All About Indonesia

Wediombo beach, Fishing from the Coral Hill

2011-09-01T03:51:00.000-07:00

The imagination of very wide, white-sand beach that enables you to see different angles of the beach will rise when you hear the mention of Wediombo (wedi=sand, ombo=wide) Beach. Nonetheless, Wediombo Beach actually does not have such wide spread of sands. The west and east parts of the beach are planked by coral hills so that the spread of the sands is not as wide as the one in Parangtritis, Glagah, and possibly Kuta beaches.

In fact, local people tell that the name of this beach that was given by the predecessors does not represent the real situation. Some people say that more appropriate name for this beach is Teluk Ombo (The Wide Bay), since the beach looks like a wide bay. There are two flanking coral hills with the seawater protrudes to the land but it is wider that common bays.

Apart from the inappropriate name, however, Wediombo still provides extraordinary beach view. The seawater looks clear blue; it is different from other beaches of which seawater looks greenish resulted from water pollution. The white sands with ornaments of the seashells are maintained well. The atmosphere of the beach is quiet so that it becomes the right place to get out of noisiness.

Wediombo is located in Jepitu village of Girisubo Sub-District in Gunung Kidul Regency. If you have come to Siung Beach, you will easily reach this beach. You only have to get back to a T-junction in Tepus before the road leading to Siung Beach, then turn right following the road until you get to a sign board asking you to turn right to get to Wediombo.

The location of this beach is far lower that the surrounding lands. You have to get down by the stairs in order to reach the beach and enjoy the panorama. While descending the stairs, you will be able to see the field, houses and mangrove vegetation on your left and right sides. Some people are seen carrying herbs for their cattle or taking care of the cattle in its stall.

In addition to the enchanting coastal panorama, Wediombo offers a unique tour experience, if not an extreme one, namely fishing from the height of the coral cliff. This kind of tour originating from the fishing habit of local people is popular with fishing hobbyists from Yogyakarta and Wonogiri. The main objective is, according to local people to YogYES, to catch big fish.

It is not easy to reach the fishing location at the top of the coral cliff. We have to walk eastwards through the shore; climbing steep and slippery cliff and sometimes the waves will hit us before arriving at the cliff that directly faces the deep ocean. For those who have been familiar with the route, it will take them one-hour walk.

The difficult way to the cliff, however, is paid well. Big fish are sometimes caught by the hobbyists. At least they will catch fish that local people name it panjo fish. The fish of which size is as big as man's arm are of two kinds, the cylindrical one that exist more during dry season and the flat one during the rainy season.

The baits are small fish that can even be collected at the seashore. We can use either fishing pole or fishnet to catch the small fish. It's cheap and easy, isn't it?

For those who do not dare to get to the top of the cliff, they might just buy the fish they the fishermen catch. They sell the panjo fish at IDR 3,000 one fish, or IDR 20,000 for a string of fish containing 5-6 fish. Some local people are willing to cook them for you if you wish. Otherwise, you can take them home as a gift for your family.

Cooked panjo fish are also available. Served with rice and condiment from chili pepper, fried Panjo fish is sold at IDR 7,000 only. The rice is served in the traditional container called bakul and the condiment is on traditional saucer called cobek. The portion is big enough for two persons. YogYES tried this menu in a warong located close to the parking area. Fried sea urchin that tastes like fried chicken is also available if you want to try.

At certain occasions, you can see Ngalangi ceremony that is held by local people. This ceremony takes place once in a year, just like the labuhan besar ceremony, of which objective is to express the gratitude to God for what have been granted and asking for good fortune for the future. The fortune is mainly good catches in sufficient quantity to fulfill daily needs.

The procession of the ceremony is unique; it begins by spreading gawar - the fishnet made from wawar tree. This kind of fishnet was used to catch fish before the present nylon fishnet. The gawar is spread out from Kedongkowok hill to the area of the rise and fall of the tides in order to trap the fish that are washed away by the waves and that cannot get back to the sea.

When seawater falls, the fish are collected. People are then busy cleaning and cooking the fish. Some of the fish are returned to the sea with some rice ans offerings. Most part of the dish is shared to the families. This ceremony is known as kenduri besar or great shared-meals as the form of local wisdom that fish are livelihood for all people.

In addition to Ngalangi ceremony, the enchantment of the beach can be enjoyed everyday. The entrance fee is only IDR 5,000 for two persons. If you want to spend the night and gather with some of your friends, you can use a small hut located close to the warongs alongside the beach. It is so refreshing to be in this beach.

The Glagah Beach, from Lagoon Scenery to Agro Tourism

2011-04-18T17:16:00.000-07:00

When you come to Glagah Beach, you will directly find plain coastal land. This
gives you an opportunity to get wide view of all directions. Looking straight ahead, you will see the long horizon uniting the ocean and the sky. The beauty of the bending coastal line will satisfy your view when you look either westward or eastward.

Both the plain coastal land and the long coastal line also give you some
alternative locations to see the beauty of the coastal scenery. Every location seems to have different nuance even though they are located in the same area. In each location, you can enjoy the overall view of the beautiful beach without boundaries of huge coral reefs.

The first location to get best view of the coastal area is the one that is planned to
become a harbor in the future. You will find the place when you follow a 'PP' sign at the fist turn after the ticket post. The full-of-harmony meeting point between the river stream and the ocean waves can be seen by climbing to the view post in the location.

From the first location to some hundreds meters westwards, you can find a loog
with the water flowing to the river estuary. This lagoon divides the coastal area into two, the one with coastal plants and weeds and the other place with the sand dune that directly borders on the sea. You can cross to the sand dune area through a connecting bridge that is located close to the river estuary.

Walking further to the west, you can see the activities of local people and some
people fishing. When YogYES visited, they are standing in shoulders along the coastal line holding their fishing rods. The slightly sloping area gives much fish for local fishermen. Some kiosks sell seafood with various menus worth trying.

In addition to the beautiful coastal scenery, Glagah Beach also has various
beach tourism facilities. One of them is the motocross circuit that is located at the seaside that will satisfy hobbyists of this sport. Meanwhile, the asphalted road connectiong the Glagah Beach and other beaches can be utilized for fun bike activity.

You can even enjoy the agro tourism facility by visiting Kusumo Wanadri
plantation. There, you can observe the cultivation process of medication herbs such as dragon fruit and Roselle flower. Besides, you can also hire the bamboo-boat (in Javanese language: gethek), canoe, and rowing duck that you can use to explore the lagoon or you can just cross the wooden bridge to come to the sand dune area at the seaside.

When you feel tired after taking a long walk, you can take arrest in cross-legged
sitting hut in the area of Kusumo Wanadri plantation. Some exotic menus and beverages are worth trying. You can try fresh dragon fruit juice and is famous for its efficacy to heal some illnesses, or you may order Roselle flower syrup that will quench your thirst and neutralize various toxins in your body.

In order to enjoy the entire beautiful Glagah scenery, you can take either one of
the two alternatives roads. First, go southwards via Bantul road and turn right to Bantul - Purworejo road after you come to Palbapang. Second, go westwards via Yogyakarta - Wates - Purworejo road and turn left after finding a signboard directing to Glagah Beach. You would better drive your own vehicle to reach the access more easily.

The trip to this beach is not as difficult as reaching the beaches in Gunung Kidul
area. The road is flat and not much so climbs that you can reach the beaches while relaxing your mind. The road leading to Purworejo city also connects Glagah beach with other beaches in Kulon Progo Regency. In other words, you can kill two birds with one stone.

source :YogYES.COM

Anyer Beach

2010-07-28T20:17:00.000-07:00

Anyer is a beach town in Banten. It is located at Anyer, 38 km from Serang City. The beach is facing the West, so we can see the view of Mt. Rakata (the remaining / child of Mt. Krakatau that exploded in 1833) and the sunset. A beautiful sea sight with all activities such as Jet Ski, Speed Boat, Para Sailing and other aquatic sport, those types of activities can be found here, as well as sunset view from the beach and an old lighthouse at Cikoneng. A lot of hotels from jasmine to international 5 stars can be tourist best choices to stay. Anyer is a popular beach resort for Jakartan.

Anyer beach has many unique enchantments. Its white sands amaze many tourists. They are so pure; we can feel the softness of the sands. The deep blue sea attracts many divers around the world because its various sea lives are so completely perfect. The sea breeze can make visitors' mind fresh, out of stress and enjoy. And the last enchantments that can make Anyer beach as the most favorite place to visit is the view of the legendary Krakatau Mountain and its historical lighthouse.

It is located in the west coast of Java about 120km from Jakarta. Sanghyang, 10 km off Anyer beach, is an easy diving destination for Jakartan divers who can only spare a weekend. This volcanic island offers white carbonate-sand beach and a wealth of underwater life, while Anyer offers a gorgeous sunset.

KOTA GEDE

2010-07-21T01:31:00.000-07:00

Kota Gede, which is often called Sargede is located about five kilometers southeast of Yogyakarta, Kotagede is a neat little town, which was once the seat of the mighty Mataram Empire. Since the 1930s, Kotagede has become famous for being the center of the Yogya silverwork industry. There are a number of workshops where visitors are welcome to watch silver being transformed into beautiful works of art known as "Yogya Silver". Kotagede is easily reached by "andong", the four-wheeled horse-drawn cart, by taxi, bus, or car.

In that cemetery complex one can still visit the cemetery of the Mataram kings like Sutowijoyo or Ngabei Loring Pasar, the founder of Mataram Kingdom, who was then called Panembahan Senopati. There is also the unique tomb of Ki Ageng Mangir. He was Panembahan Senopati son in law and also Panembahan Senopati enemy. His dead body was buried half inside of the special area for kings and Panembahan Senopati families, and a half of his body was buried outside of the complex. There is a stone called " Watu Gilang ", a stone on which Panembahan Senopati smashed the Ki Ageng Mangir head to dead.

Those who want to go inside the cemetery have to wear traditional clothes that one can hire at the place. Kota Gede Royal cemetery is open on Monday at. 10.00 am - 12.00 am, and Friday at 01.30 pm. - 04.00 pm. In addition to the cemetery, there are also graceful gates, a pond full of Clarius Melanodermas and a yellow turtle. This turtle is hundred years of age and people believe it as a sacred miraculous turtle.

Since the 1930s, however, Kotagede has become famous for being the centre of the Yogya silverwork industry. Kotagede is easily reached by "among", the four wheeled horse drawn cart, by taxi, bus, or car. There are a number of workshops where visitors are welcome to watch silver being transformed into beautiful works of art known as "Yogya Silver".

krakal beach

2010-07-21T01:24:00.001-07:00

Go to the next beach, about 6 kilometers from Kukup beach, we will find Krakal beach- a white sand beach stretch along 5 kilometers. Krakal beach the longest beach of the junction is located in Ngestirejo village, Tanjungsari district, about 3 km away in the east of Baron-Kukup-Sepanjang-Drini beach junction, has scratching white hill with blue slopes gently to the sea. The beauty of green lime-scratching hill with blue seawater offers a perfect harmony, which is very natural and ideal for sun bathing. Krakal beach mostly is a white sandy beach in Yogyakarta area. There's a development now because of its beautiful panorama of the southern sea. It should be careful here because it has big wave and the texture of the beach which are rocks meet the sands.

Among all the beaches that stretch along Java beaches, Krakal with its white sandy beach surrounded with mountainous rocky hills is the most beautiful one. Krakal is close to Kukup beach and Baron cove. This cove is in fact an estuary of an underground river that comes up exactly at the waterfront. It is interesting to observe the combination of the beach and the cove from the protruding rocky hills that flank the caves on both sides.

