Traditional culture

Jump Nias Stone

noreply@blogger.com (Unknown) — Wed, 15 Jun 2011 05:14:00 -0700

Jump rock 'fahombo stone' has been one hallmark of the people of Nias. Many outsiders who remember or imagine Nias by skipping stones, so that there is also a thought that all the people of Nias can jump stones arranged to reach a height of 2 m with a thickness of 40 cm.

Jump stone is a tradition in South Nias communities, particularly in the Gulf. This tradition is not usually done by the people of Nias in other regions, and only men who do it. It also has become an indication of cultural differences or lelehur ancestors the people of Nias. Which must be known again, there never was woman who jumped stone Nias.

At first jump rocks, not as we see today. Both the function and how its control. First jump is a combination of sports and games are free people, not a commercial tradition.

Test of strength and agility

Rock jump is not just consumption or tourism atrakasi like we see today. Rock jump is a means and process to show the strength and agility of youth, so having a prestigious heroic souls.

If a son of one family can already be past the huddle of stone that had been developed was a way to jump, this is one of pride for parents and other relatives and even the whole village community in general. That is why after the boys they are able to pass through, then the events are held syukuransederhana with slaughtering chickens or other animals. There was even a young nobleman who entertain the village because it can jump with perfect stone for the first time. These young people will become young defenders of his village 'samu'i mbanua or la'imba horö,' if there are conflicts with other villagers.

Maturity and Physical Maturity

Looking at the ability of a young man who can jump the stone perfectly, then he is considered an adult and mature physically. Therefore, social rights and obligations as adults can be run. For example: marriage, defending the village or join the enemy stormed the village and so on. One way to measure the maturity and the maturity of a man is by looking at motor skills in stone-high bunk! 2 meters.

Technical Mastery The tradition of stone skipping

For some pride, every young man not to be outdone by the other. Since the age of about 7-12 years or in accordance with the growth of a person, young boys usually play with a jump rope. They put the two side poles contiguous, making the stone pedestal, and then jump. From that low, and for long elevated. There is also with the help of two friends who hold each end of the rope, and the others jump in rotation. They play with a spirit of solidarity and struggle.

To practice and games, a set of boys piling clay and shaping it like a skipping stone, although not the same height. Starting from one meter. Once able to get through it, then they piled clay to add height. This game has made the children get used to jumping up to two-meter-high stone jump perfectly. There's even more.

To be more proficient, in the afternoon, when the village youth returning from the fields, then their rollicking rock jumping exercises. Especially on a Sunday afternoon or any other big days. Jumping is a stone as sports and games are fun for them and attract the attention of the audience.

Not everyone can jump rock

Although the practice continues, it turns out that not all men can jump. There are hook-hook and hold. Even some that until the accident, such as broken arms, legs etc.. There is a belief that it is influenced by genetic factors. If father or grandfather of a brave and rock jumper, then d between his sons there who can jump the stone. When her father once was a rock hopper while it is young, so her children must be able to jump even a little training. In fact there are only tried once or twice, then, could jump to perfection without practice and warm up the body.

Rock jumping ability and agility are also associated with the old beliefs. Someone who is just learning to jump a stone, he first begged meniati blessing and the spirits of the stone jumper who has died. He must ask permission from the spirits of the ancestors who frequently jumped over the stone. Tujuanya to avoid an accident or a disaster for the jumper while being on air, then dropping to the ground. Because many jumper who failed and had an accident.

Conflicts between villages

In the past, jumping rocks and preparation is the need to defend ourselves and defend the name of the village. Whatever was sacrificed for the sake of honor in his own village 'fabanuasa.' "Va Öndröra banuasa, left-left mbambatö." That's the motto and principle in defending and maintaining the name of the village. That is, a sense of patriotism in the village greater than kinship. Genesis on one of the villagers, is the event on all citizens. For example: If one of his villagers being hurt by villagers A B, then A is other villagers will also reciprocate. And vice versa. This is a source of conflict between villagers who penyelesaianya complex and leave revenge hatred 'horö Manana. "

Many causes of conflict and warfare between villages. For example: The issue of land border, women and other disputes. This is the one attacking the village invites the other villages, so that the soldiers 'samu'i' who participated in the attack, should have the agility to jump to save themselves.

