WISATA NUSANTARA INDONESIA

Wayang shadow theatre In Bali Part 6

2012-02-25T19:21:00.001+07:00

To obtain a better understanding of the genre, identifying and defining the nature and scope of the performance structure of the Wayang Kulit Parwa is useful, since it is the most popular type of Wayang in Bali. The dalang sees this as the essential structure within which he operates. There are, in effect, 18 chronological activities. Although it is possible to omit a sequence or event, it is not possible to have, for example, extra love scenes or fighting scenes. Also, it is sometimes possible to reorder sequences for specific dramaturgical purposes. As with the earlier Shakespeare parallel, this following structural scaffolding is as important as the Western classical text itself:

Ritual offering and invocation. After all hospitality (food and social welcoming and greeting) and the apparatus are set up, the dalang begins to dedicate the opening offering (Peras Santun Pamungkah) to invoke divine guidance. A dalang also serves the segehan offering to the lower spirit in order to obtain spiritual support. The end of the dedication of the offering cues the musicians to begin their overture.
Musical overture/prelude, Gending Pategak. This piece technically tells the spectators that the Wayang Kulit performance is about to begin, while the musicians are ‘warming up’ with their instrumental music. Among numerous popular musical pieces, musicians often play Sekar Gendot, Sekar Sungsang, Merak Angelo, Cangak Merengang, Katak Ngongkek and Sulendro.
Opening of the puppet storage and performance box, Pamungkah, with some silent incantations by the dalang. After the dalang taps the box three times with his palm, musicians begin to play the Gending Pamungkah. Eventually the dalang leads the tempo of the music by knocking his wooden hammer (cepala) on the right side of the puppet box.
The Tree of Life, Kayonan, puppet dance. It symbolises the first creation of the universe through the evolution of five universal elements (the panca maha butha) of life: earth, water, fire, wind and ether. Regardless of the selected story and context of the performance, the Kayonan puppet always begins and ends the show, in addition to making appearances in between the acts (Babak or Babad). The Kayonan puppet dance is accompanied by a musical piece called Taru Mentik, blooming tree.
Casting, with the selection of story and preliminary arrangement of puppets. While the musicians display their skill by playing a number of pieces that they may choose, known as Oncang-Oncangan, the dalang independently recasts and prepares the puppets. For example, the same puppet previously used to represent the god Wisnu might be recast as Kresna. The next time it is used it may represent Rama, and so forth.
The second Tree of Life dance, to begin the first act. The dance is accompanied by a musical piece called Taru Keampehan, blown-out tree.
The entering scene with sung poetry, Alas Harum, Fragrance Forest, a music piece for soft characters, Candi Rebah, Slanted Tiara, a piece for demonic characters and the Bopong piece for strong/hard characters. All lyrics are in the Kawi language, which the audience only partly understands. Feeling the mood and atmosphere is more important for the spectators than fully understanding the meaning of the words. In this scene, the dalang begins to sing with a medium pitch, tempo, and power of his voice. This is the only opportunity for the dalang to warm up his voice.
ncantation and prologue, Panyacah. Narrating the early evolution and the creation of the universe, which resulted in the settlement of all the planets and life on earth, a dalang puppeteer must explore all possibilities of his voice, from the very soft through to the extremely loud, from the very low to the extremely high. The narration is in Kawi and is musically and spiritually enjoyed by the Wayang Kulit enthusiasts, often without an understanding of the text. The dramatic structure or story begins during the last quarter of this prologue, when the dalang recites: ‘Now it shall be told the appearance or the coming of . . .’.
The first court meeting scene, Patangkilan: (a) King interlude, Pangalang Ratu, (b) Servant interlude, Pangalang Parekan. Either one of the older servants, Twalen or Delem, but never Sangut or Wredah, entertains or praises his lord by singing a hymn or reciting a stanza of a kakawin. This hymn is called Tampak Silir, stepping on the same lane together, since the melody and the pitch of the vocal and instrumental should go simultaneously and exactly in the same step and tempo. In this meeting scene, the dalang uses at least three languages: the Kawi, Sanskrit and Balinese (low, medium and high). Sometimes he may even use the Indonesian languages and foreign words.
Travelling scene, Angkat-angkatan, accompanied by a number of ostinatic pieces. The dalang recites an elaborate song over short pieces of repeatable instrumental music (ostinato). Among the many pieces are Gedebeg, Srikandi, Bimakroda, Krepetan, etc.
Love/flirtation scene, Rebong. To many contemporary dalang who are not well trained in puppet manipulation skills, this scene is optional or substituted with the Ragragan comic interlude, although the Rebong is traditionally a requirement.
Sad scene, Tetangisan. Depending on the character, the scene has three different versions and each is accompanied by a different musical piece: Gending Mesem for soft characters with small, flat eyes, Rundah for demonic characters with sharp fangs and Bendu Semara for strong/ hard characters with big, oval or round eyes. Only one version may be performed at a time. Recently, this scene has also become optional.
The second court scene, Babad, of the opponent or antagonist character, although it may often be in another position in the sequence. Sometimes the meeting scene may be between the protagonist character and the antagonist.
Ragragan, comic interlude and social contemporary commentary. It appears continually anywhere from the travelling scene through to the end of the fighting scene. One comic court attendant, or possibly a pair, always appears for this commentary; it is an allegorical, often absurd, hilarious dialogue or monologue.
The dance of Bapang Delem. The boisterous court attendant, Delem, typically begins the second scene, always with his ever-sceptical younger brother Sangut.
Second travelling scene, Angkat-angkatan. Unlike the first travelling scene, this scene is more than mere travelling; it is, in effect, usually a group of rebels (ogre soldiers or monkey armies) going towards a battle scene.
Fighting or battle scene, Siat. This scene always signifies the climax of a play or a performance, no matter what story the dalang selects. The accompanying musical piece is Batel, which has the sound and tone of a battle.
Ritual dedication, Panyudamalan. In this sequence, holy water is arranged for the purification ceremony. The beginning of dalang’s incantation is a cue for the musicians to begin playing either the piece Panyudamalan or Bugari.

Except for the Ragragan interlude, each of these 18 categories is identified by, and must match with, the exact sequence of musical accompaniment. Musicians are independent from the dalang’s cues and dramatic activities only in phases 2, 5 and 18, but even to begin these independent pieces, musicians still wait for the cue from the dalang. In the rest of those activities, beyond those three pieces, the musicians must follow the dalang’s cues closely so they know whether to remain or to adjust and/or to change the piece, the rhythm or tempo (with an appropriate musical cadences) in accordance with the dramatic sequence and movements. Beginning from phases 3 to 4 and then from the phases 6 to 17, the musical accompaniment should closely follow the puppet movements, reinforce the dramatic mood or fuse with the dalang’s vocal arts to compose a musical drama. In Bali, a Wayang show never takes place without musicians. Dalang artists may

produce the conventional types of vocal arts, Tetandakan, only with a musical accompaniment.

An ensemble of gamelan music always accompanies the performance of Wayang Kulit theatre. Of the 30 existing divergent ensembles, three ensembles are traditionally affiliated with and employed to accompany a

Wayang show. The quartet or at least a pair (pangisep ‘male’ and pangumbang ‘female’ instruments) of the metallophone Gender Wayang music ensemble invariably accompanies the Mahabharata-based Wayang Parwa. When two medium-sized Kendang drums, a unit of cymbal, knobbed Klenang, Kajar and Kempur gong chimes are added to the quartet Gender music, then the ensemble is called the Batel Ramayana. This Batel music accompanies the performance of Wayang Ramayana, Wayang Calonarang and the Wayang Cupak. When the quartet Gender instruments of the Batel ensemble are replaced with several giant bamboo flutes and several instruments such as the Gumanak and Gentorag bells clusters, the ensemble is called Pagambuhan. This flute-dominated music accompanies the performance of the Wayang Gambuh, which is based on the Panji cycles. Just as the narrative repertoires are associated with different genres of performance, different ensembles are associated with a specific type of Wayang. Consequently, an audience would immediately recognise the specific type of Wayang that is being performed simply by hearing the music. In recent experimental productions, other instruments have been added.

The role of music is crucial in Wayang, because numerous dramatic moods, emotions and movements are properly established only by playing a certain piece with all its cadences, rhythm, melody and tempo. Although there is no room here to exhaustively discuss the important role of music to the Wayang, it is important to understand that certain musical pieces establish a certain dramatic event (such as travel or conflict) or mood (such as sadness or anger) even before any text is spoken.

Discussing how a dalang cues and collaborates with musicians is essential to understanding the process of creativity in performance. Except for the Ragragan interlude, each of the 18 chronological activities (astadasa karma) of the performance is identified by and must match the exact set of musical accompaniment. The musicians must closely follow the dalang’s cues whether to remain or to adjust and/or to change the piece, the rhythm, or the tempo (with appropriate musical cadences) in accordance with dramatic sequence and movements. The dalang cues and guides the orchestra as a conductor and musical director. Specific triggers for this dynamic relationship express themselves through the following: when the dalang raps rhythmically on the puppet box, tabuh cepala; when the puppet performs certain movements, or patterns of movement, during the dramatic narrative; when the dalang sings his lines; and when the dalang performs routine ritualistic actions. A dalang is often frustrated and uncomfortable when working with new musicians who do not share the same artistic approach or training as him.

The first sound that the dalang uses to cue his musicians, which sets the tempo of the opening piece, is manifested through a tapping sound. The dalang makes this sound by knocking or tapping the cone-shaped, wooden rattle on the puppet box; he holds the rattle in his hand or in the toes of his right foot. This is similar in function to a jazz drummer using a foot pedal. Three basic sounds of cepala/box are tak (single), blak (simultaneous double sounds when the dalang’s foot and the cepala hit the box), and tak-blak (alternately plural sounds when the first tak is immediately complemented by the second blak). Any composite patterns of the cepala are known as tabuh, a term which also refers to a compositional piece of Balinese gamelan music.

