THE ART OF TRADITIONAL of specific INDONESIA AND FAMOUS TOURIST PLACE IN BALI

THE ART OF TRADITIONAL MUSIC INSTRUMENT TRITON of specific INDONESIA

2010-09-01T16:40:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT TRITON of specific INDONESIA

Triton is a traditional instrument of Papuans. Triton is played by blowing. This instrument is available at all beaches, especially in areas of Biak, Yapen, Waropen, Nabire, Wondama, as well as the islands of King Amat. Initially, the tool is only used for the means of communication or as a means of calling / marking. Furthermore, this tool is also used as a means of entertainment and traditional musical instruments. 4503

THE ART OF TRADITIONAL MUSIC INSTRUMENT TAMBO of specific INDONESIA

2010-09-01T16:35:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT TAMBO of specific INDONESIA

Tambo is a traditional musical instrument of Aceh. Tambo iboh made of sticks, cow leather, and rattan as a tool peregang skin. Similar shape and played drums with beated. In the past, legend serves as a communication tool to indicate the times of prayer or sembayang and to gather people to Meunasah to discuss ward issues. Today, the legend has been rarely used because of modern technology such as microphones.

THE ART OF TRADITIONAL MUSIC INSTRUMENT TALEMPONG of specific INDONESIA

2010-09-01T16:31:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT TALEMPONG of specific INDONESIA

Talempong is a typical percussion instruments Minangkabau ethnic group. The shape is almost the same as in the device bonang gamelan instruments. Talempong can be made of brass, but some are made of wood and stone. Currently Talempong of brass type is more widely used. This Talempong circular holes on the bottom while at the top there is a prominent traffic circle two inches in diameter as a place to hit. Talempong has a different tone. The sound generated from a pair of wood slapped on its surface.

Talempong usually used to accompany dance performances or welcoming, like a typical dish Dance, Dance Pasambahan, and Dance Waves. Talempong also used to sing the music to welcome a special guest. It takes foresight Talempong memainkanya pranada DO ladder starts with and ends with SI. Accompanied by a chord Talempong memainkanya way similar to playing the piano.

THE ART OF TRADITIONAL MUSIC INSTRUMENT SLANTHEM of specific INDONESIA

2010-09-01T16:28:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT SLANTHEM of specific INDONESIA

Slenthem is one of the gamelan instruments consisting of thin sheet metal width strung with rope and stretched across the tube-tube and produce a low hum or tone echoes that follow saron, ricik, and balungan when beaten. Some have called it as a gender penembung. Like the other instruments in a set of gamelan, slenthem certainly has a version and version pelog slendro. Wilahan Slenthem Pelog generally have a range of tones C to B, while slenthem slendro has wide range of tones C, D, E, G, A, C '.

how to play

Cara menabuh slenthem sama seperti menabuh balungan, ricik, ataupun saron. Tangan kanan mengayunkan pemukulnya dan tangan kiri melakukan "patet", yaitu menahan getaran yang terjadi pada lembaran logam. Dalam menabuh slenthem lebih dibutuhkan naluri atau perasaan si penabuh untuk menghasilkan gema ataupun bentuk dengungan yang baik. Pada notasi C, D, E, G misalnya, gema yang dihasilkan saat menabuh nada C harus hilang tepat saat nada D ditabuh, dan begitu seterusnya.
Untuk tempo penabuhan, cara yang digunakan sama seperti halnya bila menggunakan balungan, ricik, dan saron. Namun untuk keadaan tertentu misalnya demung imbal, maka slenthem dimainkan untuk mengisi kekosongan antara nada balungan yang ditabuh lambat dengan menabuh dua kali lipat ketukan balungan. Atau bisa juga pada kondisi slenthem harus menabuh setengah kali ada balungan karena balungan sedang ditabuh cepat, misalnya ketika gendhing Gangsaran pada adegan perangan.

THE ART OF TRADITIONAL MUSIC INSTRUMENT SASANDO of specific INDONESIA

2010-09-01T16:25:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT SASANDO of specific INDONESIA

Sasando is a stringed musical instrument. Musical instruments is derived from the island of Rote, East Nusa Tenggara. Literally Sasando name by origin he said in the language of Rote, sasandu, which means equipment that vibrates or rings. Sasando allegedly used in the community Rote since the 7th century. Sasando there are similar forms with other stringed instruments like guitar, violin and harp.

The main part of the long tubular sasando usually made of bamboo. Then in the middle, a circle from top to bottom are given lump-lump where the strings (the strings) that stretched across the tube, from top to the bottom rests. Lump-lump gives a different tone to each chord passages. Then this sasando tube placed in a container made from a kind of woven palm leaves made out like a fan. This is where the resonance container sasando

THE ART OF TRADITIONAL MUSIC INSTRUMENT SALUANG of specific INDONESIA

2010-09-01T16:23:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT SALUANG of specific INDONESIA

Saluang is a traditional musical instrument of Minangkabau, West Sumatra. Which wind instrument made of thin bamboo or gutters (Schizostachyum brachycladum Kurz). Minangkabau people believe that the best material to make saluang derived from the gutter to gutter clothesline fabric or found floating in a river. These tools include the musical instrument flute class, but more simple to make, simply by punching holes in the gutter with four holes. Saluang length approximately 40-60 cm, with a diameter of 3-4 cm. As for other uses of the gutter is the place to make lemang, one of Minangkabau traditional food.
Saluang legendary players named Idris Sutan Syamsimar Sati with the singer.
The virtues of the players are able to play this saluang saluang with blowing and breathed together, so that the blower saluang can play the instrument from the beginning of the end of the song without end. Breathing mode was developed with continuous exercise. This technique is also a technique called manyisiahkan angok (aside breath).

Each village in Minangkabau develop ways saluang blowing, so that each village has its own style. Examples of the style that is Singgalang, Pariaman, Solok Salayo, Koto Tuo, Suayan and Pauah. Style Singgalang considered quite difficult to be played by beginners, and usually Singgalang tone is played at the beginning of the song. Style is the saddest sound of Ratok Solok Solok area.
Formerly, this saluang khabarnya player has its own charms that is useful to hypnotize his audience. It was called Pitunang charms of David. Contents of the incantation was about: I malapehkan pitunang David, buruang Tabang tatagun-tagun, aia mailia tahanti-hanti, takajuik bidodari in sarugo mandanga buni saluang ambo, kununlah human hearing children ...... etc.

THE ART OF TRADITIONAL MUSIC INSTRUMENT REBANA of specific INDONESIA

2010-09-01T16:20:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT REBANA of specific INDONESIA

Tom-tom drum is round and flat. Circular frame of wood is turned, with one hand to tap on a goat leather. Art in Malaysia, Brunei, Indonesia and Singapore, which often have a tambourine is a musical rhythm of the desert, for example, psaltery, and hadroh Qasida.

For the people of Pahang Malays in the country, playing tambourines very popular, especially among people around the Sungai Pahang. Tambourine clapping accompanies traditional songs like indong-indong, bird-kenek kenek, and Lemur-Lemur. In Malaysia, apart from regular-sized tambourine, there is also a big tambourine Rebana named Sweet, played on feast days to equalize the sound and rhythm.

THE ART OF TRADITIONAL MUSIC INSTRUMENT REBAB of specific INDONESIA

2010-09-01T16:16:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT REBAB of specific INDONESIA

Rebab (Arabic: الرباب or رباب) is a stringed instrument that typically use two or three strings, this instrument is a musical instrument which comes from the Middle East and began to be used in Southeast Asia after the spread of influence from the Middle East.
Musical instruments that use a bow and have three or two pieces of rope from the strings of metal (copper) is his use jackfruit wood and hollow on the inside covered with dried cow skin as a loudspeaker.]

In gamelan

Dalam musik Sunda, alat ini juga digunakan sebagai pengiring gamelan, sebagai pelengkap untuk mengiringi sinden bernyanyi bersama-sama dengan kecapi dan suling. Dalam gamelan Jawa, fungsi rebab tidak hanya sebagai pelengkap untuk mengiringi nyanyian sindhen tetapi lebih berfungsi untuk menuntun arah lagu sindhen.

THE ART OF TRADITIONAL MUSIC INSTRUMENT PERERET PENGASIH-ASIH of specific INDONESIA

2010-09-01T16:13:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT PERERET PENGASIH-ASIH of specific INDONESIA

Pereret is an ancient musical instrument like a trumpet made from wood that is formed in such a way that it becomes a trumpet. Compassionate - compassion is in order - in order (pellets), while the spouse is eligible spouse as husband or wife.