But first, when the tradition of hunting human heads 'mangai högö' is still running, the battle between the village is also very common. When the human head hunters chased or running away, then they should be able to jump the fence or fortress village of targets that have been built of stone or bamboo or from the trees 'tali'anu' so as not trapped in enemy territory.

That's also why the villages built on hills or mountains 'hili' so that the enemy does not easily come in and not run away fast.

Castle Village

Stunt jump is needed because once every village has dipagar or have made a fortress made of stone, bamboo or other materials that are difficult bypassed by the enemy. There is also a dig holes around the village so that the enemies fall into it while fleeing or entering the target villages.

Village strongholds that formerly composed of stone, was no longer visible now, because of human greed. Torn down and taken as building materials.

The young men who returned with success in the mission attack other villages, will be a hero in his village. If they win and no one was killed in between them, then before arriving in the village, near the village gate 'bawagöli,' they march and shout while singing "Hoho" victory.

letter Language Java

noreply@blogger.com (Unknown) — Tue, 14 Jun 2011 19:17:00 -0700

Old Javanese Literature, or sometimes spelled as Old Javanese literature includes literature written in Old Javanese in the period more or less written from the 9th century until the 14th century AD, beginning with the Inscription of Sukabumi. These literary works written in the form of prose (prose) and poetry (kakawin). These works include genres such as epic poems, statute law, chronic (Chronicle), and religious books. Old Javanese Literature inherited in the form of manuscripts and inscriptions. Manuscripts containing the Old Javanese texts amount to thousands while the inscriptions there are tens and even hundreds of them. Although here should be noted that not all literary texts contain inscriptions.

Literary works written in Java is important that this period included Candakarana, Kakawin translations of Ramayana and Mahabharata in the ancient Javanese language.

Old Javanese literary works largely preserved in Bali and manuscripts written on papyrus manuscripts. Although most of the ancient Javanese literature preserved in Bali, Java and Madura, there is also a preserved ancient Javanese literature. Even in Java there are also Old Javanese texts that are not known in Bali.

Scientific research on ancient Javanese literature began to flourish in the early 19th century and was originally founded by Stamford Raffles, Governor-General of the United Kingdom which ruled the island of Java. Apart from being a statesman, he is also interested in local culture. Together with his assistant, Colonel Colin Mackenzie, he collected and studied ancient Javanese texts.

Traditional Musical Instruments Sasando

noreply@blogger.com (Unknown) — Tue, 14 Jun 2011 01:09:00 -0700

Indonesia is rich in an amazing variety of local arts, which includes a variety of traditional instruments with particularity bunyiannya. One of the musical instrument that must be considered to be maintained is a stringed instrument from Rote Island, East Nusa Tenggara named Sasando, namely musical instruments found since the 15th century.
Sasando is a stringed musical instrument. Sasando form similar to other stringed instruments such as guitar, violin, and harp. But its uniqueness is the main part of the long tubular Sasando like harp is usually made of bamboo. Sasando media have sound reflector made of tree leaves gebang (a kind of palm trees that grow on the island of Timor and the island of Rote) that dilekuk a half circle.

Sasando tubular length which is usually made of bamboo. Then in the middle, a circle from top to bottom are given a lump-lump, where the strings (strings) stretched across the tube from top to bottom rests. Wedge-wedge gives a different tone on every string passages.

Then this Sasando tube placed in a container made from a kind of woven palm leaves like a fan made. This container is the place Sasando resonance.Sasando very unique sound when compared with the guitar, usually Sasando more varied. This is because Sasando has 28 strings. That is why the play is not easy because Sasando Sasando a player must be able to create rhythm and feeling the exact tone of all the existing strings. Sasando with 28 strings are called Sasando ankle, while the type of double Sasando has 56 strings, and some have 84 strings.
How to play the Sasando is to be picked like playing guitar. But Sasando not have chord (key) and the strings should be plucked with both hands, so it is more like a harp. Until now almost all the materials used to make Sasando is original material, except the strings.