BARON BEACH

2010-07-21T01:19:00.000-07:00

Baron beach lies in Kemandang Village, Tanjungsari district about 23 km in the South of Wonosari city. Baron beach is the first beach that would be found in the junction of Baron, Kukup, Sepanjang, Drini, Krakal and Sundak beaches area. It is a bay with big wave. Baron beach is popular as fish catching area. There is a mouth of Underground River that can be used for bathing after playing in the beach. The visitors can also enjoy various kinds of low prices seafood or fresh fish and Baron's special menu namely Kakap fish soup. There is limestone hill in this area. The visitors can reach that place by passing through a path. The way to go there is very interesting because it passes a place called Pegunungan Seribu (a thousand mountains).

Visitors could have a magnificent view of the beach; about 10 kilometers in the West of Baron beach there are Parang Racuk hill with its mountain slopes. It challenged the visitors to do some adventures. Every syuro month (the first month of Javanese calendar), the fisherman societies organized a Labuhan sea ceremony, to express their gratitude to the God for the abundant fish harvest and for the welfare in fishing.

475 Beat Competitors, Vocalista champion Angels in the World Children Choir Festival

2010-07-20T01:52:00.000-07:00

Jakarta - Indonesia Raya songs resound in the building of China Convention and Exhibition Centre, Shaoxing, Monday (07/19/2010), children choirs accompany victory Vocalista Angels. Excitement seems to fill the room to greet contestants gold medals from Indonesia were in the choir festival's world-class children.

Such an atmosphere that is described by CA Tersierra Rosa, Vocalista Angels troupe leader, choir boy home in Klaten, Central Java (Central Java), which became representative of Indonesia on the international festival. Vocalista champion Angels won for the category of folklore with the choreography.

"In addition to winning the gold medal and Folklore with koregrafi category, they also obtained a gold medal for the category of Children's choir," said Rosa, or a familiar Tersierra called Thea in the releases received by AFP on Tuesday (07/20/2010).

According to Thea, in the championship this time, Vocalista Angels carry several folk songs like "Montor-montor CILIK", "Romo Ono Maling," "Go Jago," and the song "Toki Tifa" of Maluku. In addition, the choir includes 27 children from 8-18 years after it also hosted foreign songs is "Las Ammarilas" from Spain and "Tola" from Africa.

"VA is led by conductor Jason Christy Pranowo appear very attractive so getting very boisterous applause at every appearance, even standing applaus," Thea said, adding achievements Vocalista Angels also make Indonesia as the second overall champion in the arena of world choral 6th this.

Police visited

Vocalista Angels released their departure by the Vice President (VP) Boediono on July 12 and arrived in Shaoxing on July 13. Arriving in Shaoxing, the children who come from lower class families were immediately returned to practice before the festival begins.

The exercise was carried out by entertaining the public in parks around town near the hotel they were staying. At least they do the exercises two hours in the park or any open place that is sometimes visited by local police because of noise in public places.

"Although the police eventually come to enjoy serving their singing. This is due to the difficulty to obtain an adequate gym," said Thea.

Victory choir Vocalista Angels could also be accompanied by several problems. For example, when performing the registration, Vocalista Angels name is not in the list of the committee, so that the official should contact the organizers of INTERKULTUR and local organizers.

"However deserves thumbs up to the Chinese government is earnestly preparing for the World Kejauaran that the choir was due to coincide with the sixth anniversary of the 2500 water year Shaoxing city," said Thea.

Ranked World 41

Previously, Vocalista Angels have won many international championship level choirs, among others at the World Choir Championship in South Korea in 2009. At that second gold medal for successfully disabet Kids category and Folklore.

For children choir category, since 2008 Vocalista Angels ranked 17th world. As for the level of the world, Indonesia is on the prestigious enough, namely rank 41 in all levels of age and all types of competition (children choir, youth choir, Chamber choir, Male Choir, Female choir, choir Mix, Jazz, Spiritual, and Folklore ).

Now, go Thea, choral groups will be trained to lead the choir world championship to seven children. "There is support from local governments or not, Vocalista Angels keep practicing to prepare for the 7th World Championship in Ohio, United States," he said.

pelabuhan ratu beach

2010-07-17T19:20:00.000-07:00

PELABUHAN RATU BEACH

Pelabuhan Ratu is a lovely holiday resort, visited by holidaymakers from Jakarta and Bandung. The site is only three-hour drive from either city through cool mountain villages with picturesque sceneries. Pelabuhan Ratu - Cisolok is a 15 km stretch of breathtaking beauty with hills, mountains and very wide sandy beaches everywhere around, set against the deep blue Indian Ocean. Right next to stretches of white beaches, visitors will find thick tropical forests on rolling hills. Taking walks uphill enables the visitor to look down on the horseshoe shape of the bay's coastline, whereas at night hundreds of fishermen's boat-lamps are seemingly competing with the star-studded sky above, which is both enchanting and romantic. There is one four-star hotel, Samudera Beach, about 6 km from Pelabuhan Ratu, but several other smaller hotel and cottages are available at moderate rates.

At this virgin stage, this area represents unspoiled beauty in a typically tropical setting with hospitable inhabitants. Because of its proximity to Jakarta, more tourists visit this area from the capital than those from Bandung. Moreover, the highways to and from Pelabuhan Ratu have recently been greatly improved to assure the visitor of a smooth ride to enjoy the sceneries that pass even well. Good for taste, swimming, sun bathing and surfing.

malioboro

2010-05-26T20:47:00.000-07:00

Malioboro, Nostalgia in Souvenirs Paradise

Stretching on imaginary poles connecting Yogyakarta Sultan Palace, Tugu and the peak of Merapi Mountain, this street forms trading locality after Sri Sultan Hamengku Buwono I developed means of trading through traditional market since 1758. After 248 years, the place still persists as a trading area; it even becomes the icon of Yogyakarta, known as Malioboro.

Located around 800 meters from Yogyakarta Sultan Palace, this place was always crowded with flowers each time the Palace held ceremonies. Malioboro that in Sanskrit means bouquet serves as a basis for naming this street.

Framed by shops, offices, restaurants, star hotels and historical buildings, the street that once functioned as struggling center during the second Dutch military aggression in 1948 was once a place of wandering for the artists joining together in Persada Studi Klub (PSK) community led by Umbul Landu Paranggi since 1970s to around the end of 1990s.
Souvenirs Paradise

Enjoying shopping experience, hunting exclusive souvenirs of Jogja, tourists may walk on foot along the arcades of Malioboro Street. There are many vendors selling their merchandises, ranging from such local handicrafts as batik, rattan ornament, leather puppet, bamboo handicrafts (key holder, ornament lamp, and others) as well as blangkon (Javanese / Jogjanese traditional cap) and silver goods to general little things that you may find in other trading places. Along the arcade, tourists will not only enjoy shopping peacefully on sunny or rainy days but they also enjoy bargaining prices. If they are good at bargaining and have good luck, they will end up buying at third quarter or even half of the prices offered.

Do not forget to save energy. There is still one big traditional market tourists must visit. Well known as Pasar Beringharjo, this market provides complete traditional products in addition to similar goods sold along the arcade of Malioboro Street. In addition to local products of Jogja, products from neighboring areas such as Pekalongan batik and Solo batik are available. There are many choices of hand made batik, printed batik, window curtain with unique motifs and batik bed sheet. This place will satisfy the desire of buying unique goods at reasonable price.

Please make sure that you are not cheated by the offered prices. Usually, the vendors will increase the prices for tourists.
Vredeburg Fort and Gedung Agung

At the end of this "bouquet" street, tourists can drop by at Vredeburg Fort that is located across Gedung Agung. This fort was the Dutch protection basis from possible attacks by Yogyakarta Kingdom troops. Similar to other forts, this place built in 1765 is high, square walls confining the area inside with one monitoring tower in each of the four corners for patrolling purpose. From the tower at the southern part, YogYES took the opportunity to enjoy sceneries of the Sultan Palace and other historical buildings.
Malioboro Cross-Legged Food Vendors (Lesehan, Javanese Language)

When the sun sets in the west and at the same time the lights along the street and the arcade add more beauty to Malioboro, food sellers begin to set the cross-legged eating place. Special menu of Jogja such as Gudeg and Pecel Lele are served in addition to oriental cuisines and sea food as well as Padang cuisine of West Sumatra. The street singers will sing hit songs and memory songs for some small change.

For tourists who are going to try menus served along Malioboro Street, please do not hesitate to check the price list and confirm it to the seller to prevent illogical charge.

Visiting Yogyakarta, the city known as "The Javanese Culture Living Museum" will not be complete unless you pay a visit to the street that keeps various stories of Indonesian Nation struggle and crowded with various souvenirs. It is paradise for history lovers and souvenirs hunters.

The discovery of Cirebon's Treasure

2010-05-12T18:33:00.000-07:00

Treasure discovery of Cirebon. Latest News, Treasure Hunting is done by PT Paradigma Putra Sejahtera apparently has produced results. After finding a way to search for data by conducting underwater arkelogi Ekskarvasi and Snifter form of diving skills, excavation, removal and transfer of findings. Hunting is strictly diawas by the Minister of Culture and the Navy. An estimated 30 people including, captain, diver, chef, parts cleaners who work in this hunt. After performing in dives led by an expert diver Luc Heymans has finally found a treasure in a sunken ship. This ship is estimated to have lived in the 969 and 971 that serves as a means of transportation and trade of that era expected to ship this legacy of China. A total of 270 thousand artifacts found.

The discovery of Cirebon's Treasure

Belgian archaeologist diver, Luc Heymans confessed to dive as much as 22 000 times to lift objects such artifacts. Artifacts in the form of Rubi, Jewels from the Fatimid dynasty, Gold Jewelry, Vases, gold dagger sheath, Crystal and Plates. Jewels a very large and estimated Fatimid legacy of this has been found 24 pieces. An expert mentioned that the Fatimids Permata only 40 copies exist in this world. If true, the gem it truly priceless items. Findings were reported to have been auctioned but no serious enthusiasts to buy these valuable items. But some parties, including the Sultan of Cirebon to the rejection of the auction with a way to write to the President. According Cik Jero, Minister of Culture and Tourism said "There need not be disappointed on this auction because the results of these findings is not the legacy of Indonesia but of Chinese heritage can be seen from the findings terukirkan Chinese writings." The auction was opened with the open bidding for Rp.720 Billion. Large price for the discovery of a very big also. Until now, the decision whether or not the auction is still considered by the government including the President.

'Five terrorists killed' in raids in Indonesia'

2010-05-12T18:30:00.000-07:00

JAKARTA (AFP) – Five suspected terrorists were killed in two raids in Indonesia on Wednesday, police said, during the latest in a series of anti-terror operations nationwide.

The men were linked to a terrorist training facility that was discovered in Aceh province in February, triggering a number of police raids that have left dozens of suspects killed or captured, a police spokesman said.

"Five were killed and one arrested," spokesman Edward Aritonang told reporters. "We suspect they were planning to launch a terror attack within the next few weeks."

Three were shot dead around noon (0500 GMT) as they got out of a taxi in Cawang, East Jakarta, he said.

One was identified as Maulana, alias Mukhlis, who had trained with Islamic separatists in the Philippines and had been jailed under Malaysia's Internal Security Act.

"Maulana had just got out of the car but he tried to escape so police shot him. He was with two other terror suspects whose identities are still under investigation," Aritonang said.

Another two were killed two hours later in a raid on a suspected militant hideout in the West Java city of Cikampek, about 80 kilometres (50 miles) from Jakarta.

Aritonang said one of the suspects killed in the second raid was Saptono, who was involved in a suicide car bomb attack which killed 10 people outside the Australian embassy in 2004.

"They were linked to the terrorist training facility in Aceh," he said.

"In the two raids police have seized a number of firearms, including AKs and M-16 (assault rifles) and a huge amount of bullets," he added.

On March 9 police killed the alleged leader of the Aceh group, Dulmatin, who was considered one of the masterminds of the 2002 nightclub bombings in Bali that killed 202 people, mostly Western tourists.

