Indonesia Cultural and Art

Solo - Central Java

2009-03-21T20:34:00.004+07:00

This centre of Javanese culture has old colonial charm, the best of Southeast Asian warmth and the wide streets and well-planned squares of a small European town. Crumbly old-Dutch buildings and the two keratons of Kasunan and Mangkunegaran dominate the old town, surrounded by quaint streets lined with small houses with proudly manicured gardens.

Why, such a lovely name for such a close-knit and affable town. Solo, previously known as 'Surakarta' was indeed, living by its namesake, until recently. A result, 99.9% of the population of Solo, a naturally halus or well-mannered people, are not only extremely friendly to visitors but also free of the 'hello mister' attitude that comes with big tourist traps. People in Solo love a visitor.

This is a town made for the open-air. Sit in a becak or hop on the back of an ojek or motorbike taxi, stop for nasi liwet at a small side-street or sing your heart out at one of the obscure karaoke shacks and bars, open until dawn. Though many places are open all night, Solo affectionately goes by the old moniker 'So-slow,' precisely what gives it such lovable appeal.

Triwindu Antiques Market
Nestled in a labyrinthian market selling ball-bearings and car parts, the gems at Triwindu antiques market, appear even more dramatic and blissfully cheap compared to anywhere in Bali or Jakarta. On the fringes, next to a small stall selling greasy knobs and bolts, sunlight streams through Morrocan ceiling lamps saturated with color. There are venetian mirrors and transistor radios. A stall sells reproduction antique, hefty stone Buddha heads and brushed brass ganeshas of all sizes, next to a small case containing three, silk 1930s clutch-purses with delicate crystal embellishment (except that now there are two).

There are hip 1960s cocktail sets, straight from the pages of interior design magazines and about a tenth of the price of the same set in NYC or London. There are silver peacock-shaped door handles in painted wrought iron, gold vintage brooches and limestone elephants.

Because most of the goods from Triwindu are superior-quality, reproduction antiques and the rest genuine bric-a-brac from the last 60 years, prices are low. Sellers from all over come to Triwindu to sell their handiwork. It is worth a weekend trip to Solo just to furnish ones house with goods from Triwindu, or get a year's worth of gift-buying over in one morning. The sellers never harass and are open to bargaining.

Pasar Klewer
According to the tourism board, Pasar Klewer is the biggest batik and textile market in Indonesia. This may not be wholly true but it could possible be the friendliest. Ask to see a sarong and a podgy old lady will roll out the whole bunch and happily put them back when one walks away. Prices here are low. Expect to pay Rp 30.000 for a printed soft-cotton sarong or Rp 50.000 for a silk ready-made top.

Pasar Klewer (Klewer market)

Keraton Kasunanan
Javanese culture, dance, and music permeate the lives of the timeless occupants of the palace, from the guards to the royal orchestra. there are few things to see here, save for a few random artefacts and a large canoe. The palace is far more haphazard than the smaller mangkunegaran. It's unconventional charm, however, calls for a romantic stroll with the sand in one's toes. Gamelan practice is from 9am - 2pm daily.

Keraton Kasunanan

Istana Mangkunegaran
Mangkunegaran is perhaps the more cosmopolitan of the two Karatons of Surakarta. Mangkunegaran shares close ties with political powers of the past few decades.

Istana Mangkunegaran

Around the time of the Chinese rebellion against the Dutch, Raden Mas Said, the first Mangkunegaran Sultan, born in 1725, persuaded the powers that be to stop the war by signing the Salatiga treaty, during which time he became a sultan. He was like his successors to date, entitled to have his own city square, establish a women's centre, sit upon the throne and raise a pair of sacred banyan trees.

Though modelled on a typical keraton with fortress walls and a ceiling with a fire motif (each color represents a positive attribute and brings peace to the palace) Mangkunegaran went through major architectural changes during the colonial period and exhibits European decorative features typical of the period.

Sedudo Traditional Bathing Ceremony

2009-03-09T09:39:00.004+07:00

Nganjuk Map, East Java - Indonesia

Sedudo Waterfall is situated about 27 kilometers south of Nganjuk, located at the foot of Mount. Wilis, at Ngliman, Sawahan district. This location is often visited by many of people especially during Suro, one of the months in the Javanese year.

This ritual bathing ceremony dates back to the time of the Majapahit Kingdom in the 14th and 15th centuries. According to the juru kunci (key keeper) of the Sedudo waterfall, based on the legend story, Ki Ageng Ngaliman - who spread Islam in Nganjuk - was used to meditate in the area. To regard his retribution, the district government and the public around, always held a traditional ceremony every Suro (Muharam). Also according to popular belief, Sedudo Waterfall was used to bath statue in Parna Prahista ceremony then the water spattered to the body of the family in order to grant eternal youth and safety.

The form of The traditional ceremony of taking up Sedudo sacral water is begin with 5 (five) sacred women bringing klenting, traditional water jars, dressed in Java traditional clothes, walk slowly to the pool under Sedudo waterfall. The 5 sacred women is following by 10 women with longhair. The 15 women are called Putri Tirtosasi (Tirtosari Princess). Five boys, called Jejaka Taruna, also dressed in Java traditional clothes are waiting for them under the waterfall. The procession is accompanied with Jidor, traditional drum and Sekar Mijil song. After the Tertosari Princesses gave klenting to them, they will take the water from the waterfall which is believed have savour. Then the water will dedicate as sacrifice.

This procession is led by the Regent of Nganjuk and followed by the local and the visitors who come from the whole Java. The form this procession is taking a bath together in the pool under Sedudo waterfall.

For information, contact:
East Java Provincial Tourist Office at +62 31 853 1814/853 1815.

Queen of the South - Parangtritis, Central Java

2009-02-23T11:44:00.006+07:00

Queen of the South Sea - Ratu Kidul

Java's south coast is shrouded in mystery and legend, and nowhere is this more alive than in the heartland of Javanese culture and lore, Yogyakarta. The special province of Yogyakarta is remarkable for many reasons. It is home to a still-functioning royal court with a widely-loved monarch. Just to the north of the city is the legendary volcano, Merapi, also known for being the most active volcano in the world!

Parangtritis beach - Yogyakarta

Sunset in Parangtritis with andong - traditional trasportation in Yogyakarta

And directly to the south, forming the third element in this spiritual triumvirate is Parangtritis beach - where the Indian Ocean pounds against rugged, windswept shores, located about 27 km. from Yogyakarta. This is not the setting for your usual kind of beach holiday. Gone are the gently swaying palms and white sands - they are replaced with black volcanic sands and a sparse tumultuous environment of tossing seas and jagged rocks. The spirituality and vitality of Parangtritis is immediately apparent. This is no ordinary beach, it is the realm of ghosts and goddesses - it is the realm of queen Ratu Kidul or Nyai Loro Kidul.

Nyai Loro Kidul has many different names, which reflect the diverse stories of her origin in a lot of sagas, legends, myths and traditional folklore. Other names include Ratu Laut Selatan ("Queen of the South Sea," meaning the Indian Ocean) and Gusti Kangjeng Ratu Kidul. Many Javanese believe it is important to use various honorifics when referring to her, such as Nyai, Kangjeng, and Gusti. People who invoke her also call her Eyang (grandmother). In mermaid form she is referred to as Nyai Blorong. The Javanese word loro literally means two - 2 and merged into the name of the myth about the Spirit-Queen born as a beautiful girl/maiden. (Wiki)

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

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

Legends of Ratu Kidul and her tragic, demise abound. According to one account she was the great aunt of Raden Joko Suruh, an orphaned prince of the Pajajaran kingdom. It is said that she appeared to him as a hermit and instructed him to establish the Majapahit Empire in east Java. Many generations later, a descendant of Joko Suruh, came to the shores of Parangtritis to meditate in preparation for a great battle with the kingdoms of the north. He was visited by Ratu Kidul who took him to her underwater kingdom where he studied the arts of war and love. After three days he emerged at Parangkusumo. To this day, she is said to be in communion with each of the sultans of this line to aid them when they come and pray for her assistance. Parangkusumo also remains a place of great spiritual significance and constantly attracts pilgrims who leave offerings and pray for Ratu Kidul's help. Another regular visitor is the sultan himself. At his coronation ceremony in 1989, a sudden gust of fragrant wind was noted not only by the sultan but by many others in attendance. It is believed that this wind signified the spiritual presence of Ratu Kidul.

Ratu Kidul's favourite color is a special shade of pale yellow-green known as gadung melati. Local folklore warns visitors not to wear the colour green, or the Queen will entice the wearer into the ocean to drown. And that is why you will rarely see anyone wearing green near the beach. If you happen to be in the wrong place at the wrong time, Ratu Kidul or her one of her ministers, may just claim you as another subject in her underwater court. Each year the treacherous waters here take a few more lives, each year Ratu Kidul's watery court grows a little larger, and those who survive fo on whispering the legends of the ghostly queen.

The Village of Tenganan in Bali

2009-02-09T14:49:00.007+07:00

The village of Tenganan in Bali carefully preserves a cultural legacy dating back to the Majapahit Empire, and offers a unique glimpse into the lives of the first Balinese.

Midway through each year, an undercurrent of intense excitement surrounds the unique Baliese village of Tenganan. A buffalo is ceremoniously slaughtered, while beautiful textile heirlooms are displayed in the open. An ancient wooden ferris wheels is specially constructed. And, perhaps most ominously, strips of thorny pandanese leaves are piled up, ready for the combat to begin.

All the action is in preparation for the village’s fifth-month celebrations. For hundreds of years, Tenganan has maintained its cultural authenticity through daily, weekly and monthly ritual and ceremony according to strict customary law. For the visitor, a visit to one of Bali’s most pristine villages is a glimpse of Bali as it once was – a time capsule preserving the lives of the original Balinese.

Ancient Culture
Tenganan is a walled communal village that has preserved its animistic cultural practices for hundreds of years. The village lies at the head of a narrow valley at the base of Bali’s sacred Mount Agung, about 3km into the hills from the eastern coastal holiday resort of Candi Dasa.

Locals call the Tenganese Bali Aga, or Bali Mula, meaning original Balinese. As such, their culture predates the Majapahit Empire (1294 to 1478) from which most mainstream Balinese claim cultural and spiritual descent. The 300 or so members of Tenganan communally own land that spreads far beyond the surrounding hills. They are reputed to be among the riches tribes on Bali.

You might not think Tenganan was so wealthy and socially complex at first sight. In this non-descript walled village, there are no streets or cars, merely two rows of houses doubling as shops, which face each other across an ancient village green.

Magical cloth
Tenganan is best known for its traditional cloth, called Kamben Gringsing, which transpates as both “flaming cloths” and “against sicknesses”. This peculiar double-ikat cloth – only woven elsewhere in Patola, India and Guatemala, Central America – is characterized by its distinctive colors. A group of four gringsing cloths takes up to eight years, and each piece can fetch as much as Rp 32 million (US$3,494). However, certain gringsing heirlooms are not for sale.

An element of mystique surrounds gringsing. In the 1930s, Miquel Covarrubias wrote in Island of Bali that kamben gringsing was once dyed in sacrificial human blood and possessed magical powers. In turn, the wearer was said to be protected from black magic. Many mainstream Balinese still avoid Tenganan today, fearing black magic.

Clearly defined social structures forbid outsides marrying into the Tenganan community. Until 1925, marriage in Tenganan was only permitted within the village. Upon relaxation of this law, a village man could marry a single woman from one of the mainstream Balinese high castes without losing his right to live in the village. A villager breaking any of Tenganan’s laws is considered to be breaking divine law. The result is banishment for life to the outer village, to become a member of the organization of the fallen.