Traditonal Heritage

noreply@blogger.com (Unknown) — Mon, 13 Jun 2011 01:13:00 -0700

KERIS JAVA
Instead of the Nickel Titanium
Because the prestige of stone material or rock star fame are not easily obtained, and then people looking for a replacement. Which is widely used as a substitute for stone meteorites are nickel metal fame. Metal replacement material for this prestige has some similarities with the titanium, among others the color is more white than the color of iron. Nickel was also spared from the effects of arsenic, so the prestige of the keris or aji tosan to bright contrast when diwarangi. But that can not be equaled by a nickel titanium is superior heat resistance, high hardness and not easily rust-eaten.

For lovers of keris which is less precise, it will be difficult to distinguish prestige

of nickel with the prestige of meteorites that contain titanium. But for those who are sensitive and careful, is easy to know by sight and touching it. The sharpness of the surface of the prestige of the meteorite more pronounced than with the prestige of nickel.

Keris TuahAbout what exactly the so-called good luck, it has been discussed several times among the lovers of the keris. The deal about it does not exist. But the theory that started a lot of adopted people is, that the contents of a good keris is a strength that comes from God's blessing. This opinion is the result of several discussions about the contents of the keris Keris organized by the Central Jakarta.Kris blessing contained in it given by God for prayer and petition the professor during the making of keris. Spells are always spoken professor, is actually the composition of a series of prayers that have been formed into a kind of poetry. While the so-called prayer, together with the petition.That is why some communities in the Indonesian people first, always giving offerings to the dagger and tosan aji. They argue, if the offering is forgotten is given, then the guardian spirits of the keris was going mad or away. If you go, maybe there would be no adverse impact on the owner of the keris. But if spirits were up to anger, perhaps can bring disaster.By knowing how the sound of a master craftsman in prayer asking God's blessing for homemade dagger, the keris is not difficult for lovers to understand that a keris dagger is both a blessing or a gift of God's blessing.

Keris is a weapon of the archipelago with wavy shape like a snake or a straight and intricate patterns created by the combination of several types of metals, such as iron, steel, gold, nickel and even meteorites. Kris blade is not made from a cast in a single metal but a mixture of various metal layers. As a result of this manufacturing technique, a dagger has a specific form of prestige on the blade. This way you get the prestige that contain the color white, gray, golden or black.

In traditional Javanese culture, a dagger is not merely regarded as a stabbing weapon that has a unique shape and beauty of prestige, but also as the completeness of spiritual cultures. There is a prevailing assumption among the traditional Javanese said, a man can only be considered complete if he already has five symbolic elements: suspicious, horse, homeless, women, kukila.

Suspicious, literally meaning dagger, symbolic meaning is maturity, courage and virility. A traditional Javanese man, must be resilient and able to protect themselves, their families or to defend the country. Perlambangnya is kris.Horse means a horse or vehicle (symbol of today is a motorcycle or car)Wisma is homeWomen in particular the meaning of wifeKukila literally means bird. Symbolic meaning of birds here, for a traditional Javanese man, he should be able to process, capture and enjoy the beauty and exercise-art.

At the time of the kingdoms in the past, the highest token value is kris. The most precious gift of a King of Java to its officers or servants, is the dagger. In its development, a dagger in the environment can be a symbol of royal rank. Keris a King, of course different from the keris subordinate officers or servants in the palace. Not only kerisnya blades are different, but also the details of a complete jewelry and furniture was different.

Gradations of rank of the owner of the keris, can also be traced from the sheath that encase or wrap a keris. Warangka a King, of course different from the sheath subordinates. When a knight, presumably if the right is the sheath sheath worn with syllables (model) kasatriyan. Royal officials, wearing sheath Duchy. There are more than 25 variants warangka Java in the past that could be an indicator of rank owners. Even the area of origin can be traced from warangkanya, whether the owner of people from Yogyakarta, Surakarta, Banyumas, East Java, Madura, or Bali.

One of the unique dagger is his strength on the details. Almost every detail is attached to the dagger, both in blade, sheath and all the furniture could be a symbol. From engraving or any dagger handles, in the past, people could view the degree and rank. Varian also carved Javanese, like the sheath, there are different kinds of variants. Divided into two broad outline-style: Surakarta and Yogyakarta. Beyond that, of course there's more other style sheath or carved out of Java such as: Madura, Bali, Lombok, Sulawesi, Sumatra.