He had been a leader of regional terror network Jemaah Islamiyah (JI) but analysts believe the Aceh group was a new, more extreme outfit which combined militants from various Islamist organisations around Southeast Asia.

JI, an Al-Qaeda-inspired group whose mission is to create a Muslim caliphate across Southeast Asia, is blamed for multiple incidents across Indonesia including the 2002 carnage in Bali and attacks on Jakarta hotels last year.

Indonesia

2010-03-23T03:35:00.000-07:00

The Republic of Indonesia (pronounced /ˌɪndoʊˈniːziə/ or /ˌɪndəˈniːʒə/) (Indonesian: Republik Indonesia) is a country in Southeast Asia and Oceania. Indonesia comprises 17,508 islands. With a population of around 230 million people, it is the world's fourth most populous country, and has the world's largest population of Muslims. Indonesia is a republic, with an elected legislature and president. The nation's capital city is Jakarta. The country shares land borders with Papua New Guinea, East Timor, and Malaysia. Other neighboring countries include Singapore, Philippines, Australia, and the Indian territory of the Andaman and Nicobar Islands.

The Indonesian archipelago has been an important trade region since at least the seventh century, when Srivijaya and then later Majapahit traded with China and India. Local rulers gradually adopted Indian cultural, religious and political models from the early centuries CE, and Hindu and Buddhist kingdoms flourished. Indonesian history has been influenced by foreign powers drawn to its natural resources. Muslim traders brought Islam, and European powers fought one another to monopolize trade in the Spice Islands of Maluku during the Age of Discovery. Following three and a half centuries of Dutch colonialism, Indonesia secured its independence after World War II. Indonesia's history has since been turbulent, with challenges posed by natural disasters, corruption, separatism, a democratization process, and periods of rapid economic change.

Across its many islands, Indonesia consists of distinct ethnic, linguistic, and religious groups. The Javanese are the largest and most politically dominant ethnic group. Indonesia has developed a shared identity defined by a national language, ethnic diversity, religious pluralism within a majority Muslim population, and a history of colonialism including rebellion against it. Indonesia's national motto, "Bhinneka Tunggal Ika" ("Unity in Diversity" literally, "many, yet one"), articulates the diversity that shapes the country. Despite its large population and densely populated regions, Indonesia has vast areas of wilderness that support the world's second highest level of biodiversity. The country is richly endowed with natural resources, yet poverty remains widespread in contemporary Indonesia.

Etymology

The name Indonesia derives from the Latin Indus, meaning "India", and the Greek nesos, meaning "island". The name dates to the 18th century, far predating the formation of independent Indonesia. In 1850, George Earl, an English ethnologist, proposed the terms Indunesians — and, his preference, Malayunesians — for the inhabitants of the "Indian Archipelago or Malayan Archipelago". In the same publication, a student of Earl's, James Richardson Logan, used Indonesia as a synonym for Indian Archipelago. However, Dutch academics writing in East Indies publications were reluctant to use Indonesia. Instead, they used the terms Malay Archipelago (Maleische Archipel); the Netherlands East Indies (Nederlandsch Oost Indië), popularly Indië; the East (de Oost); and even Insulinde.

From 1900, the name Indonesia became more common in academic circles outside the Netherlands, and Indonesian nationalist groups adopted it for political expression. Adolf Bastian, of the University of Berlin, popularized the name through his book Indonesien oder die Inseln des Malayischen Archipels, 1884–1894. The first Indonesian scholar to use the name was Suwardi Suryaningrat (Ki Hajar Dewantara), when he established a press bureau in the Netherlands with the name Indonesisch Pers-bureau in 1913.

History

Main article: History of Indonesia

As early as the first century CE Indonesian vessels made trade voyages as far as Africa. Picture: a ship carved on Borobudur, circa 800 CE.

Fossilized remains of Homo erectus, popularly known as the "Java Man", suggest that the Indonesian archipelago was inhabited two million to 500,000 years ago. Austronesian people, who form the majority of the modern population, migrated to South East Asia from Taiwan. They arrived in Indonesia around 2000 BCE, and as they spread through the archipelago, confined the native Melanesian peoples to the far eastern regions. Ideal agricultural conditions, and the mastering of wet-field rice cultivation as early as the eighth century BCE,^[14] allowed villages, towns, and small kingdoms to flourish by the first century CE. Indonesia's strategic sea-lane position fostered inter-island and international trade. For example, trade links with both Indian kingdoms and China were established several centuries BCE. Trade has since fundamentally shaped Indonesian history.

The nutmeg plant is native to Indonesia's Banda Islands. Once one of the world's most valuable commodities, it drew the first European colonial powers to Indonesia.

From the seventh century CE, the powerful Srivijaya naval kingdom flourished as a result of trade and the influences of Hinduism and Buddhism that were imported with it. Between the eighth and 10th centuries CE, the agricultural Buddhist Sailendra and Hindu Mataram dynasties thrived and declined in inland Java, leaving grand religious monuments such as Sailendra's Borobudur and Mataram's Prambanan. The Hindu Majapahit kingdom was founded in eastern Java in the late 13th century, and under Gajah Mada, its influence stretched over much of Indonesia; this period is often referred to as a "Golden Age" in Indonesian history.

Although Muslim traders first traveled through South East Asia early in the Islamic era, the earliest evidence of Islamized populations in Indonesia dates to the 13th century in northern Sumatra. Other Indonesian areas gradually adopted Islam, and it was the dominant religion in Java and Sumatra by the end of the 16th century. For the most part, Islam overlaid and mixed with existing cultural and religious influences, which shaped the predominant form of Islam in Indonesia, particularly in Java. The first Europeans arrived in Indonesia in 1512, when Portuguese traders, led by Francisco Serrão, sought to monopolize the sources of nutmeg, cloves, and cubeb pepper in Maluku.^[21] Dutch and British traders followed. In 1602 the Dutch established the Dutch East India Company (VOC) and became the dominant European power. Following bankruptcy, the VOC was formally dissolved in 1800, and the government of the Netherlands established the Dutch East Indies as a nationalized colony.

For most of the colonial period, Dutch control over the archipelago was tenuous outside of coastal strongholds; only in the early 20th century did Dutch dominance extend to what was to become Indonesia's current boundaries. The Japanese invasion and subsequent occupation during World War IIended Dutch rule, and encouraged the previously suppressed Indonesian independence movement. Two days after the surrender of Japan in August 1945, Sukarno, an influential nationalist leader, declared independence and was appointed president. The Netherlands tried to reestablish their rule, and an armed and diplomatic struggle ended in December 1949, when in the face of international pressure, the Dutch formally recognized Indonesian independence (with the exception of The Dutch territory of West New Guinea, which was incorporated into Indonesia following the 1962 New York Agreement, and the UN-mandated Act of Free Choice of 1969).

Soekarno, Indonesia's founding president

Sukarno moved from democracy towards authoritarianism, and maintained his power base by balancing the opposing forces of the Military and the Communist Party of Indonesia (PKI). An attempted coup on 30 September 1965 was countered by the army, who led a violent anti-communist purge, during which the PKI was blamed for the coup and effectively destroyed. Between 500,000 and one million people were killed. The head of the military, General Suharto, out-maneuvered the politically weakened Sukarno, and was formally appointed president in March 1968. His New Order administration was supported by the US government, and encouraged foreign direct investment in Indonesia, which was a major factor in the subsequent three decades of substantial economic growth. However, the authoritarian "New Order" was widely accused of corruption and suppression of political opposition.

In 1997 and 1998, Indonesia was the country hardest hit by the Asian Financial Crisis.This increased popular discontent with the New Order and led to popular protests. Suharto resigned on 21 May 1998. In 1999, East Timor voted to secede from Indonesia, after a twenty-five-year military occupation that was marked by international condemnation of often brutal repression of the East Timorese. Since Suharto's resignation, a strengthening of democratic processes has included a regional autonomy program, and the first direct presidential election in 2004. Political and economic instability, social unrest, corruption, and terrorism have slowed progress. Although relations among different religious and ethnic groups are largely harmonious, acute sectarian discontent and violence remain problems in some areas. A political settlement to an armed separatist conflict in Aceh was achieved in 2005.

History of Jakarta

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Jakarta, on the island of Java, is the capital city of Indonesia. During the Dutch colonial era, it was called Batavia.

Pre-Dutch colonial era

The earliest recorded mention of Jakarta is as a port of origin that can be traced to a Hindu settlement as early as the 4th century. By the 14th century, it was a major port for the Hindu Sunda Kingdom. The first European fleet, four Portuguese ships from Malacca, arrived in 1513. Batzaush had been conquered by Afonso de Albuquerque in 1511 when the Portuguese were looking for spices and especially pepper.

In the 15th century AD there was, at the mouth of the Ciliwung River in the western part of Java Island, a harbour called Kalapa. It was one of the sea ports of the Sundanese kingdom of Pajajaran whose capital, Pakuan, was situated on the location of the modern city of Bogor, some 60 km upstream on the river.

The Portuguese, who had conquered Malacca in 1511 and wanted to set foot in the Moluccas, the famed "Spice Islands", were looking for a relay harbour on Java. Kalapa was attractive to them, all the more so since Pajajaran, which was still a Hindu polity, could make an allied against Muslims who dominated the regional trade at that time. In 1522, the Portuguese signed with Pajajaran a treaty.

In 1527 Fatahillah, a prince from the Banten kingdom, attacked the Portuguese garrison. Banten had just freed itself from the overlordship of Pajajaran. On the ruins of the Portuguese fort, he founded the town of Jayakarta (जयकर्; "victorious act" in Sanskrit).

The relationship between the Kingdom of Sunda and Portugal intensified when another Portuguese named Enrique Leme visited Sunda in 1522 with the intention of giving a present. He was well-received and as a result, the Portuguese gained rights to build a warehouse and expand their fort in Sunda Kelapa (the name of the location at the time). The Sundanese regarded this as a consolidation of their position against the raging Muslim troops from the rising power of the Sultanate of Demak in Central Java.

In 1527, Muslim troops coming from Cirebon and Demak attacked the Kingdom of Sunda under the leadership of Fatahillah. The king was expecting the Portuguese to come and help them hold Fatahillah's army because of an agreement that had been in place between Sunda and the Portuguese. However, Fatahillah's army succeeded in conquering the city on June 22, 1557, and Fatahillah changed the name of "Sunda Kelapa" to "Jayakarta" ("Great Deed" or "Complete Victory").

The Castle of Batavia, seen from West Kali Besar by Andries Beeckman circa 1656-58

The followers of the Sultan of Banten (the location of Jayakarta), Prince Jayawikarta, was also very involved in the history of Jakarta. In 1596, many Dutch ships arrived in Jayakarta with the intention of trading spices, more or less the same as that of the Portuguese. In 1602, the British East India Company's first voyage, commanded by Sir James Lancaster, arrived in Aceh and sailed on to Bantam where he was allowed to build trading post which becomes the centre of British trade in Indonesia until 1682. In this case, the Prince took the Dutch arrival seriously as the Dutch had constructed many military buildings. Prince Jayawikarta apparently also had a connection with the English and allowed them to build houses directly across from the Dutch buildings in 1615. When relations between Prince Jayawikarta and the Dutch later deteriorated, his soldiers attacked the Dutch fortress which covered two main buildings, Nassau and Mauritus. But even with the help of 15 ships from the English, Prince Jayawikarta's army wasn't able to defeat the Dutch, for Jan Pieterszoon Coen (J.P. Coen) came to Jayakarta just in time, drove away the English ships and burned the English trading post.

Batavia c.1870

Things then changed for the Prince, when the Sultan of Banten sent his soldiers and summoned Prince Jayawikarta to establish a close relationship with the English without an approval of the Banten authorities. The relationships between both Prince Jayawikarta and the English with the Banten government then became worse and resulted in the Prince's decision to move to Tanara, a small place in Banten, until his death. This assisted the Dutch in their efforts to establish a closer relationship with Banten. The Dutch had by then changed the name to "Batavia", which remained until 1942.