Wayang shadow theatre In Bali Part 5

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Although each dalang may develop his own distinctive rattle music with different degrees of proficiency and with a wide variation of sophistication, the function of the sound is the same. A dalang invariably employs the sound like a sensor to cue musicians to initiate and stop a motif. Similarly to a musical conductor with a Western orchestra, a dalang uses the sound to keep the beat and to adjust and control the tempo of the music. Most of the time a dalang employs the cepala rattle as a musical device to emphasise the cadence of puppet movements. The effect is similar to the percussive punctuations found in Chinese performance traditions, such as Beijing opera.

According to the rhythmical pattern and function of each type, the tabuh cepala is distinguished as follows:One stroke, tabuh pisan, has three divisions: a single tak, a single blak and a series of tak . . . tak . . . tak . . . tak. . . .

A single tak (only the cepala hits the box) begins a dialogue, speech or speaking.
A single blak (both foot and cepala simultaneously hitting the box) ends a sequence of action.
A series of tak begins a sequence of action.

A syncopated pattern of two, tabuh dua, accompanies the dancing of a puppet, or stabbing scene with the kris (sword) and the walk of a lame or crippled Wayang puppet character.
A syncopated pattern of three, tabuh telu, ends a speech.
A syncopated pattern of four, tabuh pat, accompanies fighting.
A syncopated pattern of five, tabuh lima, also known as ngebrag, accompanies Delem, the clown of the antagonist, as he dances, Bapang Delem, and for fighting with Gada (maces).
A syncopated pattern of seven, tabuh pitu, which is the (composite) pattern of three and four, follows the rest of the actions.

The first stroke is not counted, for it serves to warn the musician about the upcoming cue. In every case, the tabuh of the cepala rattle supports the action or movement of the puppets. It translates the dalang’s conception of character and the demands of the story’s action into tangible sound.

The second device that a dalang uses to cue his musicians is tetikasan, a term which refers to all puppet movements and manipulation. Musicians know that a certain character should have specific music for a certainoccasion, such as when entering or running and whenever a character is angry or sad or in love. Some pieces are even named according to the action of a puppet, for which the piece must be played. For example, the piece of Bapang Delem must accompany the entrance of the comic servant Delem. The piece Gending Garuda must accompany the dance of Garuda the eagle. A good Balinese musician demonstrates personal skill but must also be very attentive to the dalang’s cueing. Musicians do not have to be concerned all the time with the various puppet movements, but it is crucial that they be attentive to the transitional moments or actions. Most errors occur when musicians miss or time transitions badly, thereby frustrating the dalang. In some ways, the dalang is as concerned about the rhythm and impact of transitions in the narrative as a Western theatre director is about rhythm of scene endings and changes. In both cases, the energy and impact of the performance is damaged and the concentration/involvement of the audience is weakened when the performance fails technically in this respect. The Western theatre director spends much of the technical period of a production fine-tuning the required speed and rhythm of these changes, and the dalang works with and guides the musicians to the same end. Formalised movement and cadence, known as ngeseh angsel, a principal for all characters, is the most crucial among the movement patterns. Ngeseh is a jerky, physical cadence of the Wayang puppet, which is a cue that must be promptly responded to by the musicians in order to develop an angsel, an abrupt rhythmic pattern of syncopated accents followed by the orchestra, culminating in a sudden pause which suspends the music.

During a battle scene, the movement of a puppet shooting arrows, jabbing his fists, poking weapons and making numerous fighting gestures is comparable to the commanding movement of a baton in the hand of a Western music conductor. A good dalang is very aware of how these dramatic and extravagant sequences will excite an audience.

The third way a dalang cues his musicians is by loudly reciting dramatic terms. Some of those cuing devices are listed and translated below (Zurbuchen, 1987: 163):

bawisiati next, then, following upon

ari wawu just then, next, just as

agelis immediately, quickly

ari tedun upon the descent of

ari wijil upon the appearance/coming forth of

caritanen let it be told

warnanen let it be described

byatita formerly, in the part

saksana in the wink of an eye

kancit straightaway

This dramatic narrative is easier for musicians to respond to than the puppet movements and the pattern of the rattle. For example, when a dalang wishes to tell his musicians to begin the mesem (sad scene for Arjuna), all he needs to do is recite, ‘Therefore Prince Arjuna cries’, and the musicians respond accordingly.

Wayang shadow theatre In Bali Part 4

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The fourth device that a dalang uses to cue his musicians is by singing a line or phrase. Similar to the technique often practised in Western musical theatre when the actor signals the musical director by saying a particular word or phrase, a dalang simply starts by singing a line after which the musicians would promptly follow. For example, when a dalang wishes to begin the Rebong love scene, he may sing, ‘Fragrant aroma permeates the air . . . (Miyik ngalub malimpugan . . .).’ Other musical scenes that require a sung phrase to begin them include the Tampak Silir unison vocal and instrumental, Angkat-angkatan travelling scene, Peparikan seductive scene and the Genjekan drunken scene.

In terms of musical drama or narration, a dalang’s cue for his musicians to collaborate with him is a sine qua non. Based on interactivity between a dalang’s vocal art and instrumental music which complement the narration, the Wayang performance employs three divergent types of musical drama:

Tandak (tetandakan, plural) is the vocal art that embellishes the melody and faithfully follows the pitch and tone of the instrumental music. This type of vocal art is always used for entrance scenes, sad scenes and love scenes. For example, tandak alas harum is used for the appearance of refined characters. Tandak candi rebah is for the arrival of demonic characters. Tandak mesem is for a sad scene of refined characters with small eyes; tandak rundah is for sad scenes of demonic characters with sharp fangs; and tandak bendu semara is for sad scenes of strong/hard characters with big oval or round eyes.
Tampak Silir is vocal/instrumental music where melody, pitch and tone match. In the first meeting scene, Tampak Silir is usually sung by the servant or precedes the dialogue, narrating the features of each character who is about to speak. The lyric is usually a brief, flamboyant description about a great king, a resilient hero, a holy sage, a gorgeouspalace or a prosperous country.
Bebaturan are ornamental vocal arts, which are melodically free from, and far more elaborate than, the instrumental music. Unlike the tandak, in which the instrumental music is dominant, the vocal element in Bebaturan always dominates the ostinato of the instrumental pieces. This vocal type is used in the travelling scenes and some fighting scenes. The lyrics describe the situation or the mood of a specific character.

It is worth noting these musical processes as it indicates the detail and complexity of the relationship between the dalang and the orchestra that is at the heart of a performance. It is also worth remembering that although all know the structure every performance, the dalang is constantly improvising, adding comments and adapting the material so the dynamic of one performance and another, even of the same basic story by the same dalang, will be markedly different. These examples also demonstrate the enormous precise and technical detail required by the dalang. The local audience will be well aware of how the dalang is manipulating the techniques and materials and it will affect their response as the performance unfolds.

Finally, there is a cue that prompts the musicians to play a musical piece that is purely artistic, structural and/or ritualistic, without any association with dramatic characters. An example of this is the musical overture, which always begins a Wayang performance. When a dalang dedicates an opening offering, santun pamungkah, to God and then serves the segehan offering to the lower spirit in order to obtain spiritual support, the action serves as a cue for the musicians – a signal for them to get ready to play the piece. It is also a signal for the audience that the show will now begin and the audience do indeed become more attentive in anticipation of what will follow.

The stories used in Wayang come from various sources, and the Wayang genre indicates the name of the source. Wayang Ramayana clearly indicates the narrative source as does Wayang Parwa (Mahabharata), etc. These two major sources are known in translation, in the Javanese poetry kakawin, and are in many ways an adaptation, rather than the original Sanskrit. Various other sources exist also, some in verse, some in prose and some in a combination of the two. The other source stories originally come from India,

Indonesia or are indigenous to Bali.

Once the story has been chosen and the ideas formulated for how the dalang will approach its telling, the next task is to select specific puppets. Sometimes various puppets represent the same character according to the situation or mood. These variations are known as wanda and determine in many ways the style/tone of the storytelling. Sometimes the differences are simple, such as before and after ascending the throne for a prince: one with a kingly headdress and one with a simpler version. The most interesting example is with the character Gatutkaca, the son of the Pandawa hero, Bima; he has five wanda (the most of any character) that show specific aspects of his history. First, he is a baby puppet, Jabang Tatuka. Second, he appears encrusted with dirt, steel and iron for an episode where he is literally forged into a superhuman to challenge the monster Naga Pracono. Third, a puppet represents him in his customary form as a handsome prince. Fourth, he is a huge cloud-monster for the scene where he challenges Karna, the commander-in-chief of the Korawa army in a battle. Finally, he is featured as an abject creature when his armour is peeled away from his body. In recent years, the use of wanda in the performance has increased in the way that new puppets are constructed to represent different stages of a character, motivated by the search for more flexibility in puppet manipulation. New wanda are created to provide more complex movements, especially for comic characters and animals.

A dalang’s puppet collection (its size and range) does not completely limit which stories he can tell, as it is possible to substitute one character for another. The governing principle of this kind of substitution is that the borrowed puppet must suit the general type that is required by the play. A refined knight may represent another refined hero, a refined lady can represent another refined queen and an insignificant demon may represent another lesser-known ogre. A narrow-eyed soldier can represent any member of the army of the protagonists’ group used on the right side of the screen and a round-eyed soldier can represent any army’s member from the antagonists’ group at the left side. The names may be changed, as long as the puppet type is correct. This also allows the dalang to create new stories or heavily modify existing stories. As can be seen in the parallel discussion about Topeng, there is more ability to innovate than at first seems possible.