Net Village Tradition

noreply@blogger.com (Unknown) — Sun, 12 Jun 2011 18:47:00 -0700

Gunungkidul district still found a few villages that still do the rituals Clean Village or in another language "Rasulan". There are various kinds of activities undertaken to brighten the Net Village. Starting from the mat performing arts, cultural carnival, sporting events, genduri, etc..

Not long ago, exactly on 7 April 2011 (Thursday kliwon) villages which berkecamatan Karangmojo Sokoliman also do clean the village. Net villages

that they do is clean up rivers and wells located in the village, cleaning the river and the well was carried out before the day or before the 7th April 2011 yesterday, because on 7 April (Thursday kliwon) that there is a ritual in the village Sokoliman genduri ie make food that was brought to the river and wells. That must be done every house in the village Sokoliman. Places to bring genduri was quite unique because it is made from banana trees made shapes such as baskets.

After the food and the residents arrived at the well, then performed the prayer by one person in the village tuakan sokoliman. After prayer and ritual finished foods brought it distributed to the people who are in that place like the seller and the people who saw that coming from other villages.

In the village of Abang district Ngunung Karangmojo there are also clean the village, in Ngunung Abang also clean the wells and rivers located in the village. It's just that there are distinguishing tayub performances (dances) before the ritual of prayer and sharing genduri. Tayup dancers came from the villagers themselves. If in the village made the village clean Ngunung brother on 4 April 2011 (Monday Pahing) yesterday. Rituals were also conducted every year and has been passed down through generations.

The History of Batik in Indonesia

noreply@blogger.com (Unknown) — Sun, 12 Jun 2011 18:08:00 -0700

The history of batik in Indonesia is closely linked with the development and dissemination of the Majapahit empire of Islam in Java. In some records, the development of batik is mostly done in times of Mataram kingdom, then in the work of Solo and Yogyakarta.

So the art of batik in Indonesia has been known since the time of Majapahit jobs and growing the kingdom and the kings of the next. The start spreading this batik art belongs to the people of Indonesia and Java in particular tribe is after the end of the eighteenth century or early nineteenth century. Produced batik batik is all to the early twentieth century and printed batik is known only after world war unity out or around 1920. The connection with the spread of Islamic teachings. Many areas of batik centers on Java are regions Batik students and later became a tool of economic perjaungan by figures pedangan Muslims against the Dutch economy.
Batik art is art images on the fabric for clothing that was one of the kings of culture keluaga Indonesia bygone era. Batik initially worked in the palace alone are limited and the results for the king's clothes and family and his followers. Because many of the followers of the king who lived outside the palace, the art of batik was brought by them out palace and place of each work.

Long batik art was imitated by the people nearest and subsequently expanded into the work of women in the household to fill his spare time. Furthermore, batik clothes that used only the royal family, then became a popular folk clothes, both women and men. White fabric that is used when it is the result of homespun.
Medium dye materials used consist of plants native to Indonesia who made himself among others of: noni tree, tall, soga, indigo, and the material is made from soda ash soda, as well as salts made from tanahlumpur.
MajapahitBatik era which has become a culture in the kingdom Majahit, could be traced in the area of Mojokerto and Tulung Court. Mojoketo are areas closely related to the Majapahit kingdom during the first and the origin of the name Majokerto nothing to do with Majapahit. Relation to the development of batik Majapahit Agung is grown in Tulung batik developmental history of this area, can be extracted from the legacy in the days of the Majapahit kingdom. At that time the area is partly Tulungagung consists of a swamp in the history of the area known as Bonorowo, which at the time of Majapahit bekembangnya area controlled by a Duke benama Kalang, and would not submit to the kingdom of Majapahit.
Told that the police action launched by Majapahati, Duke Kalang supposedly killed in the fighting around the village which is now reportedly called Kalangbret. Thus, the officers and soldiers of the Majapahit kingdom keluara settled and lived in the territory Bonorowo or what is now the Tulungagung among others also bring original art to make batik.