This musical instrument made in many regions of Jembrana, Bali. This instrument is usually used to accompany the art Sewo Gati. How to use this Pereret is to blow out the equipment so the sound is very melodic and captivating.

THE ART OF TRADITIONAL MUSIC INSTRUMENT KOLINTANG of specific INDONESIA

2010-09-01T16:10:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT KOLINTANG of specific INDONESIA

Kolintang or kulintangadalah typical musical instrument Minahasa, North Sulawesi. Kolintang made of local wood is lightweight but strong like an egg, bandaran, detention, wood kakinik chrysolite, and which have a parallel fiber construction.
Kolintang name comes from her voice: Tong (low tone), ting (high tone) and pliers (normal tone). In the local language, call "Let's do TONG TANG Ting" is: "Mangemo kumolintang". Call it eventually turned into kolintang said.

Some well-known groups like Kadoodan, Tamporok, Mawenang already exist more than 35 tahun.Pembuat kolintang spread in Minahasa and on the island of Java, one of the makers of the famous Peter Kaseke kolintang

THE ART OF TRADITIONAL MUSIC INSTRUMENT KACAPI of specific INDONESIA

2010-09-01T16:03:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT KACAPI of specific INDONESIA

KacapiIndonesian From Wikipedia, the free encyclopediaPending changes appear on page iniBelum ReviewJump to: navigation, search
Kacapi is a Sundanese musical instrument that is played as the main instrument in the Sunda or Mamaos Tembang Kacapi Cianjuran and flute.
Kacapi in Sundanese word also refers to the Sentul plants, believed to be the wood used to make musical instruments Kacapi.

Kacapi Forms

Kacapi Parahu is a resonance box of the bottom hole resonances are given to allow the sound out. Kacapi sides of this type is formed in such a way that resembles a boat. In the past, this Kacapi made directly from the carved wooden slab.
Kacapi siter is a resonance box with parallel mean field. Similar to Kacapi Parahu, the hole is placed at the bottom. Top and bottom sides of trapezoidal shape.

For both types of these Kacapi, each string is attached to a small screw on the right side of the box. They can be tuned in a variety of systems: pelog, sorog / madenda, or salendro.
Currently, Kacapi resonance box made by gluing the sides of the six areas of the wood.

Function

According to its function in the accompanying music, played Kacapi as:

1. Kacapi Indung (= Kacapi parent); and
2. Child or Kacapi Kacapi Rincik

Kacapi Indung
Ovarian Kacapi music lead by giving an intro, bridges, and Interlude, also determines the tempo. For this purpose, use a large Kacapi with 18 or 20 strings.Kacapi rincik
Kacapi rincik enriching musical accompaniment by filling the space between the tones with higher frequencies, especially in the songs remain as in Kacapi bermetrum distilled or Panambih Sekar. For this purpose, use a smaller Kacapi with strings of numbers until the 15th.

THE ART OF TRADITIONAL MUSIC INSTRUMENT GENDRUM of specific INDONESIA

2010-09-01T15:57:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT GENDRUM of specific INDONESIA

Gendrum is a hybrid instrument between drums and drums designed by Siswo Harsono in 1992. Musical instruments are usually applied in the arts Gambang Semarang and can also be applied in other arts such as Jaipongan, campursari, or dangdut. Gendrum jaipongan consists of a drum, a drum stick, two ketipung (panepak), two ketibung (ketipung large), a pair of bongo, cowbells, bass drum, cymbals and a set consisting of a ride, crash, splash, and china.

Gendrum is a set of percussion played by a player gendrum (gendrumer), and not by a group of percussion players. Percussion combination gendrum contained in the device is a unity of harmony that has been tuned according to need. Game techniques applied by Siswo Harsono called "slap campursari". Slap game ala Siswo campursari Harsono slap that combines diverse game jaipongan drums, bongo, drums and cymbals. This campursari slap applied by Siswo Harsono Gambang Semarang in the development of art done by the Faculty of Letters, Diponegoro University, Semarang.

THE ART OF TRADITIONAL MUSIC INSTRUMENT GENDANG KARO of specific INDONESIA

2010-09-01T15:55:00.001-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT GENDANG KARO of specific INDONESIA

Karo drum or the drum dalinen five consists of five devices hit the drum a musical instrument (percussion) played by five musicians. The fifth device is one penaruné, two penggual, and two shy of the gong. Five drum ensemble music sedalanen called because it consists of five musical instruments, namely Sarune (aerofon), drum ovary (membranophone), drum children (mebranofon, corn, and penganak. But usually called a tambour five sedalanen, ranggutna sepulu two, namely the number twelve for the counting devices used in full, including sticks or other means of hitting the musical instruments.
If classified according to the musical ensemble, drum Karo actually consists of five drums and drum telu sedalanen sedalanen. Sedalanen telu drum is composed of three musical instruments being played simultaneously, which consists of kulcapi (Long Neck Lute) as bearers of melody, keteng-keteng (idiokordofon, tube-zhyter) as carrier rhythmic, and bowls mbentar (idiofon) as

THE ART OF TRADITIONAL MUSIC INSTRUMENT SARON of specific INDONESIA

2010-09-01T15:51:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT SARON of specific INDONESIA

Saron (or also called ricik) is one of the gamelan instruments including balungan family.
In one set of gamelan usually have four saron, and all have versions pelog and slendro. Saron produce a tone an octave higher than demung, with a smaller physical size. Hit the saron usually made of wood, with a shape like a hammer.From left-right; saron panerus, saron barung, and demung, from STSI Surakarta

There is the usual way menabuhnya appropriate tone, tone compensation, or beating alternately between one and the sawn sawn 2. Slow and fast hard penabuhan weak depending on the command of the drum and type gendhingnya. In gendhing Gangsaran describing the condition of war for example, ricik beaten with a hard and fast. In a nuanced piece Gati military, beaten ricik slow but hard. When accompanying the beaten track slowly.

THE ART OF TRADITIONAL MUSIC INSTRUMENT KENDANG of specific INDONESIA

2010-09-01T15:45:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT KENDANG of specific INDONESIA

Kendang, Khendang, or Gendang (drum) is an instrument in the Central Javanese gamelan is one of the main functions set the rhythm. This instrument was rung by hand, without tools bantu.Jenis small drum called ketipung, the medium is called drum ciblon / Chebar. Ketipung couples have one named drum gedhe Kalih commonly called drums. Kalih played drums on the song or piece of fine character like ketawang, gendhing kethuk Kalih, and ladrang dadi rhythm. Can also be played quickly on the opening track of launch, ladrang rhythm responsibility. To wayangan there's another one that is typical drums drums doormat.

Mostly drum gamelan played by professional players, who have long dive into Javanese culture. Most played drums in accordance pengendang instincts, so when played by people with one other person it will be different nuances.

THE ART OF TRADITIONAL MUSIC INSTRUMENT GONG of specific INDONESIA

2010-09-01T15:40:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT GONG of specific INDONESIA

Gong is a well-known percussion instruments in Southeast Asia and East Asia. Gong is used for traditional musical instruments. Currently there are not many crafters like this gong.
Gong which has been forged can not be determined tone. Gong tones new forms after rinsed and cleaned. If the tone is still not appropriate, so that the layer of bronze gongs scraped become thinner. In South Korea also called Kkwaenggwari. But kkwaenggwari made of brass-colored metal is played in a way supported by the five fingers and played with beated a short stick. How to use the five fingers holding kkwaenggwari has yet another special purpose, because one finger (index finger) can be used to dampen vibrations and reduce the gong ringing volume generated.

THE ART OF TRADITIONAL MUSIC INSTRUMENT DEMUG of specific INDONESIA

2010-09-01T15:38:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT DEMUG of specific INDONESIA

Demung adalah salah satu instrumen gamelan yang termasuk keluarga balungan.
Dalam satu set gamelan biasanya terdapat 2 demung, keduanya memiliki versi pelog dan slendro. Demung menghasilkan nada dengan oktaf terendah dalam keluarga balungan, dengan ukuran fisik yang lebih besar. Demung memiliki wilahan yang relatif lebih tipis namun lebih lebar daripada wilahan saron, sehingga nada yang dihasilkannya lebih rendah. Tabuh demung biasanya terbuat dari kayu, dengan bentuk seperti palu, lebih besar dan lebih berat daripada tabuh saron.
Cara menabuhnya ada yang biasa sesuai nada, nada yang imbal, atau menabuh bergantian antara demung 1 dan demung 2, menghasilkan jalinan nada yang bervariasi namun mengikuti pola tertentu. Cepat lambatnya dan keras lemahnya penabuhan tergantung pada komando dari kendang dan jenis gendhingnya. Pada gendhing Gangsaran yang menggambarkan kondisi peperangan misalnya, demung ditabuh dengan keras dan cepat. Pada gendhing Gati yang bernuansa militer, demung ditabuh lambat namun keras. Ketika mengiringi lagu ditabuh pelan. Ketika sedang dalam kondisi imbal, maka ditabuh cepat dan keras.

