INDONESIAN CULTURES, FOOD AND TOURISM

Tari Serimpi

noreply@blogger.com (Fiedri Dasril) — Wed, 08 Sep 2010 06:07:00 +0000

Indonesia Cultures - Tari Serimpi

Serimpi Dance or "Tari Serimpi" is a new type of classical dance from Yogyakarta. This dance always performed by four dancers, because the word is a synonym srimpi is number four. Only the dancers there Renggowati Srimpi five people. According to Dr. Priyono serimpi name associated to the root of the word "dream" or a dream. Watching the graceful dances along the three quarters to one hour seemed to bring people into other realms, dreamland.

According Kanjeng Brongtodiningrat, composition Serimpi dancers representing the four winds or the four elements of the world, namely:
1. Grama (fire)
2. Wind (Air)
3. Toya (water)
4. Earth (Soil)
As a classical dance palace beside bedhaya, serimpi live in the palace of Yogyakarta. Serimpi is an art that is considered heirloom adhiluhung and Kraton. Themes that appear on virtually identical Serimpi dance with the theme of dance Bedhaya Sanga, which describes the dispute between the two things which contradict the good with the bad, between right and wrong between human reason and human passion.

Tari Tor tor

noreply@blogger.com (Fiedri Dasril) — Wed, 08 Sep 2010 05:47:00 +0000

Tor tor Dance or "Tari Tor tor" is a traditional dance Batak Tribe. This dance moves in rhythm with the music accompaniment (magondangi) that is played using traditional music instruments like gondang, flute, trumpet hobo, and others.
Historically, the office used in the office dance rituals associated with spirits. Spirit is called in and "sign" to the stone statues (a symbol of the ancestors). These statues are then moved like dancing, but with a rigid motion. The movement of leg movement (tiptoe-tiptoe) and hand movements.
Tor tor various types of dance. There is an office called the office Pangurason (dance cleaning). This dance is usually held at the big party. Before the party starts, place and location of the party first cleaned by using lime so far from all sorts of dangers.
Then there are dance office office Sipitu Grail (Dance of the seven bowls). This dance usually performed at the inauguration of a king. This dance is also from 7th heaven girls who bathe in a lake at the top of the mountain along with the advent pusuk buhit sipitu sasarung Piso (seven knife sheath).