More than any other village in Bali, Tenganan performs rituals on a daily basis, to guarantee the spiritual purity and balance of the entire community. The most popular by far and highlight of the fifth Tenganan month is the thrilling mekare-kare (shiled) pandanas fighting.

Battle for blood
On the second day of the Usaba Sambah even from June 13 to 15 each year, Tenganan’s excitement reaches an electric and infectious climax. The atmosphere is tense as hundreds of local and foreign visitors armed with cameras edge forwards. Each strains to witness open combat, Tenganan style – combat between pairs of male villagers, boys and men alike, each armed with rattan shields and strips of thorny pandanas leaf.

Steadily, the rhythmic melody of the ancient gamelan orchestra builds, together with shouts of encouragement, as one combatant after another drinks rice wine, or tuak, before pairing off for battle.

Thwak! Thwak!
This is no play fight. Males of all ages participate in mekare-kare combat – and the aim is to draw blood. When bleeding does occur, fighting is supposed to cease. But sometimes the head and fervor of the moment gain the upper hand, forcing elders to step in to separate combatants.

The fight’s main skill is in attacking and dodging. Attacking is done by scratching or hooking parts of the opponent’s body with strips of thorny pandanus leaf. Anything between the neck and the waist is considered fair game. By and large, most scratches occur on the back.

Remarkably, the fight’s rules demand blood. Fights averaging two-to-three minutes may take longer, because the referee won’t stop the fight until blood is drawn. Afterwards, injured parties are treated with traditional medicine called bareh, which repairs the skin in a matter of days.

Maintaining harmony
Villagers see this bloodletting ritual with no winners or losers as a healthy reinforcement of masculinity. Village elder, I Putu Suarjana, says that according to Tenganan tradition, the blood-letting helps maintain a harmonious village: “When someone is fighting in the mekare-kare, anger will rise within him. However as soon as the fight is over this anger will vanish involuntarily.”

As the males assert their virility, young girls reinforce their culture ties too, observing the combatants while wearing gringsing, family heirlooms handed down by generations.

Aside from these public displays of cultural continuity, other key actions are take to safeguard Tenganan, including limiting the spread of capitalism. When concerns arose that the integrity of the village was being eroded as more houses were used as shops, the village council decreed these be restored to their original structure. I Nyoman Sadra, another village elder, explains: “Over the next few years, all our shops will have moved to the parking lot outside the front gate. But visitors will still be able to come into our homes where the old arts, including the making of gringsing are practiced.”

While acknowledging the outside world, Tenganan continues to draw its strength from its traditions. Parts of Bali may be radically transformed by tourism and change, but Tenganan village is intent on remaining an island unto itself.

Words by Ed Bailitis - mandala mgz

The Mosques of Jakarta

2009-01-26T20:03:00.004+07:00

"Modern eyes maybe more accustomed to the minarets and domes of the Middle East, but Indonesia's early mosques sometimes blended Islamic, Hindu and Chinese architectural styles where roofs varied from flat tiers to tiered domes to flat domes."

Masjid Luar Batang

Jakarta’s mosques reflect a diversity of architectural styles, historical, and cultural influences. Masjid Luar Batang (Sunda Kalapa) was built in 1739, although those responsible for the management of the mosque claim that it was established around 1700. National hero Sayid Husein bin Abubakar of the Abdillah al-Aidrus, a direct descendant of the Prophet Muhammad SAW through his daughter Fatimah, was exiled by the Dutch but managed to return to Sunda Kalapa and establish the mosque. He was later buried there in 1756, and his tomb is incorporated into the structure of the mosque.

The 5,780-metre site is now regarded as a sacred place and is visited by many pilgrims from Indonesia and abroad. While it contains certain European architectural features, the main gate to the two-storey mosque is decorated with reliefs similar to those fond on Java’s old Hindu temples. It is closely connected with the history of Sunda Kalapa and subject to a local government preservation order. Architects claim that when the Rp 5 billion restoration is finished, the mosque will become an object of interest for all tourists visiting the area as well as maintain its traditional role as a place of worship, pilgrimage and education, as well as an Islamic Centre.

Masjid Kebon Jeruk

Located on Jl Hayam Wuruk, and not far away from Sunda Kalapa, is Masjid Kebon Jeruk. The name is something of a misnomer, and has nothing to do with the large district of the same name located in the heart of the city’s west. Situated on the other side of the river Ciliwung and close to the Jayakarta Hotel, the mosque was built in the peranakan style in 1786 by a Mr. Tchoa, who was in charge of Jakarta’s Chinese Muslims from 1780-1797. The term peranakan was given to Chinese who had married Balinese wives. Back in those days, many Chinese converted to Islam as a result of the riots and massacres of 1740, which saw the Chinese confined to areas outside the old city. Because the had no mosque of their own, he built the mosque on top of his own home. The tomb (1792) of Fatimah Hwu, rumoured to be the wife of Mr. Tchoa, is also located on this site and is notable for its eclectic mix of chinoiserie and Arabic influences. The Arabic figure for 1792 is visible as are the heads of dragons.

The mosque at one stage also contained ceramic tiles depicting people, not permitted under Islam. Islam tradition condemns the pictorial depiction of the Prophet SAW as well as all living creatures for fear that it may lead to pagan worship. Geometric or arabesque forms are preferred.

In time, Indian, Arab and other ethnic minorities also used the mosque. Renovated in 1957, it remains in poor condition although the original shape of the first mosque can still be seen.

Masjid Istiqal

Southeast Asia’s largest mosque, Masjid Istiqlal, is situated within walking distance of the National Monument (Monas), and stands opposite Jakarta’s Catholic Cathedral. Designed by a Christian architect, construction began in 1961 during the heyday of the Soekarno era (1945-1965) and reflects that era’s love of design on a monumental scale – the mosque can accommodate up to 10,000 worshippers. The immaculately manicured lawns, gardens, fountains, lakes and waterways are spread over a spacious 9.5 hectares of land.

Masjid Hidayatullah

Mosques have also had to battle the onslaught of developers. But in the case of Masjid Hidayatullah, which sits on Jakarta’s main business thoroughfare Jl. Sudirman, Central Jakarta,t he exotic old Pagoda style mosque seems to have come into its own. Modern eyes may be more accustomed to the minarets and domes of the Middle East, but Indonesia’s early mosques sometimes blended Islamic, Hindu and Chinese architectural styles where roofs varied from flat tiers to tired comes to flat domes. The careful restoration of this mosque, obtained as a concession from the developers of the site, makes it an oasis for worshippers. That’s also in keeping with the basic principle that mosques are also designed to create “a space of serenity rather than exaltation.”

Masjid al-Azhar

Masjid al-Azhar is a mainstream mosque built alone the lines of the large traditional mosques found in major Islamic capitals around the world, and which site side by side with universities, schools and libraries, just as they did centuries ago in Baghdad, Isfahan and Samarkand. Jakarta’s modern Masjid al-Azhar complex in suburban Kebayoran Baru contains the well known school of the same name, large playing fields, a library and other facilities.

The days of Governor Coen have long gone, and mosques are now part of the infrastructure of many housing complexes in Jakarta, and constructed almost as soon as he roads are made. In other areas, local residents have to battle hard to find the funds to build their mosques. Their rewards are most certainly in heaven. For Muslims, the building of mosque constitutes an act of great merit, a fact noted in the following Hadith (saying): “Whoever builds a mosque desiring God’s pleasure, God builds for him the like of it in paradise.”

Garuda mgz

Toraja Coffee: An Incomparable Sensation

2009-01-18T09:27:00.001+07:00

What does coffee mean to you?

For coffee fanatics, a cup of coffee is an essential part of daily life, and often a loyal companion at critical times. Indonesia has many regions that produce great-tasting coffee, but the variety most sought after by foreign coffee lovers is Toraja coffee beans. Toraja Coffee is one of the best coffees in the world. Toraja coffee is believed to be of the very highest quality. Its unique taste provides incomparable enjoyment to true coffee lovers. So it’s not surprising that many famous coffee shops always offer “Toraja Coffee” as part of their coffee menu.

Toraja Coffee is pure Arabica Coffee harvested from a very dedicated coffee plantation, roasted by the experienced roasters with strict quality control to get the complex aromatic profile into the maximum and only pure 100% Toraja Arabica coffee that will end up in your perfect cup of coffee.

Toraja coffee is known for its high body, low acidity, a multidimensional pleasant aromatic character, spice, sweetness and very mellow aftertaste, which will linger on the palate for many, many minutes.

In Toraja, South Sulawesi, coffee is the most important crop produced by the local people. Toraja coffees can come from anywhere in the Tana Toraja highlands, It is grown at altitudes of 1400 to 1900 meters.

Toraja coffee is a large part exported to Japan. A Japanese company, PT Toarco Jaya Tbk, a subsidiary of Kee Coffee, one of Japan’s biggest coffee bar chains, is the only foreign company in Toraja that has long been exporting Toraja coffee beans to Japan to share this special satisfaction with its customers. They not only buy Toraja coffee beans but also provide extensive assistance to the local community through agricultural outreach programs: how to plant and grow coffee properly, including post-harvest processing, to achieve the best possible result and thus maintain the high quality of the Toraja coffee beans.

According to Yoshihasi, head of Kee Coffee in Japan, Toraja coffee beans are the number one favorite with Japanese coffee lovers. “The flavor provides an incomparable sensation for true coffee lovers.”

So how do you like your coffee?

Batik as Uniquely Indonesian

2008-12-21T13:05:00.006+07:00

Some of batik motives

Batik is unique
The same artist asked to paint again – it can’t be the same

Intrinsically Indonesian, yet viewed by some as a product of the past, batik is being targeted to capture a new generation.

Batik is deeply entrenched in the Indonesian psyche. Despite production by other countries, Indonesian continues to think of batik as uniquely Indonesian. Many government organizations and some private companies also require employees to wear batik once a week.

Traditionally, batik refers to fabric decorated painstakingly by hand using hot wax and then dyed to create a pattern in reverse. Villages developed patters and colors so distinctive that a connoisseur could tell from sight alone the specific source of certain motifs. Central Java is particularly well known for the quality of its batik. Cities like Pekalongan, Solo (previously Surakarta), Cirebon and Yogyakarta vie for the title Kota Batik or Batik City.

Batik tulis

Malam (wax) and canting

At the high end, crafting quality batik takes many hours. Batik tulis, literally ‘handwritten; batik, involves hundreds of designs drawn painstakingly on the cloth by hand using hot wax applied with a copper stylus called a "canting". The cloth is then dipped in dye to create a reverse pattern and the wax scraped off. Depending on the complexity of design, this may be repeated more than 20 times, with a day between dyeing to dry, It’s like a painting.

Batik cap

A cheaper alternative is batik cap, where designs are stamped on manually. These days, machines print simplified batik motifs directly onto cloth (usually polyester or rayon) for a mass-produced version, referred to as printed batik.

The price range is wide. A cheap print shirt can go for as low as Rp. 20,000 (US $2.18) while its handmade tulis counterpart in silk might retail for a few hundred dollars. There is no shortage of buyers at the high end of the spectrum, a nod to the buying power of Indonesia’s famously moneyed elites. Batik tulis, the haute couture of traditional fabric, occupies a social niche. Exacting Indonesian aesthetics mean that the Javanese version of batik tulis cannot be recreated anywhere else in the world. It can also easily take four months to produce one piece.

Yet it is the history of batik that works against the product when it comes to the younger generation. They view it as being very traditional.

Today’s batik remains a predominantly domestic product. According to the newspaper Media Indonesia, government statistic in 2006 placed batik exports at US$110 million – just 34 per cent of a total production worth approximately US$322 million. In all, the batik industry employs nearly 800,000 people. The domestic market is the dominant one. Today’s batik comes in a mind-boggling variety of shapes, prices, cuts and colors to target the youth market.

