The Arts

Dance of West Java

2012-02-12T14:54:00.001+07:00

Rampak Drum Dance
Rampak Drum Dance is art which combines dynamic sound with drums salendro gamelan music that is cheerful. Drum players consist of 6-15 people, while nayaga (gamelan players) consisting of 7-10 people.

Mask Dance Kelana udheng Indramayu
Mask Dance Kelana udheng Indramayu, Dance Dance Kelana mask the development of a mask dance was created by the maestro Indramayu, that Mimi Rasinah.

Peacock dance (Tari Merak)

Interest Betawi From Indonesia

2012-02-11T12:44:00.000+07:00

Betawi tribe came from the mating-mawin ethnic and nation in the past. Biologically, they are claiming to be the Betawi people are descendants of mixed blood of the various tribes and nations that were imported by the Dutch to Batavia. The so-called real people or ethnic Betawi in Jakarta as of new entrants. This ethnic group was born from a mix of other ethnic groups who had already been living in Jakarta, like Sundanese, Javanese, Balinese, Bugis, Makassar, Ambon, and Malay immigrants and ethnic groups, such as Arabic, Indian, Chinese, and Europeans.

The term Betawi
Betawi words used to express the native tribes who inhabit the Jakarta and Creole Malay language it uses, as well as Malay culture. Betawi word comes from the word "Batavia," the old name of Jakarta during the Dutch East Indies.

Tribal history Betawi
Preceded by the Sundanese (majority), prior to the 16th century and into the kingdom and then Pakuan Pajajaran Tarumanegara. In addition to the Sundanese, there are also foreign merchants and sailors of the north coast of Java, from different islands of Eastern Indonesia, from Malacca on the Malay Peninsula, China and even from Gujarat in India.

In addition, the agreement between Surawisesa (King of Sunda) by the Portuguese in 1512 which allow the Portuguese to build a community in the Sunda Kalapa result in mixing of the local population with a lower Portuguese Portuguese mixed blood. Of this community was born keroncong music.

After making Batavia as the VOC niaganya center, the Netherlands requires a lot of manpower to open farmland and build the economy of this city. When the VOC was a lot of buying slaves from Bali authorities, because it was in Bali is still ongoing practice of slavery. [1] That the cause is still tersisanya vocabulary and grammar in Betawi Bali now. Batavia trade advances attract various tribes of the archipelago to the Chinese, Arab and India to work in this city. Influence of ethnic foreigners is evident in the Betawi wedding dress is heavily influenced Arab and Chinese elements. Various place names in the history of Jakarta also left clues about the arrival of various tribes to Batavia; Kampung Melayu, Kampung Bali, Kampung Ambon, Java Village, Kampong Makassar and Bugis Village. Bugis houses in the northern part of Jl. Two mangoes in the Bugis village which began in 1690. In the early 20 th century there are still some home like this in the city.

University of Indonesia anthropologist, Dr. Yasmine Zaki Shahab, MA estimates, the newly formed ethnic Betawi about a century ago, between the years 1815-1893. This estimate is based on a study of the demographic history of Jakarta residents who pioneered Australian historian, Lance Castle. In the Dutch colonial era, the government is always a census, which is based on national or ethnic group. In Jakarta census data in 1615 and 1815, there were people from various ethnic groups, but there is no record of the Betawi ethnic group. The results of the census of 1893 showed a loss of some ethnic groups that previously existed. For example, Arabs and Moors, the Balinese, Javanese, Sundanese, the South Sulawesi, Sumbawa people, people of Ambon and Banda, and the Malays. The possibility of all these tribes and Arab Moors archipelago is categorized into the unity of the indigenous population (the Netherlands: inlander) in Batavia who then absorbed into the Betawi ethnic group.