In 1595, Amsterdam merchants had set up an expedition to be sent to the Indonesia archipelago. Under the command of Cornelis de Houtman, the expedition arrived in Banten in 1596. The goods it brought back to the Netherlands only produced a modest profit to the merchants who had set up the expedition.

In 1600 the Dutch set up the Dutch East Indies Company, Vereenigde Oostindie Compagnie in Dutch or VOC. In the Moluccas, the Dutch took a first Portuguese fort in 1605.

Jan Pieterszoon Coen was appointed the VOC governor general for the Moluccas. He too wanted to set up an establishment in Java. He took Jayakarta in 1619. On the ruins of the Javanese town, he founded Batavia, which he named after the ancestors of the Dutch people, the Germanic tribe of the Batavians.

In 1613, prince Rangsang became king of Mataram in Central Java. The following year, he attacked the principality of Surabaya in the east. The man who would be remembered as Sultan Agung had started a series of successful campaigns against rival kingdoms and principalities on Java. In 1625, in addition to Central Java, Mataram was in control of central and eastern parts of the island's northern coast, called the Pasisir. Now Agung wanted to take on Banten and Batavia.

Agung launched a first offensive on Batavia in 1628. Having suffered heavy losses, he had to retreat. he launched a second offensive in 1629. The Dutch fleet destroyed his supplies and his ships in the harbours of Cirebon and Tegal. Mataram troops, starving and decimated by illness, had to retreat again.

However, Agung pursued his conquering ambitions to the east. He attacked Blitar, Panarukan and the Blambangan principality in Java's eastern salient, a vassal of the Balinese kingdom of Gelgel. Agung died in 1646. His son succeeded him under the title of Susuhunan Amangkurat.

Dutch colonial era

The old stadhuis (city hall), today the Jakarta City Museum

Within Batavia's walls, wealthy Dutch built tall houses and pestilential canals. Commercial opportunities attracted Indonesian and especially Chinese immigrants, the increasing numbers creating burdens on the city. Tensions grew as the colonial government tried to restrict Chinese migration through deportations. On 9 October 1740, 5,000 Chinese were massacred and the following year, Chinese inhabitants were moved to Glodok outside the city walls. The city began to move further south as epidemics in 1835 and 1870 encouraged more people to move far south of the port. The Koningsplein, now Merdeka Square, was completed in 1818, and Kebayoran Baru was the last Dutch-built residential area.

In Indonesian National Revival era, Mohammad Husni Thamrin, a member of Volksraad criticized the Colonial Government for ignoring the development of kampung (inlander's area) while focusing the development for the rich people in Menteng. He also talked on the issue of Farming Tax and other taxes which burdened people. Some of his speeches are still relevant in today's Jakarta. An important street in today's Jakarta was named after him.

Japan and Indonesian Independence War Era

The city was renamed "Jakarta" by the Japanese during their World War II occupation of Indonesia. Following World War II, Indonesian Republicans withdrew from allied-occupied Jakarta during their fight for Indonesian independence and established their capital in Yogyakarta.

Sukarno era

Looking south at the almost complete Hotel Indonesia in mid-1962

In 1950, once independence was secured, Jakarta was once again made the national capital. Indonesia's founding president, Sukarno, envisaged Jakarta as a great international city instigating large, government-funded projects undertaken with openly nationalistic architecture that strived to show the newly independent nation's pride in itself. Projects included a clover-leaf highway, a broad by-pass in Jakarta (Jalan Sudirman), four high-rise hotels including the famous Hotel Indonesia, a new parliament building, the 127 000-seat Bung Karno Stadium, and monuments including The National Monument.

Suharto era

Following Sukarno's downfall and the Transition to the New Order, Jakarta Governor, Lieutenant General Ali Sadikin, administered the city from 1966 to 1977. He is credited with rehabilitating public services, and also cleared out slum dwellers, banned rickshaws, and street peddlers. Finance sector reforms of the late-1980s saw Jakarta become the focus of real estate boom, which ended abruptly, however, in the 1997 East Asian Economic crisis. The city became the centre of violence, protest, and political manoeuvring as long-time president Suharto began to lose his grip on power. Tensions reached a peak in May 1998 when four students were shot dead at Trisakti University by security forces; four days of riots ensued resulting in an estimated 6,000 buildings damaged or destroyed, and the loss of 1,200 lives. The Chinese of the Glodok district were hardest hit and stories of rape and murder later emerged. The following years Jakarta was the centre of popular protest and national political instability, including several terms of ineffective Presidents, and a number Jemaah Islamiah-connected bombings. Jakarta is now witnessing a period of political stability and prosperity along a boom in construction.

Candi Muara Takus

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Candi Muara Takus is a Buddhist temple complex, thought to belong to the Sriwijaya empire. It is situated in Kampar Regency in Riau province, Sumatra, Indonesia. Its surviving temples and other archaeological remains are thought to date to the eleventh and twelfth century AD. It is one of the largest and best-preserved ancient temple complexes in Sumatra.

History

Candi Muara Takus was constructed by the maritime-based Sriwijaya Empire in the eleventh century. The architecture and design of the temples clearly indicates that they are of Mahayana Buddhist origin. It has been suggested by Schnitger that the major temples at Muara Takus may have undergone major renovations in the twelfth century. It is thought that the area was used as both a religious and trade centre by Sriwijaya. The site was abandoned for many centuries before it was re-discovered by Cornet De Groot in 1860. The site was explored and surveyed by W.P Groenveld in 1880 and excavations have been conducted periodically since. The site is now protected as a national monument.

Design and decoration

The temple complex of Candi Muara Takus is surrounded by a 1 metre tall stone perimeter wall that measures 74 x 74 metres. The outer wall is penetrated by a gateway on the northern side. Within the walls are the remains of four substantial Buddhist temples (candi). The most unusual of these is Candi Mahligai. This lotus-shaped Buddhist stupa is unique in Indonesia though there are numerous similar ancient structures in Thailand and Myanmar. This structure founded on an octagonal base and reaches a height of 14.30 metres. The uppermost level of the stupa is decorated with lion figures that are barely discernible from below. On the east side of Candi Mahligai is the base of Candi Palangka. It is constructed from red stone and now only reaches a height of 1.45 metres. It was reportedly much taller at the time of the earliest colonial expeditions to the site but the upper terraces have long since collapsed. A third structure within the complex is Candi Bungsu. The most striking thing about this temple is that it was built from two very different kinds of stone. One part is built from red stone and the other section from sandstone. This temple now reaches a height of 6.20 metres. The largest structure at Candi Muara Takus is Candi Tua. Its base measures 32.80 metres x 21.80 metres and it reaches a height of 8.50 metres. This temple is terraced and it bears some resemblance in its design to the much larger stupa, Candi Borobodur, in Java. Like all the temples at Candi Muara Takus, Candi Tua features only minimal decoration. The most notable decorative feature are the seated lion figures on the upper terraces.

Bunaken

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Bunaken is an island of 8 km², part of the Bunaken National Marine Park. Bunaken is located at the north of the island of Sulawesi, Indonesia. It belongs administratively to the municipality of Manado. Scuba diving attracts many visitors to the island.

Other sides of Bunaken.

Bunaken National Park extends over an area of 890.65 km² of which only 3% is terrestrial, including Bunaken Island, as well as the islands of Manado Tua, Mantehage, Nain and Siladen.

The waters of Bunaken National Marine Park are up to 1,566 m deep in Manado Bay, with temperatures ranging between 27 to 29 °C. It has a high diversity of - corals, fish, echinoderms or sponges. Notably, 7 of the 8 species of giant clams that occur in the world, occur in Bunaken.

Oceanic currents may explain, in part, why Bunaken National Marine Park has such a high level of biodiversity. Northeasternly currents generally sweep through the park but abundant counter currents and gyros related to lunar cycles are believed to be a trap for free swimming larvae. This is particularly true on the south side of the crescent-shaped Bunaken Island, lying in the heart of the park. A snorkeler or diver in the vicinity of Lekuan or Fukui may spot over 33 species of butterfly fish and numerous types of groupers, damsels, wrasses and gobies. The gobies, smallish fish with bulging eyes and modified fins that allow them to attach to hard surfaces, are the most diverse but least known group of fish in the park.

Taman Mini Indonesia Indah

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Taman Mini Indonesia Indah (TMII) or "Beautiful Indonesia Miniature Park" (literally translated) is a culture-based recreational area located in East Jakarta, Indonesia. It has an area of about 250 acres. The park is a synopsis of Indonesian culture, with virtually all aspects of daily life in Indonesia's 26 (in 1975) provinces encapsulated in separate pavilions with the collections of architecture, clothing, dances and traditions are all depicted impeccably. Apart from that, there is a lake with a miniature of the archipelago in the middle of it, cable cars, museums, a theater called the Theatre of My Homeland (Theater Tanah Airku) and other recreational facilities which make TMII one of the most popular tourist destinations in the city.

History

Nitra, the mascot of TMII

This idea to build the smaller scale of Indonesia was originally came from former Indonesian first lady, Siti Hartinah or best-known as Tien Suharto. The idea came out at a convention on 8 Cendana Street at March 13, 1970. Through this recreational site, she hoped more Indonesian people will have more national pride than before. The project called "Indonesian Miniature Project" was started by Harapan Kita Foundation in 1972. The concept of this culture-based recreational area was taken from the fact that Indonesia has unparalled richness and diversity from many different aspects.

Characteristics

TMII was originally located on a public area of 145 ha, as farms and fields. Later, the team was able to convert these fields into a suitable location for the construction. The topography of TMII is rather hilly, consistent with what the builders required. The team claimed the advantage of utilizing this uneven terrain was the ability to create interesting and diverse landscapes and enclosures, as well as reflecting the various characteristics of the Indonesian environment.

Parts of TMII

Venues of Indonesian Provinces

The miniature of Indonesian Archipelago in the center lake viewed from the cable car.

West Sumatra pavilion in TMII.

Since each Indonesian province maintains its own unique and distinct cultures, shelters, attire and dialects, TMII built a model of each of the houses from Indonesian provinces. TMII attempted not only to reconstruct the homes of the various provinces, but also to create a realistic model of the environment and shelters of the various people of Indonesia. The venues, which are situated around the main lake in a similar fashion to the different islands of the Indonesian archipelago, are thematically divided into six areas in respect to the main islands of Indonesia; Java, Sumatra, Kalimantan (Borneo), Sulawesi, the Lesser Sunda Islands, Maluku and Papua.

Since 1975 until 2000s, the original design of TMII consist of a model of the houses from the 27 provinces of Indonesia, including East Timor. But after the secession of East Timor from Indonesia in 2002, the East Timor pavilion changed its status to become the Museum of East Timor. Also since Indonesia now consist of 33 provinces, currently the new province pavilions of Bangka Belitung, Banten, West Sulawesi, North Maluku, Gorontalo, and West Papua is being built in northeast part of the park.

After the recognition of Indonesian Chinese culture as the integral part of Indonesian culture in 2000. the new Indonesian Chinese pavilion and a Confucian temple is currently being built within the park.

Religious Buildings

The religious buildings of several official faiths is meant to showcase the inter-faiths tolerance and religious harmony of Indonesia. The religious buildings are:

Pangeran Diponegoro Mosque
Santa Catharina Catholic church
Haleluya Protestant church
Penataran Agung Kertabhumi Balinese Hindu temple
Arya Dwipa Arama Buddhist temple
Sasana Adirasa Pangeran Samber Nyawa
Confucian temple (under construction)

Gardens and Parks

There are about ten gardens spread within TMII complex, but most are located primarily on the north and northeast side of the main lake:

Orchid Garden
Medicinal herbs Garden
Cactus Garden
Jasmine Garden
Keong Emas (Golden Snail) Flower Garden
Fresh Water Aquarium
Bekisar (a type of rooster) Garden
Bird Park
Taman Ria Atmaja Park, stage and music performances
Taman Budaya Tionghoa Indonesia, an Indonesian Chinese cultural park (under construction)

Museums

The Balinese style Indonesia Museum.