Batik can be seen in home décor, ceramic-wear and accessories. Citos, a popular youth mall in Jakarta, offers a glimpse of how the product is moving into popular culture. On a Tuesday night the floor is filled with busy kiosks, one-fifth of them devoted to batik, cut and stitched into garments that mimic the swinging loose tunics and wide hippy skirts sold at trendy stores such as Zara.

No one disputes that innovation is necessary. Yet as batik takes on a modern cast, one hopes the appreciation of the traditional process won’t be lost. Batik is unique.

Finding the best batik
Central Java has traditionally been a prolific producer of batik. Yogyakarta, Solo, Cirebon and Pekalongan are just a handful of cities in which the tradition survives. Much of these producers’ work makes its way to cities around the world, but it’s worth going yourself to pick up unique, one-of-a-kind pieces. Jl Malioboro in Yogyajarta is a good place to go to see the work of these artisans. For printed batik, you can try local malls, markets or even department stores. There are also batik stores at many airports.

Producers profiled (main showrooms):
* Allure: Jl Kemang Raya 27A, Jakarta Selatan.
* Bin House: Jl Teluk Betung 10, Jakarta Pusat.
* Danar Hadi: Jl Melawai Raya 69-70, Jakarta Selatan.
* Iwan Tirta: Jl Wijaya XIII No 11A, Kebayoran baru, Jakarta Selatan.

Privacy Policy

2008-09-24T07:35:00.002+07:00

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Updated 27 March 2009

Traditional Occupation - Endangered Species

2008-07-19T11:57:00.012+07:00

A couple “traditional occupation” that consider close to extinction. Some were deemed outdated, while others were regarded simply as ‘having no future’. One thing for sure, most of these jobs were gone because they could not compete with the advancement of new technologies which have caused a shift in the pattern of human’s behaviour.

Here their stories…

Becak driver

Becak (tricycle) Driver
Becak is a form of environmental-friendly transport. Once upon a time, becak was more favored type of public transport. Many people preferred to use becak as form of transportation to enjoy the city atmosphere. Even more, many schoolchildren were driven to and picked up by parent’s regular becak driver.

Not only the number of becak decreasing, rarely the driver were still at young age. The younger generation prefer to be ojek (motorcycle-taxi) driver then a becak driver. Not only because driving a becak needs more man-power energy, but also the image of a becak driver itself were far from ’cool’, hence the discreditable popularity among youngster. If this attitude remains, it is almost certain that the profession of becak driver will be extinct because there is no regeneration while the elder were too old to drive.

Postman
There are times when the arrival of postman created a specific excitement among residents of the house. An incoming letter often creates thrill for the recipient. The letter can bring bad or good news, coming from a family, close friends or even lovers. Either one, each of residents at home presents their own enthusiasm to the postman for he has bought the letter to the house.

The advancement of communication technology presents us with e-mail, mobile phones and fax machine, thus providing easier, cheaper and faster modes of communication. ‘Snail’ mail o longer popular. Postmen have lost the enthusiasm of letter’s recipients, of house’s residents. Many of the envelopes he sends around were no longer personal letter but bills, invoices or advertisement. Nowadays, postmen compete with advertisement of technology to steal public’s heart.

Weight Scale-man
The man always brings weight scale every day walk around the neighborhood and yell out “Weight scale!” without paying attention to the burning sun. His service is to scale someone’s weight, and they have to pay Rp. 500-1,000,-. It is very cheap, indeed, especially nowadays when the price of weight scale has become cheaper in addition to commercially entertaining weight scale we can find in malls and department stores.

A weight scale man daily income is very small, they sometimes work as scavengers to be able to fulfill their basic needs. Usually, their regular customers are children. But now, almost every household have a weight scale, putting the weight scale-man’s job to rest.

Tukang Sayur (Vegetable/fresh Produce Seller)

Tukang Sayur (Vegetable/fresh Produce Seller)
In the last couple of years, we can still hear a vegetable-seller yelling out “veggies..veggies..” around our neighborhood. At that moment, housewives and housemaids were coming out of their homes approaching this seller to buy some fresh produce for daily consumes. The surging crowd clamoured for a negotiable price while selecting goods and sharing local neighborhood gossips spreading from the vegetable-cart.

With the rise of new technology, mobile vegetable sellers have become more and more difficult to find. The new advancement in technology more often than not has change individual habit and routines, including these sellers’ habit. They improve their services with the help of new technology. Now, their regular customers no longer have to wait for their arrival in the neighborhood, a short message through mobile phone to these vegetable sellers is enough. Then, the vegetable seller will send a courier to deliver their order right to their front door.

Photo Reproduction Kiosk

Photo Reproduction Kiosks
The advancement of photography technology has become more apparent nowadays, from the traditional photography with negative film to digital photography. With the new technology, photograph reproduction can be performed in a faster and more efficient manner. An outlet that provides photo reproduction services will be able to print a couple hundred photos in a couple hours. We only need to wait 1-2 hours to print a photo in that outlet. Even a home printer nowadays can print a photo with good resolution and a quality comparable to those photo reproduction service outlets.

Prior to the digital age, to print a photo in those outlets we need to wait up to 4 days long for it to be finished. Not a long time ago, several photo reproduction kiosks were standing in front of many well-known university. With conventional printing technique and pertomaks (a petrol-lantern) as its lighting, this service was quite popular. These kiosks offer their own benefits such as cheap and quick compared to big outlets.

Farmer - planting padi

Farmer
Farmer used to be the most important job in our country, Indonesia, with its overflowing natural resources and its fertile land where it needs these farmers attend to this blessing. However, the development of this country has left fewer fields for farmers to work on. Moreover, some possibilities may also be the reason why this job become marginalized, such as its low-ranking image, their unstable income, their exclusion from prosperity that has been ignored by the government and many other possibilities.

Now farmers are the old generations whose energy has been consumed by the burning sunlight and heavy works. Their children prefers to work as an ojek driver, mechanic or technician or move to big cities to get a job, any job. Some of the young generation, who decided to work as farmers because of their love of their hometown, have become scarce.

Housemaid
A housemaid as a discourse urban society is a confirmation that modern society is unable to face the basic foundation of their life: domestic life. While life has become harder, technology will always make everything easier and user friendly.

Domestic duties, which were considered nuisance, nowadays can be completed in one touch. In a world of high technology rules where some robots have take over human’s ‘heavy’ duties… where would the housemaid belong?

Mobile Barber
He doesn’t work as a beauty salon or barbershop: he is a DPR (Di bawah Pohon Rindang = under the shades of trees) barber or a mobile barber moving around with his bicycle selling his haircut skill.

This type of job still exists around us, although threatened by its competition with barbershops, which offer comfortable places and similar price. The changing trends of hairstyles also become the reason there mobile barbers lose from the competition.

Their regular customers might be one of few reasons this occupation still exist. Some people sometimes trust only one barber to cut their hair, but this is about style.

The horse chart as a public transportation only used for a short distance in Bali

Horse-dawn Carriage Driver
Horse-dawn carriage was one of the main forms of transportation used by Indonesia people. However, with the rising popularity of fossil-fuel vehicles, horse-drawn carriage has been marginalized by those new technologies. Cars, motorcycles and carriages were competing for a space in the road. Moreover, the lack of regeneration has reduced the number of these carriages and only to be found in several areas.

Temulawak Rhizomes - Traditional Herbal

2008-07-18T12:53:00.010+07:00

Fortunately, all plants – though many still unknown – give benefits, one form of these benefits is as medicine. Meet temulawak, its roots are highly beneficial, and believed to be equivalent rival to Korean ginseng.

Temulawak - Curcuma xanthorrhiza

The practice of concocting medicinal herbs has been going on since our ancestor generation. In ethnic traditional society we can still found someone who acts as a ‘healer’. Although they often associated with magic and supernatural power but searching deeper to their healing medium, more often than not, they use many kinds of plants.

Temulawak itself has been acknowledged as one powerful medicinal herb. This type of plants is specifically Indonesia. Although its dissemination is only in Java, Kalimantan and Maluku, many people bring along the plant for its benefits. It was even exported to some countries.

This plant grew in a meadow close to residential area, especially on the fertile soil, so that the fruit and rhizome can grow large. Temulawak is a form of herbal plant with stem. It has broad leaves each connected with slender stalk. Temulawak also has unique clustered flowers both in low ground and high ground up to 1500 metres above the sea level.

Temulawak which also known as koneng gede in Sundanese, does increase appetite. In Center Java, many parents give their children its concoction to increase their appetite.

Temulawak - Curcuma Xanthorriza Roxb

Temulawak rhizomes were known as a medicinal herb for a long time. Temulawak or Javanese turmeric or also known as Curcuma Xanthorriza Roxb, was believed to have anti-aging effect, remove skin fleck and improve muscle flexibility. New mothers were also suggested to consume this herbal drinks according to Javanese spiritual belief. It is also believed to be the cured for kidney diseases, asthma, headache, gastric pain, stomach-ache, constipation, even acne.

This rhizome is a family member of Zingibereaceae, mostly grow in tropical forests and consist of 29-3- percent of curcuminoids (the substance that causes yellowish color in the rhizome), and 6-10 percent essential or ethereal oil (also known as aestheric oil). In addition to that, temulawak also comprises of chemical substances such as phellandrence and tumerol, which often called vaporized oil. It also has camphor, glucoside and polymetic carbinol.

This plant, which can reach up to two meters tall, has ethereal oil with a specific scent that can kill microbes. On the other hand, its flavonoids can be an anti-inflammatory agent. Thus, it is a medicine of anti-inflammatory, anti-oxidant, anti-hepotoxic and anti-tumor. Also, temulawak believed to abate the pain and suffering from cancer.

As a cure to cancer, temulawak should be drunk in early stage or straight after operation to remove the cancer or radiation therapy. This is to remove leftover cancer cell. Moreover, for patient treated with chemotherapy, the concoction should be drunk two weeks after the treatment. If the doctor gave medications, the drink should be drunk two hours before or after consuming medications.

The consumption of temulawak extract is highly recommended to prevent liver diseases including hepatitis B, which known to increase the risk of liver cancer. In addition to that, the extract was also proven to lower blood’s cholesterol level also within liver cells.

Temulawak as Jamu

Where can we find ready-to-consume temulawak? This question might take us to think of jamu-seller or a drinking kiosk in the street with bottles of beras-kencur (traditional drink made of ground rice and Kaempferia galangal rhizomes mixed with palm sugar), and temulawak concoctions or else temulawak in capsule.

Temulawak - Traditional Jamu in modern packaging

Temulawak most often associated with jamu (Javanese traditional herbal drinks). Temulawak is one of the main ingredients to make jamu. Even in its modern packaging, we can still find jamu label on the package. Unfortunately, Indonesian traditional medicine is less popular compare to chemical medication. This is our biggest harm to our country. It is unfortunate, especially since we have an abundance of natural resources accompanied with many giant jamu factories. In addition to this, there are a fair amount of experts and socialist which can be useful. Worse off, when people decided to consume medical herbs, they prefer foreign herbs especially those coming from China.

It is not difficult to make jamu out of temulawak, although it is important to understand that different concoctions were made for different kind of treatments and to heal different kind of illnesses. For instance, the useful component of temulawak mostly used for concoction is its curcumin essence. This essence can reduce cholesterol level in human body. However, to lower down the level of bad cholesterol in our blood is not as easy as drinking any kinds of temualwak drinks we can easily found in the kiosk on the street corner.