THE ART OF TRADITIONAL MUSIC INSTRUMENT GAMELAN of specific INDONESIA

2010-09-01T15:33:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT GAMELAN of specific INDONESIA

Gamelan is a musical ensemble that usually highlight metallophone, xylophone, drums, and gongs. The term gamelan refers to the instrument / tool, which is a unified whole that embodied and pounded together. Gamelan word itself is derived from gamel Java language, which means hitting / beating, followed by a suffix that makes the noun. Gamelan orchestra there are many on the island of Java, Madura, Bali and Lombok in Indonesia in various ensemble sizes and shapes. In Bali and Lombok today, and in Java through the 18th century, the term gong is considered synonymous with gamelan.
Occurrences gamelan preceded by a Hindu-Buddhist culture that dominated Indonesia in the early days of recording history, which also represents the original Indonesian art. Instrument developed to shape up like this in the days of the Majapahit Kingdom. In contrast to the music of India, the only impact to India's in gamelan music is how menyanikannya. In Javanese mythology, the gamelan dicipatakan by Sang Hyang Guru in Saka Era, the god who controlled all the land of Java, with palaces on the mountain Mahendra in Medangkamulan (now Mount Lawu). Sang Hyang Guru first create the gong to summon the gods. For a more specific message and then create two gongs, and finally formed a set of gamelan. [Citation needed]
The description of the first ensemble musical instruments found at Candi Borobudur, Magelang, Central Java, which has stood since the 8th century. Musical instruments such as bamboo flute, chimes, drums in various sizes, harp, musical instruments and plucked strings are swiped, is found in these reliefs. However, little is found elements of metal musical instruments. However, relief of the instrument said to be the origin of the gamelan.
Gamelan orchestra tuning and making is a complex process. Gamelan tuning using four ways, namely slendro, pelog, "Degung" (special area of Sunda, or West Java), and "madenda" (also known as the diatonic, the same as the original minor scale that is widely used in Europe.
Gamelan music is the combined influence of foreign art diverse. Chinese regard the tone of the notes, the musical instruments of Southeast Asia, drum band and move to music from India, bowed strings from the Middle East region, Europe and even the military style that we hear on the traditional music of Java and Bali today.
The interaction component is loaded with melody, rhythm and color of the sound retain the Balinese gamelan orchestra music glory. The pillars of this music brings together a variety of Balinese rural community character that became the order of a typical music which is a part that can not be separated from everyday life.

THE ART OF TRADITIONAL MUSIC INSTRUMENT CALUNG of specific INDONESIA

2010-09-01T15:30:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT CALUNG of specific INDONESIA

Calung is a Sundanese musical instrument which is the prototype (prototype) of angklung. Unlike angklung played by digoyangkan, beating calung way is by hitting the bars (wilahan, blades) from sections (a bamboo tube) that is composed by titi barrel (scales) pentatonic (da-na-mi-ti-la) . Species of bamboo for the manufacture of most of awi calung Wulung (black bamboo), but some are made from awi temen (white bamboo).

Understanding calung other than as a musical instrument is also attached with the term performance art. There are two forms of the Sunda calung known, namely calung calung rantay and portable.

Calung rantay

Calung rantay deretkan bar in the jar with a leather strap hibiscus (lulub) from the largest to the smallest, in number 7 wilahan (7 bamboo) or more. The composition of the single row of tools exist and there is also a two-row (calung ovary and calung child / calung rincik). How to play calung rantay being hit with two hands while sitting bersilah, usually calung is tied to a tree or a cubicle house (calung rantay Banjaran-Bandung), have also made shelf "cradle" of special bamboo or wood, for example calung tarawangsa in Cibalong and Cipatujah , Tarlac, calung rantay in Banjaran and Baduy / Baduy.

Calung Jinjing

The rows of bamboo-shaped portable calung pitched blade held together with tiny bamboo (paniir). Calung tote comprising four or five fruits, such as calung kingking (consisting of 12 bamboo tubes), calung panepas (5 / 3 and 2 bamboo tubes), calung jongjrong (5 / 3 and 2 bamboo tubes), and calung bark (two tubes bamboo). Calung completeness in its development today there are only using calung kingking one fruit, two fruits and calung panempas barking one, without using the play mode calung jongjrong hit with a right hand wearing the bat, and left hand clutching / holding the instrument. While other inter menabuhnya techniques dimelodi, dikeleter, dikemprang, dikempyung, diraeh, dirincik, dirangkep (diracek), salancar, corkscrew and solorok.

Development

Type calung which is now growing and widely known: calung portable. Calung is a type of portable music devices that have long been known by the Sundanese people, eg in the Sundanese community in the area Sindang Heula - Brebes, Central Java, and could be the development of forms calung rantay. But in West Java, this art form was pioneered in popularity when the students at the University of Padjadjaran (UNPAD) incorporated in the Department of Arts Student Council (Institute for UNPAD arts) to develop this form of calung through his creativity in 1961. According to one of the pioneering, Ekik Barkah, that pengkemasan calung tote with her show was inspired by the form of games on the show that combines elements reog hit the drum, movement and song combined. Then in 1963 the form of the game and hit the drum calung more developed again by friends of the Theatre Studiklub Bandung (STB; Koswara Sumaamijaya et al), and between the years 1964 to 1965 calung more promoted again by friends in UNPAD as the character of performing arts entertainment and information (extension (Oman Suparman, he Ruchiyat, Eppi K., Enip Sukanda, Edi, Zahir, and friends), and group calung SMAN 4 Bandung (Abdurohman et al). Furthermore, emerging groups in the community calung Bandung, for example Layung Sari, Ria Buana, and Glamour (1970) and others, up to today's emerging players names calung idol among others Tajudin Nirwan, Odo, Uko Hendarto, Adang Cengos, and Hendarso.
Calung so rapid development of the arts in West Java, so there is the addition of several instruments in calung, for example kosrek, Kacapi, piul (violin) and some even complete with keyboard and guitar. Vocal element is very dominant, so many famous calung emerging vocalists, such as Cengos Adang, and Hendarso.

THE ART OF TRADITIONAL MUSIC INSTRUMENT BEDUG of specific INDONESIA

2010-09-01T15:21:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT BEDUG of specific INDONESIA

Bedug

Bedug is a musical instrument like a drum. Drum is a traditional musical instrument that has been used since thousands of years ago, which has a traditional function as a communication tool, both in political activities or religious rites. In Indonesia, a regular drum sounded for notification of times of prayer or worship. Drum made from a large piece of wood or palm trees along approximately one meter or more. The middle rod-shaped hole so the big tube. Tip of the stem from larger animals covered with skin that functions as a membrane or membrane of a drum. When beaten, drum heavy noise, pitched a typical, low, but can be heard up to a considerable distance.

History
Bedug actually originated from India and China. According to legend Cheng Ho from China, as when Admiral Cheng Ho came to Semarang, they were welcomed by the king of Java at the time. Then, when Cheng Ho to go, and wanted to give a gift, the king of Semarang said that he only wanted to listen to drum sounds from the mosque. Since then, the drum then become part of the mosque, in countries such as China, Korea and Japan, which positioned the drum in the temples as a religious ritual communication tool. In Indonesia, a regular drum sounded for prayer time notification mengani or worship. When Orba powerful drum ever issued from mosque and the mosque because it contains elements of non-Islamic. Drum was replaced by a loudspeaker. This was done by the Islamic modernists, but the NU to take the fight so far can be seen there are still many who defend the mosque drum.

Drum function

* Social Functions: drum serves as a communication tool or a marker for community activities, ranging from the worship, the marker of danger, until the landmark gathering of a komuntas.
* The function of aesthetics: the world's drum work in the development of creative, concepts, and culture of musical material.