‎

There are fourteen museums at TMII:

Indonesia Museum
Purna Bhakti Pertiwi Museum
Soldier Museum
Indonesian stamps Museum
Pusaka (Heirloom) Museum
Transportation Museum
Electricity & New Energy Museum
Telecomunication Museum
Penerangan Museum
Sports Museum
Asmat Museum
Komodo Zoological Museum and Reptile Park
Insects Museum
Research & Technology Information Centre
Oil & Gas Museum
East Timor Museum (former East Timor province pavilion)

[edit] Theatres

Keong Emas (Golden Snail) Imax Theater
Tanah Airku Theater
4D Theater

Monuments, Halls, Buildings and other Exhibits

Kala Makara main gates
Flower clock
Tugu Api Pancasila, the main monument, an obelisk celebrating Pancasila
Baluwerti, a twin gate with relief of Indonesian history on its wall
Pendopo Agung Sasono Utomo (Grand Hall), the main building in Javanese Joglo style
Sasono Utomo, exhibition hall
Sasono Langen Budoyo, indoor stage and theater
Sasono Manganti
Sasana Kriya handycraft center
Park Management Office
Cokot Sculpture, a display of wooden sculptures by Cokot, a famous Balinese artist
The Miniature of Borobudur
APEC Memorial Monument and Garden
Non Alignment Nations Friendship Monument and Garden
The Miniature of Indonesian Archipelago on central lake
Indonesian Archipelago Plaza and Stage
Jati Taminah, a remnant of a large teak tree
Kayu Gede (large wood), the display of large tree trunk

Rides

Skylift Indonesia cable car
Aeromovel Indonesia, a wind powered monorail
Mini train around the park
Swan boat on Indonesian archipelago lake
Swan paddle boat on Indonesian archipelago lake
Bicycle rent ride
Car ride around the area

Recreation facilities

Istana Anak-Anak Indonesia (The Castle of Indonesian Children)
Taman Among Putro kiddy rides park
Desa Seni dan Kerajinan handycraft center
Rare books market
Snowbay Waterpark swimmingpool
Telaga Mina fishing pond
Warna Alam outbound camp
Desa Wisata hostel
Graha Wisata Remaja youth hostel
Caping Gunung restaurant

Tourists take a ride on this cable car to enjoy bird-eye view of this park

'Pacu Jalur' performance at Riau pavilion on the park's anniversary week in April 2007

South Kalimantan pavilion in TMII.

National Monument (Indonesia)

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The National Monument (Indonesian: Monumen Nasional (Monas)) is a 422 ft (128.7 m) tower in Central Jakarta, symbolizing the fight for Indonesia's independence. Construction began in 1961 under the direction of President Sukarno and the monument was opened to the public in 1975. It is topped by a flame covered with gold foil.

Background

After the Indonesian government returned to Jakarta from Yogyakarta in 1950 following the Dutch recognition of Indonesian independence, President Sukarno began to contemplate the construction of a national monument comparable to the Eiffel Tower on the square in front of the presidential palace. On 17 August 1954, a National Monument Committee was established and a design competition was held in 1955. This attracted 51 entries, but only one design, by Frederich Silaban, met any of the criteria determined by the committee, which included reflecting the character of Indonesia in a building capable of lasting for centuries. A repeat competition was held in 1960, but once again, none of the 136 entries met the criteria. The chairman of the jury team then asked Silaban to show his design to Sukarno. However, Sukarno did not like the design as he wanted the monument to be in the form of a linga and yoni. Silaban was asked to design such a monument, but his design was for a monument so large that it would have been unaffordable given the economic conditions at the time. Silaban refused to design a smaller monument, suggesting that construction be delayed until the Indonesian economy improved. Sukarno then asked the architect R.M. Soedarsono to continue with the design. Soedarsono incorporated the numbers 17, 8 and 45, representing the 17 August 1945 Proclamation of Indonesian Independence, in the dimensions of the monument.

Construction

Construction proceeded in three stages. The first period, from 1961/1962 - 1964/1965 began with the official start of construction on 17 August 1961 with Sukarno ceremonially driving in the first concrete pile. A total of 284 piles were used for the foundation block. A further 360 piles were driven in for the museum foundations, with work being completed in March 1962. The walls of the museum in the base were completed by October. Construction of the obelisk than commenced and was finished in August 1963. Work in the second stage, from 1966 to 1968 was delayed by shortages of funding and the aftermath of the 30 September Movement coup attempt. In the final phase, from 1969–1976, the dioramas for the historical museum were added. Problems remained once construction was complete, and work was needed to solve problems with water leaking into the museum. The monument was officially opened to the public on 12 July 1975. The location of the construction site was formerly known as Merdeka Square.

Monument design

"Monas" and the Jakarta skyline

The monument consists of a 117.7m obelisk on a 45m square platform at a height of 17m, the goblet yard. The obelisk itself is clad with Italian marble. A lift inside carries visitors to the 11m by 11m viewing platform, at a height of 115m. There is also a staircase for use in emergencies. It is topped by a 14.5 ton bronze Flame of Independence containing the lift engine, which is covered with 35 kg or 50 kg of gold foil. The obelisk and flame symbolize the Indonesia people's struggle for independence. Inside the base is the historical museum, a marble-lined room with 48 dioramas depicting scenes from Indonesian history from prehistory until the New Order (Indonesia), and the Independence Room (Indonesian: Ruang Kemerdekaan), which contains symbols of Indonesian independence, including the Declaration of Independence in a glass case, and the Indonesia coat of arms.

A pond measuring 25 by 25m was designed to cool water for the air conditioning system in the monument as well as to enhance the beauty of the surrounding area. To the north of the monument, there is a statue of Indonesia national hero Prince Diponegoro by Italian sculptor Cobertaldo.

Mahakam River

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The Mahakam River is in Indonesia. It flows 980 km from the district of Long Apari in the highlands of Borneo, to its mouth at the Makassar Strait.

The city of Samarinda, the provincial capital of East Kalimantan, lies along the river 48 km (30 mi) from the river mouth.

Mahakam Lakes

There are about 76 lakes spread in the Mahakam river basin and about 30 lakes are located in the middle Mahakam area including the three main lakes (Lake Jempang 15,000 Ha; Lake Semayang 13,000 Ha; Lake Melintang 11,000 Ha). The lakes levels are seasonally fluctuated from 0.5m – 1m during dry period to seven meters during rainy season. The Mahakam lakes and surrounding wetlands act as a trap of sediment contained in the water flowing into the lakes which are now known to become shallower, presumably as a result of an imbalance between sediment input and slow subsidence.

Fishing is the primary source of livelihood in the Mahakam lakes area, most of the people around the lakes are fishermen. The middle Mahakam lake area is an area of intensive fishing activity with a productivity of 25,000 to 35,000 metric tons per year since 1970.

Mahakam Delta

The Mahakam delta is a mixed fluvial-tidal dominated delta. The delta covers about 1800 km2, consisting of mangrove areas near the shore, Nypa swamps in the central areas, and lowland forest near the apex, corresponding to the first bifurcation, however, recent fishery development in this area has converted a vast area of mangrove into shrimp ponds (tambak). The delta has three main distributaries system directed Northeast, Southeast and South. The area between distributaries consists of a series of tidal channels generally unconnected to the main distributaries.The distributary channels are narrow and rectilinear with the depth ranging from 8 to 15 m and distributary channel bifurcations appear every 10 to 15 km.

This lower Mahakam area is the second most productive hydrocarbon basin of Indonesia which contains around 3 billon barrels of oil and 30 Tcf of gas reserves. Field geological investigations in this area was started in 1888 and in 1897 exploration drilling discovered oil at shallow depth of 46 m on the Louise structure. Production started in 1898 followed by expansion of exploration to the entire Mahakam.

Kapuas River

2010-03-20T17:49:00.002-07:00

The Kapuas River (Indonesian: Sungai Kapuas) is located in West Kalimantan, Indonesia. At approximately 1,143 km, it is the longest river in Indonesia, and is the major river of the western portion of Borneo. It is also the world's longest river on an island, a little longer than the Sepik River.

The river rises in the mountains of Kapuas Hulu near the border with Sarawak, Malaysia, and flows west. It empties into the South China Sea about 20 km south of the city of Pontianak. The river drains the extensive Lake Sentarum area, an extensive protected reserve of wetlands and freshwater lakes, and intermittently flooded forests.

Navigable over most of its length, the river is an essential transportation corridor in West Kalimantan. It is used for transportation of timber out of the island's interior, and for access to settlements along the river. The river has one bridge across it, near Sanggau approximately four hundred kilometers from its mouth.

Pendet

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Pendet is a traditional dance from Bali, Indonesia, in which offerings are made to purify the temple or theater as a prelude to ceremonies or other dances. Pendet is typically performed by young girls, carrying bowls of flower petals, handfuls of which are cast into the air at various times in the dance. Pendet can be thought of as a dance of greeting, to welcome the audience and invite spirits to enjoy a performance.

Traditional Balinese dances are the oldest form of performing arts in Bali. Traditional dances can be divided into two types, sacred dance called Wali and entertainment dance called Bebalihan. Wali (sacred dance) is usually performed in some ritual ceremonies only because it has strong magical powers and only can be performed by specific dancers. Bebalihan are usually performed in social events. In addition to entertain, Bebalihan also has other purposes such as: welcoming guests, celebration of harvests, or gathering crowds. Bebalihan has more variations than Wali.

Pendet is the presentation of an offering in the form of a ritual dance. Unlike the exhibition dances that demand arduous training, Pendet may be danced by anyone. It is taught simply by imitation.

Younger girls follow the movements of the elder women, who recognize their responsibility in setting a good example. Proficiency comes with age. As a religious dance, Pendet is usually performed during temple ceremonies.

All dancers carry in their right hand a small offering of incense, cakes, water vessels, or flower formations. With these they dance from shrine to shrine within the temple. Pendet may be performed intermittently throughout the day and late into the night during temple feasts.

The original Pendet dance is performed by 4-5 young girls (before their puberty) in temple yards. Pendet dancers bring flowers in small Bokor (silver bowls containing flowers in a ceremony). They spread the flowers around the temple. This dance is a symbol of welcoming God in some ritual ceremonies in Bali. Pendet actually has simple dance movements. These movements are the basic dance movements of Balinese dance. Pendet has undergone later development with variations and now is not only performed in ritual ceremonies but also in some social events. Pendet since has been known as a welcoming dance.

Prambanan

2010-03-18T02:07:00.000-07:00

Prambanan is the ninth century Hindu temple compound in Central Java, Indonesia, dedicated to Trimurti, the expression of God as the Creator (Brahma), the Sustainer (Vishnu) and the Destroyer (Shiva). The temple compound located approximately 18 km east of Yogyakarta city on the boundary between Yogyakarta and Central Java province.

The temple is a UNESCO World Heritage Site, currently is the largest Hindu temple in Indonesia, and is one of the largest Hindu temples in south-east Asia. It is characterised by its tall and pointed architecture, typical of Hindu temple architecture, and by the towering 47m high central building inside a large complex of individual temples.

History

Construction

Prambanan is the largest Hindu temple of ancient Java, and the construction of this royal temple was probably started by Rakai Pikatan as the Hindu Sanjayas answer to the Buddhist Sailendra's Borobudur and Sewu temples nearby. The construction of Prambanan probably was meant to marked the return of Sanjaya dynasty to power after almost a century fell under Sailendra domination on Central Java.