Tari Serampang Dua Belas

noreply@blogger.com (Fiedri Dasril) — Wed, 08 Sep 2010 05:41:00 +0000

A. The origin
Serampang Twelve Dancing or "Tari Serampang Dua Belas" is a traditional dance that Malays thrive under Serdang. This dance was created by Sauti the 1940s and repeated by its creator composed between the years 1950 to 1960 (http://www.wisatamelayu.com/id; http://cetak.kompas.com). Prior named Serampang Twelve, this dance called Dance Sari Island, according to the title of the song that accompanies this dance, the song Sari Island (www.wisatamelayu.com / en; http://cetak.kompas.com; Ray, 2009: 48) .
There are at least two reasons why the name changed Serampang Dance Sari Twelve Island. First, the name Pulau Sari inaccurate, since this dance bertempo fast (quick step). According to Tengku Sinar Mira, a dance that preceded the word "island" is usually bertempo rumba, like Dance Dance Pulau Kampai and Island Princess. While Serampang Twelve Dancing has fast movements such as Dance Serampang bertempo Sea. Based on this, Sari Island Dance Dance Serampang more appropriately called Twelve. The name itself means twelve dances with the fastest movements in between the songs named serampang (Ray, 2009: 48). Second, naming Twelve Dancing Serampang range of motion refers to the numbering tarinya 12, namely: the first meeting, love permeate, keeping love, intoxicated craze, signaling a sign of love, return gesture, thought, still do not believe, answers, nut-woo, take bride, and meeting you (Ray, 2009: 49-52; www.wisatamelayu.com / en). Explanation of the range of motion Serampang Twelve Dancing will be discussed later.
According to Tengku Sinar Mira, this dance is the result of the integration of motion between the Portuguese and Malays Serdang dance. Portuguese influence can be seen in the beauty of movement and dynamic music tarinya retinue.
Portuguese Cultural Arts Melayu indeed affect the nation, seen from its traditional dance motion (Folklore) and the dynamic rhythm of dance music, we can see from the dance rhythm dance Serampang XII's two songs. However, the velocity (2 / 4) duplicated, leg movement and jumping up and down the body sway and the hands of nimble dance just like the Portuguese. As a dancer of course I am amazed by the cultural links between the two countries, and as the daughter of Malays Serdang, in a fantasy I had imagined when Sauti teacher dancing in front of the Palace City of Sultan Sulaiman Galuh Perbaungan. It's how smart he is with his imagination to combine dance movement Portuguese and Malays Serdang, so as to create Dance Serampang XII's famous around the world (Mira Tengku Sinar, www.waspada.co.id).
Twelve Dancing Serampang sacred story about love between two human beings who emerged from the first sight and end with marriage sanctioned by both the parents and the girl cadet. Therefore the process told the meeting of two hearts, then this dance is usually played in pairs, male and female. However, in the early development of this dance is only performed by men because of the condition of society at that time forbade women to appear in public, let alone show lenggak-body sway (www.wisatamelayu.com / en).
Permissibility of women played Serampang Twelve Dancing proved a positive influence on the development of this dance. Twelve Serampang not only developed and known by the public in Serdang area, but also spread to various regions in Indonesia, such as Riau, Jambi, Kalimantan, Sulawesi, even up to the Moluccas. In fact, this dance is often performed in foreign countries, like Malaysia, Singapore, Thailand, and Hong Kong (www.wisatamelayu.com / en).
Existence Twelve Dancing Serampang increasingly global discomfort apparently ignited some communities in particular Bedagai Serdang, North Sumatra and in general. Concerns arose because of two things. First, the spread of Serampang Twelve Dancing to different regions and countries is not matched by the transformation quality. That is, the transformation of Twelve Dancing Serampang occurs only in shape, not to the technique. According to Jose Rizal Firdaus (Kompas, July 1, 2008), one of which concerned the development of Serampang Twelve Dancing sedimentation in terms of dance technique. This is caused by people from outside the area that plays dance Deli Serdang is not supported by the mastery of proper technique. As a result, there was a shift from the original dance techniques.
Second, the lack of concern for the younger generation to Serampang Twelve Dancing. Widespread distribution of this dance to the various regions was not offset by rising young generation's love of this dance Bedagai Serdang. This condition may cause not only Serampang Twelve Dancing missing because there is no successor, but also can be lost due to be claimed by another party (Kompas, July 1, 2008).
Both phenomena must be addressed quickly and appropriately so Serampang Twelve Dancing is not only unsustainable, but also can provide benefits to society Serdang Bedagai in particular, and Indonesia in general. At least there are three things you can do to save Serampang Twelve Dancing. First, make Serampang Twelve Dancing as a regional asset. That is, the government must do in order to protect this dance is not claimed by another party, namely the patenting copyrights.
Secondly, closer Serampang Twelve Dancing to children and adolescents. Way that can be done is to make Serampang Twelve Dancing as one of the local content of teaching materials. By making Serampang Twelve Dancing as local content material, then the children are taught early on to know the history of its existence and understand the values contained in each of the motion. In this way, then we have tried to inculcate the younger generation a sense of love, pride, and sense of belonging to the Twelve Dancing Serampang.
Third, conducting a routine race Serampang Twelve Dancing. Held a dance contest that is looking for people who have the best ability in dance. In the race, only the best will become the champion. To be the best, everyone should learn in earnest to have the ability to dance better than anyone else. Through this strategy, everyone is fine "forced" to learn the Twelve Dancing Serampang well and properly. If this way of walking, then there are two things at once achieved, namely sustainability Serampang Twelve Dancing on the one hand, and maintaining the technical quality Serampang Twelve Dancing on the other side.
Fourth, provide welfare support to live the pelestarinya. The stakeholders, especially governments, need to make a breakthrough so that conservationists Serampang Twelve Dancing, as well as other cultural heritage conservationists, can live salayak. Cultural conservationists culture will surely continue to work and devote his life to preserving the cultural heritage if what is being done not only by normative cultural preservation, but also practical reinforcement for its survival. Often the cultural legacy left stranded due to "not provide" benefits to its owner.