Ways of making a simple drum
At first, goats or cows skinned. Commonly made of animal skin as raw materials, among others, goat skin drum, cow, buffalo, and bison. White cowhide has a better quality compared with brown cowhide. Because, a white cow skin, cow hide is thicker than chocolate, so that the resulting sound will be different as well, durability is lower. Then, the skin is soaked in water about 50-10 minutes detergents. Do not be too long to prevent damage. Then, the skin is dried in a way dipanteng (held) in order not to contract. When dry, measure the diameter of wood that has been painted and will be made drum. Seteleh completion is measured, the skin is attached to a wooden stump of wood that had been prepared. The process of unification with the animal skin made of wood with nails and some rigging.

Games Bedug (Art Ngadulag)
Ngadulag art from the region of West Java. Basically, the drum has the same function as described earlier. However, the drum beat in every area are different from other regions, making it unique. Thus was born the term "Ngadulag" which refers to a drum beating skills. Now the skills are beating the drum has become an independent art form that is art Ngadulag (drum game). Bojonglopang area, Sukabumi, ngadulag art has become a competition to get the best drum drummer. The competition is divided into two categories, namely the beauty and durability. The beauty of rhythm and emphasis drum beat rhythm, whereas resistance plays priority durability or how long the strength of beating the drum. The competition was participated by men and women. This is the art of the game beating the drum to evolve. Previously, the art equipment consists of beating the drum only drum, kohkol, and trumpet. But now the equipment had been progressing. Besides those mentioned above, are beating the drum now also equipped with musical instruments like guitars, keyboards, and cymbal.

The world's largest drum
The world's largest drum in the Masjid Darul Muttaqien, Purworejo. This is a great drum work of Muslims are commanded by the Duke of manufacture Tjokronagoro I, the first Regent Purworejo. Java was made in 1762 or 1834 AD And named Kyai Begelan. Size or specifications of this drum were: Length 292 cm, circumference 601 cm in front of, around the rear of 564 cm, 194 cm diameter of the front, rear of 180 cm in diameter. Part of the beaten drum is made from buffalo skin. Giant drum is designed as a "communication tool" to invite the congregation to hear as far away as possible through the drum beat as a sign of the times of prayer echoed the adzan.

THE ART OF TRADITIONAL MUSIC INSTRUMENT ANGKLUNG of specific INDONESIA

2010-09-01T15:16:00.000-07:00

THE ART OF TRADITIONAL MUSIC INSTRUMENT ANGKLUNG of specific INDONESIA

Angklung is a traditional musical instrument from West Java, made of bamboo, which was rung by digoyangkan (noise caused by the clash of bodies bamboo pipes) so as to produce a sound that vibrates in the composition of the tone two, three, up to four tones in every size, large and small. Barrel (tone) as a musical instrument angklung Sundanese traditions are mostly salendro and pelog.

The origin of Angklung

In the thicket of art that uses musical instruments from bamboo known type of art called the Angklung. The bamboo species commonly used as a musical instrument is awi Wulung (black bamboo) and awi temen (white bamboo). Purwa angklung visual instrument, each note (the barrel) generated from the sound of bamboo-shaped tube wilahan (bars) of each segment of bamboo from a small size to large.
Angklung is a musical instrument from West Java. Angklung gubrag in Jasinga, Bogor, is one who is still alive after more than 400 years ago. Rite begins its emergence from rice. Angklung created and played to lure Dewi Sri down to Earth so that the people of the rice plant thrives.
Known by the Sundanese society since the time of the Sunda kingdom, among them as penggugah spirit in battle. Angklung function as pumping continues to feel the spirit of the people still come to the colonial period, that's why the Dutch East Indies government had banned the public use the angklung, the ban has had a chance to make angklung popularity declining and only played by children at that time.
The origin of the creation of bamboo music, such as angklung based on the view that the agrarian life of the Sundanese community with a source of life from rice (bitter melon) as main food. This gave birth to the myth of trust against Nyai Pohaci as a symbol of Goddess Sri Padi giver of life (breathe-hurip).
Reflection Sundanese people formerly in agricultural processing (tatanen), especially in cultivating rice and has spawned the creation of poetry and song as a tribute and a gift to Sri Pohaci Nyai, and the efforts nyinglar (starting bala) to match a plant they do not invite disaster, both pest and disasters other natural. Lyrics to the song to honor Nyi Buhun Sri Pohaci the example:
Furthermore, the songs are offerings to Dewi Sri, accompanied by the sound of drum accompaniment made from bamboo poles that are packed and then was born the structure of simple bamboo musical instrument we know today named angklung. Subsequent developments in the game Angklung accompanied by elements of tradition and ibing movement (dance) rhythmic (to wirahma) with patterns and rules = rules in accordance with the needs of a memorial service at the time of paddy rice paraded to the barn (ngampih pare, nginebkeun), also mitembeyan at times, began to plant rice in some places in West Java called ngaseuk.
Similarly at harvest feast and games dedicated angklung seren epidemic. Especially in the presentation ceremony Angklung associated with rice, art became a nature show or helaran pageantry, even in some places into the convoy and Dongdang Rengkong and Jampana (stretcher food) and so forth.
During its development, growing and spreading to angklung throughout Java, then to Kalimantan and Sumatra. In 1908 recorded a cultural mission from Indonesia to Thailand, among others, marked the transfer angklung and bamboo music of this game even had time to spread there.
In fact, since 1966, Udjo Ngalagena angklung figures who developed the technique based on the barrel-barrel game pelog, salendro, and madenda-start teaching how to play the angklung to the many people from various communities.

Angklung Kanekes

Angklung Kanekes area (we often call them Baduy) is used primarily because of its connection with the rites of rice, not solely for the entertainment of people. Angklung used or rung when they grow rice in shifting cultivation (field). Angklung plays when there are only growing rice free rung (dikurulungkeun), especially in Kajeroan (Tangtu; Baduy Jero), and there is a certain rhythm, which is in Kaluaran (Outer Badui). Nevertheless, it can still be displayed on the outside but still have the rite paddy rules, for example, may only beaten until their pare ngubaran (treating paddy), about three months from the day planted rice. After that, during the next six months all the arts should not be played, and can be played again on the next rice planting season. Closing angklung implemented with event called musungkeun angklung, namely nitipkeun (left, save) angklung after use.
In entertainment, Angklung usually held during a full moon and no rain. They play in the game angklung (pages in the rural area), singing various songs, among others: Javan Kasarung, Yandu Aunt, Yandu Sala, Ceuk Arileu, Oray-orayan, Dengdang, Yari Gandang, Oyong-Oyong Kuhl, Kula Agency, Kokoloyoran, Swing, swing, Pileuleuyan, Gandrung Manggu, Rujak Gadung Mulung Muncang, Giler, Ngaranggeong, Aceukna, Marengo, Salak Sadapur, Rangda Ngendong, Celementre, Keupat Reundang, Papacangan, and Culadi Dengdang. The drummer angklung eight men and three small drum drummer create a standing position while walking in a circle formation. Meanwhile others had ngalage (dance) with a specific movement that has been standard but simple. Everything is done only by men. This differs from the public Daduy In, they are limited by custom with the various rules pamali (abstinence; taboo), should not be doing things excessive worldly pleasures. Art made solely for purposes of ritual.
Angklung names in Baduy of the largest are: ovarian, ringkung, Dongdong, gossip, engklok, ovarian leutik, torolok, and Roel. Roel which consists of two pieces held by a angklung. The names of the drum from which the longest is: drum, talingtit, and percussion. The use of drum instruments there is a difference, namely in the villages they use drum Kaluaran of three fruits. In Kajeroan; village Cikeusik, using only the drum and talingtit, without percussion. In Kajeroan, Cibeo village, just use the drum, without talingtit and percussion.
In Baduy who is a person entitled to make angklung Kajeroan (Tangtu; Baduy Jero). Kajeroan consists of three villages, namely Cibeo, Cikartawana, and Cikeusik. In all three villages is not everyone can make it, only to have offspring and have the right kind of work in addition to the requirements of ritual. Angklung makers in the famous Cikeusik is Amir's father (59), and in Cikartawana Tarnah dad. People buy from people Kajeroan Kaluaran in these three villages.