A temple was first built at the site around 850 CE by either Rakai Pikatan or Balitung Maha Sambu the Sanjaya king of the Mataram Kingdom. According to Shivagrha inscription that wrote chandrasengkala ”Wwalung gunung sang wiku” (778 Saka/856 M), the temple was built to honor lord Shiva and the original name of the temple is Shiva-grha (the house of Shiva).^[2] Indeed, some archaeologists propose that the idol of Shiva in the garbhagriha (central chamber) of the main temple is modelled after King Balitung, serving as a depiction of his deified self after death.^[3].

The temple compound was expanded by successive Mataram kings such as Daksa and Tulodong with the addition hundreds of perwara temples around the chief temple. Prambanan served as the royal temple of the Hindu Kingdom of Mataram, with most of the state's religious ceremonies and sacrifices being conducted there. At the height of the Mataram kingdom, scholars estimate that hundreds of Brahmins with their disciples lived within the outer wall of the temple compound. The urban center and the court of Mataram were located nearby, somewhere in the Prambanan valley.

Abandonment

In the 930s, the court was shifted to East Java by Mpu Sindok, who established the Isyana Dynasty. While the reason for the shift remains uncertain, it was probably caused by an eruption of the volcano of Merapi located north of Prambanan, or a power struggle. That marked the beginning of the temple's decline. It was soon abandoned and began to deteriorate.

The temples themselves collapsed during a major earthquake in the 16th century. Although the temple ceased to be the important place of worship, the ruins scattered around the area itself still recognizable and known to local Javanese people in later period. The statues and the ruins become the theme and the inspirations for the Loro Jonggrang folktale. After the division of Mataram Sultanate in 1755, the temple ruins and Opak river mark the boundaries between Yogyakarta and Surakarta (Solo) Sultanates.

Rediscovery

The ruins of Prambanan soon after their discovery.

In 1811 during Britain’s short-lived rule of the Dutch East Indies, Collin Mackenzie, a surveyor in the service of Sir Thomas Stamford Raffles, came upon the temples by chance. Although Sir Thomas subsequently commissioned a full survey of the ruins, they remained neglected for decades, with Dutch residents carting off sculptures as garden ornaments and native villagers using the foundation stones for construction material.

Half-hearted excavations by archaeologists in the 1880s merely facilitated looting. Reconstruction of the compound began in 1918, and proper restoration only in 1930. Efforts at restoration continue to this day. The main building was completed around 1953. Since much of the original stonework has been stolen and reused at remote construction sites, hampering restoration and since a temple can be rebuilt only if at least 75% of the original masonry is available, only the foundations of most of the smaller shrines are now visible with no plans for their reconstruction.

Contemporary Events

Prambanan nightview from the Trimurti open-air stage.

Ramayana dance performance in Prambanan.

In the early 1990s the government removed the market that had sprung up near the temple and transformed the surrounding villages and rice paddies into an archaeological park. The park covers a large area, from Yogyakarta-Solo main road in the south, encompassing the whole Prambanan complex, the ruins of Lumbung and Bubrah temples, and as far as the Sewu temple compound in the north. In 1992 the Indonesian government created a State-owned Limited Liability Enterprise (PERSERO) of PT Taman Wisata Candi Borobudur, Prambanan, dan Ratu Boko. This enterprise is the authority for the park management of Borobudur Prambanan Ratu Boko and the surrounding region.

The open-air and indoor stages on the west side of the temple right across the Opak river, were built to stage the Ramayana ballet. This traditional Javanese dance is the centuries old dance of the Javanese court, performed every full moon night in the Prambanan temple since the 1960s. Since then, Prambanan has become one of the major archaeological and cultural tourism attractions in Indonesia.

After the reconstruction of the main temples in 1990s, Prambanan once again reclaim its status as an important religious center for Hindu rituals and ceremonies in Java. The religious significance revival of Prambanan was due to Balinese and Javanese Hindu communities in Yogyakarta and Central Java that annually perform their sacred ceremonies in Prambanan, such as Galungan, Tawur Kesanga, and Nyepi.

The temple was damaged during the May 2006 Java earthquake. Early photos suggest that although the complex was structurally intact, the damage was significant. Large pieces of debris, including carvings, were scattered over the ground. The temple has been closed to visitors until the damage can be fully assessed. The head of Yogyakarta Archaeological Conservation Agency stated that it would take months to identify the precise extent of the damage. However, some weeks later in 2006 the site had been re-opened for visitors. As of 2009, the interior of most of the temples remains off-limits for safety reasons.

Loro Jonggrang complex

This information does not take account of damage caused by the 2006 Java earthquake

The statue of Durga Mahisasuramardini in northern cella of Shiva temple.

The temple compound.

The Prambanan compound also known as Loro Jonggrang complex, named after the popular legend of Loro Jonggrang. There are 237 temples in this Shivaite temple complex, either big or small. But the majority of them have deteriorated, what is left are only scattered stones. The Prambanan temple complex consists of three zones; first the outer zone, second the middle zone that contains hundreds of small temples, and third the holiest inner zone that contains eight main temples and eight small shrines.

The outer zone is a large space marked by a rectangular wall (destroyed). The original function is unknown; possibilities are that it was a sacred park, or priests' boarding school (ashram). The supporting buildings for the temple complex were made from organic material; as a consequence no remains occur.

Pervara Temples

The middle zone consists of four rows of 224 individual small shrines. There are great numbers of these temples, but most of them are still in ruins and only some have been reconstructed. These concentric rows of temples were made in identical design. Each row towards the center is slightly elevated. These shrines are called "Candi Perwara" guardian or complementary temples, the additional buildings of the main temple. Some believed it was offered to the king as a sign of submission. The Perwara are arranged in four rows around the central temples, some believed it has something to do with four castes, made according to the rank of the people allowed to enter them; the row nearest to the central compound was accessible to the priests only, the other three were reserved for the nobles, the knights, and the simple people respectively. While another believed that the four rows of Perwara has nothing to do with four castes, it just simply made as meditation place for priests and as worship place for devotees.

Shiva Temple

The inner zone or central compound is the holiest among the three zones. Its the square elevated platform surrounded by square stone wall with stone gates on each four cardinal points. This holiest compound is assembled of eight main shrines or candi. The three main shrines, called Trimurti ("three forms"), are dedicated to the three gods: Brahma the Creator, Vishnu the Keeper, and Shiva the Destroyer.

The Shiva shrine at the center contains five chambers, four small chambers in every cardinal direction and one bigger main chamber in central part of the temple. The east chamber connect to central chamber that houses the largest temple in Prambanan, a three meter high statue of Shiva Mahadeva (the Supreme God). The statue bears Lakçana (attributes or symbol) of Shiva such as skull and sickle (crescent) at the crown, and third eye on the forehead, also four hands that holds Shiva's symbols: a prayer beads, feather duster, and trisula (trident). Some historians believe that the depiction of Shiva as Mahadeva also meant to personify king Balitung as the reincarnation of Shiva. So, when he died, a temple was built to commemorate him as Shiva.The statue of Shiva stands on lotus pad on Yoni pedestal that bears the carving of Nāga serpents on north side of pedestal.

The other three smaller chambers contain statues of Hindu Gods related to Shiva; his consort Durga, the rishi Agastya, and Ganesha, his son. Statue of Agastya occupy the south chamber, the west chamber houses the statue of Ganesha, while the north chamber contains the statue of Durga Mahisasuramardini depicting Durga as the slayer of Bull demon. The shrine of Durga is also called the temple of Lara Jonggrang (Javanese: slender virgin), after a Javanese legend of princess Lara Jonggrang.

Brahma and Vishnu Temple

The two other main shrines are that of Vishnu on the north side of Shiva shrine, and the one of Brahma on the south. Both temple facing east and each contain only one large chamber, each dedicated to respected gods; Brahma temple contains the statue of Brahma and Vishnu temple houses the statue of Vishnu.

The bas-reliefs along the balustrades on the gallery around Shiva and Brahma temple depict the Ramayana legend. They illustrate how Sita, the wife of Rama, is abducted by Ravana. The monkey king Hanuman brings his army to help Rama and rescue Sita. This story is also shown by the Ramayana Ballet, regularly performed at full moon at Trimurti open air theatre in west side of the illuminated Prambanan complex. On the balsutrades in Vishnu temple there is series of bas-relief depict Krishnayana, the story of lord Krishna.

Vahana Temple

The other three shrine in front of three main temples is dedicated to vehicle (vahana) of the respective gods - the bull Nandi for Shiva, the sacred swan Hamsa for Brahma, and Vishnu's Eagle Garuda. Precisely in front of Shiva temple stands Nandi temple which contains a statue of Nandi bull, the vehicle (vahana) of Lord Shiva. Besides it, there is also other statues, the statue of Chandra the god of moon and Surya the god of sun. Chandra stands on his carriage pulled by 10 horses, and the statue of Surya also standing on a carriage pulled by 7 horses.. Facing Brahma temple is the temple of Hamsa or Angsa (sacred swan). In the chamber of this temple contains no statue. But it seems likely that there was once a statue of the sacred swan, vehicle of god Brahma. In front of Vishnu temple is the temple dedicated for Garuda, however just like the Hamsa temple, Garuda temple contains no statue. Probably this temple once contains the statue of Garuda, the vehicle of Vishnu. Garuda holds important role for Indonesia, which serves as the national symbol of Indonesia, also to the airline Garuda Indonesia.

The legend

The popular legend of Loro Jonggrang is what connects the site of the Ratu Boko Palace, the origin of the Durga statue in northern cell/chamber of the main shrine, and the origin of the Sewu temple temple complex nearby. The legend tells of the story about Prince Bandung Bondowoso who fell in love with Princess Loro Jonggrang, the daughter of King Boko. But the princess rejected his proposal of marriage because Bandung Bondowoso had killed King Boko and ruled her kingdom. Bandung Bondowoso insisted on the union, and finally Loro Jonggrang was forced to agree for a union in marriage, but she posed one impossible condition: Bandung must build her a thousand temples in only one night.

The Prince entered into meditation and conjured up a multitude of spirits (demons) from the earth. Helped by supernatural beings, he succeeded in building 999 temples. When the prince was about to complete the condition, the princess woke her palace maids and ordered the women of the village to begin pounding rice and set a fire in the east of the temple, attempting to make the prince and the spirits believe that the sun was about to rise. As the cocks began to crow, fooled by the light and the sounds of morning time, the supernatural helpers fled back into the ground. The prince was furious about the trick and in revenge he cursed Loro Jonggrang to stone. She became the last and the most beautiful of the thousand statues. According to the traditions, the unfinished thousandth temple created by the demons become the Sewu temple compounds nearby (Sewu means "thousands" in Javanese), and the Princess is the image of Durga in the north cell of the Shiva temple at Prambanan, which is still known as Loro Jonggrang or Slender Virgin.

Other temples around Prambanan

The Prambanan plain span between southern slopes of Merapi volcano in the north and Sewu mountain range in the south, near the present border Yogyakarta province and Klaten Regency, Central Java. Apart from the Lara Jonggrang complex, Prambanan plain, valley and hills around it is the location of some of the earliest Buddhist temples in Indonesia. Not far to the north are found the ruins of Bubrah temple, Lumbung temple, and Sewu temple. Further east are found Plaosan temple. To the west are found Kalasan temple and Sari temple, further to the west are Sambisari temple. While to the south the Ratu Boko compounds on higher ground. The discoveries of archaeological sites scattered only a few miles away suggested that this area was an important religious, political, and urban center.

North of the Lara Jongrang complex

Candi Lumbung. Buddhist-style, consisting of one main temple surrounded by 16 smaller ones.
Candi Bubrah. Buddhist temple still in ruins.
Candi Sewu. Buddhist temple complex, older than Roro Jonggrang. A main sanctuary surrounded by many smaller temples. Well preserved guardian statues, replicas of which stand in the central courtyard at the Jogja Kraton.
Candi Morangan. Hindu temple complex buried several meters under volcanic ashes, located northwest from Prambanan.

Candi Plaosan in Prambanan (9th century).