Tari Topeng

noreply@blogger.com (Fiedri Dasril) — Wed, 08 Sep 2010 05:28:00 +0000

Mask dance or "Tari Topeng" is one of the traditional dances in Cirebon. This dance mask dance called because when the action of the dancer wearing a mask. It is said that at first, created by the sultan's Mask Dance is very well known in Cirebon, Sunan Gunung Jati is. When Sunan Gunung Jati in Cirebon ruling, there was an attack by Prince of Donegal Bungarus fasciatus. Prince is so powerful because it has a sword named Curug Sewu. Seeing the miracle of the prince, Sunan Gunung Jati could not match it although it has been assisted by Sunan Kalijaga and Prince Cakrabuana. Finally the sultan decides to fight the supernatural ability Cirebon Prince Bungarus fasciatus by way of the arts of diplomacy.Starting from a decision that was later formed a group dance, with Nyi Mas Gandasari as dancers. After that famous art, Bungarus fasciatus Prince finally fell in love with a dancer's, and Curug Sewu handed sword as a sign of his love. Simultaneously with the submission of that sword, the Prince of Bungarus fasciatus finally lost his spiritual power, and then surrendered to Sunan Gunung Jati. Rose prince promised to be faithful followers of Sunan Gunung Jati that marked the turn of the name Prince Prince Graksan Bungarus fasciatus. Over time, then even this dance more commonly known as Mask Dance and is still growing until now.
In this dance the dancer is usually up to three times to change the mask simultaneously, namely a white mask, then covered with a mask of blue and red colors. Uniquely, every color of the masks worn, the orchestra that sounded even louder as the symbol of the character played. This dance begins with the formation of bent, this formation represents the tribute to the audience and also a sign that the dance would begin. After that, the dancers moved stepped foot back and forth, accompanied with a range of hand and a smile to the audience. This movement is then continued with his back to the audience by shaking her hips while wearing a white mask, this mask symbolizes that the show has begun preliminary. After circling move the body, then the dancers turned toward my back to the audience while changing the mask, which is white with a blue mask. A similar process is also done when the dancers changed the red mask. Uniquely, in line with the change of the mask, the accompanying music and movements of the dancer is also harder. Peak loudest music happened when a red mask worn by dancers.
As I mentioned above, each color representing the masks worn a playable character, let's say for example the color white. This color symbolizes the character who has a gentle and pious characters. While the blue mask, color it describes the character of the queen of nimble and graceful. Then finally, the red color illustrates a hot-tempered character (tempramental) and impatient. And the garment worn dancers themselves are usually always has an element of yellow, green and red which consists of toka-toka, apok, kebaya, sinjang, and ampreng.
If you want to watch the dances are played by one or more of the beautiful dancer, a sinden, and ten men who play a musical instrument accompaniment, including fiddle, kecrek, kulanter, percussion, drums, gongs, and bendhe this, please Just come to Cirebon. This dance is usually performed when there is a governance events, feast circumcision, marriage and other public events.

Tari Seudati

noreply@blogger.com (Fiedri Dasril) — Wed, 08 Sep 2010 05:25:00 +0000

1. SEUDATI DANCE (Tari Seudati) HISTORY

          Seudati developed since the Islamic religion into Aceh. Islam advocates Seudati as media propaganda advantage in developing the Islamic teachings. Through the stories in Tarin Suedati message - a message conveyed religious teachings.

         Religious scholars who develop Isalm in Aceh generally come from Arab countries. Therefore, the term - a term generally used in Seudati derived from Arabic. Among the terms that means a leader Sheikh, Saman which means eight, and the poem which means nyayian.

         Dance Seudati now have expanded to all regions of Aceh and liked by the public. Besides its use as a medium of propaganda, Seudati also a popular entertainment show.

2. Origin Seudati DANCE

Dance Seudati originally grown in the village Gigieng Simpang Tiga subdistrict, Pidie district, led by Sheikh Tam. Then evolved into the village Didoh, Pearl District, Pidie regency, headed by Sheikh Ali Didoh.
So Seudati dance comes from the district of Pidie. Seudati including one traditional Acehnese dances preserved and is now the artistic development of elementary school.