Tribal Art and Culture Betawi
Betawi culture is a mestizo culture, or a mixture of diverse ethnic cultures. Since the days of the Dutch East Indies, Batavia (now Jakarta) is the capital of the Dutch East Indies attract migrants from inside and outside the archipelago. The tribes that inhabit Jakarta, among others, Javanese, Sundanese, Minang, Batak, and Bugis. Apart from the population of the archipelago, the Betawi culture also absorb a lot of foreign cultures, such as Arab culture, Chinese, Indian, and Portuguese.

As a native tribe Betawi Jakarta somewhat sidelined by the new settlers. They come out of Jakarta and moved to areas in the province of West Java and Banten province. Betawi culture was excluded by other cultures both from Indonesia and Western culture. To preserve the Betawi culture, heritage founded in Situ Babakan.

Interest Betawi language used
Mixed nature of the Betawi dialect is a reflection of Betawi culture in general, which is the result of mating a wide range of cultures, both originating from other areas in domestic and foreign cultures.

There is also the opinion that the tribes who inhabited the area around Batavia are also classified as an ethnic Betawi early (proto Betawi). Historically, the Kingdom Tarumanagara, based in Sundapura or Sunda Kalapa, had attacked and conquered by the Sumatran kingdom of Srivijaya. Therefore, do not be surprised if in the port of Sunda Sunda ethnic Kalapa, long before the Youth Pledge, already use the Malay language, which is commonly used in Sumatra, which then serve as the national language.

Because the difference is the language used at the beginning of the 20th century, the Dutch think of people who lived in Batavia as different ethnic and call it a Sundanese ethnic ethnic Betawi (a derivation of Batavia). However, there are many local names and the name of the river which is still maintained in Sundanese as said Ancol, Jewel, Cilandak, Ciliwung, Cideng (derived from Cihideung and then turned into Cideung and tearkhir be Cideng), and others are still accordance with the naming of which is described in ancient texts Bujangga Manik [2] which is currently stored in the Bodleian library, Oxford, England.

Although the formal language used in Jakarta is Indonesian, the language of informal or colloquial language is Indonesian Betawi dialect. Betawi dialect itself is divided into two types, namely the middle and Betawi dialect Betawi dialect edge. Betawi dialect was generally reads "é" Betawi dialect, while the edge is "a". Betawi dialect center or the center is often regarded as a true Betawi dialect, because it comes from the beginning of the city of Jakarta, the lush countryside around Jakarta City of Batavia, Big Rice, Monument, Cilincing, Kemayoran, Senen, Kramat, to the southernmost boundary Meester (Jatinegara ). Betawi dialect from the periphery to the South Jatinegara, Condet, Jagakarsa, Depok, Rawa Belong, Ciputat up to the edge of the south to West Java. Examples of middle Betawi dialect speakers are Benjamin S., Ida Royani and Aminah Cendrakasih, because they are derived from the Kemayoran and Kramat Sentiong. While the sample edges Betawi dialect speakers are Mandra and Mr. Tile. The most obvious example is when they say kenape / why'' (why). Betawi dialect was clearly stating the "é", while the edge Betawi pitched "a" die hard like "ain 'dead in the way of reading the Koran Quran.

Dance from Betawi Interest
The art of dance in Jakarta is a blend of cultural elements in it. For example Betawi dance masks, dance-influenced Yapong Jaipong Sunda, Cokek and others. At first, the art of dance in Jakarta has influence Sunda and China, as a costume dance dancer Yapong typical Beijing Opera player. But Jakarta can be called the most dynamic regions. In addition to dance the old dances also come with a dynamic style and choreography.

Dramatic art of Interest Betawi
Betawi traditional dramas such Lenong and Tonil. This traditional staging of the play usually depict everyday life Betawi people, interspersed with songs, rhymes, comedy, and witty jokes. Sometimes actors can interact directly with lenong audience.