Angklung Dogdog Lojor

Art is available at the community Dogdog lojor Kasepuhan pancer Pangawinan or customs union Banten Kidul scattered around Mount Mist (bordering Jakarta, Bogor and Lebak). Although this art is called Dogdog lojor, ie name of one of the instruments in it, but there is also used for connection with angklung rice rituals. Once a year, after harvesting the entire community organizes Serah Seren Taun Taun or traditional village center. Traditional village center as a place of residence kokolot (elders) the place is always moving as directed supernatural.
Honor the tradition of rice in this community is still carried out because they include people who are still holding fast to old customs. By tradition they claim to be descendants of the officers and soldiers in the palace Pajajaran Baresan Pangawinan (a soldier armed with a lance). Kasepuhan community has embraced Islam and somewhat open to the influence of modernization, as well as entertainment things worldly pleasures can be enjoyed. This attitude is also influential in terms of functionality in the arts that since around the 1970s, Dogdog lojor has been progressing, which is used to enliven the child's circumcision, marriage and other festive events. Instruments used in the art are two pieces Dogdog lojor Dogdog angklung lojor and four large pieces. These four fruit angklung has a name, the largest called barking, then panembal, kingking, and inclok. Each instrument is played by one, so all of six people.
Songs include Dogdog lojor Bale Agung, Side hideung, shaky-shaky Papanganten, Si stumps kawung, Adulilang, and Adu-complaint. These songs form with rhythmic vocal angklung Dogdog and tend to stay.

Angklung Gubrag

Angklung gubrag Cipining there in the village, district Cigudeg, Bogor. Angklung has old age and used to honor the goddess of rice in bitter melon perform activities (planting rice), ngunjal pare (transporting rice), and ngadiukeun (put) into leuit (barn).
In the myth angklung gubrag started there was a time when the village experienced a bad season Cipining.

Angklung Badeng

Badeng is a type of art that emphasize the musical aspect with angklung as the main instrument. Sanding there Badeng Village, District Malangbong, Garut. Used to serve as entertainment for the benefit of the Islamic da'wah. But Badeng allegedly been used since the old society from the period before Islam for events related to rice planting rituals. As an art to preaching trusted Badeng developed since Islam spread in this area around the 16th century or 17th. At that time the population Sanding, Arpaen and Nursaen, learn the religion of Islam into the kingdom of Demak. After returning from Demak they call people to spread the Islamic religion. One of the means of spreading Islam is the artistry with which Badeng.
Angklung used as many as nine pieces, namely two angklung Roel, a angklung intelligence, 4 Angklung Angklung ovary and father, two children angklung; two Dogdog fruit, 2 fruit fly or gembyung, as well as a kecrek. The text uses the Sundanese language mixed with Arabic. In its development is now also used the Indonesian language. The contents of the text contains Islamic values and good advice, and according to the purposes of the event. In addition to presenting the show tunes, is also presented kesaktian attractions, such as slicing the body with a sharp weapon.
Songs Badeng: Lailahaileloh, Ya'ti, Kasreng, Yautike, Lilimbungan, Solaloh.

Buncis

Beans is a performing art that is entertainment, of which there are at Baros (Arjasari, Bandung). At first the beans used at events related to rice farming. But at the present time beans are used as an entertainment art. This relates to the changing view of society that began less attention to the things smelly old beliefs. 1940s can be regarded as the end of the ritual functions in respect of rice beans, because since the beans turn into an entertaining show. In line with that of rice storage places too (leuit; barn) began to disappear from people's homes, places replaced with a more practical bag, and easy to carry everywhere. Rice now too many are either sold, not stored in the barn. Thus art beans that had been used for events ngunjal (carrying rice) is not needed anymore.
Name associated with a bean art song texts are well known among the people, namely cis nyengcle beans ... and so on. The text included in arts beans, so the art is called beans.
The instrument used in the arts beans are two angklung ovary, 2 angklung ambrug, angklung panempas, 2 angklung pancer 1 angklung enclok. Then three pieces Dogdog, consisting of a talingtit, panembal, and badublag. In its growth, coupled with tarompet, kecrek, and Goong. Angklung beans salendro barreled barreled with song vocals can madenda or gamelan. Beans Songs include: Badud, Beans, Renggong, Senggot, Jalantir, Jangjalik, Ela-ell, Mega beureum. Now the songs have been using the same beans songs from the gamelan, with the singer who was the man angklung players, now by a special lady to sing.
Of the several types of bamboo to music in West Java (Angklung) above, are some examples of just about angklung performing arts, which consists of: Angklung Beans (Priangan / Bandung), Angklung Badud (East Priangan / Ciamis), Angklung Bungko (Indramayu) Angklung Gubrag (Bogor), Angklung Ciusul (Bantam), Angklung Dog dog Lojor (Sukabumi), Angklung Badeng (Malangbong, Garut), and Angklung Angklung Padaeng which is identical to the National with diatonic scales, developed since 1938. Angklung is derived from typical Indonesian Sundanese angklung development. Angklung Sunda who pitched a five (salendro or pelog) by Daeng Sutigna aka The Etjle (1908-1984) changed his tone to Western scales (solmisasi) so that it can play a variety of other songs. Investment results and then be taught to school students and played a big orchestra.

Typical Art Jegog Gambelan Jembrana District, Bali (Indonesia)

2010-09-01T14:56:00.000-07:00

Typical Art Jegog Gambelan Jembrana District, Bali (Indonesia)

D i precisely in West Bali Jembrana district 100 kilometers west of Denpasar displays, gambelan bamboo art form (music from the bamboo tree) is more dominant, one of which is Gambelan Jegog which is a typical artistic of Jembrana.
Gambelan Jegog Gambelan "Jegog" is gambelan (musical instrument) made of big bamboo tree which is formed in such a way that it becomes a set of bamboo musical instrument whose voice is very melodious and enchanting.
Originally story Jegog Arts
This art created by artists who called Kiyang Geliduh from Hamlet Sebual Dangintukadaya Village in 1912.
The word "Jegog" is taken from instruments Gong Arts Kebyar greatest.
Art Jegog Gambelan Jegog merely a drum (drum barung) which functions initially as entertainment mutual co workers make the roof of thatched leaves, in terms of mutual co bali working to make the roof of thatched leaves called "nyucuk", some people in this activity again beating the gambelan Jegog.

In subsequent developments Gambelan Jegog also used as accompaniment religious ceremony, wedding reception, banquet statehood, and is now equipped with dance-dance drama that takes the inspiration of local culture and nature, like the name Hit Trungtungan, Goak Ngolol Hit, Hit the dance-White Tiger Dance dance like Makepung, Lemodang Heron Dance, Bamboo Dance, a performing arts tours.
Gambelan Jegog Gambelan Jegog appearances so intrusive, the drummer dancing on top gambelan, Jegog voice so thunderous, dynamic, noisy, reverberant, and often thundering through space limit can be heard from the distance sounded especially at night his voice could reach distances up to 3 (three) Km.
Jegog Mebarung
Jegog art can be used as an attraction Jegog battle.
Jegog battle in the Balinese language called "Jegog Mebarung", ie performance art with a drum Jegog mebarung (fight).

Gambelan Jegog Mebarung means fighting between the two Jegog or can also fight among three Jegog, in Bahasa Bali called Jegog barung Jegog barung Two or Three.
Mebarung Jegog is usually exhibited on special occasions like Thanksgiving is on fun events in the Village.
To know How Jegog Mebarung appearance, can be explained as follows:- Two or three devices gambelan Jegog Jegog gambelan device is placed in one area sufficient for two or three devices Jegog gambelan.- Each crew is lead drummer Jegog 20 people.
Gambelan mebarung Jegog At each Jegog began by displaying the name Hit the drum is a drum Terungtungan as an expression of gratitude and respect for the spectators and fans Jegog art, with a duration of time each

10 minutes.
Hit the drum Terungtungan whose voice is soft and sounds very melodious for singing songs with rhythm very stunning natural beauty of Bali as an inspiration.
After the appearance of new Terungtungan Hit the attraction Jegog mebarung continued with the drummer hitting each gambelan Jegog simultaneously between the crew and each crew Jegog Jegog mebarung opponent.
Jegog gambelan hitting drummer (music Jegog) with music so loud that it sounds very noisy and Jegog is very noisy and sometimes the audience is very difficult to distinguish the sound track music Jegog with each other.

