kecak dance

kecak dance

The Kecak Dance is an especially unique and one of the most dramatic of all Balinese dances. A combination of dance and drama, the Kecak dance depicts the Hindu epic, “Ramayana,” and tells the story of Prince Rama, who with the help of the monkey-king Hanoman defeats the evil King Rahvana to rescue his Princess Sita. Kecak also has roots in Sanghyang, a sacred ritual based on the idea that during the performance, hyangs, or spiritual entities will enter and possess the bodies of the dancers.

The dance begins just as the glowing sun slowly sets beyond the horizon at sea.  To catch this dramatic moment, the stage is placed with the temple of Tanah Lot or Uluwatu as background. A chorus of 150 men clad in checkered cloths around their waists, representing an army of monkeys, utter percussive sounds. They sit in concentric circles, leaving an open arena with an oil torch in its center.

As the sky darkens, the burning flames of the torch become the only natural lighting of this cacophonous play, creating a truly mystical atmosphere, illuminating the performers and audience alike in a haunting glow.

The circular ensemble sways rhythmically back and forth and waves their hands as the drama unfolds, yet above the chants of the swaying masses, the narrator’s voice can be heard, telling the tale. As the plot progresses, the ring of acapella percussionists enhance the performance of the lead actors in the center by acting as the armies in the battle scenes, and even unite as an enormous, twisting serpent in the performance’s final climax.A triumph of style and emotion over actual story, the Kecak dance is sure to keep every viewer captivated for every second of the show.

The story takes an episode of the great Ramayana epic. It tells about the abduction of Princess Sita by the giant Rahwana when Prince Rama and Princess Sita were wondering in the forests. Prince Rama leaves his wife to chase a golden deer. But first he draws a circle around her, which he tells her not to step out from. Rahwana sees her and through ruse succeeds to abduct her to his palace. In his search for his wife, King Rama meets the monkey king Hanoman who helps him. Hanoman’s monkey army burns Rahwana’s palace, and so the two lovers are happily reunited. 

Unlike other Balinese dances, the Kecak is not performed to the accompaniment of Gamelan, which is the Balinese “orchestra.” Instead it is enacted to the sounds of 150 or more male voices chanting “chak-achak-achak,” hence giving the dance its name.  Another unique factor is that the Kecak is also one of the only dances that was created for the sole purpose of entertaining visitors. It is hardly ever watched by the Balinese themselves.

Kecak was originally a trance ritual accompanied by a male chorus. In the 1930’s, the German painter and musician Walter Spies took a deep interest in the ritual while he was living in Bali. He then worked together with Balinese dancer Wayan Limbak to recreate it into a drama, combining themes and movements from the traditional Sanghyang exorcism rituals with portions of the Hindu epic, Ramayana. The intention was to create a dance that was both authentic to Balinese traditions, yet appealing to Western audiences.

Wayan Limbak later toured the globe with a troupe of Balinese performers, thus popularizing the dance and making it famous throughout the world.

Pura Luhur Uluwatu is one of Bali’s 9 main temples, and is one of the places you can personally witness the Kecak Dance. The temple is perched at the edge of a steep cliff, overlooking the crashing waves 70 meters below. Originally a very small temple, Pura Luhur Uluwatu was first expanded by a Javanese sage during the 11th century.

As the temple is sacred ground, one must be properly dressed before entering, as respect to the Balinese Hindus. Sarongs are available free at the entrance for women wearing clothing that does not cover their knees. Visitors to the temple can feel free to roam about and explore the temple grounds, but the central courtyard can only be entered during special rituals.

The Kecak dance is performed at the temple every evening at 6:00 p.m. in an open-air arena  to the backdrop of the ember sky, as the glowing red sun sinks beneath the horizon. Tickets to the dance can be purchased for approximately IDR 75,000. Visitors should note that during high season, tickets are often sold out and should be booked a few days in advance.

Pura Luhur Uluwatu is located on the island of Bali, about 45 minutes from Nusa Dua, or 1 hour 15 minutes from Kuta or Tuban area.

tags: Tags:video,kecak,bali,tradition,culture

TANGGAI DANCE'S

TANGGAI DANCE'S  from Sout sumatera

Dance is a dance tradition that evolved from generation to generation and still exists to this day, has Fakem and is a hallmark of the region itself.

In the V century (1920) in the days of Hindu, Dance Tanggai used for offerings to the gods Brahmin, Vishnu, and Shiva, which is dedicated or towing by women with an odd number, especially Tanggai Dance in honor of the Sahyang dedicate widi or Lord Shiva which is considered as the god fuser.

Homage to the gods by making offerings movements Mudra (the approach almighty).

Dance is a dance wear tanggai Tanggai with emphasis kelentikan fingers symbolizing love. By Hindus is very honored, especially the finger Mahendi (carvings on hand)

Tanggai made of pure 22 carat gold in the form of nails manicured.

Century 20 (1920) Dutch Period, habitat in Indonesia is a form of empire.

Century 17 (1600) established the Dutch era Palembang Darussalam Sultanate, girl age seclusion. Sultannya forbid Girls / Women dancing, so the whole show is played by men. Demat, Pesirah, Depati Title is the name given by the Dutch, and the Dutch are interested in taking dance tanggai

1920 in South Sumatra and dance using Tanggai Foreword that serves as Dance Dance Welcomes which called tepak.

Switch to the Age of Japan.

1945 should not be displayed tanggai dance, dance created gending Sriwijaya.

Stylists Daughter Dance is Resident of Palembang on Demand Japanese Rozak Sukainah create Gending Sriwijaya Dance.

Sriwijaya Gending poem created by Nungcik AR, and Music Gending Sriwijaya created by Dahlan Mahibat.

PKI uprising in 1965 and the creator of the poem Nung Cik AR allegedly a member of the Communist Party until Nungcik AR arrested, and Dance Gending Sriwijaya when it should not be displayed.

But many distinguished guests, and state officials who came to Palembang, and no dance reception to welcome the guests that come, the mother Elly Rudi (dance tanggai) and mother Ana Kumari (slap dance palace) raised the and arrange movements with dance moves that have been there before, to honor guests who are coming to Palembang, and his dance choreography, so there were a high aesthetic dance.

Music Blash, Tanjidor is used in the Dance Music Tanggai in ancient times.

Dance Tanggai and Rasan Tuo (matchmaking) dances to accompany the Bride.

Tepak dance palace (using tanggai and tepak), symbol of expression Friendship to honor distinguished guests, at the time of the Netherlands, with a Foreword offerings. Being Dance Tradition in South Sumatra.

But the dance is evolving into their respective areas in South Sumatra with its own version of the dance names but still use tanggai and costumes early.

Location: Downstairs Banquet Hall, Holland College Tourism and Culinary Institute, 4 Sydney Street, Charlottetown, PE, CANADA.


This fundraising night is presented by CANADA WORLD YOUTH & INDONESIAN STATE MINISTRY FOR YOUTH AND SPORTS AFFAIRS





Tags: Tag:video,tanggai,dance,southsumatera,culture,art,Indonesia

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