Dance Maena of Nias

2012-02-11T11:56:00.000+07:00

Description: Maena a dance that is very simple and modest, but it implies togetherness, joy, excitement, which is not less interesting as the dances that exist in the archipelago. Compared with Moyo dance, dance baluse / dance war (still from Nias), maena does not require any special skills. Simple movements have made almost anyone can do it. Constraints or difficulties the only thing is situated on a series of rhyme-rhyme maena (fanutunõ maena), in order to correspond to events where maena it done. Pantun maena (fanutunõ maena) is usually performed by one person or two people and referred to as sanutunõ maena, while the poem maena (fanehe maena) voiced by the people who took part in a dance called the sanehe maena and maena / ono maena. Maena poems are fixed and kept participants diulang-ulang/disuarakan maena-rhyme after rhyme maena dilantunkannya, until the end of a dance maena. Maena rhyme sung by people who are fluent in the language bertuntun Nias (amaedola / Duma-Duma), but as the development of sophisticated and modern civilization, rhyme-rhyme maena typical li niha nono is much disappeared, and many mixed by the Indonesian language in penuturannya, can we listen if there are events maena big city. Maena arguably a ceremonial dance and colossal of Nias tribe, because there is no limit to the number who may participate in this dance. The more participants maena dance, the spirit of dance and shake well (fataelusa) maenanya. Maena usually done in a marriage ceremony (fangowalu), party (falõwa / owasa / folau ORI), even maena Golkar at elections in 1971 (niasonline.net), indicates how dance maena already entrenched and flexible, to be held in what events only. There was no mistaking the distinctive dance maena is easily recognized and carried by ono niha or by people outside Nias second to none with poco-poco dance (Sulawesi) or dance Sajojo (Irian), which has enriched the national cultural scene. In Nias and in big cities such as Jakarta, Medan, Batam, Surabaya, Bandung, Padang, Sibolga etc., we often find maena at weddings Nias people, and we also occasionally take part in it "but only" as sanehe maena . Maena, Moyo dance, dance baluse, Hombo stone, li niha, is a wealth of cultural amaedola niha ono which should continue to be preserved, so that our identity as ono niha not disappear and the Indonesiaan is maintained by cultural influences from outside of the stronger squeeze local cultures.

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2011-09-18T12:50:00.003+07:00

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Karo Dance

2011-09-10T18:55:00.001+07:00

Tari Karo

One of the dance traditions of the Karo. This dance describes the romance of young people at night under the bright moonlight. This dance is performed by the character movement is more graceful.

Dance in the Karo language called "Landek." Karo is the basic pattern of dance postures, hand gestures, up and down movement of the knee (endek) adjusted to the tempo drums and footwork. Basic pattern of the dance coupled with some variations so as exciting and beautiful dance.

Relating to indigenous dances such as entering a new house, weddings, funerals and others.

Dance associated with religious rites and led by regular teachers (shaman). For example Mulih-mulih Dance, Dance Tungkat, Erpangir Ku Lau, Dance Baka, Begu Please see Dance, Dance Muncang, and others.

Dance-related entertainment in general classified. For example Gundala-gundala Dance, Dance Ndikkar and others.

Since 1960 dance dance Karo increased in the presence of new creations. For example the five series that combined dance of the five types of dance that is : Dance-morah Morah, Perakut Dance,DanceCIPA Seat, plate-plate Lance Dance and Dance Kabang Kiung. After that came the Piso Surit dance, dancethe Light of the Moon, dance and dance Bread Sweet Rice Planting.

Batak Script

2011-09-10T18:18:00.003+07:00

Aksara Batak

The development of traditional culture Nusantara experiencing an increasingly competitive challenges of the cultures of other countries. This is an indication of the need for an innovative breakthrough to boost the return of traditional cultural values that slumped to a more reasonable in view of modern society.

One of the characters that need special attention are the endangered Batak script associated with limited sources of data and information. In contrast to the literature and culture of Java is quite exist, Batak script is still very minimal understood by the public. Even most of the Batak people themselves are unaware of the Batak script.