Another task for the dalang is constructing his puppets; although some dalang commission others to build their puppets, most create them themselves. Constructing and manipulating puppets are especially important

parts of a dalang’s ability to introduce creativity into his presentation today. Traditional puppets are often felt to limit development of a more expressive vocabulary of movements, tetikasan. In an outburst of creativity in recent years, dalang have created new puppets with expanded potential for movement. Additional joints are added in the neck, upper arms, waist, upper thighs and knees. Manipulatable hindquarters, wings, trunks and ears have been added to animal puppets. In addition to the traditional strings and sticks, added means of controls have been explored by using rubber bands, velcro, cables and even batteries. Characters that lend themselves to the greatest degree of experimentation are demonic and animal characters, as these characters are expected to move more extensively and with more agility than human beings. A fairly recently created genre, Wayang Tantri,

first performed in the early 1980s, is a good example of how this can be used to innovate. It is basically a fairy tale that features a smart girl, Tantri, who tells 1,001 stories within stories about clever animals she works with in order to prevent the king from seducing her. Completely new styles of puppets have been developed for these stories, often influenced by ideas from overseas. Unlike a traditional puppet, where a single stick fuses legs, upper body and head, in these puppets the tip of the main body stick is attached to the puppet’s temple and loosely bonded to the foot, freeing the body and head. This allows the dalang to manipulate the puppet in several ways; moving its foot up and down affects the body, hip and head; pulling a string attached to the head allows for head movements; pulling the string attached to the foot creates kicks; pulling the string attached to the jaw makes the puppet appear to speak. It may be done section by section or simultaneously depending on the desired effect. Many of the animals’ ears, wings, rumps, heads and body parts can move. Other new puppet creations have mushroomed in the last 20 years, helping to feed elements of modernity and energy, especially within new stories or genres. Some dalang have created puppets that have also expanded the traditional method of manipulation. These include a puppet riding a bicycle manipulated by batteries, string, cable and rods; a puppet that can be transformed from a human to a witch by pulling a string and another by turning the three-dimensional body; and corpse carriers with moving hands and feet. As in so much Balinese art, little resistance to change exists as long as it sits side by side with tradition and does not attempt to replace it. The experimentation is based mainly in new genres and the dalang perform the traditional work one night and the experimental another. This model of change and preservation is at the heart of the extraordinary dynamic behind Balinese performance. However, in the villages, the more traditional forms of presentation are almost always preferred. The only real exception to this is one young dalang who has recently become much sought after and includes a number of Westernised technical effects and innovative and humorous approaches to storytelling. One of his productions is looked at in detail later in this chapter.

Wayang shadow theatre In Bali Part 3

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In general, scenery in Wayang theatre is traditionally minimal. Two large demonic, multi-headed puppets frame the screen. The ‘one thousand eyes Butha Siu or Wisnumurti is always placed on the right side of the screen, while the ‘nine eyes’ Butha Sia or Ludramurti stands up on the left side. The dalang set their very first scene and define their performing area by planting these two puppets in the correct position. Except when these butha serve as characters, these puppets remain on their respective side of the acting area from the beginning until the end of the show. As a character, puppet Butha Siu is used to visualise the power of several good characters, while Butha Sia represents the power of many evil characters. Consequently, the puppets Butha Siu and Butha Sia symbolise the two opposing forces, rwa bhineda, on the right and the left side, respectively. The slightly smaller kayonan or Tree of Life puppet represents other scenic images in a flexible manner. In addition to beginning a Wayang

performance, it is used to shift one scene to another and to end a performance. This oval-shaped puppet often represents water, fire, wind, ocean, cloud, earth, forest, tree, house, etc. It is set within the acting area without changing the first basic framing of Bhuta Siu and Butha Sia. When manipulated in different specific ways, the kayonan can also represent a great variety of other images. As it is manipulated, the oil lamp that creates the shadow is partly covered with a petal of banana’s log to enhance the dramatic atmosphere. Western performance storytelling traditions have no equivalent to this single object that can have so many symbolic uses and meanings. It is typical of the economy and flexibility of all Balinese approaches to staging devices and objects in general.

The only other scenic properties the dalang traditionally uses are the temple-gate candi puppet and the kepuh tree puppet. The candi puppet represents a holy place, heaven or a meditative space and is always found on the right side of the scene. The kepuh tree puppet represents a cemetery. The kepuh tree is thought to be occupied by many magical evil spirits and is conventionally placed on the left. In recent years, some of the younger dalang have experimented with other projections, coloured lights and objects, but this practice has not yet been fully developed and only a minority uses it. The traditional dalang would argue, in a way that is familiar to proponents of bare-stage Shakespeare, that the narrative alone is sufficient to trigger the imagination of the audience and that such devices are unnecessary.

At the heart of most Wayang Kulit performances is the close relationship between the dalang and the audience, transmitted mainly through humour, which is often one of the key elements that determine the success of a particular dalang. The dalang combines satirist and stand-up comedian as he creates the central dialogue between the servants who carry the burden of narrative and comment on it. The rich humour covers all manner of territory including puns, malapropisms, humorous voices, comic puppet movements, misunderstandings, mistaken identities, sexual innuendo, stupidity, arrogance, infidelity, corruption, deliberate trans-linguistic mistakes, etc. Even tourists and foreign media may come under his withering scrutiny. It all depends on time, place and circumstance. It is essential that the dalang is topical and current in his social, political and local outlook and this affects directly the way the audience responds. Many (perhaps most) comic dialogues are composed separately and interpolated into a variety of plays. As a dalang expands or modifies his jokes, some improvised comic dialogues made up at a particular performance may be retained for other performances since there are no rules as to which comic dialogues can be used with any story. Interestingly, the Balinese see no problem for a serious temple event, such as a purification ceremony, to also involve a Wayang performance rich in humour: the serious and sacred can comfortably cohabit with the secular. It is tempting to compare this with the Elizabethan ability to switch back and forth between the holy and the tragic to the comic. The subtle separation in Bali is achieved simply by moving from the pre-performance ceremony in the sacred inner section of the temple to the middle or outer temple for the performance.

The four dominant comic characters in Wayang (the black, fat Twalen with his quick-and-sharp son Wredah, the braggart boisterous Delem and his slow younger brother Sangut) are, however, not just clowns. In some ways, they relate more to the philosophical clowns of Shakespeare than to the Commedia dell’Arte counterparts to which they are often compared. These court attendants, known as Panasar (foundation or base) characters, embody honesty and truthfulness and suggest ways to end corruption and dishonesty (de Boer, 1987b: 79–105). These dominant comic characters in Wayang often appear as moralistic agents who offer useful suggestions to their kings in times of misery or pressure. Historians suggest that these servants are indigenous Indonesian characters, since they are not part of the Indian epics but are always dominant in Wayang shows presenting the Indian epics. These historians also use the characters as evidence that Wayang may have originated in Indonesia.

The ancient manuscript Darma Pawayangan asserts the microcosmic and macrocosmic significant of these characters. In the microcosmos, ‘Delem belongs to the point from which the heart hangs down, Twalen to that of the liver, Wredah to that of the kidneys, and Sangut to that of the bile’ (Hooykaas, 1973: 21–2). In the macrocosmos, they are often identified with four aspects of the Highest Being; Twalen is the god Acintya who occupies the black part of fire; Wredah is the god Sanghyang Tunggal who occupies the white part of fire; Sangut is the Sanghyang Suksma who occupies the yellow part of fire; and Delem is the god Brahma who occupies the red part of fire. The clowns are thus in one sense aspects of the performer’s own body, yet simultaneously they make up the cosmic fire of the High God. These comic servants often also have a role as a saviour, interceding between humans and God and they act as advisors to those who rule.

The common comic characters in Wayang are not all hypocrites, impostors and cowards of the Western comic theatre tradition that, in other ways, share some characteristics with the Balinese clowns. Rather, they are the voice of the civilised and divine. While a set comic character in Western comedies may appear in a few separate plays (Brigella in Commedia dell’Arte, Karegoz in Turkish puppetry, Jan Klaasen in Dutch puppetry, Don Christobal in Spain, Petrushka in Russia, Vasilache in Rumania, Pavliha in Yugoslavia, Pulcinello in Italian puppetry or Policenelle in France) these characters in Wayang always appear in each and every performance of the Ramayana- and Mahabharata-based repertoire. It can be argued that ultimately Wayang uses comedy to comment on society, expose negative emotions and thoughts and suggest a better way to live. In this sense, most dalang would see that humour serves a more serious overall function, although many of the audience might only respond on the immediate, comic level.

The remaining core elements which the dalang uses in any performance are poetry and verse. Part of the improvisation in the performance of Wayang theatre also involves working with established kakawin verse and composing songs and poetry. Many dalang call this activity ngawi kakawin, which basically means to reinterpret and give new meaning to the kakawin. The dalang is able to move between Balinese and the classical kakawin language, changing and adding or substituting words and phrases. Precise rules govern this poetry concerning number of lines and syllables, according to the particular form. The dalang can combine different source lines and even construct new lines in a similar style and sound. When the newly constructed sequence does not completely match the rules, the dalang may avoid this verse conflict by speaking instead of singing the lines. In essence, the dalang is creating his verse script by borrowing, adapting, editing and adding to existing lines and phrases.

Most dalang discuss the influence of the stage, i.e. place, on their performance. Dalang feel there are two categories of performance venues: a generous and an ungenerous stage. The generous stage is typically supportive and lends itself to the performance’s success, while an ungenerous stage tends to give a negative influence. This ungenerous stage is often referred to as a demon-occupied stage (panggung gamangan or median), because people, especially dalang, believe that demonic spirits (the Indian Natya Sastra calls them vigna) are being hostile and disruptive. The major indication of this demon-occupied stage is that the audience is not attentive. The performance atmosphere is busy and noisy, jokes fall flat and the dalang can feel it is a struggle to establish tranquillity and concentration. This is not so different, in effect, to the response of Western actors to certain stages that are considered difficult to play, whereas others seem to always work well in spite of the show. In common with the dalang, many Western actors are also deeply superstitious and indulge in rituals. The fear of speaking out loud the word ‘Macbeth’ in a rehearsal room is a good example. In most theatres across Europe and North America, many actors are disturbed and upset by this breech of superstitious law and in some theatre companies, the guilty person must leave the room and ‘purify’ by uttering obscenities before returning to the room. Some theatres have even more detailed rules

of purification. In Bali, the dalang also resorts to systems to conquer the evil sprits who are trying to disrupt his work.