3. DANCE PRESENTATION Seudati

Dance Seudati presented at the event - the people, entertainment events, finished the harvest in the form Seudati fiance, preaching, reception area, and at night receptions, as well as other events as needed. Seudati played eloh 10 people consisting of male dancers; eight people and two people dancing syahi (Aneuk Seudati). Seudati dancers led by a sheikh and was accompanied by a Apet
Clothing worn Seudati dancers at the time of appointment; Tengkulak (headband) is brown, long sleeved white dress shirts, trousers in white or black, songkeet gloves worn to the knee, waist-colored cloth binding, and Rencong meupucok reubongkala.

Tari Kuda Lumping

noreply@blogger.com (Fiedri Dasril) — Wed, 08 Sep 2010 04:53:00 +0000

Tari Kuda Lumping (Kuda Lumping Dance) is the art of dance that is played with a horse property in the form of imitation, made from woven bamboo or braids. None of the historical record can explain the origin of this dance, only verbal history passed down from one generation to the next.
That said, Kuda Lumping dance is a form of appreciation and support of the commoners against cavalry of Prince Diponegoro in the face of Dutch colonizers. There is also a version that mentioned, that the Kuda Lumping dance depicting the struggle of Raden Patah, assisted by Sunan Kalijaga, against the Dutch colonialists. Another version says that, this dance tells the story of the Mataram army war game led the lane I, King of Mataram, to face the Dutch troops.
Regardless of their origin and historical value, Kuda Lumping dance reflects the spirit of heroism and military aspects of a cavalry or cavalry. This can be seen from the rhythmic movements, dynamic and aggressive, through the flick of woven bamboo, mimicking the movement like a horse in the middle of a war.
Often in the Kuda Lumping dance performances, also featured attractions that demonstrate the power of magical supernatural smells, such as the attraction to chew glass, slashed his arm with machetes, set fire to himself, walking on broken glass, and others. Perhaps, this attraction supernatural force that reflects the antiquity of the Kingdom of developing in Java environments, and is a non-military aspects that are used to fight the Dutch troops.
In East Java, is familiar with public art in several areas, such as Malang, Nganjuk, Tulungagung, and other areas. This dance is usually displayed on certain events, such as the welcome guest of honor, and as a thanksgiving, the intent is granted by the Almighty.
In pementasanya, do not need a special choreography, and the supply of equipment such as Karawitan gamelan. Gamelan to accompany dances Kuda Lumping is quite simple, consisting only of Kendang, Kenong, Gong, and trumpet, the flute to sound shrill. Poems are brought in to accompany the dance, usually containing the human urge to always do good deeds and always remember the Great Creator.
Besides containing the elements of entertainment and religion, traditional arts Kuda Lumping is often also contain elements of ritual. Because before the show begins, usually a charmer rain will perform rituals, to maintain a sunny weather remember to keep the show is usually done in the open field.
In each pagelarannya, Kuda Lumping dance will present four dances that is two times fragments Buto dance Lawas, Senterewe dance, and dance Begon Princess.
At Buto Lawas fragments, usually danced by men only and consist of four to six men dancers. Some young dancers riding bamboo matting and dancing to the music. In this section, Lawas Buto dancers can experience the trance or possessed by spirits. The audience was not spared from this phenomenon of demon possession. Many people around who witnessed the performances become possessed by the devil and come dance with the dancers. Unconscious, they continued to dance with energetic movements and visible bond with the other dancers.
To restore the consciousness of the possessed dancers and audience, each show is always present in the progenitor, ie people who have supernatural abilities whose presence can be recognized through the clothes he was wearing all black. The progenitor of this will give bidders until the consciousness of the dancers and spectators recovered.
In the next fragment, male and female dancers to join the dance brought senterewe.
In the last fragment, with movements that are more relaxed, six females Begon dance brought the Princess, who is a dance cover of the entire chain Kuda Lumping dance attractions.