Factors that cause the extinction of traditional Batak script writing, among others:

Most of the Batak literature was never written. Folklore in the form of fables, myths and legends, for instance, and umpasa, torhan-torhanan, turiturian, huling-hulingan all derived only orally from generation to generation.
Introduction of Islam and Christianity to the Batak lands, who hated products pustaha the datu who are considered "objects of infidelity" resulting in the emergence of mass destruction. As a result, since 1852 has been endangered pustaha.
Batak pustaha remaining extant collections stored in museums or libraries abroad, especially the Netherlands and Germany, and a small part in the National Library of Jakarta.

Batak pustaha remaining extant collections stored in museums or libraries abroad, especially the Netherlands and Germany, and a small part in the National Library of Jakarta.

In today's modern era of communications media are most effective global write is Latin letters. The fact is the basis for adaptation efforts Batak alphabet characters into Latin letters, as a good solution in terms of functionality, efficiency and benefits that can be accepted by society. These factors are important, given the script in terms of communication are no longer needed.

The ultimate objective of the research process is the production design character script Latin letters archipelago, with a focus Toba Batak script, which makes the Batak script is easily accessible and known character by the tribes and other nations around the world, including the Batak society itself. Thus, the Latin letters alphabet character of this archipelago can function as a mediator of socialization Batak visual literacy with the level of effectiveness is equivalent to the Latin letters and the rate of spread of a global standard.

Letter Pattern Design Process

As written communication media, letters have significant differences with Latin letters, especially in terms of visual and technical readings. Differentiator in terms of visuals such as proportions, visual character, the anatomy of letters, and the construction geometry. Variants from a technical point of reading is included in the Batak script script type silabik, the script describing the syllable (a-ha-ma-na-ra), while Latin letters included in this type of phonetic alphabet which is kind of script in the form of phoneme symbol (ab-CDE ). On the basis of these differences, then the process of adaptation characters require some form of basic pattern of letters that became a meeting point between Toba Batak alphabet characters with Latin characters.

Urutan Aksara Batak Toba (Ina ni surat)

Tortor Batak

2011-09-10T18:10:00.005+07:00

Plate Dance

2011-09-10T16:58:00.005+07:00

Dancing Plate (Minangkabau) is an art of dance belongs to the Minangkabau people from West Sumatra. He is one of Minangkabau art of dance is still practiced residents Negeri Sembilan Minangkabau descent.

This dance has a motion that resembles the movement of farmers during planting bercucuk, making work reaping and so on. This dance also symbolizes joy and gratitude with the results of their crops.

This dance is a jig with the dancers holding plates in their palms, accompanied by a song played by talempong and Saluang. Sometimes, the dishes will dilontar into the air or slammed to the ground and climbed by the dancers.

To add aesthetic elements, magic and surprises in this dance, male and female dancers will trample the broken plates without fear nor wound. The audience will certainly feel terrified when the glass broke and it climbed sharply, pulling.

Randai Dance

2011-09-10T16:52:00.007+07:00

Randai in the history of the Minangkabau have a rather long history. The legend says that he was played by the community Pariangan, Tanah Datar when mesyarakat managed to capture the deer out of the sea. Randai in Minangkabau society is an art that is played by several people in the sense of group or team event, where there is a story in this Randai brought, like the story Cindua Mato, Malin Deman, Anggun Nan Tongga, and other folklore. Randai aims to entertain people during a party usually held in public or on the feast of Eid al-Fitr.

Randai is played by the protagonist who will be tasked with telling a story, the protagonist of this could amount to one person, two, three or more depending on the story that was delivered, and in bringing the main character or act it is circled by the other members that aims to animate berlansungnya event.

Randai Now this is something foreign to young Minangkabau, this is because the shifting orientation of art or hobby of that generation. Randai contained in pasisie (coastal) and Darek area (mainland).

Initially Randai is a medium to convey the tale or folklore through couplets or poems are sung and galombang (dance) which originate from Minangkabau silat movements. But in its development, adopting Randai style characterizations and dialogue in the plays, such as group Dardanela.

Randai at first is a medium to convey stories of the people, and less appropriate if called as a theater Randai Minangkabau tradition, although in its development Randai adopting storytelling or theater or theatrical dialogue.