A more experienced dalang might exert extra-theatrical approaches to pacify demonic spirits through dedicating an appropriate offering, segehan, and reciting the incantations for demons. He might dedicate offerings at each corner of the building before the performance in order to appease the Butha Kala demons. However, the dalang is also practical and uses skill-based devices to conquer the space. Typically, a dalang may attempt to shorten his performance by rendering only the main plot and eliminating subsidiary stories. He may attempt to enliven the performance by improvising, making adjustments, expanding the dance sequences, elaborating fighting scenes and perhaps giving less attention to philosophy and diction. The performance becomes more acrobatic and less edifying, but the audience is happy.

Similar worries about the place of performance relate to direction, as thedalang must ensure that the staging is correctly orientated to the correct holy place. It is all part of the dalang’s sense of his spiritual role in addition to that of entertainer. To win God’s favour, the Wayang performance is mostly expected to face the shrine, towards the pure direction, to offer the performance for God. In case the booth for any reason does not face the holy direction, the dalang needs to adjust his direction internally or spiritually until he reaches the right direction and feels that he has shown the proper respect for the dwelling place of God; he tries to feel that he himself is the dwelling place of God. Only then can a performance begin and the dalang feel confident enough to face the many performance challenges ahead. In addition to all the preparation already explained, he is expected to deal with the unexpected.

The unexpected includes, for example, the inability to find a specific puppet in the midst of rapid sequences involving the passing back and forth of numerous puppet characters in a battle sequence. Some dalang might grab another, probably a comic character, and desperately improvise until an assistant locates the absentee, but others would simply leave the screen blank and wait until it is right to continue. The dalang, spiritually ready, technically organised, flanked by his assistants and watched by a waiting orchestra, is ready to begin. The following description is fairly typical of a Wayang Kulit performance that is part of a temple event, although in this case it is by the young and popular dalang, I Wayan Nardayana. It took place at the temple Pura Desa of Batuan village on Monday, 27 March 2006 in conjunction with the village purification in anticipation of the upcoming Nyepi, lunar New Year. In general, it followed fairly typically the rules and sequences already described but a few surprises and departures are worth noting. This dalang already has a strong following and is the highest earning dalang in Bali; he is known for using clever humour and employing technical, special effects. Some more traditional dalang have some reservations about the way he innovates, but the audiences clearly adore his performances. Like any dalang, he will always be acutely aware of the audience response and vary his performance according to the immediate affect it is having.

Wayang shadow theatre In Bali Part 2

2012-02-25T19:15:00.001+07:00

Before the puppet performance, the ceremony is, as always, in full swing with large numbers of villagers milling around the outer and middle courtyard in particular. In the inner courtyard, villagers gather to pray and to present offerings. During the short ceremony, the worshippers place flowers behind their ears as a gateway to the gods and they are blessed with holy water. This ceremonial aspect is an important prelude to the performance as it is a conditioning into the more serious purification process of which the Wayang itself is a part. The offerings contain fruits, flowers, chicken, pork, incense and rice. There is no absolute rule, but generally men use white and fairly neutral-coloured clothes for attending the temple, whereas women wear bright colours such as pink, blue, orange and

green. Women carry the offerings sometimes on their heads and sometimes in baskets or in metal containers.

Everyone finds a place on the concrete floor to pray as they sit and remove their shoes. Each person puts a small offering of flowers (needed for praying) and incense next to them on the ground, usually displayed on bases made out of banana leaf. Some people prepare small bunches of flowers arranged on a cone made of banana leaf. As the ceremony progresses, an allfemale gamelan orchestra plays in the background and a female singer sings into a microphone. After the holy water blessing at the end, the priest gives out rice to the attendants to distribute to the worshipers, who stick the rice onto their foreheads and throats as a sign that they have been purified and blessed. Putting the rice on the forehead signifies a request to the gods to

bless your mind and on the throat is a request to the gods to bless your heart. Once the rituals are complete, the villagers head off to watch the other events around the temple.

While this ceremony is taking place, the dalang and his team are preparing for the performance that will follow. This dalang has a larger than usual retinue of assistants and, unusually, two trucks and a minibus to transport his equipment and staff; this is an indication of his commercial success and popularity. The orchestra’s instruments are all arranged in a specific pattern and order behind where the dalang will sit, in the centre of the screen 60cm away from it. The screen is made of white, cotton cloth and suspended within a wooden frame that is painted red and gold, decorated with carved animal faces painted in pink, red and green. At the base of the screen on the dalang’s side is a log of a banana tree into which puppets can be stuck at various points during the performance, as the interior is soft. The screen itself and the platform that the dalang and musicians sit on are raised above the level of the concrete ground on which the audience will sit, so it resembles a low Western stage. However, what is entirely different and unique about the performance that will soon follow is that it can be viewed from multiple perspectives. It is not just in-the-round theatre, as the villagers may watch from the front, as though viewing a proscenium stage or from the back where they will not see shadows but the entire back-stage performance of musicians, dalang and his assistants. It is also possible to see from the side that allows partial view of both perspectives and spectators are allowed to move around from time to time and witness from different points as the performance progresses. The audience who stay at the front have an entirely different viewing experience from those at the rear.

The area behind the screen is crowded with musical instruments, electrics and sound-system cables, musicians and microphones on stands for the three female singers/narrators that will support the dalang and four assistants. These assistants will pass puppets back and forth, operate light and sound cues, prepare small props and help the dalang by passing water to him to drink and mop his brow. This is unusual as most dalang work alone on the narrative aspects of performance and are supported only by two assistants, one on each side. For this performance, a maze of entangled wires is everywhere, some connected to a home-made dimming system constructed from domestic light-dimmer switches. Above the screen is a small oil lamp that is mainly there as a decorative token reference to the oil light that usually illuminates the whole show. This dalang favours an electric source light that fits more comfortably with his use of special effects, with coloured lights and a smoke machine that is suspended in the centre at the top of the shadow screen. Within this packed, small area behind the screen the real drama will take place as the performance begins.

A high-pitched note from the gong strikes to indicate the beginning of the shadow performance and to get the attention of the audience. The lights behind the screen are turned off as a signal that all is about to begin. There are now already about 60 onlookers watching the preparations behind the screen, some gently pushing each other to get a better view from behind black, short curtains that extend a metre and a half above the ground and partially separate, without obscuring the view of, the performers from the observers at either side of the screen at the rear. In the main audience area in front of the screen, about 200 villagers are finding places to sit on the concrete ground. The singer and gamelan begin to establish the atmosphere by playing an overture. The music progresses with an interplay between the vocal singing of the three female narrator/singers and the instrumental music.

Instruments

1 Riong

2 Kepyak (bamboo flutes) x 8

3 Ceng ceng Kopyak (big cymbals) x 6

4 Kantil x 2

5 Gangsa x 2

6 Gender Rambat x 2

7 Kajar (top) and Tambur (bottom)

8 Three medium drums

9 Two small drums

10 Area for women chorus (3) and musical equipment

11 Puppet box

12 Smoke machine, with oil lamp on top

13 Modern theatre light for special effects and additional red and green light

14 Ornate screen Kelir

15 Calung x 2

16 Klentong (small upright gong)

17 Kempur

18 Gong

19 Klenang (small flat gong)

20 Rincik (small ceng ceng)

Black boxes represent the musicians.

A Dalang

B Left assistant

C Back assistant

D Middle assistant

E Right assistant

The dalang enters the performance space and commences an offering ritual. He takes his position on a small bench and concentrates on the ritual. An assistant has prepared the offerings that sit on top of the puppet box. The dalang’s offering ritual includes lighting incense, praying, offering flowers to the gods and sprinkling holy water and rice on himself, the stage and the screen; he also places petals on his head and on the light box. After the dalang has completed the offering, the assistants also pray and bless themselves with holy water and rice. The clearing of the offerings follows as the flowers and other items are removed from above the box and out of the performance space.

At this point, the assistants unlock the puppet box and carefully bring out the puppets. One helps to untangle puppets while the others help to separate the puppets according to side of entry, as evil characters are taken to the left side of the screen and the good ones are taken to the right (as described earlier in this chapter). The assistants empty the box of puppets and place some against the screen and lay some on the floor by their sides. The overall effect is of a full company of actors appearing on stage at the top of a show. Although not all the puppets will necessarily be used during every performance, they all belong to the story. By the end of preparations, there are about 20 puppets on either side of the screen, framing the all-important Tree of Life puppet in the centre and the other Tree of Life puppets that have different designs, according to their later functions. After 15 minutes of overture, the dalang establishes his presence from behind the screen with

a sharp tap on the hinged side of the puppet box using the rattle that he holds with his right foot. The dalang swirls the Tree puppet around the screen, ritually to begin the performance, and then introduces the main characters one by one until the screen is cleared of the cast. As they are rapidly introduced, the orchestra plays and sometimes the female narrators sing. As soon as the Tree puppet appears, the audience fall silent for a few moments. The dalang of this performance also incorporates a flashing white light from the back and smoke effects from an electric smoke machine. He sometimes uses this effect when he needs to change the character that is on the screen, as it gives an illusion of the character transforming into another, rather than simply being exchanged for another. The audience applauds happily when they see these simple, but effective, special effects. The Tree of Life is the last puppet left and begins the dance again. This time the lights are more embellished. The music becomes louder and the red lights are darker and more intense, smoke effects suddenly appear as the dalang quickly exchanges the Tree of Life puppet with other, scenic, background puppets. The scene is transformed and set for the story and narration to commence. Throughout this preliminary sequence, the audience in front of the screen has already swollen to about 1,500 and the area is packed, with additional villagers standing in rows at the side of the sitting audience. At the rear of the screen, over a hundred observers are jostling to get a better look at the action of the performers.