Shadow Play Art

noreply@blogger.com (Unknown) — Sun, 12 Jun 2011 09:30:00 -0700

PUPPET one of the nation's top arts and culture of Indonesia's most prominent among the many works of other cultures. Culture puppets include acting, singing, music, speech arts, literary arts, painting, sculpture, and art is also symbolic. Culture of puppets, which continues to grow over time, also a lighting media, propaganda, education, entertainment, philosophical understanding, and entertainment.
According to the research of historians of culture, culture is a culture of wayang native to Indonesia, particularly in Java. The existence of puppets was many centuries before the Hindus go to the island of Java. Although a popular puppet story in today's society is an adaptation of the works of Indian literature, the Ramayana and the Mahabharata. Both the main story in the puppet undergone many changes and additions to adapt them to the original philosophy of Indonesia.

Adjustment of the concept of this philosophy is also about the philosophical position of the Javanese people against the gods in the puppet. The gods in the puppet is no longer something that is free from wrong, but like any other God's creatures, sometimes acting wrong, and could be a blunder. The presence of puppet characters dalam_ panakawan deliberately created the culture of Indonesia (Javanese cultural exact) to reinforce the concept of philosophy that in this world there is no creature that is really good, and that is really bad. Each creature is always bearing the elements of good and evil.

In his dissertation titled Bijdrage tot de Kennis van het Javaansche Tooneel (1897), the Dutch cultural historian Dr. GA.J. Hazeau indicated his belief that the puppet is the original performance of Java. Understanding puppet in the dissertation Dr. Hazeau it is walulang inukir (a carved leather) and seen his shadow on the screen. Thus, the puppet in question certainly is a shadow play as we know it today.

Lumping Horse Dance

noreply@blogger.com (Unknown) — Sun, 12 Jun 2011 08:29:00 -0700

Initially, according to history, art lumping horse was born as a symbol that people also have the ability (superiority) in the face of the enemy or against the power elite who have the royal army. In addition, also as a medium for presenting entertainment that cheap but the phenomenal to the people at large.
Above is one stanza song dangdut Rhoma Irama's a game inspired by folk art, lumping horse dance, which is still grown in many communities in the archipelago.

Traditional dances that are played on a "no pattern" by the common people has been born and liked the community, especially in Java, since the ancient kingdoms doeloe tempo.

Now, art lumping horse still be a show that is enough to make the hearts of the audience captivated. Although the existence of these cultural relics began to compete strictly by the entry of foreign art and culture to their homeland, the dance still showed high attraction. Until now, we do not know who or where that sparked community groups (created) kuda lumping the first time. In fact, lumping horse art found in many areas and each recognizes the arts as one of their traditional culture. Including, pointed out some time ago, recognized also by the people of Johor in Malaysia as its own in addition to Reog Ponorogo. The phenomenon spread of lumping horse art in various places, with various and pattern, can be an indicator that the art culture that seemed full of magic is back "on the rise" as a cultural art which should be noted as an original Indonesian art.

Whipped, Eat glass (broken glass / mirrors / cups / plates etc) and sprinkles of Fire

I do not know what can make the players is like a man possessed. Judging from the way his game, the dancers like lumping horse has tremendous power, even seem to have supernatural powers. Art of dance that uses a fake horse made of woven bamboo and accompanied by gamelan music such as gongs, kenong, percussion and trumpet it, was able to make the audience impressed by any attractions penunggan (dancer) kuda lumping. Remarkably, dancers traditional lumping of the original horse is generally played by girls who dress like a soldier boy kingdom. Currently, more lumping horse players acted by boys.

The sound of a prod (whip) of the players who deliberately imposed this art, became the beginning of the game and the entry of a mystical power that can eliminate the consciousness-players. With the climb of woven bamboo horses, the horses ankles penunggan given this rattle began prancing, jumping up rolling on the ground. In addition to jumping, horse dancers did lumping other attractions, like eating glass and peel the coconut with his teeth. Glass (glass) that is eaten is the usual light bulb as the lights of our homes. He avidly ate like a shard of people starving, do not wince in pain and no blood at the time he ate the glass-shard.

When viewed from the overall game lumping horse, sound prod endless series of attractions that appear to dominate. Presumably, any prod by sipenunggang against itself, which is on foot or other body parts, will give a magical effect. That is, when the crack length of woven rattan and on the feet and swung his body, the dancer lumping horse will feel stronger, more powerful, more Digdaya. Generally, in that condition, he will increasingly wild and the power of doing things and not abstruse absurd healthy normal humans.