Because it was so hard hit by the drummer, it is not uncommon to gambelan jegognya pug and his voice broke (cracked).
Applause from the audience is very crowded so do sepirit of each is very boisterous crew Jegog taunted each other and mutually soraki.
Moreover Gambelan Jegognya until rupture was beaten by the drummer, then the crew Jegog sepirit from cheering his opponent's very noisy and fun with dancing, yelling can sometimes cause emotional for sipenabuh Jegog.
Determination Jegog Gambelan Jegog mebarung lose and win this is the audience for this mebarung Jegog no team specifically so hung jury assessing the audience at that time.
If one of the voices sounded by sipenonton gambelan Jegog more dominant and regularly voices his songs, it was declared the winner Jegog mebarung.
While the prize for sipemenang is in the form of a pride is only for the crew Jegog.
Because Jegog mebarung art show whose goal is to entertain the audience and his fans, the show is entertaining show Jegog mebarung.
Jegog art has been traveling since been frequently visited Foreign Affairs and has been through three continents such as Europe, Africa and Asia.
While the intensity of the visit to Japan of the most prominent since 1971 in the town of Saporo, Hokaido by Nyoman Jayus Island until 2003 in the city of Okayama.
Thus the existence of Art Jegog in Jembrana district's growing and never subsided by the changing times and if you want to enjoy the beauty of art can be displayed Jegog music at any time in Jembrana regency.