It is now past 9:40 p.m. and the story itself not yet begun. The excitement in the audience builds in anticipation. These long preliminar sequences, from the blessing ceremony in the inner temple to the rituals

backstage and the musical overture, are an essential part of the performance process; the story that will follow is completely integrated into the other aspects of temple and village life. The morals and meanings buried within the story are automatically understood in this context and need little highlighting by the dalang. In addition, the enjoyment of the performance is increased and heightened by this ritualistic and ceremonial conditioning process, as the villagers have had time to anticipate the pleasures that will come.

The dalang now begins the main, long evening of work as he tells the story through the sequences and events described generically earlier in the chapter. Throughout the performance, the audience in front of the screen grows larger, reaching at its peak around 2,000, including a full range of villagers from babies to their grandparents. Generally, it is a male audience standing around the perimeter and the women and children and some men sitting in the centre. Gales of laughter punctuate numerous scenes with the servant/clown puppets, which carry the main burden of telling the story. In between the traditional scenes are local and contemporary jokes and references, sometimes drawn out for long periods by the dalang by techniques of exaggeration, repetition and pauses; he is clearly enjoying the control he has of the event. His assistants, on either side and behind, frantically pick up and pass the puppets back and forth. He cleverly blends verbal humour and comic voices with deft manipulation of the puppets, sometimes moving them subtly and at other times sweeping them energetically across the screen; his special effect coloured lights and smoke enhance the moments of transformation and drama in an innovative and theatrical way. Perspiration pours from him as he uses immense physical energy in controlling the orchestra by beating his foot and hand against the puppet box, constant speaking and singing and manipulation of dozens of different puppets, some comic characters such as Delem requiring additional manipulation of a mouth that can move along with the words.

The frenzied performance reaches a climax in the final fighting or battle scene between Hanoman and the giant demon. During this sequence, puppets are actually hurled across the screen, some with specific weapons alongside them, as the orchestra builds the tempo to the cues of the dalang. Unusually, this dalang keeps the battle short and it is over within a few minutes, whereas many more traditional dalang elongate it to more than double the length. The audience all know that the Wayang is nearly complete and some then begin to head off home at the end of a long night. The performance quickly comes to an end, close to midnight, with final social comments about present state of life in Bali and the defeat of the evil demon, who is not killed but transformed into a priest.

From the prayers at the beginning of the evening to the transformation of the demon at the end, the purification focus of the temple events has been clear. The performance was a part of an overall scheme and not a separate element in itself. In many ways, the dalang has combined the function of priest and entertainer and reinforced messages about the way the worl should be. The Wayang shadow performance demonstrates extraordinary technical skill and individual, virtuoso performance abilities, but it is also aform of profound and fascinating storytelling that allows intellectual and emotional creativity to flourish. The outer structure is at first sight rigid, but within that framework this dalang, like so many others, has demonstrated a wide range of individual choice, taste and personally developed skill, it is not a central figure that is the focus of performance, but the overall ritual experience of an event. In Sanghyang, the individual performer is not concerned with demonstration of technique or depiction of character. Unlike Wayang, this form, although aesthetically pleasing to the outside observer, is concerned with devotion and intense religious experience for villagers and performers. Unlike Wayang there is in effect no narrative and no concern with entertaining and communicating with colloquial interspersions to the worshippers. Sanghyang is far removed from Western theatre and most other Balinese performance traditions.

Wayang shadow theatre In Bali Part 1

2012-02-25T19:07:00.000+07:00

The shadow-puppet theatre. The puppets represent animals, demonic beings, mythical figures, human beings of all social strata, heavenly beings and scenic props or figures. In a Wayang Kulit performance, a dalang puppet master silhouettes these flat, cut-out figures against a translucent, white screen with an oil lamp as a single source of light. While Wayang theatre has a fixed structure and dramatic characters, its performance invariably involves the creativity and improvisation of the dalang. He (although the dalang can be male or female, for ease of convention the dalang is referred to as ‘he’ throughout this book) is the creator and central focus of the Wayang performance, because he unites the role of dramatist and performer. The dalang has been responsible for passing down

culture and tradition from one generation to another. He is also an interpreter of philosophy and religion and an accomplished actor responsible for the detailed vocal characterisation of each puppet. In addition, he demonstrates complex musical skills in his interaction with the live gamelan orchestra that always accompanies a performance. He frequently drums with one foot, against a wooden box, as percussive punctuation to the performance and as a system for cueing the orchestra. So, he is simultaneously solo performer, adaptor, director, puppeteer, musician and musical director. Sometimes, when a performance has a ritual purpose in certain temple ceremonies, he also functions as priest.

Broadly speaking, Asian theatre forms are presented in the West as strictly codified. Many tend to believe that stylisation equals repetitive reproduction in performance of a series of gestures and musical sequences learned by rote; the subjects of creativity and improvisation in this art are unfortunately overlooked. Wayang Kulit is a good case study of how a performer blends detailed personal interpretation within a complex structure of rules and traditions.

Behind the Wayang Kulit screen

This creative element is known as kawi dalang, which means the creativity (kawi) of the puppet master (dalang). The kawi dalang is not only crucial in perpetuating the genre, but it also allows each production to be distinct and unique, even though the dalang may perform the same story over and over again. Kawi dalang demands that each performance changes in accordance with the fluctuating place–time–circumstances, desa–kala– patra, so in fact every performance is in some ways unique. Thus, kawi dalang is a term in the Balinese traditional theatre that solely deals with the dalang’s creativity and improvisation in his performance. Kawi refers to two different things: an action of aesthetic creation and the name of a language. With reference to the action of aesthetic creation, it means creation, improvisation, invention, or modification. One who composes a play is called pangawi, meaning creator or composer or poet. This term is composed of the prefix pa, a tool or an agent, added to the root word kawi, creation. Kawi also refers to the old Javanese-based language that court poets (pangawi) traditionally used and developed. They translated and transformed the Sanskrit source version of the Indian epics Ramayana and Mahabharata into the new Javanese version known as kakawin, which is the plural form of Kawi. This is all important as it indicates another layer of complexity in the world of a dalang – he has to juggle linguistic problems as he decides when to use Sanskrit (the source language of the two key epic stories, Mahabharata and the Ramayana, on which all performances are based) and when to use Kawi or the vernacular. Neither Sanskrit nor the Kawi language are much understood by the majority of audiences, so most of the language is spoken in the vernacular with some sections of Kawi interlaced. Kawi, for example, is much further removed from everyday speech in Bali than Shakespearian English is for a contemporary audience in England or the USA. In the context of kawi dalang, however, Kawi is not primarily used as the name of a language, but rather refers to the created arts and improvisations of a dalang. According to the ancient sacred treatise, Darma Pawayangan, the dalang is entitled to say anything that can be said (Hooykaas, 1973: 18–19), including making a new interpretation of any established name or term. In effect, this means that he is free to change and adapt the stories as he wishes and in Bali one may see radically different presentations of the same source material.

Wisata Jogja

2012-02-25T14:58:00.003+07:00

Jogja? Yogya? Yogyakarta? Jogjakarta?...Mana yang benar. Berbicara tentang kota ini memang tak ada habisnya. Banyak tempat pariwisata yang menarik dan mengagumkan di setiap sudut kota, dan apapun yang anda cari di sini segalanya ada. Kata orang sih, Jogja adalah surga dunia, dan memang tak pungkiri lagi.

Apabila anda ingin berwisata di Jogja, banyak pilihan wisata yang terdapat di kota ini, antara lain:

Wisata Kuliner : Banyak sekali tempat-tempat kuliner yang recomended, mulai dai kantong mahasiswa sampai kantong Presiden dan pejabat pun ada.Selain wisata yang lazim dimakan, Di Jogja terdapat pula wisata Kuliner Extrem, yang tidak lazim untuk di konsumsi.
Hotel Yogyakarta : Semakin meningkatnya wisatawan baik lokal maupun internasional, membuat bisnis perhotelan dan persewaan hunian merebak. Banyak pilihan hotel yang tersedia mulai dari yang ekonomis sampai yang eksekutif.
Wisata Pendidikan, Tradisional, Modern : Sebagai Kota pelajar Jogja memiliki potensi di bidang pendidikan, tetapi bukan hanya itu saja, Jogja memiliki kebudayaan yang terjaga.
Wisata Religi: Begitu berkembangnya jaman, sehingga wisata ini menjadi daya tarik tersendiri bagi yang ingin menikmati kejayaan masa lampau.
Wisata Alam: Wisata alam yang di suguhkan di Yogyakarta tidak kalah dengan wisata-wisata alam yang ada di daerah lain, Seperti Pantai, danau, sungai, Bukit, Pegunungan dan masih banyak yang lainnya.
Wisata Budaya: Walaupun jaman semakin maju dan modern, tetapi Jogja tidak pernah melupakan budaya dan Tradisi nenek moyang nya. Hingga saat ini Jogja tetap menjaganya dan akan terus di jaga sampai cucu cicit kita.
Wisata Belanja : Banyak tempat perbelanjaan yang menjamur di Jogja. Banyak Pilihan jenis dan harga yang sesuai.

Sekilas saja di atas hanya sedikit dari banyak wisata yang disuguhkan di Yogyakarta, mungkin belum saya sebutkan semuanya, tetapi setelah anda samapi di Jogja, anda tidak akan kehabisan pilihan untuk pergi ke tempat wisata pilihan dan keinginan anda.

Selamat Datang Di Daerah Istimewa Yogyakarta.