Tari Payung

noreply@blogger.com (Fiedri Dasril) — Sat, 04 Sep 2010 18:58:00 +0000

Tari Payung or Dance Umbrella (Minang: Tari Payuang) is a Minangkabau traditional dance, which has been many changes and developed by senian-dance artists, especially in West Sumatra. Originally this dance has a sense of fun driving young (creation), which shows how the attention of a man against his lover. Umbrella became icons that both toward one goal is fostering a good household. Dance Umbrella diversity does not kill existing umbrella dance as a means of Minangkabau culture revealed. Diversity is simply a variant of the dances that have been there before. The attitude taken is important for us not trapped with the assessment that the variant of dance that one violated the other. As far as tri wired not stray from the roots of tradition, the creativity of artists' creations become a tool in addressing the emerging culture.
This study uses the theory of change developed by Herbert Spencer. The theory of change will be used to view the developments in dance umbrella. Another theory which would support the theory developed by Koentjaraningrat acculturation and GM. Foster. This theory is used to seeing culture that influenced the development of an umbrella dance until the present day. The number of dancers in obtaining even an umbrella dance and always in pairs, can be three or four pairs. Even if there is a movement to move his spouse, does not mean his heart is divided into two or more, but only played a form of creation. In essence they are just one pair, but divisualkan in many forms. This can be played dlihat of costumes, from which all permpuan dancers dressed the same, so the male dancers who all too similar. Umbrella-shaped played well together. Dance Umbrella since the beginning has been progressing very meaningful, especially by young artists Minagkabau. These changes influenced by the level of knowledge that has been mixed. Effect of styles from anywhere msuk touching areas of art, dance umbrella is no exception. Melayu is a key element in influencing the movement of dance umbrella. So also with the pattern of the western movement, a little more touch this area. Senian reformer of dance umbrella dance to make the function was shifted from the traditional ritual into art for which development is greatly pesat.Fungsi profane ritual art does not show any significant changes, ritual art karean grip-grip didukungh by clear and difficult untu modified, if not impossible to changed, because he was related to indigenous persolan have clear laws. In connection with this, the artist pebaharu umbrella dance movements into innovative in order to balance between the profane art with the art of ritual. They just enter the territory of profane art that has the potential to be developed and sold to the public.
Artists umbrella dance innovators take action in shaping the new force in tyari umbrella to the desired order and direction in the world of creativity can be maintained adequately without damaging social conflict itself. Minangkabau social system has a certain type that are different from other social systems.
To use the comments facility Giving Forum> News. This facility can be accessed via the following address: http://forum.isi-dps.ac.id