Temulawak does contain many things. One substance that gives characterized smell and taste is aestheric oil. This oil can increase food appetite. While resin (the dark brownish, sticky substance, which doesn’t dissolve in the water), is unhealthy and needs to be removed.

According to National Agency of Drugs and Food (NA-DFC)’s clical test with Gajah MAda University in Yogyakarta, boiling temulawak is aw ay to take out the resin. If you tried to reduce your cholesteron level, it is best for you to consumed processed temulawak that has curcumin as its dominant substance.

For patients afflicted with complication such as heart attack or stroke, it is safe to drink temulawak infusion. Temulawak as a modern medication is safe to consume by anyone with any illness or at any age. This is the advantage of traditional herbs, it doesn’t have side effect.

Taking the most out of temulawak with the help of technology, experts and specialists can raise the availability of temulawak and providing its potential benefits effectively. Thus, temulawak can be the host of herbs in its own home country. Just like Korea know as a ginseng country, who knows one day Indonesia will be known as temulawak country.

Historic Ubud - Bali (continues)

2008-06-04T13:45:00.007+07:00

The Ayung River winds its way through several Ubud villages on its way to Sayan and on to the sea.

The Royals

Skipping ahead almost a millennium, we come to the founding of the royal house in the greater Ubud area. In the 17^th century, a rebellion occurred in the royal house of Gelgel, the then-capital of Bali, which started a surge of many small skirmishes and conflicts between royal houses. Nine kingdoms finally emerged (eight of which are now the established regencies in Bali, with the Mengwi kingdom absorbed into the others when it was defeated in battle in the 1880s).

In the early 1700s, the Dewa Agung Jambe (king) of Klungkung sent his son, the Dewa Agung Anom Wijayasunu, to Sukawati (called Timbul at the time) to found a palace there and establish a centre of power and beauty. Many artists and artisans from Klungkung and Mengwi came to build the palace in Sukawati, which was one of the finest in the land. Once their job was over, the artists did not want to go home and they remained there.

In the late 1700s, Puri Sukawati sent two of its retainers to the Ubud area as administrators to secure the area. Gusti Lanang Dauh formed the community of Padang Tegal (where Hanoman, Sugriwa and Jembawan streets now are) and the younger cousin Gusti Made Taman went further north to Taman (north of the main road in Ubud and east of the market). A fierce rivalry existed between them and fighting broke out between the two villages. In order to pacify the Tjokorde Ngurah Tabanan to Peliatan and Tjokorde Tangkeban to Sambahan, Ubud (a village north of the market and puri) to establish palaces and authority.

The younger brother of Dewa Agung Gede, king of Sukawati, I Dewa Agung, reigned in Peliatan from 1775-1800. It was here that he established a puri in Peliatan in order to guard against incursions from Mengwi and to expand the power base, again bringing with him an enclave of artists as well as people from every caste. His half-brother Tjokorde Batuan also built a puri in Peliatan. The kingdom of Peliatan ranged from Tegalalang to Mas and included Ubud village. Batuan’s older brother, Tjokorde Made Kandel, was sent to Mengwi to become sovereign there. The oldest son Tjokorde Putu kandel, went in search of holy water (tirthayatra).

Tjokorde Made kandel (who had ‘disappeared’) wanted to see the battlefield. The Pe;oatan troops numbered only 16, whereas Mengwi had thousands. Tjokorde Putu Kandel stepped onto the battlefield brandishing the keris Ki Betara Batukaru (said to have such magical powers that the enemy would flee) and the Mengwi army did indeed flee. Tjokorde made Kandel was not pleased with this and went to see why his soldiers had retreated. He got quite a shock when he realized that the Peliatan army was not being led by his uncle, Tjokorde Putu Kandel! They embraced and all was well. In fact, people fro Mengwi came to Ubud to help populate the area. All of this took place in the village now known as Tanggayuda (place of battle) around 1800.

From 1850-1880, the grandson of Tjokorde Putu Kandel, Tjokorde Rai Batur, became king and this is when Ubud began to really prosper. Batur was more inclined to steep himself in spiritual rather than military matters. The next sovereign was the pious Tjokorde Gede Sukawati (1880-1917). Rice was in abundance and the economy was booming. At this time a number of sacred in various temples around Ubud.

In the mid-19^th century, the new Dewa Agung (king) of Klungkung began and anti-Dutch campaign. Mengwi was defeated at this time and its land divided up between the victors. The punggawa (district leader) of Negara near Sukawati aligned himself with Klungkung and wanted to take over Sukawati, which extended throughout all of Western Gianyar, including Peliatan and Ubud.

The next ruler was a spiritual leader but, by default, became a great military man as well. By mustering forces from Peliatan, Ubud and Tegalalang, the Tjokorde Gede Sukawati, in 1890, was able to defeat Negara and occupy itslands all the way from Ketewel to Taro. The Tjokorde had a special keris, which, by simply piercing the earth would make the enemy run away. He also had a special power called bau siu whereby the enemy thinks it’s seeing many more soldiers than are actually there. Many more political intrigues and battles took place with the Dutch helping to fuel conflicts among the rivals.

Tourism and the First Westerners

The 1930’s saw the first real development of tourism on the island of Bali. Much of this was centre dint he Ubud area due to the entrepreneurial savvy of Tjokorde Gede Agung Sukawati. Tjokorde Gede Agung was born in 1910. At an early age he moved in with an uncle in Puri Belaluan in Denpasar, across the street from the Bali Hotel. At age fifteen, he stopped school and began his work as a ‘guide’ by approaching the guests at the nearby hotel and picked up English and Dutch languages. At the age of seventeen, he married (his first wife of eleven!) and moved back to Ubud where he established a small guest house in the Puri Saren Agung (now run by his son Tjokorde Gede Putra Sukawati). In that same year, 1972, his older brother Tjokorde Raka Sukawati from Puri Kantor across the street invited the composer-painter Walter Spies to come to Ubud to live, where he did for the next eleven years. Spies, along with other resident foreigners, such as Willem Hofker and Rudolf Bonnet, both painters, began to entertain celebrities from far and wide, including Charlie Chaplin, Noel Coward, Barbara Hutton, H.G. Wells and Vicki Baum, who in turn told their friends about Ubud. The Tjokorde Agung was instrumental in developing tourism in Ubud as he made very visitor feel like family.

When the Balinese talking about magic, they mean actually something completely different. The power of magic is still revered to in Bali, where more than 90 percent of the population accept magic as a part of daily life.

Boom Times

In the ‘70s, backpackers and researches alike flocked to Ubud. The serene atmosphere was conductive for painters and one could study music and dance with some of the greats. It only took a brief fifteen years before Ubud changed from a sleepy, dirt road village of the past into the bustling tourist town it is today. Yet still Ubud remains a draw for artists, dancers, musicians, students and anthropologists of all stripes.

Even in the 21^st century, Balinese firmly believe in the power of the unseen world. There is a tiny tree with six branches on it that lives inside a box within the Pura Batukura temple in Ubud. This tree sprouts kepeng of Chinese coins on it which reflect the economic tenor of the times. The last time the box was opened, there were four coins in it. In the 1960s, during the economic crisis, there were just three. Tjokorde Gede Oka Sukawati stated that perhaps at the end of the 19th century, during his grandfather’s time, that there might have been six.

Rangda.. the Widow who turn herself into balck magic world and transformed herself into monster.

Another barometer of sorts for Ubud is a celulak mask, which is used in the tale of the black magic dance-drama, the Calonarang. This mask was given to a Western couple back in the 1960’s as a wedding gift. It traveled around the world with them, bringing nightmares to those in close proximity. The woman recipient was said to unhitch herself off walls and float around her house. Finally she has came to rest in Puri Saren and if you are out around one in the morning, you will see her lurking in front of the Puri. A paranormal told Ubudians that she has come here to protect the people of Ubud. There are numerous stories like these.

Kecak Dance - Ubud, Bali

Why is it that the Ubud area has such a rich artistic tradition? Some will tell you it is the beauty of the land, but there are places far more breathtaking than Ubud on the island. Others will tell you it is due to the spiritual energy created by the confluence of the river waters at Campuhan. Whatever it is, Rsi Markandeya was the first to discover what visitors have been coming back to for centuries.

Addapted from material prepared for the book ‘Ubud is a Mood’ by Rucina Ballinger

Historic Ubud - Bali

Historic Ubud - Bali

2008-06-03T19:34:00.008+07:00

"Today the entire world is a museum available to those who have the desire to see. In this museum, Bali is one of the most impressive collections, and while I have seen relatively little of Bali, I am convinced that Ubud is the principal gem of the entire collection. Ubud contains not only the precious mementoes of Bali's glorious past but also the living representations of its impressive present and hopeful future. Some may worry about the change that modern energy and drive will bring to Bali, but I do not. The creative urge of the Balinese, the natural instinct for beauty and contentment, will prevail." - 17 September, 1959, C. McVicker, of Jakarta; in a Puri Saren Agung Ubud guestbook.

These women all seem to be princesses vying for special roles in an ancient Asian pageant. Their finery, however, is part of daily traditional style in tis village

Those words, written almost half century ago, could still be written today. Even though enormous changed have occurred on the island in the past twenty-five years, particularly in the tourist enclaves which include Ubud, there is still a feeling of balance that prevails. Ubud is indeed one of Bali's many gems.

In the beginning Ubud itself was originally a small portion of land centred around Campuhan (meaning 'rivers meeting') and the puta (temple) Gunung Lebah. Yet Ubud, as it is known in the 21^stcentury, spans many villages and is a kecamatan (district), and kelurahan (sub-district), as well as a desa (village).

In the West, history consists of tangible events and things that can be recorded. In Bali, history and life itself consists of the seen or conscious world (sekala) and the invisible or psychic realm (niskala) and Balinese are able to move between there two worlds with easy. One could not exist without the other. Therefore, some of the tales about to be told may seem fantastical to the visitor, but to the Ubudians it is a part of their history. Magic keris (daggers), cannibalistic giants and coin-sprouting trees may serve as allegories but they also stand on their own, as you shall soon see.

A lontar (traditional palm leaf book)

Almost all sources begin Ubud's history with the coming of the great Hindu Indian mystic sage, Rsi Markandya in the 8^th century. A lontar (traditional palm leaf book) called the Markandya Purana describes how he spread Hinduism throughout Bali. He had been told to journey east from Mount Raung in Java and to convert the inhabitants of Bali to Hinduism. Bali had a reputation of being filled with dangerous spirits and many travellers never returned. walking through Java, he made his way to Bali with 800 followers. His goal was the holy mountain of Gunung Agung, where Besakih temple stands today. However, his followers succumbed to a cholera epidemic and, in fear for their health and safety, he took those who survived back to Java.

The temple of Pura Gunung Lebah in Campuhan, on the fringes of Ubud.

While in Java, he received a divine revelation that he was to return to Bali and bury panca dhatu (five precious metals which are buried under temples to give them more power) at the place where Besakih temple is today. he returned with four hundred followers. From there, he was drawn to a place in the central part of the island which was pulsing with light and energy: Campuhan, Ubud. Here, where two branches of the Wos River (named Lanang and Wadon, or male and female) meet in a confluence, he settled, meditated and built the temple Pura Gunung Lebah (Low Mountain temple). These two rivers swirl around each other as two naga (dragons or serpents) might do. The naga in the Balinese belief system symbolise all that sustains humanity: shelter, food and housing and, of course, spiritual sustenance. The water in the Western branch of the river is used for holy water in local temple festivals and the water in the Eastern branch is used for cleansing oneself; both physically and metaphysically.