Candi Plaosan. Buddhist, probably 9th century. Thought to have been built by a Hindu king for his Buddhist queen. Two main temples with reliefs of Boddhisatva and Tara. Also rows of slender stupas.

South of the Lara Jongrang complex

Ratu Boko. Complex of fortified gates, bathing pools, and elevated walled stone enclosure, all located on top of the hill.
Candi Sajiwan. Buddhist temple decorated with reliefs concerning education. The base and staircase are decorated with animal fables.
Candi Banyunibo. A Buddhist temple with unique design of roof.
Candi Barong. A Hindu temple complex with large stepped stone courtyard. Located on the slope of the hill.
Candi Ijo. A cluster of Hindu temple located near the top of Ijo hill. The main temple houses a large lingam and yoni.
Arca Bugisan. Seven Buddha and bodhisattva statues, some collapsed, representing different poses and expressions.

West of the Lara Jongrang complex

Candi Kalasan. 8th century Buddhist temple built in commemoration of the marriage of a king and his princess bride, ornamented with finely carved reliefs.
Candi Sari. Once a sanctuary for Buddhist priests. 8th century. Nine stupas at the top with two rooms beneath, each believed to be places for priests to meditate.
Candi Sambisari. 9th century Hindu temple discovered in 1966, once buried 6.5 metres under volcanic ash. The main temple houses a linga and yoni, and the wall surround it displayed the images of Agastya, Durga, and Ganesha.
Candi Gebang. A small Hindu temple discovered in 1937 located near the Yogyakarta northern ring-road. The temple display the statue of Ganesha and interesting carving of faces on the roof section.
Candi Gana. Rich in statues, bas-reliefs and sculpted stones. Frequent representations of children or dwarfs with raised hands. Located in the middle of housing complex. Under restoration since 1997.
Candi Kedulan. Discovered in 1994 by sand diggers, 4m deep. Square base of main temple visible. Secondary temples not yet fully excavated.

Borobudur

2010-03-18T02:00:00.000-07:00

Borobudur is a ninth-century Mahayana Buddhist monument in Magelang, Central Java, Indonesia. The monument comprises six square platforms topped by three circular platforms, and is decorated with 2,672 relief panels and 504 Buddha statuesA main dome, located at the center of the top platform, is surrounded by 72 Buddha statues seated inside perforated stupa.

The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path circumambulating the monument while ascending to the top through the three levels of Buddhist cosmology, namely Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). During the journey the monument guides the pilgrims through a system of stairways and corridors with 1,460 narrative relief panels on the wall and the balustrades.

Evidence suggests Borobudur was abandoned following the fourteenth century decline of Buddhist and Hindu kingdoms in Java, and the Javanese conversion to Islam.
Worldwide knowledge of its existence was sparked in 1814 by Sir Thomas Stamford Raffles, the then British ruler of Java, who was advised of its location by native Indonesians. Borobudur has since been preserved through several restorations. The largest restoration project was undertaken between 1975 and 1982 by the Indonesian government and UNESCO, following which the monument was listed as a UNESCO World Heritage Site.^[3] Borobudur is still used for pilgrimage; once a year Buddhists in Indonesia celebrate Vesak at the monument, and Borobudur is Indonesia's single most visited tourist attraction.

Etymology

Borobudur stupas overlooking a mountain. For centuries, it was deserted.

In Indonesian, ancient temples are known as candi; thus "Borobudur Temple" is locally known as Candi Borobudur. The term candi is also used more loosely to describe any ancient structure, for example gates and bathing structures. The origins of the name Borobudur however are unclear,although the original names of most ancient Indonesian temples are no longer known.

The name Borobudur was first written in Sir Thomas Raffles' book on Javan history. Raffles wrote about a monument called borobudur, but there are no older documents suggesting the same name.The only old Javanese manuscript that hints at the monument as a holy Buddhist sanctuary is Nagarakretagama, written by Mpu Prapanca in 1365.

The name 'Bore-Budur', and thus 'BoroBudur', is thought to have been written by Raffles in English grammar to mean the nearby village of Bore; most candi are named after a nearby village. If it followed Javanese language, the monument should have been named 'BudurBoro'. Raffles also suggested that 'Budur' might correspond to the modern Javanese word Buda ('ancient') – i.e., 'ancient Boro'. However, another archaeologist suggests the second component of the name ('Budur') comes from Javanese term bhudhara (mountain).
Karangtengah inscription dated 824 mentioned about the sima (tax free) lands awarded by Çrī Kahulunan (Pramodhawardhani) to ensure the funding and maintenance of a Kamūlān called Bhūmisambhāra. Kamūlān itself from the word mula which means 'the place of origin', a sacred building to honor the ancestors, probably the ancestors of the Sailendras. Casparis suggested that Bhūmi Sambhāra Bhudhāra which in Sanskrit means "The mountain of combined virtues of the ten stages of Boddhisattvahood", was the original name of Borobudur.

Kecak

2010-03-18T01:52:00.000-07:00

Kecak (pronounced [ˈketʃak], alternate spellings: Ketjak and Ketjack) is a form of Balinese music drama, originated in the 1930s and is performed primarily by men. Also known as the Ramayana Monkey Chant, the piece, performed by a circle of 100 or more performers wearing checked cloth around their waists, percussively chanting "cak" and throwing up their arms, depicts a battle from the Ramayana where the monkey-like Vanara helped Prince Rama fight the evil King Ravana. However, Kecak has roots in sanghyang, a trance-inducing exorcism dance.^[1]

Kecak was originally a trance ritual accompanied by male chorus. German painter and musician Walter Spies became deeply interested in the ritual while living in Bali in the 1930s and worked to recreate it into a drama, based on the Hindu Ramayana and including dance, intended to be presented to Western tourist audiences. This transformation is an example of what James Clifford describes as part of the "modern art-culture system"^[2] in which, "the West or the central power adopts, transforms, and consumes non-Western or peripheral cultural elements, while making 'art' which was once embedded in the culture as a whole, into a separate entity."^[3] Spies worked with Wayan Limbak and Limbak popularized the dance by traveling throughout the world with Balinese performance groups. These travels have helped to make the Kecak famous throughout the world.

A Kecak dance being performed at Uluwatu, in Bali

A Kecak dance being performed at Kolese Kanisius, Jakarta

Performer, choreographer, and scholar I Wayan Dibia cites a contrasting theory that the Balinese where already developing the form when Spies arrived on the island.^[4] For example, well-known dancer I Limbak had incorporated Baris movements into the cak leader role during the 1920s. "Spies liked this innovation," and it suggested that Limbak, "devise a spectacle based on the Ramayana," accompanied by cak chorus rather than gamelan, as would have been usual.

wayang

2010-03-17T21:48:00.000-07:00

Wayang is an Indonesian word for theatre (literally "shadow"). When the term is used to refer to kinds of puppet theater, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theater are accompanied by gamelan in Java, and by "gender wayang" in Bali.

UNESCO designated Wayang Kulit, a shadow puppet theater and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003. In return of the acknowledgment, UNESCO demanded Indonesia to preserve their heritage.

History of Wayang Kulit

Wayang shadow-puppet (Bali, early 20th century)

Wayang is a generic term denoting traditional theatre in Indonesia. There is no evidence that wayang existed before Hinduism came to Southeast Asia sometime in the first century CE brought in by Indian traders. However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre. The first record of a wayang performance is from an inscription dated 930 CE which says "si Galigi mawayang," or "Sir Galigi played wayang". From that time till today it seems certain features of traditional puppet theatre have remained. Galigi was an itinerant performer who was requested to perform for a special royal occasion. At that event he performed a story about the hero Bhima from the Mahabharata.

Wayang Kulit is a unique form of theatre employing light and shadow. The puppets are crafted from buffalo hide and mounted on bamboo sticks. When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen.

Wayang Kulit plays are invariably based on romantic tales, especially adaptations of the classic Indian epics, "The Mahabarata" and "The Ramayana". Some of the plays are also based on local happenings (current issues) or other local secular stories. It is up to the conductor or "Tok Dalang" to decide his direction.

A Dalang performing Wayang Kulit in Java, circa 1890.

The Dalang is the genius behind the entire performance. It is he who sits behind the screen and narrates the story. With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the Dalang modulates his voice to create suspense thus heightening the drama. Invariably, the play climaxes with the triumph of good over evil.

Hinduism arrived in Indonesia from India even before the Christian era, and was slowly adopted as the local belief system. Sanskrit became the literary and court language of Java and later of Bali. The Hindus changed the Wayang (as did the Muslims, later) to spread their religion, mostly by stories from the Mahabharata or the Ramayana. Later this mixture of religion and wayang play was praised as harmony between Hinduism and traditional Indonesian culture. On Java, the western part of Sumatra and some smaller islands traditionalists continued to play the old stories for some time, but the influence of Hinduism prevailed and the traditional stories either fell into oblivion or were integrated into the Hinduistic plays.

The figures of the wayang are also present in the paintings of that time, for example, the roof murals of the courtroom in Klungkung, Bali. They are still present in traditional Balinese painting today.

When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of painting and shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from the Muslim religious leaders. As an alternative, the religious leaders converted the wayang golek into wayang purwa made from leather, and displayed only the shadow instead of the figures itself.^{[citation needed]} Instead of the forbidden figures only their shadow picture was displayed, the birth of the wayang kulit.^{[citation needed]}

The figures are painted, flat woodcarvings (a maximum of 5 to 15 mm thick -- barely half an inch) with movable arms. The head is solidly attached to the body. Wayang klitik can be used to perform puppet plays either during the day or at night. This type of wayang is relatively rare.

Wayang today is both the most ancient and most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers, dalang, who command extravagant fees and are international celebrities. Some of the most famous dalang in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunarya, Ki Sugino, and Ki Manteb Sudarsono.

Wayang kulit

Wayang kulit as seen from the shadow side

Wayang kulit, shadow puppets prevalent in Java and Bali in Indonesia, are without a doubt the best known of the Indonesian wayang. Kulit means skin, and refers to the leather construction of the puppets that are carefully chiseled with very fine tools and supported with carefully shaped buffalo horn handles and control rods.

The stories are usually drawn from the Ramayana, the Mahabharata or the Serat Menak.

There is a family of characters in Javanese wayang called Punakawan; they are sometimes referred to as "clown-servants" because they normally are associated with the story's hero, and provide humorous and philosophical interludes. Semar is the father of Gareng (oldest son), Petruk, and Bagong (youngest son). These characters did not originate in the Hindu epics, but were added later, possibly to introduce mystical aspects of Islam into the Hindu-Javanese stories. They provide something akin to a political cabaret, dealing with gossip and contemporary affairs.

The puppets figures themselves vary from place to place. In Central Java the city of Surakarta (Solo) is most famous and is the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found in West Java, Banyumas, Cirebon, Semarang, and East Java. Bali produces more compact and naturalistic figures, and Lombok has figures representing real people. Often modern-world objects as bicycles, automobiles, airplanes and ships will be added for comic effect, but for the most part the traditional puppet designs have changed little in the last 300 years.

Historically, the performance consisted of shadows cast on a cotton screen and an oil lamp. Today, the source of light used in wayang performance in Java is most often a halogen electric light. Some modern forms of wayang such as Wayang Sandosa created in the Art Academy at Surakarta (STSI) has employed spotlights, colored lights and other innovations.

The handwork involved in making a wayang kulit figure that is suitable for a performance takes several weeks, with the artists working together in groups. They start from master models (typically on paper) which are traced out onto kulit (skin or parchment), providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A further smoothing follows before individual painting, which is undertaken by yet another craftsman. Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week.

The painting of less expensive puppets is handled expediently with a spray technique, using templates, and with a different person handling each color. Less expensive puppets, often sold to children during performances, are sometimes made on cardboard instead of leather.

Wayang topeng or wayang gedog or wayang wong

An act in the wayang wong performance.