Tari Kecak

noreply@blogger.com (Fiedri Dasril) — Sat, 04 Sep 2010 18:27:00 +0000

Tari Kecak or Kecak Dance which is often called "The Monkey Dance" for the tourists in the form of dance drama is relatively new but has become a very popular show / famous and has become a must watch show for both domestic and overseas tourists. Kecak dance scenes have been promoted in several poscard, tourist guide and others.
Kecak is the name is a name that is directly taken after the vote "smack, smack" in saying that constantly throughout the show. There are some who explain that the word or sound "cak" actually has a meaning that is very important and significant in the show.
The origins of dance kecak
Not known for certain from where the dance originated and where kecak first developed, but there is a kind of agreement at the Bali community kecak first evolved into an art pertujukan in Bona, Ganyar, as additional knowledge kecak was originally a song or musical sound produced from a combination that form a melody that is usually used to accompany the sacred dances Sahyang. And can only be staged at the temples. Kemudaian astist in the early 1930s from the village of Bona, Gianyar trying to develop kecak dance by taking the story as a substitute didramatarikan Ramayana Dance Sanghyang so this can finally dipertontontan dance in public as the performing arts. Parts of the Ramayana story in which the first is taken when the Goddess Sita was abducted by King Ravana.
The development of Kecak Dance In Bali
Kecak Dance in Bali has continued to experience the changes and developments since the 1970s. Developments can be seen is in terms of story and staging. In terms of story for the gig is not only based at one part of the Ramayana, but also other parts of the story from the Ramayana.
Then in terms of staging are also beginning to experience the development of not only found in one place like the village of Bona, Gianyar but also other villages in Bali started to develop dance across Bali kecak thus there are tens kecak group whose members are usually the members of the group. Activities Kecak dance events such as festivals are often held in Bali either by government or by the school of art in Bali. And the largest number of dancers who have performed in dance kecak recorded in 1979 which involved 500 men dancers. At that time kecak performed by taking the story from the Mahabharata. But this record is broken by the Government which organizes kecak Tabanan colossal with 5000 dancers on September 29, 2006, at Tanah Lot, Tabanan, Bali.
Kecak Dance Pattern
As a dance show kecak supported by some factor which is very important, more is more in this kecak presents dance performances in conveying the story, of course, music is vital to accompany lenggak swing dancers. But in the Kecak Dance music generated from voice blend cak Members of the approximately 50-70 people will make music all akapela, a leader who will act as an early tone about providing a longer acting as a suppressor which is responsible for providing high pressure or low a tone act as penembang solo, and alone again will act as the lead puppeteer ki story line. Dancer in the dance movements are not properly kecak follow grip grip dance accompanied by gamelan. So in this kecak dance dancer's body movements are more relaxed because the main concern is the storyline and the sound mix.
Stories In Kecak Dance - Balinese dance
The most popular story in kecak dance is the story of Ramayana on the part where King Rama and his wife and his brother Admiral Shita Dewi was in the forest because they were exiled from the kingdom. The following scene in the dance scene kecak:
Scene 1:
Rama and Sita and the Admiral was in the forest suddenly appears a golden deer (an incarnation of King Ravana aide assigned to fish so that Rama left Sita alone) approached them and then move away as if to invite them to play a funny look at the deer to the king asking Sita Rama to arrest him. Before leaving Sita Rama, Rama asked his brother Admiral guard Sita and Rama to leave Sita and admirals to catch the golden deer that ran away ... ... .... Not every few laps and then came the sound of pain that sounds like Rama and ask for help ... .... Hearing that Sita was worried and then asked Admiral to follow Rama, Admiral did not believe that that voice is the voice of Rama Rama because he knew could not be harmed by sekor deer. But Sita would not understand she became angry and accused the admiral Admiral deliberately letting die Rama Sita so that she might marry someday. Because ultimately kept pressed by Sita Rama Lakshmana to go catch up. Before leaving Sita alone Admiral makes lingakaran and asked Sita to stay within the circle. After the Admiral left later emerged that the priest alone is actually the incarnation of Ravana. This minister for water to Sita. Feeling sorry for Sita provide water to the priest with his hand stretched out circle. Immediately the old priest turned into Ravana. Then take Sita away.
Scene 2
Narrated Sita has been in the kingdom of Lanka was accompanied by Trijata - nephew of Rahawana assigned to guard Sita. Sita looked sad cry for fate sanbil keep hoping Rama came to save. Then came the White Apes - Hanuman. Sita Hanuman at first thought was also an incarnation of Ravana, but after the Hanuman explained that he was the emissary of King Rama, and hand over the ring as proof. Then Sita gives interest to Hanuman for submission to King Rama. Before leaving the kingdom of Lanka Hanuman set fire to the park and elsewhere in the kingdom of Lanka as a message to Ravana that Rama would come to rescue Sita.
Scene 3
The battle begins, with a maid named Rama and the army keranya Twalen arrived in Lanka to attack and destroy the kingdom of Ravana. At the beginning of the battle Ravana's son and servant named Megananda Delem Binds Rama defeated by Rama and her magic so that his men could not move and become limp. Then Rama prayed to the gods untu k save it, then munculah a garuda bird helped Rama to escape from the magic Megananda.
Scene 4
Then Rama and his army back then recover as usual King Rama ordered to fight Megananda Sugria Apes, In this scene the dancers form two groups of peaks will be the army Megananda one group, another group in the army Sugriva. In this battle defeated Sugriwa Megananda. Then the dancers smack back into one group.
Scene 5
Told that can be defeated Ravana and Rama have been reunited with his wife Sita. Their meeting was witnessed by Admiral, Sugriva and Hanuman.
At each end of the supporting performances are all dancers will gather on the stage and invite visitors to make memories with the pictures together.