Rsi Markandeya founded many temples along the Wos River. In the most northern part of his journey, he built the first (some claim) Hindu temple on the island: Pura Gunung Raung (later named Pura Agung) in the village of Taro. Just north of here in the village of Puakan (Pa-subak-an) the sage created the unique irrigation system for rice fields called subak and divided up the lands among the small populace at that time. He is also credited with the formation of the banjar (hamlet, subdivision of a village) and desa (village) systems.

The Balinese philosophy of Tri Hita Kirana, the relationship of humans with their environment (subakor rice fields), humans with each other (banjar or hamlet) and witht he Supreme Being (desa ot village, represented by the three main village temples) was first established here by Rsi Markandeya. Subsequent sages and priests have developed and expounded upon this but this was the foundation of Balinese Hinduism in its purest form, called appropriately Agama Tirta or 'Religion of Holy Water'.

Campuhan is indeed a special centre of power. People have been meditation here for centuries and bathing in its curative waters which spurt out of pancoran or fountains along the river banks. In 1961, this site was chosen as the place to form a religious body recognized by the Indonesian government and known today as Parisadha Hindu Dharma Indonesia, a symbolic tribute to Rsi Markandeya's founding of Hinduism in Bali over a millennium before.

The name Ubud is derived from the word 'ubad', meaning medicine, and refers to the myriad variety of healing plants found along this riverside and in the surrounding environs.

Historic Ubud - The Royals (continues..)

Traditional Cloth of Madura

2008-05-27T10:50:00.006+07:00

East Javanese house and its traditional weapon - clurit (and traditional clothes of the island of Madura)

In Indonesia which consists of some ethnic groups, every ethnic group has its own characteristics in clothing. For Madurese people, especially those living in Sumenep, the type of dresses is distinguished as follows:
1. Daily dress
2. Ceremonial dress
3. Common people’s dress
4. Elite people’s dress
5. Nobleman’s dress

Dress for Common People
For men the dress called peso with black colour. The pants also black colour and loose below the knee. This dress is fit out with a leather belt on which there is a pocket.
The Madurese call it “Sabbu tepa kole” and a Lead-clothe or “odeng”. Besides as a supplement, a “sarong” also worn crossways over the shoulder.

East Javanese house (and traditional clothes of the island of Madura)

The women wear a dress called “baju sono” or “baju kurung”,
”sarung poleng” which is green or red varied with conspicuous colours. Wearing a belt called “sivet” and a long shawl called “sarong bini” worn crossways over the left or right shoulder.
As the supplement of the daily dress, man as well as woman wear “gamparan” (slippers made of wood).

Ceremonial Dress
Ceremonial dress worn by men consists of “baju pesa”, “celana kombor” (loose pant), “odeng”, “selempang sarung” and “sabbu kale tepa”. This dress is fit out with a grandeur weapon such as “taka buwan” namely grass knife, big and long grass knife.
The women wear “baju sono” which is the same like worn daily, but the ceremonies dress is better than that worn daily.

Daily Dress for Parjaji
Daily dress which is worn by men is “baju taqwa” which looks like “surjan” with white buttons. This dress is fir out with “sarung Polekat” with a belt called “epek/stagen” to slip a creese and a head clothe called “odeng peredan.

The women wear a black “baju sono”. At the end of the long sleeves there are buttons made of silver, sarong with purer Madurese batik motive decorated of animals, leaves print and “stagen”.

Ceremonial Dress for parjaji
The men wear white “baju taqwa” with buttons made of silver or gold “adeng peredan”, long batik clothe not pleated. If the clothe is pleated then its pleats are wide and aslant.
There is prohibition for parjaji to wear clothe with a motive of “parang rusak”. Whereas the women wear baju sono. The clothe worn is “songket” long clothe and wearing “epek” or belt made of soft clothe. In former times, a parjaji either a man or a woman, was always accompanied by five servants when attending a party. The foremost one, carried a lamp or torch, those in the rear carried a container called “ekecohan” and grandeur umbrella.

Dress of Noblemen
The dress of a noblemen is almost similar with that worn by parjaji. The difference lies only in its supplements.
The man wears “ellogan”, namely belt wrapped in soft clothe to slip a creese. The colour of the “epek” is red or yellow and wear “odeng tongkosan” (tongkosan head clothe).The women also wear a dress which is worn by women of parjaji group.
If a nobleman attends a ceremony, he wears a black coat made of liken clothe embroidered with gold, a long clothe, wearing beautiful creese chained with melati flower. Head clothe worn is “odeng Sunda”.
Young nobleman wears “baju taqwa” when attending a ceremony; whereas the woman wear “baju sono” like that worn by the parjaji group. The noble women wear “sono” dress made of red velvet, dark blue or dark green, with long sleeves at the end of which there are six gold buttons. The dress worn has gold pin and belt or “epek” made of soft clothe. A clothe with a motive of “sidomukti” pleated in Madura style. A gold bracelet is worn on the ankle.

Bride Gown
There are three traditional bride gowns, worn one after another for three days. Bride gowns for parjaji and arja group are as follows:
-The first night, is “dilega” dress. The bridegroom does not wear a shirt whereas the bride wears a “kemben” a (clothe worn around the chest). This dress is attached with decoration worn on a neck, fingers and arms.
-The second night is the “kraton kepotren” dress. The bridegroom wears a black coat with lace, black “liken” made of pants; whereas the bride wears long black “kebaya” with velvet laces full with its decorations.
-The third night, either the bride or bridegroom wears a dress to attend a common ceremony (“taqwa” dress and “sono” dress).

Bride Gown for Common People
As the wedding ceremony of “parjaji” and noblemen is carried out three days, the wedding ceremony of common people is carried out only one day, but the bride gown changed three times.
On the first meeting, the bridegroom wears white “jubah” (tabard) in Arab style, the bride wears long white skirt complere with the head clothe.
On the second meeting, the bridegroom wears a black coat with a necktie, wearing a “sidomukti” clothe and “belangkon” head clothe typically Madurese, decorated with a creese on his back. And the bride wears a long “sidomukti” clothe and “kebaya”.
On the third or the last meeting, the bridegroom wears pants, a coat, a necktie and a head clothe. Whereas the bride wears a long skirt or long cloth and “kebaya”.

Architecture of South Sumatera Traditional House

2008-04-29T06:15:00.011+07:00

Palembang architecture

Traditional architecture is usually built according to and following the norms inherited by their ancestors and followed by the local society.

Beside pile-houses, where living-rooms are over the ground-surface, and the space under the houses is for keeping tools and animals, other characteristics of the traditional building of South Sumatra (Palembang) are the differing heights of the floors.

The part with the highest floor at once indicates also the most important part. The house can be observed as being divided into 3 parts, namely the front-veranda in the front, the middle part and the rear-veranda, which are successively functioning as follows:
The front veranda for the guests and the sons, the centre is for the parents and room for the brides or for prominent guests, and the rear-veranda for the girls and the kitchen.

The parents are the most respected persons, therefore the highest place for them. A limasan roof covers the middle part, which is drawn forward and backward to covering the front and the rear-veranda, shapes the monumental form of the house.

The shape formed by the extension of the roof, confirms the concept of room-hierarchy inside the building.

As the traditional houses in other areas especially of the classic style, art elements are never forgotten, particularly in religious buildings, palaces and houses of nobles. The art elements not only function as decoration to beautify the building, but also bear symbolic meanings. Even social status factors are reflected inside.

Thus the case we observed on buildings in South Sumatra which are full of wood carving with golden colours. Chinese motives and European motives are blended in one with traditional motives, which further gave the birth of Pelembang characteristic motives.

Like most of the traditional buildings in Sumatra, the traditional house or adapt-house in South Sumatra shows characteristics of timber buildings with pole construction, i.e. house built on poles with space under the floor.

Building material is mostly lasting timber as the tembesu wood (Lat, Fragraca), the tenam (Anisoptera) or the seru (Schima bancana) which are usually utilized as mast, cross-bar, rib, frame and partition board. As roof they commonly use bamboo or gelumpai with palm fibre layers.

Based on the shape of the roof the traditional houses in South Sumatra are classified into the limas an (pyramidal) – type and the tatahan (encrusted) type. Viewed from the front, the limas an type has the shape of a pyramid. The tatahan type has a Minangkabau-styled shape of its roof, i.e. a pointed roof-ridge and a bent down roof-centre.

The volume and size of the house depend on the social status of the inhabitant. This can also be identified through the quantity of the interior decoration of the house.

As the case in the traditional house of Riau and Jambi, the ground plant of the house shows some divisions. The most front is the front-veranda introduced by the house-ladder. From the front-veranda we enter the men’s hall (jogan) and further to the main-room (kekijing). Behind the main0room there is the rear veranda (garang) with the kitchen. The floor of each room differs from the others, it means that the front part has a low floor and the main room has the highest floor.

Of the South Sumatra’s traditional house, its interior decoration is quite attractive. This decoration has the form of wood carving with a so called see-through transparent carving technique bearing plant motives as sunflower, bamboo shoot, etc.

Decoration art in a Palembang traditional house is an integration of elements of Javanese and Chinese arts. Wood carving decoration combined with contrast colours like gold-coating and red lac (lak).

Floor as sitting place with rug-underlayer, back-cushionsiopes with stars-motive.

Tapis - Traditional Weaving of Lampung

2008-04-25T09:47:00.009+07:00

Lampung had a rich and varied weaving tradition and its has its own traditions, high valued handicraft and art creations such as woven cloth, interwoven by gold threads called "tapis". For the Lampung community, tapis cloth reflects the status of the owner. Take Tapis Raja Medal, for example. This particular type of cloth may be worn only during traditional ceremonies by the upper class of the indigenous Lampung ethnic group, such as family members of traditional community elders or tribal chiefs. Even among the upper class, there are special rules that must be observed when wearing the cloth.

Traditionally, Lampung textiles were used as part of religious ceremonies such as weddings and circumcisions.The type of the ceremony will determine which tapis cloth should be worn. For weddings and cakak pepadun, only Tapis Jung Sarat, Raja Medal, Raja Tunggal, Dewasano, Limar Sekebar, Ratu Tulang Bawang and Cucuk Semako can be worn.

Tapis Raja Tunggal, Lampung

If a piece of tapis cloth is worn for a cangget, an event in which a dance is performed to honor an important guest, then it must be one with any of these motifs: Bintang Perak, Tapis Balak, Pucuk Rebung, Lawek Linau or Kibang. For elderly women, the tapis worn is usually Tapis Agheng, Cucuk Pinggir or Tapis Kaca. If a piece of tapis cloth is worn when it should not be, a traditional sanction will be imposed on the wearer. He or she will be admonished by the other members of the community. If, for example, someone who has yet to meet the traditional requirements for wearing Tapis Medal insists on wearing it during a traditional ceremony, the cloth may be taken off in public.

The Pucuk Rebung motif, a symbol of prosperity, remains the main motif used in tapis cloth today. Also still popular nowadays is the spiral motif, the symbol of worship of the sun and nature. The decorative motif of the Tree of Life is also believed to signify the unity and oneness of God, the creator of the universe.

However, modernization has caused tapis cloth to lose its sacred quality. Today, it is worn not only by noble families and traditional community elders, but also by lower class Lampung people. There is a difference, though.

The thread used to embroider the cloth worn by traditional community elders is usually mixed with gold but for ordinary people, the thread is gold in color only.
Despite this difference, the motifs embroidered on tapis cloth worn by ordinary people are still beautiful. However, the cloth may only be worn for certain traditional rites, such as bumammat, an event in which youngsters recite the Koran in a traditional hall in the presence of community elders and others as evidence that they can read the Koran.