Lively and festive games lumping horse becomes more complete with a display of flame attraction. Bursts of fire coming out of the mouths of the other players, beginning with gasoline accommodate in their mouth and then sprayed on a fire that burns in a small sprig of iron which ends made in such a manner so that fire does not die before and after petrol was sprayed from his mouth. In lumping horse game, another meaning that is contained is the color. The colors are very dominant in this permaian namely: red, white and black. The red color symbolizes the courage and spirit. The white color symbolizes purity which is in the heart is also thought to reflect on all five senses so that it can serve as a role model in black.

As an attraction full of mystical and dangerous, lumping horse dance done under the supervision of a "supernatural leadership." Usually, this leader is a person who has a high unseen which can restore the dancer back to consciousness as usual. He is also responsible for the way of attractions, as well as heal pain experienced by the players lumping horse if something undesirable and cause illness or injury to the dancer. Therefore, although regarded as a folk game, lumping horse can not be played by just anyone, but must be under the direction and supervision of the leadership.

Need to Keep Maintained and Developed
Broadly speaking, so much art and culture in Indonesia familial inherited from ancestors of Indonesia until the current generation. Now, we as a successor to the nation is the heir of the art of traditional culture as they must keep and maintain it properly. Our task is to maintain and develop it, so from day to day is not vanished and disappeared from the artistic treasures of our society.
One thing we must be aware that Indonesia is still colonized until now with the influx of foreign culture that tries to get rid of local cultures. Therefore, we as the future generation rose up together to bring back culture since ancient extinct there and not to swallow the modern age. To that end, the Government and the community is expected to continually exploring cultural back what until recently almost no sound again, to then re-developed and preserved the values of Indonesian culture.

PENDET-BALI DANCE

noreply@blogger.com (Unknown) — Sat, 11 Jun 2011 04:01:00 -0700

Tari Pendet or Pendet Dance is a traditional dance from Bali Indonesia that was originally a dance of religious worship. Tari Pendet is used to play in a Hindu's Temple in Bali. This dance symbolizes the reception on the descent of gods into the earth. Lately, over the development period, the Bali artists change this dance to be a welcome dance although it still contains of sacred-religious symbols

The Author of Tari Pendet

Tari Pendet is created by two Balinese Dancers Maestro, Mr. I Wayan Rindi and Mrs. Ni Ketut Reneng in 1950. Mr. Wayan Rindi is a Balinese Maestro that is known for his ability to compose and preserve the art of dance through generations. He is teaching many Balinese Dance to including Tari Pendet to the society and the family.

In 1961 another Maestro Mr. I Wayan Beratha processed the Tari Pendet again. Pattern of dance from I Wayan Beratha is used until now.

About Tari Pendet

Unlike another performing dance that require intensive training, Tari Pendet could be danced by everybody, man and woman, children and adult people. This dance is taught simply by following the move from the leader usually is an elder or senior woman.

Tari Pendet is performed in groups or pairs. This dance is used to play after the Tari Rejang in a Pura's (Hindu Temple in Bali) yard and generally facing the direction of the sacred (Pelinggih) with ceremonial dress and each dancer brings sangku (Balinese traditional religious equipment), jars, bowls and another equipment of offerings.

Another varian of Tari Pendet is Tari Baris Pendet. If Tari Pendet usually performed by woman dancer, the Tari Baris Pendet is performed by man dancer that dances while carrying offerings (gifts to the gods). Tari Pendet is not just a traditional dance but more than that it is a Balinese life style. It's a part of Balinese cultural and religious life.

Balinese people used to learn Tari Pendet since young and wherever they are in the world, they could dance the Tari Pendet.

Traditional Indonesian clothing

noreply@blogger.com (Unknown) — Sat, 11 Jun 2011 02:46:00 -0700

MINANGKABAU

BALI

SUNDA

SOLO

JOGJA

ACEH

LAMPUNG

PADANG

SUMBA

PALEMBANG

BETAWI

PAPUA

GORONTALO

BENGKULU

BATAK

YOGYAKARTA

JAKARTA

KUPANG

JAWA

BUGIS