Hotel Puspita, Yogyakarta

2012-02-25T11:43:00.001+07:00

Hotel murah di Yogyakarta ini menyajikan nuansa klasik rumah Joglo. Suasana yang nyaman dan sejuk, dikombinasikan dengan bangunan yang klasik tetapi tetap terlihat anggun. Letaknya yang strategis yaitu berada dekat dengan Malioboro, Keraton, Taman Sari,dan Prawirotaman(kampung turis di Yogyakarta). Letaknya yang strategis lainnya Hotel Puspita yaitu, memudahkan Anda pergi ke Kotagede, Kasongan, Pantai Parangtritis, dan obyek wisata lain di Yogyakarta. Langsung saja saya kasih informasi tentang Hotel Puspita yang murah dan nyaman ini.

Fasilitas:

Kamar-kamar di hotel puspita dapat menampung hingga 120 orang
Dapat menjadi pilihan tempat bagi anda yang berpergian baik dengan keluarga ataupun rombongan.
Dikenal dengan hotel yang artisik, puspita hotel memiliki tarif harga yang murah dan juga bersih.

Lokasi:

Jl. Mayjend Sutoyo No. 64 Yogyakarta

Harga Sewa:

Dibawah 200 ribu.

Hotel Wisma Artha Yogyakarta

2012-02-25T01:07:00.000+07:00

Ingin penginapan murah di Yogyakarta atau Jogja dengan fasilitas lengkap, disinilah tempatnya. Sangat tepat bila anda berwisata rombongan untuk menginap di hotel ini (6 orang). Penginapan ini juga dekat dengan berbagai wisata di Yogyakarta, seperti Kota Gede dan Kebun Binatang Gembira Loka. Yah, langsung saja saya kasih informasi detail tentang hotel ini, di jamin puas.

Lokasi:

Jl. Rejowinangun No. 15a Kotagede, Yogyakarta.

Fasilitas:

Terdiri dari 50 kamar dan 2 paviliun
Kolam renang dan warung steak yang terletak di lantai 2 untuk melengkapi fasilitas
Ruang pertemuan hingga berkapasitas 300 orang
Kamar yang dilengkapi kipas angin dan kamar mandi dalam
Restoran
Ruang pertemuan
Free hot spot

Kamar dan keterangan:

Martha Room		2 persons, Additional fee of IDR 35,000,- is charged for every addition of 1 person in the same room
Family Room		maximum capacity of 6 people AC, TV, Living Room, Bath Room

Rumah Yogya Hotel dan Family Guest House

2012-02-25T00:57:00.002+07:00

Hotel yang satu ini memiliki tenpat yang benar-benar strategis. yaitu tempat-tempat penting yang dibutuhkan semua orang, seperti, kantor pemerintah, Rumah Dinas & Kantor Walikota, Gedung DPRD Kota Yogyakarta, Kantor Taspen, Kantor Pengadilan Agama Prop. DIY, Gedung Mandala Bhakti Wanitatama, Jalan Malioboro, Keraton, Terminal Bus Giwangan, Stasiun Kereta Api Tugu & Lempuyangan, Kebun Binatang Gembira Loka, Rumah Sakit Happy Land, jalan Solo-Yogya, Ambarrukmo Plaza, Saphir Square Mall, Jogja Expo Centre (JEC).

Lokasi:

Jl. Timoho (Ipda Tut Harsono) No. 51 Yogyakarta, Utara Kantor Walikot. Yang terpenting akses menuju pusat dan keinginan anda sangat dekat.

Fasilitas:

AC
Hot/Cold Water
24 Hour Room service
Laundry

Tipe dan keterangan Kamar:

Suite Family's Guesthouse		1 Guest room, 3 Bed room, 3 Twin Bed, 1 Refectory, AC in every room, TV in every room
Deluxe Family's Guesthouse		1 Guest room, 3 Bed room, 3 Twin Bed, 1 Refectory, AC in every room, TV in every room
Standard Plus Family's Guesthouse		1 Guest room, 2 Bed room, 2 Twin Bed, 1 Refectory, AC in every room, TV in every room
Standard Family's Guesthouse		1 Room, 2 Twin Bed, AC, TV, Shower and western closet, Waterheater, Drink, Breakfast
Suite Room		Twin Bed, AC, TV, Shower with bathup and western closet, Wastafel, Waterheater, Drink, Breakfast
Junior Suite Room		Twin Bed, AC, TV, Shower and western closet, Wastafel, Waterheater, Welcome drink, Breakfast
Deluxe Room		Twin Bed, AC, TV, Shower and western closet, Waterheater, Welcome drink, Breakfast
Standard Room		Twin Bed, TV, Fan, Welcome drink

Hotel House 140, Yogyakarta

2012-02-25T00:50:00.000+07:00

House 140 adalah hotel yang cukup ekonomis (tarif dibawah 150 ribu), pelayanan hotel ini pun juga bagus. Bagi anda yang mencari hotel murah di Jogja anda dapat datang langsung ke Hotel 140 ini. Langsung saja saya kasih inormasi tentang Hotel ini.

Lokasi:

Jl. Maguwo No. 140 Wonocatur Yogyakarta, lokasi yang strategis karena dekat dengan Bandara Yogyakarta Adi Sutjipto, hanya sekitar 10 menit. Dekat dengan JEC, Sekitar 2 km.

Fasilitas:

House 140 menawarkan 16 kamar dengan desain modern minimalis, yang dilengkapi dengan fasilitas seperti AC, TV LCD.
Tempat parkir luas
Free informasi tempat wisata, oleh-oleh, dan kuliner Jogja
Dekat JEC, Bandara, halte bus Trans Jogja, RS, Minimarket
Free Wi-Fi
Tersedia jasa rental sepeda, sepeda motor, mobil
Lapangan bulutangkis
Private bathroom
Layanan Taxi
Tersedia fasilitas berfoto dengan atribut khas Jogja
Balkon

Tarif dan layanan:

Standard Room	Rp -	2 persons, fan, mattress, share bathroom
Premium Room	Rp -	2 persons, LCD TV, 1 springbed 1,6x2 m, private bathroom
Deluxe Room	Rp -	2 persons, AC, LCD TV, 1 Springbed 1,6x2 m, private bathroom
Family Room	Rp -	4 persons, AC, LCD TV, 2 Springbeds 1,6x2 m, private bathroom

Extra charge pada libur Lebaran, Natal, dan Tahun Baru
Extra Bed: Rp 30.000/malam
Harga sudah termasuk sarapan, teh, dan pelayanan
Anak usia 12 tahun atau lebih, dihitung sebagai 1 orang
Check in time: 13.00 WIB; Check out time: 12.00 WIB
Harga dapat berubah sewaktu-waktu tanpa pemberitahuan terlebih dahulu

Hotel Grand Aston Yogyakarta

2012-02-24T22:13:00.001+07:00

Hotel Grand Aston Yogyakarta, Hotel baru yang didirikan oleh Aston Group, menambah pilihan hotel-hotel berbintang yang ada di Yogyakarta. Dengan konsep modern dan elegan, dan fasilitas yang tidak kalah bersaing menjadikan hotel ini recomended untuk anda. langsung saja, saya kasih informasi tentang Hotel Grand Aston Yogyakarta ini (Hotel Modern di Pusat Kota Yogyakarta).

Lokasi:

Jl. Urip Sumoharjo No. 37, Gejayan, Yogyakarta, Indonesia

Fasilitas:

Hotel berbintang 5 ini terdiri dari 141 Kamar tidur dengan dengan 9 lantai
Boutiques/stores
Business center
Parkir
High speed internet access
Kolam Renang
Parkir
Coffee shop
Restaurant
Fitness center or spa

Tipe dan tarif Kamar:

Superior	Rp 1.140.000,-
Deluxe	Rp 1.330.000,-
Executive Suite	Rp 5.700.000,-
President Suite	Rp 7.600.000,-
Extra Bed	Rp 300.000,-

Hotel Sheraton Mustika Yogyakarta

2012-02-24T22:02:00.004+07:00

Hotel dengan nuansa Jawa banget tetapi mengedepankan kemodernan dari hotel ini. Sheraton Mustika Yogyakarta, adalah hotel berkelas yang memiliki luas 5,6 hektar. Dengan fasilitas yang mumpuni dan bersaing. Dengan misi membuat pelanggan nyaman dan betah berlama-lama di tempat ini. Tidak salah lagi bagi anda yang ingin menikmati Yogyakarta dengan nyaman dan fasilitas yang lengkap, hotel ini sangat recomended untuk anda. Berikut uraian info mengenai hotel ini.

Fasilitas:

Restaurant
Fitness center or spa
Boutiques/stores
Kolam Renang
Parkir
Business center
Coffee shop
Kolam Renang
Parkir
Business center
Coffee shop
High speed internet access
Dry cleaning

Lokasi:
Jl. Laksda Adisucipto KM 8.7 Yogyakarta Indonesia 55282

Tipe Kamar dan tarif:

Lagoon Access	Rp 1.826.000,00
Club Room	Rp 1.606.000,00
Garden View Room	Rp 1.441.000,00
Vulcano View Room	Rp 1.452.000,00
Junior Suite	Rp 2.376.000,00
Lagoon Suite	Rp 2.341.000,00
Executive Suite	Rp 4.631.000,00
President Suite	Rp 9.966.000,00
Royal Suite	Rp 17.666.000,00
Extra Bed	Rp 350.000,00

The Cangkringan Jogja Villas

2012-02-24T21:54:00.000+07:00

Hotel yang terletak di bawak kaki gunung merapi ini memang nyaman dan bersih serta memliki hawa sejuk yang nyaman. Memiliki arsitektur bangunan Klasik Jawa dan modern. Fasilitas yang bagus dan lengkap di tonjolkan di hotel ini.