Architecture of Banjar Traditional House

2008-04-07T12:30:00.011+07:00

A traditional house of Banjar. This type of house is often called the high roofed-house (rumah bubungan tinggi) or “rumah ba-anjung” because the roof is very high and sharp, South Kalimantan

History and the Development of the Traditional House of Banjar

The traditional house of Banjar is usually called “Rumah Hubungan Tinggi “ because the roofs form a 45° angle. This form of the Banjar House began to establish during the 16th century when Banjar area was ruled by Prince Samudra who became a follower of Islam. He named himself Sultan Suriansyah with the title of Panembahan Batu Habang. Before he became a Sultan, he was a Hindu. He ruled the Banjar Sultanate between 1596 – 1620.

At the beginning, the traditional house of Banjar was a long house with the narrow sides as the front and back part. Later, they attached additional houses on the left and right sides of the house. Near the back part of the house, they also add an additional house that had the same length as the previous one. They called this addition “disumbi”.

The additional building (house) attached on the left and right of the main building are called Pisang Sasikat by Banjar people and since they are like pavilions, they called them “anjung”, so that the traditional Banjar house is usually called “Rumah Ba-anjung”.

Around the year of 1850, they built house around the Banjar Palace, especially around the Martapura Palace. But the “Rumah Ba-anjung” is the main building where the Sultan and his family live.

The Gajah Menyusu, Kelayan Dalam. A type of traditional house of Banjar people, South Kalimantan.

Some of the buildings around the Palace are the Palimasan which is used to store gold and silverware the treasure of Sultanate. The Balai Laki where the ministers live, the Balai Bini where the servants live, the Gajah Manyusu, where the close relatives of the Sultan live, they are the Gusti-Gusti and Anang. There are also buildings that are called Gajah Baliku, Palembangan, and Balai Seba.

Balai Bini, Benua Anyar Banjarmasin

Later, many houses are built following the same patters as the palace “Rumah Ba-anjung” so that this typical building is not only owned by Banjar people. The typical form of the Rumah Ba-anjung has spread to South, Central and Eastern Kalimantan with its original and traditional Banjar style is still clearly seen.

Rumah Ba-anjung is found in Pangkalan Bun, the old Kotawaringin and Kumai, in the area of Kotawaringin, central Kalimantan. These Rumah Ba-anjung became a familiar sight following the fraction of the Kotawaringin Sultanate from the older Banjar Sultanate when Banjar was ruled by Sultan Musta’inbillah between the year of 1650 to 1672 and succeeded by Sultan Inayatullah. The first Sultan of the Kotawaringin Sultanate was Prince Dipati Anta Kusuma.
The traditional house of Banjar were also found in Eastern Kalimantan because many people from Banjar moved here and made their houses in the same way as when they were in Banjar and so the Banjar type house had spread throughout Kalimantan. Nowadays the Banjar-type houses are rarely seen. Since 1930 they have rarely made new Banjar-type houses because of the high cost, difficulties in getting the suitable location and the impractical usage of that kind of houses.

Many Banjar-type houses are repaired and changed to match their need of modern living (in terms of the maintenance and healthy environments). Many families still maintain their traditional Banjar houses, but they live in their modern houses that they built near the traditional ones.

When we see come traditional Banjar houses in South Kalimantan, we can conclude that those houses must have been built before the year of 1930. We can still find them in Sungai Jingah village, Kampung Melayu Laut (Banjarmasin), in Teluk Selong village, Desa Dalam Pagar (Martapura), in Birayanf village (Barabai) and in Negara. They are in a very good condition, and the government has tried to subsidize them for their renovation and maintenance, but unfortunately the owner refused the help some uncertain reasons.

Observing the traditional Banjar houses, we can study their beautiful architecture and their ornaments.

The Construction of the Banjar House

The traditional Banjar House is entirely made of wood because wood is abundant in Kalimantan. Wood is the only suitable material for that kind of traditional house.

The construction is divided into four main parts, they are:
1. The body of the main skeleton of the roof, in line to the main building.
2. Additional building attached to the left and right of the main building are called the “anjung”.
3. Sharp-type roofs (45° angle) we called “Hubungan Tinggi”.
4. A long skeleton elongated from the main one in the front part of the main house is called the Sindang Langit.

The body of the house is something like an oblong is divided into rooms with different level.
1. Palatar (front porch or ‘pendapa’)
This is the first room directly above the entrance ladder. The room is 7 by 3 meters.
2. Panampik Kecil
A small room behind the Palatar with an entrance door (lawang hadapan). The floor is higher than the floor of the front porch. The front floor of this room is called the Watun Sambungan. This room is 7 by 3 meters.
3. Panampik Tengah or Panampik Panangah.
This room is behind the Panampik Kecil and it is wider. The floor is wider than the floor of the Panampik Kecil. The front floor of this room is called the Watun Jajakan.
4. Panampik Besar or Ambin Sayup.
The floor is higher than the floor of the Panampik Tengah. The front floor of this room is called the Watun Jajakan, the same term used in the Panampik Tengah. This room is 7 by 5 meters.
5. Palindangan or Ambin Dalam.
This room is behind the Panampik Besar. The floor has the same level as that of Panamik Besar (there are some that have higher floors than those of Panamik Besar). Since the frame of the door does nothave the same level as the floor of the Palindangan, they call it Watun Langkahan (one has to step over it to enter). The room is 7 by 7 meters.
Inside the Palindangan room, there are 8 capitals to support the “hubungan tinggi’. The capitals are called Tihang Pitugur or Tihang Guru.
6. Panampik Dalam or Panampik Bawah.
A wide room in which the floor is lower than the Palindang, but it is the same level as the Panampik Tengah. The front floor of this room is called Watun Jajakan. The room is 7 by 5 meters.
7. Padapuran or Padu.
This is the last room of the main house which floor is lower than Panampik Bawah. The front floor of this room is called the Watun Juntaian. Sometimes the Watun Juntaian is high enough to step on so that they need a ladder to enter.

The Padapuran is divided into 3 parts:
* The atangan – a kind of kitchen.
* the salaian – a place to dry fire wood.
* the pajijiban and the pagaduran – a palce for washing.
The toom is 7 by 3 meters.

The traditional house of Banjar have relatively different dimension. This is caused by the different standards of measurements, should be in off numbers. It includes thelenght, width, height, etc., also the numbers of the windows, ladder-step, etc.

If we measure the dimension of the main house, it usually has 31 by 7 meters. Each anjung on the left and right of the main house is usually 5 meters wide. The height of the floor under the anjung and the palindangan is 2 meters above the ground, but under the palatar, it is only 1 meter.

Dahi Lawang Balai Laki di Kuin Utara

Dahi Lalongkang Rumah Gajah Manyusu di Kuin Utara
Woodcarving has an important role in the traditional house in Banjar. A unit of a traditional house is not complete enough without the application of woodcarving. They carved the bottom side of the wooden wall and the sides of the roofs. The carving is called the “lis-lis” or in Banjar they call it “Papilis or Pilis”. The motif of the carving is continuous flames, flower, etc.

Architecture of Lampung Traditional House

2008-04-07T11:51:00.011+07:00

Lampung Architecture

The influence of Hindu and Islam does not change much in traditional architecture of Lampung. The traditional Architecture of Lampung like that of other areas in Indonesia, is wood architecture which has a structure and planning like that found in the area os South Sumatra “Atap Pelana” roof which is also called “Atas bumbungan perahu” roof, has the form of trapeze white when seen from the front or nearly has the form isosceles. There are some kinds or traditional buildings in Lampung such as village hall or “Sesat”, residence of community head or traditional house, common people house or mosque.

The Javanese cultural influence is seen on the construction of mosque and traditional house. Mosque in South and East Lampung take the example of the mosques in Banten whereas in West and North Lampung the influence of mosque of West Sumatra and Palembang is more dominant. These two characteristics like those in other mosques in other areas have piled up pyramidal roofs. Traditional dwelling house of common people is “Rumah bertingkat” (a storey grandstand) with a front room, a place to receive guest, a middle room for family to live and a rear room for the kitchen, the entire space under the house has a function of a shed and also as a stable.

A broader and more specified construction that an ordinary house is a traditional house, a construction which represents traditional house of Lampung. This kind of construction is for a well to do people who has a high social dignity among the Lampung community (Sistem pepadun). Based on the plan and structure, residence of noblemen of Sunda Banten, the entire group of construction consists of a gate leading to the building of aseban, a kind of sentry box or a place for men to relax.

Apart from that, there is “Ambang Agung” which functions as a corridor between the main house and aseban. A space which is called Andjing-andjing is an open verandah encircling the main house. The main house comprise lapang Agung, a large middle room, a place to receive guests on ceremonies. On the right and left of “Lapang Agung” there are rooms for families. Annexed to the main house is a kitchen or “Gerang”, where as the rice barn is in the rear yard. If there are not so many decorations on the mosque, but in traditional house this proved be on the contrary.

Colored carving and engraving of decoration on wood are found in some parts of the building such as the pillars, doors, windows fence of the verandah, ceiling, frame of roofs and also found on tables, chairs, beds and on pepadun. Beside Palembang decorative arts, also Java decorative style, like plants and animals and some geometrical motives. Such a decoration appears on heirlooms for traditional ceremonies (begawi) such as gold wagon, “pata aji”, pepadun sheath of sword, handle of spear handle of “keris”(dagger) etc.

Badui Community in Banten – Sacred Lives

2008-03-27T11:37:00.008+07:00

Badui people

In a fast-changing world, the Badui community in Banten reminds an enigma. A deeply spiritual community, a wholly unique and closed society, the Badui people of Banten steadfastly maintain their ancient ways, rejecting most trappings of modern society.

Members of the innermost community, the badui Dalam (inner badui people), live in one of three villages, Cibeo, Dikertawana and Cikeusik, nestled amongst the forested foothills around Mt. Kendang, southeast of Rangkasbitung. Deliberately spurning all contact with the world beyond their group, the Badui Dalam are completely surrounded by a protective buffer zone of badui Luar (outer Badui people).

The 400 or so members of this community believe they are the direct lineal descendants of the first people to occupy the Earth, the land they are born from is a living mandala, a representation of the entire universe. To prevent devastation and calamity throughout the world, they strive to live in harmony with the earth and in conformity with the ways prescribed by their ancestors. Thus, there are no schools, no medical facilities and no government offices of any kind. Each of the three Badui Dalam villages is headed by a “puun”, a hereditary spiritual and temporal leader whose person is sacred. The land within Badui Dalam territory is also regarded as sacred, and outsiders, including the Badui Luar, are forbidden to till its soil or settle there.

Badui Luar Village (outter Badui village)

The Badui Dalam are not permitted to wear any cloth but the rough white homespun they weave themselves. The may not cultivate cash crops, use fertilizers, eat any four-legged animals, domesticate any livestock apart from chickens or use any medicine except their own herbal preparations. They agriculture is limited to “lading” or shifting cultivation, which relies on the natural fertility of newly cleared ground seldom productive for more than two seasons.

The Badui Luar, or Outer Badui community. Of almost 8000 individuals living in 67 villages, speak the same archaic dialect of Sundanese as do the insiders, to whom they are related by ties of blood, marriage and ritual. The taboos and rules that govern this group are considerably less rigorous than on the inside, although the use of vehicles, machinery, electricity, and chemicals within their territory is still forbidden, as is the cultivation of commercial crops. Members of the Badui Luar may travel in motorized vehicles when journeying outside the area, however, and have far more frequent interactions with the outside world. Although obliged to wear only their homespun blue or black cloth, and forbidden to wear trousers, some of the Luar people now proudly sport the colorful sarongs and shirts favored by their Sundanese neighbors.

