2 and merged into the name of the myth about the Spirit-Queen born as a beautiful girl/maiden, in Old Javanese rara, written as rårå, (also used as roro). Old-Javanese rara evolved into the New Javanese lara, written as lårå, (means ill, also grief like heartache, heart-break). Dutch orthography changed lara into loro (used here in Nyai Loro Kidul) so the word play moved the beautiful girl to a sick one - Old Javanese Nyi Rara and the New Javanese Nyai Lara

Nyai Loro Kidul is often illustrated as a mermaid with a tail as well the lower part of the body of a snake. The mythical creature is claimed to take the soul of any who she wished for

Sometimes Nyai Loro Kidul literally can be spoken of as a "naga", a mythical snake. This idea may have been derived from some myths concerning a princess of Pajajaran who suffered from leprosy. The skin disease mentioned in most of the myths about Nyai Loro Kidul might possibly refer to the shedding of a snake's skin.

The role of Nyai Loro 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 several times a day.

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

Another pervasive part of folklore surrounding her is the colour of green, gadhung m'lathi in Javanese, is referred to her, which is forbidden to wear along the south-coast of Java.

Panembahan Senopati (1586-1601 AD), founder of the Mataram Sultanate, and his grandson Sultan Agung (1613-1645 AD) who named the Kanjeng Ratu Kidul as their bride, is claimed in the Babad Tanah Jawi.

One Sundanese folktale is about Dewi Kadita of the Pajajaran Kingdom, in West Java, who desperately fled to the Southern Sea after black magic had hit her. She jumped into the violent waves of the Ocean where the spirits and demons crowned the girl as the legendary Spirit-Queen of the South Sea.

Another Sundanese folktale shows Banyoe Bening (meaning clear water) becomes Queen of the Djojo Koelon Kingdom and, suffering from leprosy, travels to the South where she is taken up by a huge wave to disappear into the Ocean.

Another West Java folktale is about the Ajar Cemara Tunggal (Adjar Tjemara Toenggal) on the mountain of Kombang in the Pajajaran Kingdom. He is a male seer who actually was the beautiful great aunt of Raden Joko Susuruh. She told him to go to the east of Java to found a kingdom on the place where a maja-tree just had one fruit; the fruit was bitter, pait in Javanese, and the kingdom got the name of Majapahit. The seer Cemara Tunggal would marry the founder of Majapahit and any descendant in first line, to help in all kind of matters. Though after he (the seer) would have transmigrated into the "spirit-queen of the south" who shall reign over the spirits, demons and all dark creatures
Sarang Burung are Javanese bird's nests, and some of the finest in the world. The edible bird's nests Bird's nest soup or sarang burung, which find a ready market in China, Thailand, Malaysia, Singapore are dedicated to Nyai Loro Kidul, mentioned by Sultan Agung in reports.

There are three harvests which are known as the Unduan-Kesongo, Unduan-Telor and Unduan-Kepat, taken place in April, the latter part of August (the largest), and December. The places of 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 named Salanganen or Collocalia fuciphaga; famous because of the wayang performances which are held, and the Javanese ritual dances which are performed during gamelan music at the traditional ceremony.

This happens in a cave (Karang Bolong) and when these are ended specially prepared offers are made in a shed in what is known as the "State Bed of Nyai Loro Kidul". This relic is hung with beautiful silk batik kains, and a toilet mirror is placed against the green-coloured pillows of the bed ...

Nyai Loro Kidul is the patron goddess of the bird's-nest gatherers of South Java, who pursue what must be one of the world's most hair-raising professions. The gatherers descend the sheer cliff-face on coconut-fibre ropes to an overhang some thirty feet above the water where a rickery bamboo platform has been built. From here 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 for not misjudging the tides, and fallen into the violent waves.

The term wali which is applied to all of the Islam teachers is Arabic (meaning "saint"), but the title "sunan" which they all carry, too, is Javanese. Sunan Kalijaga used to be one of the most "popular" Wali Sanga, and he got deeply involved with Nyai Loro Kidul because of the water aspect (at the beach of Pemancingan of northern Java, kali means river). Panembahan Senopati Ingalaga (1584–1601) , founder of Mataram's imperial expansion, sought the support of the goddess of the Southern Ocean (Kangjeng Ratu Kidul or Nyai Loro Kidul) at Pemancinang of southern Java.

She was to become the special protectress of the House of Mataram. Senopati's reliance upon both Sunan Kalijaga and Nyai Loro Kidul in the chronicles accounts nicely reflects the Mataram Dynasty's ambivalence towards Islam and indigenous Javanese beliefs.

Pelabuhan Ratu

Pelabuhan Ratu, a small fishermen city in West Java, celebrates an annual holiday in her honor on April 6. A memorial day for the locals, offering a lot of ceremonial "presents". Nyai Loro Kidul is also associated with Parangtritis, 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 will anger her and will bring misfortune on the wearer, as green is her sacred colour.



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