Lokasi:

Jl. Raya Merapi Golf, Desa Umbulharjo, Cangkringan, Yogyakarta INDONESIA 55583

Fasilitas:

Tiketing
Staf Multi-lingual - Laundry
Pusat bisnis
Fasilitas rekreasi
Kolam renang pribadi
Martha Tilaar Spa
Antar jemput ke Bandara dan Stasiun
Area parkir pribadi
Penyewaan mobil
Tennis court
24 jam Pelayan kamar
24 jam dokter panggil
Layanan cuci mobil
Biking & Jogging Track
Billiard
Gym
Pusat bisnis
Fasilitas rekreasi
Kolam renang pribadi
Martha Tilaar Spa
Tennis court
Chipping Golf

Tarif Layanan Kamar:

Kemuning Villa	Rp 760.000,00
Maya Villa	Rp 980.000,00
Manggar Villa	Rp 1.172.500,00
Mayang Villa	Rp 1.750.000,00
Gading Villa	Rp 2.300.000,00	Honeymoon Suite
Arum Dalu Villa	Rp 2.483.000,00
Extra Bed	Rp 200.000,00

Agrowisata Turi, Yogyakarta

2012-02-24T21:30:00.000+07:00

Lokasi wisata yang satu ini layak untuk anda kunjungi, udara yang sejuk, bersih nyaman membuat lokasi ini ramai dukunjungi wisatawan yang ingin refreshing menghilangkan keletihan dan panasnya kota. Agrowisata turi terkenal lantaran salah satunya adalah salak pondohnya. Pohon salak pndoh yang menyerupai pohon kelapa sawit, banyak rapi dan rimbun menambah enak pemandangan mata kita.

Fasilitas:

Kita dapat mengelilingi kebun salak pondoh didampingi oleh pemandu wisata, selain menikmati hawa yang sejuk dan keindahan pemandangan kita pun dapat menikmati segar dan manisnya salak pndoh yang langsung di petik dari pohonnya(40 menit).
Selain kebun salak, dilokasi ini juga menyediakan kolam renang, kolam pemancingan, perahu dayung di kolam dan taman bermain untuk anak-anak.
Di tempat ini belum ada penginapan yang reprentatif, tetapi anda dapat mencari hotel di dekat lokasi ini.

Harga Tiket:

Harga tiket untuk mengelilingi kebun saja di patok 5000 rupiah, sedangkan apabila anda ingin memetik dan menikmati salak dikenakan biaya 15.000 rupiah saja.

Lokasi:

Terletak di dusun Gadung, Desa Kebunkerto, Kecamatan Turi, Kabupaten Sleman, Yogyakarta. Sekitar 25 km dari pusat kota Yogyakarta.

Musium Batik Yogyakarta

2012-02-24T21:16:00.000+07:00

Untuk anda pecinta batik asli buatan Indonesia, disinilah tempatnya. Berkunjung ke musium batik Yogyakarta tentu akan menambah wawasan dan pengetahuan tentang batik yang terkenal hingga keseluruh dunia. Yah disini tempat dan nuansa klasik pasti akan anda dapatkan. Sepintas dari luar tempat ini nampak seperti rumah kuno biasa, dan memang karena sengaja di buat seperti itu supaya nuansa klasik dan sejarahnya terasa.

Musium Batik Yogyakarta dibuka setiap hari senin-sabtu, pukul 09.00-15.00 WIB.

Fasilitas:

Anda akan melihat koleksi batik tertua disini yaitu bati tahun 1840, Panjang soga Jawa (1950-1960), sarung Isen-isen Antik (1880-1890), dan Srung Panjang Soga Jawa (1920-1930).
Melihat Sulaman Hasil karya pemilik musium.
Anda juga akan melihat pola-pola batik dan alat-alat yang digunakan untuk membatik.
Anda juga dapat belajar membatik disini dengan paket kilat khusus biayanya 25.000. sedangakan paket 5 kali pertemuan biayanya 250.000 rupiah.
Untuk anda yang datang dari luar, di sekitar area ini juga terdapat penginapan.

Harga Tiket:

Harga tiket untuk masuk musium ini yaitu 15.000 rupiah untuk setiap orang.

Lokasi:

Jln. Dr. Soetomo 13. A, RT. 049/ RW. 12. Kec. Danurejan, Kota Yogyakarta, Yogyakarta.

Pasar Satwa dan Tanaman Hias (PASTY)

2012-02-24T20:59:00.000+07:00

Pasar hewan dan tananman hias yang masih baru ini memang pindahan dari pasar hewan Ngasem. di tempat yang baru ini lebih bersih, nyaman dan teratur, membuat pembeli dan penjual lebih kerasan berada disini. bayak hewan yang di jual disini, seperti ikan hias, binatang peliharaan, ayam, burung dan berbagai macam tanaman hias. Disini anda juga dapat bertransaksi jual beli dengan menawar harga. biala anda pandai dalam menwar harga di pastikan harga yang murah akan anda dapatkan.

Buka mulai pukul 09.00-21.00 setiap harinya.

Fasilitas:

Ruang yang di bedakan untuk penjual, untuk ikan hias di area ikan, tanaman hias di bagian tanaman hias, dan seterusnya.
parkir yang luas dan aman.
lokasi yang bersih dan nyaman.
harga yang murah dan pastinya dapat menghemat kantong anda.

Lokasi:

Jln. Bantul, Km. 1. Dongkelan, Mantrijeron, Yogyakarta.

Akses:

Anda menuju jalan Bantul, sampai di km. 1, anda tanya penduduk atau orang sekitar. Pasti mereka tau tempat ini.

Harga Tiket:

Harga tiket masuk tempat ini gratis, hanya membayar biaya parkir seribu saja.

Taman Budaya Yogyakarta

2012-02-24T20:47:00.000+07:00

Bagi yang mencintai, menyukai budaya Yogyakarta tentunya wajib untuk datang ke tempat ini TBY (Taman Budaya Yogyakarta) adalah tempat yang di bangun pada awalnya untuk melesatarikan budaya-budaya Yogyakarta. Tetapi seiring bergulirnya waktu tempat ini di jadikan tempat untuk mencanangkan misi dan visi dalam dunia seni rupa, media rekam(pemutaran film sepanjang tahun), pertunjukan (wayang kulit, ketoprak, teater, tari), pendidikan(bimbingan pelatihan seni), dan juga penerbitan(profil seniman, budayawan antologi sastra). Tentunya semua itu tentang budaya.

Buka setiap hari senin-minggu, mulai pukul 09.00-21.00 wib.

Lokasi:

Taman Budaya Yogyakarta terletak di pusat kota, tepatnya di jalan Sriwedari No. 1 DIY, 55122,Indonesia. Atau sebelah timur benteng Vredeburg. Berdampingan dengan rumah pintar Yogyakarta.

Harga Tiket:

Harga Tiket untuk ke lokasi ini adalah gratis, alias tidak bayar sepeserpun. kecuali acara pertunjukan seni, seperti teater, tari ketoprak, wayang memasang tarif tersendiri.

Fasilitas:

Mushola, toilet, perpustakaan, kafe, halaman parkir yang luas dan aman.

Pasar Klithikan Kuncen, Yogyakarta

2012-02-24T20:31:00.002+07:00

Pasar yang menjual berbagai macam barang mulai dari rumah tangga, asesoris, elektronik, otomotif, handphone dan lain sebagainya, bahkan barang-barang kuno yang belum pernah di jumpai di luar pun ada. Disini sumuanya ada, dan harga yang ditawarkan juga lebih murah di banding diluar. Anda pun bisa tawar menawar dengan penjual di sini. Pasar Klithikan ini terdiri dari beberapa lantai yang masing- masing lantai menjual barang dengan jenis tersendiri.

Lokasi:

Jlan HOS. Cokroaminoto, kecamatan Kuncen, Yogyakarta.

Akses:

Bila anda dari pusat Kota, anda menuju ke Jalan HOS Cokroaminoto. Tanya pada tukang becak atau orang pasti tau jalan ini. Atau anda dapat naik taksi atau bis untuk menuju tempat ini.

Harga Tiket:

Untuk harga tiket hanya membayar biaya parkir sebesar 2000 rupiah saja.

Fasilitas:

Di lokasi ini anda dapat bertanya pada pos pelayanan yang melayani anda dalam mencari atau memberitahukan tempat barang yang anda ingin beli.

Kali Kuning Sleman, Yogyakarta

2012-02-24T03:00:00.000+07:00

Kali(sungai) Kuning memang terkenal dengan suasana alam yang begitu natural dan alami serta sejuk. Biasanya pengunjung yang datang ke lokasi ini yaitu untuk berekreasi bersama keluarga, dan tidak hanya itu, biasanya tempat ini sering di gunakan untuk camping/berkemah dan juga outbond. Lokasi kali kining terletak di sebelah selatan lereng Merapi, tepatnya di Kecamatan Cangkrigan Kabupaten Sleman DIY.

Sarana Wisata:

Terdapat penginapan yang dikelola warga setempat, nyaman dan bersih.
Tempat makan, jajan di area lokasi.
tempat informasi yang ramah dan tepat juga terdapat di lokasi ini, yaitu warga sekitar kali Kuning.
Tempat parkir yang luas dan aman tentunya membuat nyaman anda dalam menikmati liburan anda.

Akses:

Jalur yang di tempuh sama dengan jalur apalia anda ingin menuju pos pendakian merapi di Yogyakarta atau menuju rumah mbah Marijan. apabila anda menggunakan kendaraan pribadi, lokasi ini dapat dicapai dengan dua cara:

Dari Yogyakarta, Anda menuju Jlan kaliurang, setelah sampai Pakem andabelok kanan atau ke timur, kearah kali kuning dan turun di pinggir jalan aspal desa. kemudian anda menuruni tangga bebatuan menuju kalikuning sekitar satu kilometer.
Dai terminal Prambanan, naik busa menuju ke kaliurang dan turun di desa Doyo. kemudian naik angkutan desa warna kuning menuju ke kali kuning dan turun di ajalan aspal desa. kemudian menuruni tangga bebatuan menuju ke kali kuning.

Tiket masuk:

Dengan hanya membayar 3000 rupiah untuk tiket masuk, belum termasuk parkir. Dan apabila anda ingin berkemah atau camping dengan beberapa orang tarif yang dipatok biasanya mulai dari 15.000-30.000 rupiah.