A bridge made of bamboo

Other elements of civilizations such as toys, money and batteries are rapidly infiltrating especially in the villages to the north, and it is no longer unusual for an outer Badui to make a journey to Jakarta, or even to work outside as a hired hand during the rice planting and reaping seasons. Some even work in big towns and cities like Jakarta, Bogor and Bandung. Animal meat is eaten in some of the outer villages where dogs are trained for hunting, though animal husbandry is still forbidden.

The origins of the Baduis are obscured by the absence of a recorded or written history, though ethnically they appear to come from the same stock as the Sundanese and the Javanese. There was a popular suggestion that they are remnants of the last Hindu Kingdoms in West Java, Pajajaran, but this fails to account for their unique nature or their religion, which shows no Hindu influence. Theirs is a strange blend of animism and certain Islamic elements, with some original ideas thrown in for good measure.

The Badui’s most hallowed ground lies on Gunung Kendeng, in a place called Arca Domas, which is annually visited (and only) by “puun” of the inner communities. It is possible to visit some of the villages on the northern rim of the badui Area; the most easily accessible is Desa Kaduketug, which is a good four-hour hike from Leuwidamar, 24 kilometers south of Rangkasbitung.

North Sumatera Cultural Art

2008-03-23T10:36:00.008+07:00

The native people consists of all kinds of ethnic groups namely the Malayans, Batak Toba, Simalungun, Karo, Pakpak Dairi, Pesisir, Mandailing and Nias. They reside in their own area, nevertheless there is an assimilation among the migrants in some areas especially in big cities.

The majority of the population earn their living by farming. In the coastal area there are a lot of them who live as fishermen. And some of them carry on trade, become labourers and officials especially cities and plantation areas.

Since a long time ago North Sumatera has been open for the outer world. This is not only caused by the existing communication facilities such as the ocean harbours Belawan and Sibolga and the airport of Polonia Medan but, also Indonesian ethnic groups especially many of those from Java have lived in this province since the opening of the plantation in Dutch Colonial time.

Even later they have assimilated with the native people. Also many foreign citizens live here; especially in big cities. Plantations form the most important economical potential of north Sumatera. A big plantation area is especially found in plains in the Eastern part.

Like the other areas in Indonesia, North Sumatera is characterized with all kinds of art. And caused by the regional condition, the existence of a particular style of art is of nothing incredible in every region. Also various kinds of ethnic groups found in North Sumatra, have created sorts of art showing where the ethnic groups come from.

As a really open area for comers it is obvious that the influence of outer culture will easily enter this area. This influence is seen obviously on the nature of art inherited up to the present. This doesn’t mean that the original form of their art has disappeared. The inheritance shows that some tribes, especially in the inlands still practice the art. Like art life in other areas, the birth and creation of art in North Sumatra contains magic/religious and aesthetic aspects. These two values appear in all kinds of arts.

HISTORICAL BACKGROUND

According to the myth of the tribes, there were all kinds of antecedents of the people of North Sumatera.

Batak tribe for example believes that their ancestors came down from heaven to the top of mouth Busuk Buhit, and lived in Sianjur area. It first around Samosir island and later its generation developed and spread everywhere in its surroundings. Nias tribe believes that their ancestors came from them most beautiful heaven called Tetoholi Ana’a, and went down to the Gomo area in the middle part of Nias and later spread to all part of the island. Some of the Malayan tribe believes they were originated from the descendants of Iskandar Zulkarnaen who came down on the hill of Siguntang in Palembang.

Nothing could fix the antecedents of the people of North Sumatera, however, according to the historical of the spreading of the tribes like the other Indonesian people the ancestors were supposed to come from further India coming to this area in groups. Therefore people consisting of all kinds of tribes developed by themselves in their own areas.

As the result of the pluralistic condition art as moral expression of the tribes, they have their own various style and kinds. Like the various kinds of its tribes in North Sumatra there are all kinds of traditional art, namely Malayan art, Batak Toba art, Simalungan art, Karo art, Pakpak Dairi art, Angkola mandailing art, coastal and Nias art. These traditional arts have their own kinds, style and local characteristics.

War Dance, Nias

The style and characteristics of ethnic art, are later influenced by outer culture. The influence of the older megalithic art is found in the cultural environment of the population of Nias archipelago. The Hindu influence is felt especially in the Batak ethnic environment whereas Islam influence in the coastal populated area. Megalithic art for example has left its remnants in Nias in the form of stone monuments and sacrificial ceremony by scarifying a pig. Also in several places around Samosir there are statues and cemeteries of the ancestors. The Hindu influence is around in all kinds of aspects of life in this area. In all kinds of spoken language and medical books of Batak called Pustaha there are Sanskrit words. Even the form of the original Batak characters are very much influenced by Hindu, so are the textile handicraft.

The temples found in South Tapanuli are proofs of Hindu remainder in architectural field. The temple complex spread in a large area.

Some names of “marga” in Dairi and Karo, are considered to have originated from the influence of social structure in Hindu culture, such as “marga-marga” Brahmana, Padia, and Colia. So are the influences of religion and Islam cultures. Especially in the art of this area, there are all kinds and sorts of typical Islamic items. Gambus, rebana, adrah, bordah and qasidah are Islamic art of music. Whereas in field of art dancing for example there is one called “tari zapin” which is liked by people of the coastal area.

Batak traditional house

Mosque and palace are the products of Islamic architecture. The Grand Mosque in Medan and Azizi Mosque in Tanjungpura, with their beautiful ornaments have a high Islamic architecture, so are the Maimun on palace in Medan and the Datuk Lime Laras Palace in Asahan.

The Dutch Colonial rule later built some buildings in European style such as City Hall and Post office. Since this era, the new art had developed as individualistic among the middle class people who was living in the city. Whereas the traditional art was still supported by the ethnic group although it was not developed by the colonial government.

In general the new art forms activities on literature and play which develop in Medan. The well known play groups at that time were Keris (creese) Opera, Blue White, Miss Alang etc. The period of the Japanese occupation formed a paralyzing period for art. The people potential supporting traditional art grew weaker and weaker. Some kinds of art had disappeared and the appreciation of the people toward art was decreasing. The daily stress of life which was so burdensome influences the attention and attitude of people toward their traditional art.

After the fight for freedom especially after 1960s’ traditional activity being neglected for a long time and as the result of change in attitude and progress of the era gradually could attract the interest of the people. Probably caused by the strength of the Batak people in holding and applying their tradition, the spreading of art from one area/tribe to the other became difficult. Consequently, particular style of art of each area/tribe was created.

Lampung Cultural Art

2008-03-22T11:53:00.004+07:00

The culture of Lampung has begun since prehistoric time based on the prehistoric inheritance of Lampung including the spreading area of megalith and bronze Culture, this is based on the discoveries of bronze drums or “nekara” and statues of ancestors of megalithic era in specific Pasemah style of Art.

At the beginning of the first century the Hindu influence was supposed to enter Indonesia. The influence of the Kingdom of Sriwijaya had left Hindu culture in Lampung which further developed until the era of the kingdom of Majapahit. The traditional of Lampung Community has an effect from Hindu and Buddha even up to the present. Such as the structure of its community, the way of thinking and the traditional ceremonies. Like other areas in Sumatra, the development of Islam was begun with trading activities which was then strengthened by the Kingdom authorities. Islam was supposed to enter Lampung from West Sumatra, however history has proved that the development of Islam in Lampung were among others caused by the fact that this area was used by preachers from Banten to practice the teaching of Islam under the reign of Sultan Hasanuddin. This does not mean the influence of Islam did not come from Sumatra. The Sultanate of Palembang in its trading activities particularly in pepper trading, had also given an Islamic culture effect in the Northern part of Lampung.

"Tulang Bawang" was known as Lampung pepper plantation which drew much attention to the traders from outside this area. It was not surprising that Lampung was the area where all kinds of cultural factors came from outside such as from Minangkabau, Malaya, Palembang, and Java, particularly from Banten. These cultural factors from outside have become the foundation of the traditional Culture of Lampung.

The ancient belief in prehistoric time formed a tradition of believing supernatural power, creatures and spirit of the ancestors. The belief in “Gali-Gasing”, giant of heaven which pounced on the moon, "Satatuha", a tiger as the substance of spirit of the ancestors; such a belief created incantations, prohibitions and all kinds of ceremonies which were obeyed as traditional cultural heritage. Some kinds of traditional village ceremonies showed mixture of both factors faith and religion. The "Gahak Pepadun" ceremony, a ceremony of achieving a title according to Lampung Pepadun Community, was one of the village ceremonies indicating sinkretism of some kinds of element of faith and religion. Since Islam rules were of most importance and very much respected, ceremonies according to the Islamic calender among others “Nyungsum Bulan” was held on the birthday of Prophet Muhammad S.A.W. “Ngaru belas” was held on mauled of Prophet Muhammad S.A.W., beside other ceremonies like those generally found in other communities in Indonesia. The influence of Hindu and Islam could be seen in its literature legends, poems and epigrams from generation to generation.

The influence of Hindu is left on the story of Raden Jambat Mangkirat in the form of poem, the adaptations of the story of "Rama and Shinta", which later changed its theme and form caused by the influence of Islam. The old texts ever uncovered among others contained those story of animals and local events, beside those containing elements of education and history.

Proverbs or phrases in the form of epigrams or verses delivered on ceremonies. If the proverbs contains some advice or guidance of life epigrams become variation which was uttered by replying each other in the ceremony. The literature mentioned above was among others that which become the source of stage drama such as the legend of Raden Jambat. The story teller acted as the story reader or ”dalang” in the drama of "wayang kulit (leather puppet) by imitating, the movement or the words of every prominent figure being told.

The series of traditional ceremony in the region always involved activities in arts. Consequently traditional art in the region was supported by traditional rules on the community which were very much obeyed. Traditional classical dances of the Lampung region were displayed on traditional events such as wedding ceremonies, visitors welcome ceremonies, installation of title ceremonies (cakak pepadun) etc. This traditional dances was accompanied by musical instrument such as “kelintang Lampung” or “Talo and Rebana”. Traditional garment including supplements of facilities containing values of art of decoration and art of regional handicraft.
“Tari Ngambai/Sambai”, traditional classical dance from Aceh, displayed by young people in honour of guests. “Tari Kipas” known of its dynamic movements, “Tari Seruping”, or war dance; “Tari Piring” with all kinds of dance movements.

Beside the traditional classical dance mentioned above there is a certain new dance a greater part of which is based on the traditional pattern though not exactly bound to the rules and movement and rhythm of dance like that standardized in classical dance.
These dance are for example: tari Sembah, Tari Manjau, Tari Sebambangan, Tari Sorai, Serumpun etc, like in the art of dance, music of Lampung, either vocal or instrumental is based on tradition. The main basis of Lampung music is vocal music whereas instrumental music comes from outside.

Vocal music is art of recital which in several areas of Lampung is called Muanjay “Adi-adi Hatang” and “Pisaan” can be recited individually or in group. “Diker” or Zikir” which belongs to instrumental music is accompanied by instruments such as "kendang" and "rebana", it is by nature a religions music (Islam). The introduction of new musical instruments such as harmonium, guitar, violin, have created new songs which become popular among the community of Lampung. This new creation has developed in "gambus" orchestras, Malayan orchestra with Malayan and Indian rhythm of songs.

Classical music instrument in Lampung is ike a flute made of thin bamboo with one hole on the bottom and three holes on the upper side. "Kulintang" belongs to this bamboo made musical instrument which has been pushed aside by Javanese "gamelan" recently.

Traditional Craft of South Sumatera

2008-03-17T21:37:00.009+07:00

Since long before, South Sumatera has been known with its traditional crafts like weaving, plaiting, wood carving, ceramics and metal-craft. Hereditary, these art craft has not change much. It is caused by the fact that most of those products are utilized as equipments in the adapt ceremonies.