Saman Dance

2011-09-09T21:25:00.005+07:00

Saman dance created and developed by the ulama of Aceh, a Muslim religious leader named Sheikh Saman. Originally this dance is only an ordinary game called Pok Ane. Because the public has a high interest in the disisipilah with poems of praise to Allah SWT. So this dance is also a media propaganda at that time. Exercise is usually done under the under menasah. Meunasah mushalla the building is made of the stage. And they do not miss his prayers in congregation. Conditions in Aceh are in a war, then the poems were made to increase the morale of the people of Aceh. Today this dance is more frequently in performances at local celebrations, religious. Tari Saman began to show off during performances at the Cultural Week of Aceh (PKA) II and the inauguration of Taman Mini Indonesia Indah (Taman Mini). Saman at TMII tumultuous roar not only the archipelago but to foreign countries.

Saman lyric used Arabic and Aceh. This dance does not have the accompaniment of the game, because the arm movements and poems sung and with bodies flung in all directions in a single synchronization, has made the atmosphere become excited. But now, the dance that comes from the Gayo highlands are usually often displayed using the accompaniment of musical instruments like drums.

Songs (the movements of dance) is basically the same, namely to clap hands, claps and pats his chest above the knees, raised his hands up in turn. Songs that are used in dance saman are not fixed (except rengum). Where poetry and rhythm changes according to place, time and situation of the show. So there is no standard for poetry saman dance. Saman can be divided according to place of origin: Saman Gayo in Aceh and the Middle East, Saman Lokop in East Aceh, West Aceh Saman Aceh Barat.
Led by a so-called Syech. Almost all Acehnese dances performed abuzz. This requires cooperation and mutual trust between Syech with the dancers. Because dance is based on a dynamic motion, fast, and high concentrations so that the dance group is widely played by male dancers. But now also been played by a female dancer or a mixture.
Activities of this dance is usually performed to celebrate the birth of Prophet Muhammad, or other important events in the indigenous people of Aceh. Initially the show saman played with poetry-themed symbols of proselytizing or religious teachings. Developments finally made saman themed poems, such as about the development, customs, agriculture, youth and others. How to sing songs in the Saman dance is divided into 5 types:

Rengum, the roar (murmur) that begins by the lifter.
Tones, namely Regnum which was soon followed by all dancers.
Redet, which is short with a short sound track sung by a dancer in the middle of the dance.
Syek, the song sung by a dancer with a long high-pitched voice, usually as a sign of change in motion
Saur, the song that is repeated by all the dancers once sung by a solo dancer.

In every show it all in motion synergize to result in an amazing dance. So Saman strength lies not only in his verse alone, but the motion of a compact be more value in the dance. This may be realized from the compliance of the dancers in their respective roles to play. Sample lyric saman about youth as below.