Gunung Aktif Merapi

2012-02-23T07:00:00.000+07:00

Gunung Merapi merupakan gunung berapi yang masih aktif sampai saat ini. Dengan ketinggian 2911 meter diatas permukaan laut. Tidak sedikit pula yang datang ke Gunung ini untuk sekedar mendaki, camping atau melihat secara langsung keagungan ciptaan Tuhan, yaitu Gunung Merapi. Masih teringat di kepala kita di tahun 2011 lalu Gunung merapi kembali meletus dan menelan banyak korban jiwa dan harta benda. tetapi setelah peristiwa tersebut kawasan Gunung Merapi sedikit demi sedikit kembali berangsur normal.

Obyek wisata:

Gunung Merapi menjadi tempat obyek wisata yang banyak dikunjungi karena anda dapat mengunjungi banyak obyek2 wisata yang ada di sekitar

gunung tersebut, kaliurang, kalikuning, kali adem, Taman Nasional Gunung Merapi, dan taman Konservasi alam Gunung Merapi. Udara yang sejuk juga akan menambah kenyamanan saat berada di sana.

Lokasi:

Secara letak, gunung merapi terletak di Kab. Sleman, DIY, Kab. Magelang, Boyolali, Klaten dan Jawa Tengah. Akan tetapi Gunung Merapi lebih identik terletak di Yogyakarta, karena tempat wisata yang paling banyak dan terkenal adalah di bagian Yogyakarta.

Akses Pendakian:

Ada beberapa jalur yang digunakan untuk pendakian di Gunung Merapi.

Jalur sisi selatangunung merapi,melalui dusun Kinahrejo. pos berada di mantan rumah mbah Marijan yang tersapu wedus gembel. untuk mencapai puncak di butuhkan waktu 6-7jam. dengan kemiringan 30-40 derajat.
Jalur selo, dari utara lereng merapi. jalur ini disarankan bagi pendaki pemula dikarenakan tidak terlalu berat medannya di banding dari jalur Kinahrejo.

Akomodasi dan fasilitas:

Bila sebelumnya ingin menginap. di sekitar lokasi Lereng Merapi atau di Kaliurang terdapat banyak hotel dari hotel yang murah sampai berbintang. juga terdapat villa.

Belalang Goreng Sri Sutarti

2012-02-22T11:00:00.000+07:00

Banyak yang menyebut belalang sebagai hama yang sangat menjengkelkan, karena merugikan petani. Siapa sangka di gunung kidul belalang sangatlah laris manis sebagai makanan. Berawal dari kejengkelan petani terhadap belalang menjadikan petani membuat ide untuk mengolah belalang tersebut untuk di konsumsi. Dan ternyata setelah di olah dengan benar, belalang tersebut enak dan mempunyai nilai gizi yang tinggi pula. Sampai sekarang belalang menjadi makanan khas dari Gunung kidul, anda dapat menemui pula penjual belalang yang masih mentah atau hidup di tepi-tepi jalan raya sekitar gunung kidul. Belalang hidup tersebut seharga Rp 25.000,00 / kg.

Bu Sutarti yang memulai
usaha belalang goreng ini membuka warung yang lebih fokus untuk menu belalang goreng. Bu sutarti berjualan belalang goreng di warung yang terletak di Terminal Wonosari, Gunung kidul.Selain enak sebagai lauk pauk, belalang goreng ini juga nikmat jika disantap sebagai camilan. Sekarang waktunya untuk memberi informasi mengenai belalang goreng Sri Surtati.

Menu:

Belalang Goreng.
Beberapa jenis sayur juga menemani Belalang Goreng, seperti sayur lodeh, oseng-oseng dan lainnya.
Belalang yang diolah dengan bumbu bacem.

Harga:

Per porsinya berkisar antara Rp 6.000,00 hingga Rp 10.000,00.

Untuk camilan, Bu Sri mematok harga Rp.20.000,00 untuk tiap kemasan.

Lokasi:

Terminal Wonosari, Gunungkidul

Oseng-Oseng Mercon, Yogyakarta

2012-02-21T16:33:00.001+07:00

Oseng-oseng pada umumnya memang pedas, tetapi Oseng-oseng yang ini berbeda dengan Oseng-oseng yang biasa kita konsumsi baik di rumah ataupun di warung-warung. Perbedaannya, yaitu jumlah cabe yang di gunakan tidaklah wajar. Dengan Jumlah cabe yang banyak tadi bisa di bayangkan bagaimana rasanya kalau kita makan, pastinya seakan-akan meledak-ledak dimulut. Itulah sebabnya Oseng-oseng ini dinamakan Oseng-oseng Mercon. Dimasak bersama daging sapi tetelan dan lemak yang empuk dan sebenarnya rasanya memang lezat sekali. Usaha warung Oseng Mercon ini digeluti oleh Bu Kardi sejak tahun 1965.

Jam Operasi, pukul 17.00 – 22.00 WIB.

Akses:

Warung Oseng Mercon Bu Kardi yang lokasinya dekat gang SD Purwodiningratan di Jl. KHA. Dahlan, Yogyakarta. (sekarang di wariskan kepada Bu Narti, putrinya).

Harga:

Dipatok hanya dengan Rp 12.000,00 lengkap dengan nasi dan lalapannya.

Lokasi:

Jl. KHA Dahlan (depan eks kantor PP Muhammadiyah) Yogyakarta , Tlp.+62-274-550258

Bebek Goreng H. Slamet

2012-02-21T14:28:00.000+07:00

Bebek Goreng H. Slamet memiliki rasa yang sangat berbeda dari yang lainnya.Disajikan dengan cara yang sederhana dan pastinya tetap menjaga agar nafsu makan tetap tinggi. Bebek goreng yang di sajikan sangatlah istimewa, rasa yang khas yaitu empuk, gurih dan bumbu yang meresap. dengan sambal yang istimewa yaitu sambal korek. ditambah dengan bahan baku atau bebek yang digunakan adalah bebek jenis super. yang pastinya sangat terjamin kualitasnya. itulah mengapa warung bebek H. Slamet selalu ramai dengan pengunjung, baik pusat maupun cabangnya.Untuk lebih jelasnya saya akan langsung kasih informasinya berikut ini.

Menu:

1. Makanan:

Semua menu berupa bebek yang digoreng. Bebek goreng adalah dada, paha, kepala, rempela ati, cakar bebek dan satu ekor bebek. Digoreng dengan khas dan istimewa. Disajikan dengan sambal korek yang nikmat.
Bebek Goreng (Paha, Dada, Kepala, Ceker, Ampela, Hati)
Paha dan Dada remuk
Lalap segar
Sambal Korek Special.

2. Minuman:

Jus Strawbery Organic (special)
Aneka juice (alpukat, orange)
Teh kampul (khas Solo)
Teh GINASTEL (khas Solo)
Kopi GINSENG (By K.Link)
Kopi HITAM
Beras Kencur
Jeruk HANGAT(khas Solo)
Es Jeruk
Soft Drink
Aqua
Soda Gembira
jus melon, es jeruk, jus alpukat dan berbagai minuman ringan lainnya.

Lokasi:

Pusat:Kartasuro,Sukoharjo,JawaTengah

Sedahromo Lor RT 01/RW 07
Kartasuro, Sukoharjo
Jawa Tengah

Beberapa cabang:

Cabang Solo

Jl. Bhayangkara No. 39B Tipes
Telp: (0271) 723 439

Cabang Bandung

Jl. BuahBatu No. 63, Bandung, Jawa Barat
Telp: (022) 730 6806

Cabang Jakarta

Jl. Jatiwaringin Raya No. 32 D, Jakarta Timur
Telp: (021) 860 6153
Jl. Kesehatan Raya No. 28, Bintaro, Jakarta Selatan
Telp: 0817 440 774
Jl. Radio Dalam Raya No. 47B, Kebayoran Baru, Jakarta Selatan

Cabang Yogyakarta

Jl. Gejayan, Yogyakarta

Cabang Malang

Jl. Kol. Marhadi No. 64
Telp: (0351) 7654464

Cabang Surabaya

Jl. Kaca Piring No. 9, Surabaya

Cabang Malang

Jalan Kawi Atas No. 43 E, Malang

Warung Steak and Shake

2012-02-20T15:55:00.003+07:00

"WS" yang sering di sebut untuk Warung Steak and Shake. Salah satu warung dengan konsep fast food atau makanan cepat saji dengan mengedepankan resep dan menu Western, tetapi tetap dibuat cocok untuk lidah orang Indonesia. Warung ini tidak pernah sepi pengunjung untuk tiap harinya. Pertama kali berdiri Jl. Cendrawasih No. 30 Jogja.

Jam Operasi:

Hari biasa WS akan melayani anda mulai pukul 12.00 - 22.00 WIB
Hari Jum'at 13.00 - 22.00 WIB.

Fasilitas:

Dengan banyak tempat duduk cocok untuk mengajak teman atau berdua dengan orang tercinta.

Menu:

Steak, disajikan dengan Brown Sauce yang menggoda.Original steak maupun steak dengan tepung.
Anda tinggal pilih sesuai selera mau Sirloin, Tenderloin, Blackpepper beef maupun chicken, french fries.
Nasi dan tambahan sayur.

Harga:
1. makanan:

Mulai dari Rp. 10.000,00

2. minuman:

Mulai dari Rp. 3000,00 dengan berbagai varian jus, milkshake, soft drink dan banyak lagi lainnya.

Lokasi:

Jl. Cendrawasih No.30, Yogyakarta , Tlp.+62-274-546436

Web: www.waroengsteakandshake.com

Cabang lainnya :

Jl. HOS Cokroaminoto No. 49, Yogyakarta
Jl. Kaliurang Km.5,5 Yogyakarta
Jl. Colombo No.22, Yogyakarta
Jl. Taman Siswa No.83, Yogyakarta.