It has been mentioned about the tradition to decorate the adapt-house with wood-carving. This wood carving art does not only produce home decoration, but also furniture. Characteristics of South Sumatra wood carving art, especially that of Palembang, is the density and excessiveness of the decoration with see through technique using plant-motives with symbolism. The decorative impression is more conspicuous due to the application of different colours on the decoration. The most popular colours are gold-coating and red (lac), a tradition which supposed to be originated from Chinese decorative art.

Along the development of wood carving art, the songket-weaving art has also been developed, especially in Palembang where it later further expanded to the Meranjat OKI region. The songket-weaving art has been known already since the Sriwijaya period, when silk and gold yarns were used. The plant decorative motives seen at the woodcarving decoration appear again at the songket decorations. According to the applied decorative motives and their designs, several names of songket weaving are known as Songket Lepus, Songket Naga Berdaung, Songket Bunga jatuh, Songket Bunga Cina, Songket Bertabut, Songket janda berhias, etc. The songket weaving are available in the form of sarong, shawl and headcloth. In latest development songket weaving are produced for various outfits of divans, back and seat of chairs, table coats, etc.

Table - Wood Carving, Palmebang

Ceramic art of South Sumatra has been know since former times having produced daily necessity equipments like pitchers, cooking-pots, boilers, water-barrels, braziers, water-pitchers, money-boxers, etc.

Kayu Agung city is a centre of ceramic art beside Poya Kabung village which produces especially decoration ceramics. In the latest development, in Mentok and Sungailiat (Bangka) a sort of porcelain ceramics has been produced as industrial article. This fact is supported by the availability of high grade ceramic material in that area.

The plait-craft tradition started as side production efforts for own consumption. Bamboo and rattan are the main material to produce plaitware as baskets, mats, hats, dish-cover, bags, etc.

The Payung and Kelapa sub-districts of Bangka are well-known of their platcraft producing Kopiah (cap) made of resam, a sort of fern. Acquainted with foreign craft products and stimulated by the needs to sell, then furniture of rattan are produce, as chairs, beds, lamp-shades, book-selves, buffets, etc.

For the outfit of adapt wedding, beside songket weaving articles, the crafts of metal-smiths are also needed, which manufacture ankle and armbraceletsm brest-decorations, shoulder-decorations, belts, rings, hair-decorations (crown) etc. Materials used therefore are gold, silver, or brass blending with hammering, carving, shaping and welding technique. The Penganggon and the Gede decorations are outfits for adapt wedding, which demonstrate traditional decorative-art beauty-value being produced in the region of Palembang. The precious metal smithy art tradition has gradually disappeared. Palembang, the city once know as a centre of activity of this art, there is today rare of craftmen producing outfits for traditional wedding. Meranjat OKI is also known as a centre of gold-craft, beside being a centre of songket weaving, as mentioned before.

Palembang Songket Handwoven Textile

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Traditional weaving Tools

The songket-weaving is a traditional craft work. It has been known already since the Sriwijaya period. The materials utilized are usually gold and silk yarns. The original characteristics of Palembang songket can be detected by observing the motives on those textiles. According to the applied decorative motives and their designs, the motives reflects roses, chained stars, waves and bamboo-shoots. Several names of songket weaving are known as Songket Lepus, Songket Naga Berdaung, Songket Bunga jatuh, Songket Bunga Cina, Songket Bertabut, Songket janda berhias, etc.

Demonstration of the technique to use the weaving tools

The material are gold and silk yarns

Palembang songket sarongs are not used daily, but at certain ceremonial events only, e.g. at traditional (adapt), wedding, religious ceremonies. The songket weaving are available in the form of sarong, shawl and headcloth. In latest development songket weaving are produced for various outfits of divans, back and seat of chairs, table coats, bags etc.

Hand bags songket

Songket patterns may be categorized in a number of ways. Some motive of Songket patterns:

Lepus bintang berante	Limar bintang berante
Limar cantik manis	Kenango makan ulet
Batang kayu apuy	Bungo jepang
Pulir	Biji pare
Nampan perak	Bungo cino
Bungo intan	Tabur limar
Lepus berakam	Cantik manis
Nago betarung	Bungo pacik
Tigo negeri

EAST JAVA CULTURAL ART

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East Java (Indonesian: Jawa Timur) is a province of Indonesia. It is located on the eastern part of the island of Java and also includes neighboring Madura and Bawean islands. The administrative center of the province is located in Surabaya, the second largest city in Indonesia and a major industrial center and port.

East Java also hosts a significant population of other ethnic groups, such as Chinese, Indians, and Arabs. In addition to the national language, Indonesian, they also speak Javanese. The major religion in East Java is Islam. This comes from earlier history, when Islam spread from northern cities in Java where many traders from Gujarat, India visited, bringing Islam. The eastern part of East Java, from Surabaya to Pasuruan, then following various cities along the coast line, and turning back in Banyuwangi to Jember, is well known as the "horseshoe area" in context with earlier Muslim communities living there.

East Java's history dates back to the famous ancient kingdoms of Kediri and Singhasari, which is now a city near Malang. The Majapahit dynasty centered at Trowulan, Mojokerto East Java and around East Java, began the foundations of an empire that was to dominate the entire Indonesian archipelago, the Malay Peninsula and part of the Philippines for hundreds of years. This was the beginning of profitable trade relations with China, Cambodia, Siam, Burma and Vietnam. As power in Central Java declined in the 10th century, powerful kingdoms rose in East Java to fill the power vacuum. During the reign of King Erlangga both East Java and Bali enjoyed lucrative trade with the surrounding islands, and an artistic and intellectual renaissance. Parts of the Mahabarata epic were translated and re-interpreted to conform to an East Javanese philosophy and view of life, and it was from this era that East Java inherited much of its temple art. The Eastern Java region was the part of the Mataram kingdom during its peak.

East Java offers many insights into Indonesia's rich cultures and crafts as diverse as the people themselves. East Java is a true melting pot of the country for many ethnic groups. It is understandable that it is cause of its vast area and different kinds of condition between one place and another. The characteristics of its cultural art is also different. Various kinds of the existing culture have their own particular characteristics and certain functions either those in the territory of East Java or in other territories outside East Java.

Reog Ponorogo

The dance known as Reog is a very spectacular dance with several dancers wearing bright colorful costumes accompanied by merry gamelan music.

In Madura, race bull is a very popular sport and spectacle

The island of Madura, famous for its bull races (karapan sapi), is also part of the province and has its own traditions, culture and language.

Mask dance (Tari topeng) performance

Malang is famous for its dances. Mask dance (tari topeng) has been known by Malang society and this dance is tradition which cannot be left off hand.

"Kuda Lumping" dance

Horse trance dancing, or "kuda lumping" in Indonesian, is currently the most popular style of folk art being performed regularly in East Java.

HISTORICAL CEMETERY IN GRESIK

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CEMETERY IN GRESIK

There are some cemeteries which are of historical values in Gresik. Namely the cemetery of Fatimah binti Maimun or the cemetery of Princess Suwari or Princess Cempa (1082 A.D.). The cemetery of Fatimah binti Maimun is considered as the oldest one in Indonesia.

The cemetery of Fatimah binti Maimun

The cemetery of Maulana Malik Ibrahim, died in 1419 was the first and the oldest Islamic religious leader (known as wali) who introduced Islam in Java. The building has lots of changed and renovated. Its tombstone is not original anymore, neither is its gate. The roof of its cover has collapsed. Only its four walls are still in good condition though they are cracked. This wall is decorated with horizontal frames, something that is only found here and gives an impression that in the 11th century people were still completely found with temples and therefore the Islamic graves are shaped like temples.

The cemetery of Maulana Malik Ibrahim

Since the roof of the cover is missing, the original shape is therefore not known, either in stages and pointed like those of the temples or not. The unique architecture that is very typical, compared with other graves. Although the gravestone is from Arab mainland with Arabic-style scriptures on it, the style looks like many gravestones in Gujarat.
Lots of people come to visit that cemetery everyday. The cemetery is considered as sacred place. Many people who visit his grave expect for blessing, safety, long life, fortune, etc.

The cemetery of Sunan Giri is located in the Desa of Giri, Sub-District of Kebomas, Gresik District, in southern side of the District, 2 km's far from the city of Gresik. The cemetery is on the top of the Giri hill, rounded by Giri people's graves.

Sunan Giri was one of the nine famous Islamic Leaders (wali songo) who also propagated the Islam in Java. He died in the year of 1428 of Saka Year or 1506 AD.

Entrance to the tomb of Sunan Giri - Sunan Giri, gravestones in the tomb complex.

The attractiveness of this object are the wooden-made grave from teak tree, plant-covered wall, and the makara (curvilinear motif like the tail of a shrimp, e.g. as found on ancient temple gargoyles) on its door.

Grave cover construction of Sunan Giri in Gresik.
Front part, roof covered with tiles and wood (XV Century)

There are some other attractiveness which illustrate the archeology of the first period of Islam in Java e.g. dragon king-carved-stone at the entrance arc, to mention one. The attractiveness for tourists of this object is the carved roof that illustrates the wealthy of the period from trade activities.

The Mausoleum site of Sunan Prapen is located on the west-side of mausoleum of Sunan Giri. In the site, Kawis Guwo and Panembahan Agung, two other Islamic leaders (but not wali), are also buried.

The cemetery of Sunan Prapen

MASK OF MALANG

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Some collection of Malang masks for Mask Dance performance

Mask (topeng) as a product of fine arts is not only used as decoration, but also as the equipment of dance and theatre in some performances. In Malang, to be exact in the Kedung Monggo village, Pakisaji sub-distric and in the Jabung village, Tumpang sub-distric, lots of Topeng are made to use for the performance of an opera or “wayang topeng”.

The mask of Malang (topeng Malang) has special characteristics, such as their thick wood of randu wood (capok tree) or “cangkring”, which is rather dark in colour, with a carving on the forehead which is specially bulging, fashioned with a square chin and high cheek- bones. Some mask needs some ritual to make the carving mask has a magic power.

Decoratively, Malang masks are unique. They are different from any other mask art found in Java. There are five typical colurs used to deco rate the masks. The red colour symbolizes courage, the black colour symbolizes determined ambitions, the yellow colour symbolizes wisdom, the white colour indicates purified character and the green colour indicates peace.

The form of its throne and the expression of the mask especially the construction of “gelung” and “janang” and the eyes are not far different with the thrones of wayang on the relief of Jajagu temple. This is not surprising since the Jabung is located near Jajagu temple.

MALANG MASK DANCE

Malang Mask Dance (Wayang Topeng Malangan)

Malang is famous for its dances. The topeng performance has a strong dramatic value, its performance pattern is good, while the garment music have special characteristics. The carving mask usually made to be used in an opera or "wayang topeng". What is interesting about the mask dance is that all the dancers representing some characters wear masks.

Klono is the evil archrival of Gunungsari and Panji Mask Dance Drama

The characters in Malang theatrical mask dance are 64 and they play the roles of 64 figures in Panji tales. As in wayang kulit, the story is narrated and sung by a dhalang, who recreates the stories passed orally to him from generation to generation. The dancers do not speak themselves with the one exception of the clown, Patrajaya, who wears a half-mask allowing him to speak. While the other dancers move with grace and style, Patrajaya plays the fool: knock kneed, buck teeth, an old cloth tied loosely around his head, he provides the comic relief. New stories are improvised from time to time and old ones built upon to create something new.

* Find out how the traditional mask dance of Malang is staged at the Padepokan Seni Mangun Dharma in Tulusbesar village, Tumpang Sub district, Malang.
Location: Tumpang Sub Distric , Malang