INDONESIAN CONTEMPORARY ART IMAGES: Images in the History of Western Art

2010-08-31T10:27:00.000-07:00

INDONESIAN CONTEMPORARY ART IMAGES: Images in the History of Western Art

BERNETT Newman, one of the top American artists, the first man ever said being an artist was when he carved a line above the ground surface using a chip. Incision line can be regarded as the first image. Pictures seem to always accompany the journey of civilization and human culture. Therefore, not surprisingly, the picture becomes very important region and can not be separated from the world of art and artists. Actually, "drawing", such as graffiti, sketching, making charts and so is one way of artists (and designers) in visualize the ideas in his head. Therefore, the real draw is also an effort pengkongkretan imagination, the idea of an artist. Of course every form of art is a form pengkongkretan sesugguhnya the artist's ideas, but because the image occupies a privileged position in the process is a concrete visualization of the earliest, spontaneous and direct. This was expressed vividly by G. Sidhartha Soegijo: "One of the most direct way to connect your thinking process, which took place in the abstract, with a visual form, the concrete, is through pictures."
In a similar vein, Kate Macfarlane and Katharine Stout said: "It is to drawing many artists turn Pls That they want are not sure how to Proceeds with a particular line of inquiry, or how to realise an Ambitious proposals. As Avis Newman suggests, drawing Offers the most direct access to the Intimate workings of the artist's mind: 'I have always understood drawing to be, in essence, the materialisation of a continually mutable process, the movements, rhythms, and partially comprehended the ruminations of the mind: the operations of thought. For this reason alone, drawing will from the always be at the heart of the visual arts'. "
Images become an important part in the journey of Western art since the Renaissance up to modern times. Academy of art in Europe since the 16th century until the 19th century emphasized the importance of drawing as the backbone of painting and sculpture. What is known as akademisme, none other than the formulation of and approach to art that emphasizes the importance of drawing ability for an artist. It can be seen from the relics of pictures of famous European painters since the Renaissance to the era of modern art. Therefore, it is surprising that the picture-or rather art image into a new category of autonomous art in recent years.
Presumably, the function of preparatory drawings as preparatory work to produce a painting of a picture-making medium or submerged beneath the disokongnya arts categories, namely painting, sculpture and graphic art. Into the device preparatory drawings made needed, but once placed not as an end. Despite the picture, or drawing ability is crucial in painting and sculpture, but it is more intertwined with the process of preparation in the execution of the painting. Of course that is considered more important is the end result or the final goal, ie painting or sculpture. The end goal is supremacy, and fine art in the tradition of what the end is primary, as described by Mortimer J. Adler: "These are the arts That Came to Be Called later the fine arts, Pls the word 'fine' is understood to mean 'finish' and to signify That the works Produced by These Things Were arts to be enjoyed for their own sake, not to be Used as means to further ends. "
Since the Renaissance drawing skills become an important part in the painting. Since the Renaissance painting well into the category of high art (high art) is autonomous. So not surprisingly in this era of modern art, painting is the most important category of art. Ironically, the supremacy of painting which is achieved through timeless dukugan from the image. Presumably, because for too long commissioned paintings and sculptures cause of status or position of the image becomes problematic, as stated by Emma Dexter, "Yet the medium's status has always been problematic, due to its servitude to the arts of painting and sculpture, as well as its association with preparation and incompletion. "
Famous French painter Ingres once said about the importance of drawing to painting, "If I Were to put a sign above my door, it would read the School of Drawing, and I'm certain That I would Produce painters." It seems to be universally applicable. Is it not also been proved by the Center for Teacher Education University Images (opened in 1947) which became the forerunner of art ITB?
To become an autonomous art category was a picture still requires a long journey. Modern art is more concerned with the concept, the place the picture-as-the preparatory process is not important. From the Renaissance until the late 19th century drawing virtuositas seem to be imperative for artists to produce works of high quality painting and sculpture. Instead of modern artists actually suspect things related to aspects of skills, including drawing skills. Deanna Petherbridge, an image area prefesor in diametrical explain the situation between the classic academic approach to popular belief against modern times who mendestruksi academic approach, "The practice of art in this century has been no less closely tied to education than it has in other times. Eighteenth-century neoclassicism, for example, is as closely Allied with the spread of the Academies. As modernism has been with the destruction of the academic system. The academy, As We all know, was posited on the teaching of life drawing, in fact learning art in the West since the Renaissance has been entirely to do with the question of disegno-composisitional as both drawing and design. "
So not surprisingly, for the modernist artist, an image, especially in an academic approach to areas that are not important. Of course modern artists still need a visualization for the ideas and thoughts, but this should not be applied via a sophisticated drawing skills. Drawings or sketches produced by modern artists, conceptual and avant garde does not show such images virtuositas artists in previous centuries. Formalism and the search for the essence of painting has shifted the importance of drawing as a preparatory process for the painting. Therefore, in terms of drawing skills ala akademisme (anatomical drawing ability) is lost and not more important in times of modern art and the era of neo-avant-garde, ie periods of transition from modern art to contemporary art.
Similarly, in these times of fine arts academies in the West looked debriefing skills, including drawing increasingly irrelevant, and drastically reduce the subject to draw. This is known as de-Skilling relates (note from the subject of art) with the direction and priorities in terms of concept. Process towards de-Skilling is apparently in accordance with the paradigm of modern art, and in some cases then also demonstrated by the contemporary art-particularly in works that are transgresif. Despite later also proved that contemporary art also indicates that contrary to the tendency of characters de-Skilling, namely the re-emergence (revival) the need for skill or skills.
Images For Autonomous Region in Contemporary Art
Once in the late '60s until the '80s images are considered less important in the scope of art education, then the '90s was marked by anxiety because of the less ability to draw students of art. There are attempts to "back to basic", ie to restore the image as an important variable in visual arts including visual arts in higher education. This is for example shown by a conference held by the Tate Gallery in 1993-1994 regarding the role of drawing in Fine Art Education. It was then marked by the opening of the course is also drawing on some art colleges in the West.
In the past, we know that the peak of modern painting by abstract expressionism demonstrated through the deadlock. Further development as indicated by Pop Art, Conceptual Art and Minimal Art is a transitional period of modern art contemporary art menunju. Opposition in the context of artistic and spiritual sublimation of painting causes painting in the early 70s to get the stigma, and for some time experienced the nadir. Performances, happenings, eart art, and sculptural forms in sculpture in the extended sense into the main field. This was then followed by the new media art. But slowly but surely painting again showed his resurrection. In contrast to the period of modern painting, contemporary painting rose by placing himself as the likely medium-representational rather than as essential entities and sublime art.
Plurality of contemporary art shows itself by accepting every possible art, both in terms of thinking (theory), concepts, mediums, materials and space and the origin of the artist's presence. Proved that contemporary art is increasingly showing its global face. Of course can not be denied permanent presence of the forces behind the determinants of production and consumption practices of contemporary art. For example, can not be denied that the revival of painting can not be separated from the proliferation of art markets, and was marked by widespread art-fair in the world economic centers, including new economic centers.
Interestingly, the rise of a picture or a more precise picture of art in this decade is suspected Puspa not be separated from the come-backnya painting. Painting see opportunities that contemporary art with a belief in pluralism and "anything can" (anything goes) has no reason to deny the existence of painting. Presumably, having seen it, the artists who are interested in drawing as a possible medium of contemporary art began to show itself. Therefore, Emma Dexter, editor of Vitamin D (book compilation of artists drawing the most comprehensive currently) believes that the popularity of art images to some extent caused by the re-popular art of painting: "In painting's slipstream followed the shy sibling, pictures, arriving without any Apologies or explanation . Figure Had never been widely theorized in its own right, allowing the field to be open for the artists to make of it what they want choice. "
In addition, the popularity of art images dodorong identified by reverse flow on the things that is more moderate and modest, after the practice of art 70s until the 90s preoccupied with aspects of monumental art. This was stated by Emma Dexter: "But first drawing Pls autonomously started to emerge in the mid-1990s, it was Also the perfect medium to contrast with the sort of art That preceded it. Circa 1990, contemporary exhibition Were dominated by a form of monumentalism, one That ironically trumpeted its decosntruction of the monument yet aped the monument's hunger for the space, power and theatricality. "
Contemporary Indonesian Art Images
In the context of modern Indonesian art images or word pictures occupy an important position. Before the term of art or applied art and popular, then the "image" is a term often used to refer to a variety of two-dimensional art. Of course we still remember the existence of Persagi, stands for the unity of Indonesia image experts, although that is mainly practiced painting. The term can refer to the image of painting because the painting was always describe someone or something, the painting is a picture or a picture of something. It also shows that the term image, especially in the context of Indonesian culture of the past have a broader sense of understanding drawing. Sanento Yuliman deceased skillfully explains it: "The first thing to keep in mind in discussing the pictures is that the word" image "has a broad scope of understanding. Which appeared on the television screen when the plane turned on, which looks at the movie screen when playing movies, as well as in daily and magazine photographs, paintings, maps, plans, charts, etc., were all in the Indonesian language is called "image".
Today the picture seems narrower sense of the term, especially in the field of contemporary Indonesian art, drawing closer to understanding the English language. However, what is expressed Sanento Yuliman shows that the potential of any medium of art-as-drawing region (representation) any matter or thing that issue is easily accepted for a long time. Therefore, not surprising that the image area or category of art as an autonomous readily accepted by society. This was indicated by the reception that is open enough to the works of art images. Evidently, when this became popular a few young artists simply use the technique / medium images in the works.
This exhibition will mark what is described by Laura Hoptman, "it marks a moment Pls Also drawing has changed from a primary mode of expression for the most inventive and influential, artists of the time." Evidently, the face of Indonesian contemporary art is marked by the works who worked with the engineering drawings and images in the same category, or in this case more appropriately called art drawings. Perhaps the term art image too much, because in English just called drawing, not a drawing-art. However, the mention of art images is an emphasis, as well as terms of painting and sculpture which is the equivalent of the term painting and sculpture. Thus, it is clear that this exhibition about the drawings as works of art, especially in the context of contemporary art.
However, this time, not easy to define explicitly limits of art images. In some ways moving images into art within the limits of painting. It was for example shown by several world-class contemporary art whose work is regarded as a drawing, but also diketegorikan as painting. By Emma Dexter works by Marlene Dumas and Elizabeth Payton shows the quality of "between" (drawing and painting): "In the case of Dumas, drawing has always featured heavily in her Exhibitions, the juxtaposition Between the more final and 'developed' form of painting and the immediacy of the image being an essential element in the presentation of her work. In other cases, artists Elizabeth Peyton and Poor 'Katharina Wulff have blurred the distictions Between drawing and painting, transferring Some of the fragility and immediacy of drawing into painting on their. Using thin paint or combining media to leave the white ground uncovered, Thus Gaining an increased sense of immediacy and responsiveness from a medium often associated with closures and ponderausness.
Explanation Similar indicated by Deanna Petherbridge, who refer the work of David Salle and Anish Kapoor: "Salle's triptych 'walking the dog' of 1982 is in oil and acrylic on cotton, although it is andoubtedly drawn in line, and Kapoor's gouaches and molded paper, pieces from his Tate exhibition of 1989 are designated 'image' althought they want have nothing to do with online. "
With the absence of specification of the medium, it is quite difficult to establish the exact definition images. We seem to "understand" what's that picture, but really so? Because what we call the images can be quite diverse and distinct character. On the other side of the liquid limit is precisely the image of a blessing, because it will widen the possibilities of art images, did not matter if it overlaps with the territory or other medium. Is not the atmosphere of contemporary art at the boundary is marked by a dislike for the certain and definitive?
Previously known that in the past image until the condition has not been autonomous. However, if the current image into a medium that "autonomous" certainly not in a sense analogous to the autonomy of art is stiff. Because the art as an autonomous region is considered as a construction be imagined by the modern art-which proved to be achieved. The meaning of the picture as an autonomous art is the existence of the picture as an end-not as an expression of their art or sketches preparatori. Because of that character that the art of drawing into the final medium (done as a work of art) is not followed by formulatif or absolute terms about the "truth" of art images. Art images follow the rules of a pluralist contemporary art: all kinds of possibilities right to live drawing arts. Therefore, according to observers, the art of image making steady progress very rapidly, so that its boundaries were expanded, which in terms of drawing Emma Dexter is called within an expanded field-term reminds us of the sculpture in the expanded field.
Should be recognized Exhibition of Contemporary Art Preview not attempt to examine the extent to which menyuruk artists translate or find the possibility of art images. The direction taken in this exhibition are more modest, which indicates that the image can become an autonomous media for artistic expression in the context of contemporary art. Therefore, once again, the mention of art is the emphasis that the media image or photograph is the preferred technique of the artist in producing works of art. In other words, this exhibition emphasizes that the works shown are the works with the ultimate goal is "a work of art" that is "finished", not merely eskperimentasi picture. In an effort to put the picture-which is viewed as a process preparatori for painting and sculpture, or visualization of the early ideas as a work of "art image" which autonomously then put it as the possibility of representation seems to be the top choice in this exhibition.
So, in this exhibition, the content of representation becomes an alibi that the work shown is a work of art. In other words, this exhibition confirms that the technique of drawing any content, subject matter or issue shall be performed with maximum voiced. Because of that, not without reason that artists were asked to present the possibility of drawing techniques on canvas. This of course did not menciderai image understanding, because that term drawings on paper, shows that this is one possibility as well as the possibility of drawing on canvas. Besides it has also been shown by many artists who use drawing techniques on canvas in his later works. However Canvas has an aura that is more than paper. Of course this requires above all that the picture is not on paper lower. In the end is a matter of choice, some artists choose to remain menampikan artwork using paper drawings.
However, regardless of the context and content of its representation, the case diversity, exploration and the concept of gembar also become an important part that accompanies this exhibition. The diversity and variety of approaches pictures shown in this exhibition, both from the most conventional sense, until enough experimental art drawings. Similarly, the works appear difficult to distinguish images with painting. It must be accepted as a reflection of the variety of meaning and possibilities of art images.
In addition, quite interesting that the popularity of art images appear when the new media art is an important part in contemporary art. Apparently there are mutual relations, complement and supplement each other. The development of digital technology seems to cause the service image of the painting process, especially the art of painting realism that re-today. popular lately become greatly reduced. Currently penyapan process and workmanship painting and sculpture more easily assisted with digital devices such as digital cameras, computer software and LCD projectors. This is even more liberating task of drawing as a means or auxiliary media for painting. Perhaps because of that, lately a lot of artists use drawing as an autonomous region, as the terminal end of the practice of his art. Interestingly, even drawing any current artists utilize the help of photos and an LCD projector in the process is the preparation and execution of art's drawing.
Of course we realize that this exhibition will not be able to provide a comprehensive picture and inlukisf about the true nature of art images in the field of Indonesian art. However, as much as possible the diversity of art strived images can be shown. It was shown from the picture that shows mastery of art forms with the pull of the expressive and artistic line up works similar to a comic image.
As already mentioned in the beginning that the picture is always with civilization and human culture. All kinds of images in the tradition of culture is generally a picture, whether it be painting, rajahan, or carved in various materials. Because it was considered important to show the art images from the realm of tradition, and it seems Bali is the most appropriate area to be selected. However in Bali pictures as an art form tradition can survive and penetrate into the modern era. It was shown how the legendary Balinese artists and many other kinds of Lempad can mengindividuasi grip of tradition becomes a work of drawing a personal yet still can show the identity and character to Balian. ***
(Note these plans to be an introduction in the exhibition catalog of the exhibition Contemporary Art Preview held in 2009 at the National Gallery of Indonesia, Jakarta) *) The author is the Curator and staff Faculty of Arts and Design, ITB. / Indonesian Art News