Reog Ponorogo

noreply@blogger.com (Fiedri Dasril) — Sat, 04 Sep 2010 18:15:00 +0000

Reog is one of the cultural arts that originated from East Java and the north-west part Ponorogo Reog regarded as the true home town. The city gate was decorated by the figure Ponorogo Warok and gemblak, two figures who have appeared at the time reog performed. Reog is one of the local culture in Indonesia is still very thick with the smell of things mystical and powerful mysticism.

HistoryPerforming reog in Ponorogo 1920. Reog addition, there are also dancers twist and bujangganong horse.
Basically there are five versions of the popular story that develops in the community about the origins and Warok Reog, but one of the most famous story is the story of the rebellion Ki Ageng Fleas, a royal servant during Bhre Kertabhumi, last king of Majapahit who ruled in the second century -15. Ki Ageng Fleas will anger the powerful influence of the Chinese partner in the government and its king, king of the corrupt behavior, he also saw that the power of the Majapahit Kingdom will be terminated. He then left the king and founded the university where he taught young children martial arts, science, self-immunity, and the science of perfection in the hope that these young children will be the seeds of revival again later Majapahit kingdom. Realizing that his forces were too small to fight the royal troops Ki Ageng the political message conveyed through the performing arts Flea Reog, which is a "hint" to the King and his kingdom Kertabumi Bra. Performances Reog become a way of Ki Ageng Flea build local resistance using Reog popularity.
In the show displayed Reog shaped head of a lion mask, known as "Singa Barong", the king of the jungle, which became a symbol for Kertabumi, and above it is plugged in peacock feathers to resemble a giant fan that symbolized the powerful influence of his Chinese colleagues who manage the over all movement geriknya. Jatilan, played by a group of dancers gemblak a rocking-horse became a symbol of the power of the Majapahit Empire troops who became Warok contrast ratio with the power, behind the red clown mask that has become a symbol for Ki Ageng Fleas, alone and sustain the weight that reached more masks singabarong of 50kg using only his teeth. Ki Ageng Reog popularity eventually caused Kertabumi Lice take action and attack perguruannya, a revolt by Warok quickly resolved, and forbidden to continue teaching college will Warok. But the disciples Ki Ageng lice continues it secretly. Even so, art is still allowed to own Reognya staged because the show has become popular among the public, but the way the story has added a new channel in which the characters from folklore Kelono Sewondono Ponorogo namely, the Goddess Songgolangit, and Sri Genthayu.
Official version of the story line Reog Ponorogo now is the story of King Ponorogo who intend to apply daughter Kediri, Dewi Ragil Yellow, but amid the journey he was intercepted by King Singabarong from Kediri. King Singabarong forces consist of peacocks and lions, while the part of the Kingdom of Ponorogo King and his Deputy Kelono Bujanganom, escorted by Warok (men dressed in black in the dance), and this Warok deadly black magic. The whole dance is a dance of war between the kingdom and the kingdom of Kediri Ponorogo, and pitted black magic between them, the dancers in a state of 'trance' during the dance stage.
Until now, people just follow what Ponorogo into their heritage as a very rich cultural inheritance. In his experience is reserved for Art Reog human creations that form the flow of an existing trust from generation to generation and maintained. The ceremony also use terms that are not easy for common people to meet them without a clear lineage. Parental lineage they embrace and customary law which still applies.
Performance Art Reog Ponorogo
Modern Reog usually performed in several events such as weddings, circumcisions and National holidays. Art Reog Ponorogo consists of several series of two to three opening dances. The first dance is usually performed by 6-8 valiant men dressed all in black, with faces painted red. The dancer depicts the figure of a courageous lion. Next is a dance which was performed by 6-8 girls who boarded horses. In reog Traditionally, these dancers are usually played by male dancers who dressed women. This dance is called the braid horse dance, which should be distinguished from other dances are lumping horse dance. Other opening dance if there is usually a dance by a little boy who brought the funny scenes.
After the opening dance finished, the new core scenes whose content is displayed depends reog condition where art is displayed. If associated with the wedding scene shown is romance. To feast circumcision or circumcision, is usually a story of warriors,
Reog art scene in the scenario usually does not follow the well-organized. Here there is always interaction between the player and the puppeteer (usually the leader of the group) and sometimes with an audience. Sometimes a player's performances can be replaced by other players if the players are exhausted. More emphasis in the staging reog art is to give satisfaction to the audience.
Last scene is a lion barong, where the perpetrator wore a mask-shaped head of a lion with a crown made of peacock feathers. The weight of this mask can reach 50-60 kg. This heavy mask carried by the dancers with their teeth. The ability to bring this mask other than the weight gained by training, is also believed diproleh with spiritual practices like fasting and penance.
ControversyBarongan dance photos at the official site in Malaysia, which sparked controversy.
Similar dances are danced Reog Ponorogo in Malaysia called Dance Barongan. This dance is also using a mask suddenly peacock, which is headed tiger mask on which there are peacock feathers. Descriptions and photographs of this dance is shown in the official website of the Ministry of Culture Arts and Heritage Malaysia.
Controversy arises because the sudden peacock mask to the official website there are the words "Malaysia", [5] [6] and is recognized as a heritage society from the Stone chisels, Johor and Selangor, Malaysia. This triggered protests of various parties in Indonesia, including artists Reog Ponorogo origin stating that copyright Reog art has been listed with the number 026 377 dated February 11, 2004, and thus known by the Minister of Justice and Human Rights Republic of Indonesia. Information was also found that the peacocks suddenly looked at the official site is craftsman-made Ponorogo. Thousands of artists Reog had demonstrated in front of the Malaysian Embassy in Jakarta. The Indonesian government said it would investigate the matter further.
In late November 2007, Malaysian Ambassador to Indonesia Datuk Zainal Abidin Muhammad Zain said that the Malaysian Government has never claimed Reog Ponorogo as the country's indigenous culture. Reog called "Barongan" in Malaysia can be found in Johor and Selangor, because Java was taken by the people who migrate to the country.