Wayang wong also known as Wayang orang (literally human wayang) is a type of theatrical performance with themes from the kingdom of Jenggala, in which the players wear masks known as wayang topeng or wayang gedog. The word "gedog" comes from "kedok", which, like "topeng" means "mask". The main theme is the story of Raden Panji and Candra. This is a love story about princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the crown prince of Jenggala. Candra Kirana was the incarnation of Dewi Ratih (goddess of love) and Panji was an incarnation of Kamajaya (god of love). Kirana's story was given the title "Smaradahana" ("The fire of love"). At the end of the complicated story they finally can marry and bring forth a son, named Raja Putra. Panji Asmarabangun ruled Jenggala under the official names "Sri Kameswara", "Prabu Suryowiseso", and "Hino Kertapati". Originally, wayang wong was performed only as an aristocratic entertainment in four palaces of Yogyakarta and Surakarta. In the course of time, it spread to become a popular and folk form as well.

Wayang wong has fixed patterns of movement and costume:

For male performers:

Alus: very slow, elegant and smooth movement. For example, the dance of Arjuna, Puntadewa and all other slimly built Kshatriyas. There are two types of movement, lanyap and luruh.

Gagah:
- Kambeng: a more athletic dance, used for the roles of Bima, Antareja, and Ghatotkacha.
- Bapang: gagah and kasar for the warriors of Kaurawa.
- Kalang kinantang: falls somewhere between alus and gagah, danced by tall, slim dancers in the roles of Kresno or Suteja.

Kasar: a coarse style, used in portraying ogres and demons.

Gecul: ponokawan and cantrik
- Kambeng dengklik: for ape warriors, such as Hanuman.
- Kalang kinantang dengklik: for ape warriors, such as Sugriwa and Subali.

For female performers: Kshatriya noblemen. Costumes and props distinguish kings, Kshatriyas, monks, princesses, The movements known as nggruda or ngenceng encot in the classical high style of dance consist of nine basic movements (joged pokok) and twelve other movements (joged gubahan and joged wirogo) and are used in portraying Bedoyo and Srimpi.

Today, the wayang wong, following the Gagrak style of Surakarta, is danced by women. They follow the alus movements associated with a Kshatriya, resembling Arjuna. Following the Gagkra style from Yogyakarta a male dancer uses these same Alus movements to depict princes and generals. There are about 45 distinct character types.

Wayang golek (rod puppets)

A pair of wayang golek from West Java

Wayang golek are wooden doll puppets that are operated from below by rods connected to the hands and a central control rod that runs through the body to the head. The simple construction of the puppets belies their versatility, expressiveness and aptitude for imitating human dance. Little is known for certain about the history of wayang golek, but scholars have speculated that it most likely originated in China and arrived in Java sometime in the 17th century. Some of the oldest traditions of wayang golek are from the north coast of Java in what is called the pasisir region. This is home to some of the oldest Muslim kingdoms in Java and it is likely the wayang golek grew in popularity through telling the wayang menak stories of Amir Hamza, the uncle of Muhammad. These stories are still widely performed in Kabumen, Tegal, and Jepara as wayang golek menak, and in Cirebon, wayang golek cepak. Legendary origins of wayang golek attribute their invention to the Muslim saint Wali Sunan Kudus, who used the medium to proselytize Muslim values. In the 18th century the tradition moved into the mountains of West Java where it eventually was used to tell stories of the Ramayana and the Mahabarata in a tradition now called wayang golek purwa, which can be found in Bandung, Bogor and Jakarta. Wayang golek purwa has become the most popular form of wayang golek today and the most famous puppeteer family is the Sunarya family which has produced several generations of stellar performers.

Wayang karucil or wayang klitik

Wayang klitik image of Batara Guru

Wayang klitik figures occupy a middle ground between the figures of wayang golek and wayang kulit. They are constructed similarly to wayang kulit figures, but from thin pieces of wood instead of leather, and, like wayang kulit figures, are used as shadow puppets. A further similarity is that they are the same smaller size as wayang kulit figures. However, wood is more subject to breakage than leather. During battle scenes, wayang klitik figures often sustain considerable damage, much to the amusement of the public, but in a country in which before 1970 there were no adequate glues available, breakage generally meant an expensive, newly made figure. On this basis the wayang klitik figures, which are to appear in plays where they have to endure battle scenes, have leather arms. The name of these figures is onomotopaeic, from the sound klitik-klitik, that these figures make when worked by the dalang.

Wayang klitik figures come originally from eastern Java, where one still finds workshops turning them out. They are less costly to produce than wayang kulit figures.

The origin of the stories involved in these puppet plays comes from the kingdoms of eastern Java: Jenggala, Kediri and Majapahit. From Jenggala and Kediri come the stories of Raden Panji and Cindelaras, which tells of the adventures of a pair of village youngsters with their fighting cocks. The Damarwulan presents the stories of a hero (Damarwulan) from Majapahit. Damarwulan is a clever chap, who with courage, aptitude, intelligence and the assistance of his young lover Anjasmara, makes a surprise attack on the neighboring kingdom and brings down Minakjinggo, an Adipati (viceroy) of Blambangan and mighty enemy of Majapahit's beautiful queen Sri Ratu Kencanawungu. As a reward, Damarwulan is married to Kencanawungu and becomes king of Majapahit; he also takes Lady Anjasmara as a second wife. This story is full of love affairs and battles and is very popular with the public. The dalang is liable to incorporate the latest local gossip and quarrels and work them into the play as comedy.

Wayang beber

Wayang Museum in Jakarta (Jakarta Kota Railway Station area)

The wayang beber has strong similarities to narratives in the form of illustrated ballads that were common at annual fairs in medieval and early modern Europe. They have also been subject to the same fate—they have nearly vanished. Chinese visitors to Java during the 15th century described a storyteller or unrolled scrolls and told stories that made the audience laugh or cry. A few scrolls of images remain from those times, found today in museums. There are two sets, hand-painted on hand-made bark cloth, that are still owned by families who have inherited them from many generations ago, in Pacitan and Wonogiri, both villages in Central Java. Performances, mostly in small open-sided pavilions or auditoriums, take place according to the following pattern:

The dhalang (puppeteer, narrator) gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with a rebab (violin-like instrument held vertically) begins to play and the dhalang unrolls the first scroll of the story. Then, speaking and singing, he narrates the episode in more detail. In this manner, in the course of the evening he unrolls several scrolls one at a time. Each scene in the scrolls represents a story or part of a story. The content of the story typically stems from the Panji romances which are semi-historical legends set in the 12th-13th century East Javanese kingdoms of Jenggala, Daha and Kedhiri, and also in Bali.

Wayang Sadat

This newly developed form is used by teachers of Islam to show the principles of Muslim ethics and religion to the natives of Java and Bali.

Wayang Wahyu

This form was created in the 1960s by the Javanese Jesuit Bruder (Brother) Timotheus L. Wignyosoebroto (modern spelling Wignyosubroto) who sought to show the Javanese and other Indonesians the teachings of the Catholic Church in a manner accessible to the audience. In the beginning, the puppets were often made of paper because it was less expensive than the traditional water buffalo hide. It became a popular as an alternative method of telling Bible stories.

Flag of Indonesia

2010-03-16T03:13:00.000-07:00

The national flag of Indonesia, which is known as Sang Saka Merah Putih ("The Red and White") in Indonesian,^[1] is based on the flag of the 13th century Majapahit empire. The flag itself was introduced and hoisted in public at the Indonesian Independence Day ceremony, on 17 August 1945. The design of the flag has remained the same ever since.

The design of the flag is simple with two equal horizontal bands, red (top) and white (bottom) with an overall ratio of 2:3.^[1] The flag is similar to the flag of Poland and flag of Singapore. The flag is identical to the flag of Hesse (a German state) and flag of Monaco (except for the ratio). Red represents courage, while white represents purity of intent.

Flag of the Republic of Indonesia

Name	Sang Saka Merah Putih
Use	National flag and ensign
Proportion	2:3
Adopted	17 August 1945 (Based on Majapahit Empire flag)
Design Symbolism The red stands for courage, while the white stands for purity. The red represents human's body or physical life, while white represents human's soul or spiritual life. Together they stand for a complete human being.	two equal horizontal bands, red (top) and white (bottom) with an overall ratio of 2:3. History Hoisting of the original flag moments after the declaration of independence on 17 August 1945. Its colors are derived from the banner of the 13th century Majapahit Empire. Later, these colors were revived by students and then nationalists in the early 20th century as an expression of nationalism against the Dutch. The red-white flag was flown for the first time in Java in 1928. Under Dutch rule, the flag was prohibited. It was adopted as the national flag on 17 August 1945, when independence was declared and has been in use since then.^[2]] Alternative History There is also another story about the flag of Indonesia, which is significantly related to the flag of the Netherlands. Under Dutch colonialism, every administration used the Netherlands (Red-white-blue) flag. The flag of Indonesia was prohibited. To symbolize the intention of forcing out the Dutch, the Indonesian nationalists and independence movement tore apart the Dutch flag. They tore off the bottom third of the flag, and separated the red and white colors from the blue color. The main reason was because blue in the Dutch flag was understood as standing for the "blue blooded" aristocracy. Conversely, the red color represented the blood shed in the War of Independence, while the white could be understood to symbolize the purity of the Indonesians.^[2] Name The official name of the flag is Sang Merah Putih (The Red White) according to Article 35 of the 1945 Constitution. The flag is commonly called Bendera Merah Putih (Red White Flag). Occasionally, it is also called Sang Dwiwarna (The bicolor). Sang Saka Merah Putih (The Lofty Red White) refers to the historical flag called Bendera Pusaka (heirloom flag) and its replica. The Bendera Pusaka is the flag that was flown in front of Soekarno's house a few moments after he proclaimed Indonesia's independence on 17 August 1945. The original Bendera Pusaka was sewn by Mrs. Fatmawati Soekarno, and was hoisted every year in front of the presidential palace during the independence day ceremony. It was hoisted for the last time on 17 August 1968. Since then it has been preserved and replaced by a replica because the original flag was deemed to be too fragile. Etiquette Flag protocols Similar to most national flags, the etiquette covering Indonesia's flag is very strict and must be adhered to. Etiquette relating to the order of precedence for the flag. Often more than one type of flag is flown simultaneously, for example the flag of Indonesian military. Below is the order of precedence for the flags: National Flag of Indonesia State Flag of Indonesia Military Flag of Indonesia (in order of creation date) Other Flag of Indonesia The United Nations uses alphabetical order when flying national flags, including the national flag of Indonesia. This etiquette ensures that there is no one country's flag has precedence over another country's flag. The Indonesian flag should never be allowed to drag along the ground as it is disrespectful to the history of the flag and the history of Indonesia in general. When the flag is tattered or faded, that flag must be replaced with a new flag in a good condition. It is very important to ensure the flag is always flown the correct way up. Care must be taken to ensure it is. When in such condition that it is no longer a fitting emblem for display, the flag should be destroyed in a respectful and dignified way, preferably by burning in private with appropriate care and respect. Flag display The flag should be hoisted with the correct way up, preferably with a pole. However, if it is not possible, the act of hoisting could be done with a rope. "Half Staff" or "Half Mast" - The flag is hoisted halfway up the pole to denote grief and mourning. In this case, the flag should be raised to the top of the pole first, then lowered halfway. Manner of hoisting - The Indonesian flag should be hoisted briskly and lowered ceremoniously. Usually, the flag raising ceremony is accompanied by the national anthem of Indonesia (Indonesia Raya), and people should salute the flag. The hoisting should be timed so the flag reaches the top of the pole as the national anthem ends.^[3] The Indonesian flag should never be fastened, displayed, used, or stored in such a manner as to permit it to be easily torn, soiled, or damaged in any way. Furthermore, there cannot be anything on the flag such as drawings, words, pictures and marks, nor can objects be placed on the flag.

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