Dance Sanghyang (Bali), Indonesia

2010-08-31T10:18:00.000-07:00

Dance Sanghyang (Bali), Indonesia

Introduction Balinese people are Hindu-majority really believe in evil spirits and natural and that contain magical powers. To compensate and neutralize these circumstances community held a ceremony complete with dances that are religious. One of the many existing religious dances in the Balinese are Sanghyang Dance.
Sanghyang dance is a sacred dance that serves as a complement to the ceremony to drive away epidemic disease that overwhelmed a village or region. In addition to drive away pestilence, this dance is also used as a means of protection against the threat from the forces of black magic (black magic). Dance, which is the remnants of pre-Hindu culture is usually danced by two young girls (minors) and is still considered sacred. Before you can dance dancers sanghyang candidates must run a few restrictions, such as: not allowed to pass under the clothes horse, should not be saying vulgar and coarse, may not lie, and should not be stealing.
There is one very interesting thing in this art, that his players will experience a trance at the time of staging. In circumstances like these that they were dancing, sometimes on the fire and then drove around the village to plague. Usually the show is performed at night until midnight.
Types of Dance Sanghyang Sanghyang dance that characterized the Balinese people is actually composed of several kinds, namely:
Sanghyang Dedari, is a dance which was performed by one or two little girls. Before they began to dance, a ceremony was held pedudusan (fumigation), accompanied by song or music gending pelebongan kecak with, until they become trance. In the unconscious, the dancers paraded Sanghang use equipment that is typically called a palanquin (sedan). Pesangkan Village, Karangasem, sanghyang dancer dancing on a piece of bamboo is carried, while at the Bangli District sanghyang dancer dancing on the shoulders of a man. Sanghyang like this type of dance is also known by the name of god Sanghyang dance.
Sanghyang Deling, is a dance which was performed by two girls carrying deling (doll from palm leaves) are anchored on a piece of bamboo. Deling Sanghyang formerly found only around the area of Lake Batur, but this time have not found anymore in that place. Dances are nearly equal to sanghyang deling can be found in Tabanan and named sanghyang dangkluk.
Sanghyang scribe, is a dance which was performed by a man swinging a long piece of rattan (scribe) in a conscious state (trance). In Bali the northern part of this dance is not performed by a man, but by a girl (Daha).
Sanghyang Cleng (wild boar), is a dance that is played by a boy who dressed in black palm fiber. He danced around the village as he mimicked the movements of a boar (wild boar), with the intention of casting out demons that disturb the peace of the village.
Sanghyang ghost, is a dance that is played by a boy dressed in rice leaves or trees so as to resemble ghost (spirits.
Sanghyang a tube, is a dance that is played by a woman carrying a piece of bamboo, which is painted like a human. Dance sanghyang tube have on the village of Sanur, Denpasar, and only when the full moon dipergelarkan.
Sanghyang Kidang, which was only found in northern Bali, danced by a woman. In a trance, the dancers mimic the movements of a roe (deer). This dance is accompanied by the singing without the use of musical instruments.
Sanghyang Janger. Previously, this dance is played in a state of unconscious and is sacred. But then experienced a change and become a dance accompanist Janger with smack. This dance spread throughout the island of Bali that have different meanings.
Sanghyang Sengkrong, is a dance that is played by a boy in a trance (trance), closing the hair with white cloth (sengkrong). Sengkrong is a long white cloth which is used by the leyak in Bali to cover her hair, which hung.
Sanghyang Jaran, is a dance that is played by two men while riding a rocking horse made of wicker or wood and with a tail made of palm leaf. In north Bali, dancers sanghyang horse while riding a rocking horse is also wearing a mask and accompanied by kecak. Meanwhile, in the Village Unggasan, Kuta, Badung Kabupaeten, Dance sanghyang horse danced regularly (five days) during November to March, which in the months that are expected outbreak of disease is raging. In addition, sanghyang horse is often danced as a vow after recovering from an illness. Sanghyang horse dance forms that mimic the movement of horses, almost like lumping horse dance or horse braids in Java.
Cultural Values Sanghyang as typical of the Balinese dances, if observed, not only contains the value of aesthetics (beauty), as reflected in movements of the dancer's body. However, also the value of devotion to the Creator. This is reflected from its origins that aims to dispel the belief that disease outbreaks were caused by evil spirits ganggungan. (Gufron)
Source: Coordination Team Press Directorate General of Culture. 1988. Archipelago Culture Athletics Hkasanah I. Jakarta: Ministry of Education and Culture.

Place shopping in bali

2010-08-31T10:06:00.000-07:00

Place shopping in bali

When you're on holiday to Bali, you might want to give gift or souvenir for friends or your family. With these road teams Jajan Saver (JJH) offers several places to buy souvenirs.
Art Shop Kuta. Kuta beach along the road there are stalls displaying art shop art goods. But indeed you must merogok little bag in, because their customer target foreign tourists. But if you like the items on display, and you have sufficient funds, please just direct trafficked home. Most shops can be negotiable, should not be shy, fresh with the 'heart'. JJH better advised to wash your eye along this street: D Badung Market
Badung Market
Badung Market. This traditional market is located in Gajah Mada street in Denpasar. Consisting of four floors. Downstairs sell vegetables, fruits, fish etc.. If you want to buy souvenirs salak Bali, can find here. Now on the top floor, you can find stalls that sell souvenirs like flip-flops beads, barong shirt, table sets, coasters, key chains, etc.. But remember, you have to be 'king of the heart' here. The point must be good at bargaining. Because if not, you might even get an expensive price. As a rule: beaded slippers price is Rp 10,000 / pair. JJH not recommend this place, except for you who already know the market price. Joger
Joger
Joger. Joger famous from making funny word that is written on the shirt (like Dagadu in Yogyakarta). But at the store located in Kuta roadway is not only selling t-shirts, slippers, tablecloths, ashtrays, key chains also sell. The price (except T) is relatively cheap, at least make you safe, do not need a lot of bargaining. The most interesting are the words on this Joger nyeleneh. And definitely make the visitors who came smiling self. More local tourists who come here. Open only until 6pm, when JJH asked why the cap so quickly, they replied, "To be able to goto another store fortune, sir .. "The slight problem here is parking, since very crowded, so parking is somewhat difficult in places. When she walked into the room, you will be given a sticker that was stuck on your shirt that reads "VIP", then there's acronym "Very fun of Person". There sandals sold left and right colors are different, just lucu2 deh. There again, sandals left reads "Heaven is located at the bottom of your foot mother", and the right reads "It turned out that until now there is no concrete data2 who can prove with certainty which side of the foot? ": D. Oh yes just Joger available info on reflexology massage performed by the blind. While eliminating tired, you also help others. Their slogan "Joger bad, good Bali." JJH recommend this place.

Krisna souvenirs
Krisna typical Balinese souvenirs. The concept is somewhat similar to Joger, but here we can park with ease, larger parking lots, buildings in it even wider. Indeed the words in the jersey, not as interesting and as funny as Joger. But for the problems of other goods, Krisna have more choice and the price is relatively cheap. JJH comparing time, items purchased at Badung market that has been offered here habis2an there was the same price, without bargaining fatigue, and a more comfortable place. For paintings, cheap and nice things you know. Krisna can be visited on the road Nusa Kambangan 160A (tel: 0361-8423573) and also on the road Nusa Indah No. 77 (tel 0361-262365) Denpasar. JJH recommend this place.
Grants. Located right next to Krishna is in the way of Nusa Kambangan 137. Grants has two stores on this street, which grants first and second grants. Before opening the store Krisna, these grants is very famous for buying souvenirs. But after this Krisna stores open, the visitors were sucked into the Krishna. In terms of price and products available, similar to Krishna.
Sukawati market. Located in Gianyar district, about 1 hour from Denpasar. There Stanger Stanger 1 and 2 (about 5 km from the Sukawati 1). Based on the info, Stanger one cheaper though barang2nya same. But remember, do not hesitate to bargain when shopping here. Fresh approximately one third of the price offered by the seller.
Tips JJH, in Bali the same as elsewhere, they expect 'penglaris' to bring good luck for their wares. Penglaris was the first buyer, so if you are the buyer first. You can push prices below the market price, because they never happen not to trade on the first buyer. But it still offered with a sense yes, but not too cruel heart:)