Tari Piring (Dancing Plate)

noreply@blogger.com (Fiedri Dasril) — Sat, 04 Sep 2010 18:01:00 +0000

Tari Piring or Dancing Plates (Minangkabau: Tari Piriang) is an art of dance originated from the Minangkabau of West Sumatra. He is one of Minangkabau art of dance that are still be carried out population Negeri Sembilan Minangkabau descent.
This dance has a motion that resembles the movement bercucuk farmers during planting, harvesting and making work. This dance also symbolizes joy and gratitude with the results of their plants. This dance is a jig with the dancers hold their hands up on the flat plate, accompanied by a song played by Talempong and saluang. Sometimes, the dishes will dilontar into the air or slammed to the ground and dipijak by these dancers. To add to the aesthetic elements, magic and surprises in this dance, male and female dancers will trample broken plates without fear nor wound. The audience will certainly feel terrified when the glass-sharp broken glass and crushed it while dancing.

Tari Pendet (Pendet Dance)

noreply@blogger.com (Fiedri Dasril) — Sat, 04 Sep 2010 17:50:00 +0000

Pendet Dance (Tari Pendet) was originally a cult which was exhibited at many temples, places of worship for Hindus people in Bali, Indonesia. This dance symbolizes the welcoming of the gods fall into the natural world. Gradually, as the development of times, changing Pendet Balinese artists to "welcome", although still containing elements of the sacred-religious. Creator / choreographer of modern dance is a form of I Wayan Rindi (? - 1967).
Pendet is a declaration of a gift in the form of ceremonial dances. Unlike dances performances that require intensive training, Pendet be danced by all people, pemangkus men and women, adults and girls.
This dance is taught simply by following the movement and rarely performed in the row-row. The young girls follow the movements of more senior women who understand their responsibilities in providing a good example.
This daughter has a dance movement pattern that is more dynamic than Rejang Dance that was delivered in groups or pairs. Usually appear after the Rejang Dance in the courtyard of temples and generally facing the direction of the sacred (pelinggih) with ceremonial dress, and each dancer brings sangku, jars, bowls, and accessories of other offerings.