Syair dalam bahasa Aceh Gayo	Syair dalam bahasa Indonesia
Persalaman
Rengum/ Dering Hmm laila la aho Hmm laila la aho Hoya-hoya, sarre e hala lem hahalla Lahoya hele lem hehelle le enyan-enyan Ho lam an laho	Aum/ Koor Aum : Hmm tiada Tuhan selain Allah Hmm tiada Tuhan selain Allah Begitulah-begitulah semua kaum Bapak begitu pula kaum ibu Nah itulah-itulah Tiada Tuhan selain Allah
Salam Kupenonton Salamualikum kupara penonton Laila la aho Simale munengon kami berseni Lahoya, sarre e hala lem hahalla Lahoya hele lem hehelle Le enyan-enyan Ho lam an laho Salamni kami kadang gih meh kona Laila la aho Salam merdeka ibuh kin tutupe Hiye sigenyan enyan e alah Nyan e hailallah Laila la aho, ala aho	Salam Kepada Penonton : Assalamualaikum ya para penonton Tiada Tuhan selain Allah Yang hendak melihat kami berseni Begitu pula semua kaum bapak Begitu pula kaum ibu Nah itulah-itulah Tiada Tuhan selain Allah Salam kami mungkin tidak semua kena Tiada tuhan selain allah Salam merdeka dijadikan penutupnya Ya itulah, itulah, aduh Itulah, kecuali Allah Tiada tuhan selain Allah, selain allah
Uluni Lagu/ Kepala lagu
Asalni Kededes Asalni kededes kedie Asalni kededes ari ulung kele keramil Sentan ire rempil kedie Sentan irerempil he kemenjadi jadi bola Asalni kededes kedie Asalni kededes ari ulung kele keramil Sentan irerempil kedie Sentan irerempil he kemenjadi jadi bola Asalni kededes kedie Asalani kededes ari ulung ke le keramil Sentan irerempil kedie Santan irerempil he menjadi jadi bola Inget-inget bes yoh ku ine e	Asal Bola Daun Kelapa : Asal bola daun kelapa kiranya Asal bola daun kelapa dari daun kelapa Begitu dijalin-jalin kiranya Begitu di jalin-jalin ia menjadi-jadi bola Asal bola daun kelapa kiranya Asal bola daun kelapa dari daun kelapa Begitu dijalin-jalin kiranya Begitu di jalin-jalin ia menjadi-jadi bola Asal bola daun kelapa kiranya Asal bola daun kelapa dari daun kelapa Begitu dijalin-jalin kiranya Begitu di jalin-jalin ia menjadi-jadi bola Ingat-ingat awas sayangku aduh ibu
Salam Ni Rempelis Mude Oreno nge tewah ari beras beras padi Ya hoya, oi manuk kedidi He menjadi rem rempelis mude Ne inget bes inget bes Oi kiri sikuen kiri Ara salamualaikum, rata bewene Ara kesawah jamuni kami Ne inget-inget bes yohku Kuguncang male kuguncang Salamualaikum rata bewene Ne inget bes mien yohku Ingatin bang tudung Oi mude kin ulung mude Ipantasan mulo	Salam dari Rampelis Mude (Rampelis Mude nama sanggar) : O runduk sudah rebah dari beras beras padi Ya, begitulah oi burung kedidi Hai menjadi Rempelis Muda Oh ibu, ingat awas, awas Oi yang dikiri dikanan-kiri Assalamualaikum, rata semuanya Adakah tiba tamu kami Oh ibu, inga-ingat, awas sayangku Ku guncang akan ku guncang Assalamualaikum rata semuanya Oh, ibu ungat awas lagi sayangku Digantilah tudung Oi muda untuk daun uda Dipercepat dulu.
Lagu-lagu
Le Alah Payahe He le ala payahe kejang E kejang mufaedah payah musemperne Enge ke engon ko kuseni ruesku Senangke atemu kami lagu nini Ine inget-inget bes mien yoh ku ine Oho ingatin bang tudung uren Awin gere kedie muselpak Jangko gere kedie muleno Beluh gere kedie berulak Jarak gere kedie mudemu Ine ilingang lingeken mulo Yoh kukiri sikuen kiri Tatangan katasan Enti lale cube die ine Awin gere kedie muselpak Jangko gere kedie muleno Beluh gere kedie berulak Jarak gere kedie mudemu Jadi bang mulongingku ine O kejang teduhmi ningkah Ike payah teduhmi kite Ike gaduh tuker mulo	Aduh Payahnya : Hai, aduh payahnya, payah lelah E, lelah berfaedah, payah memuaskan Sudahlah kau lihat sendi ruasku Senangkah kamu kami seperti ini Oh ibu, ingat-ingat lagi sayangku, oh ibu Oho, diganti dulu payung hujan Di tarik, tidaklah nanti patah Dijangko tidaklah nanti rebah Pergi tidaklah nanti kembali Jauh tidaklah lagi bertemu Oh ibu, di goyang, di geleng dulu Hai ke kiri, ke kanan-kiri Angkatlah lebih tinggi Jangan lalai cobalah dulu, oh ibu Di tarik, tidaklah nanti patah Dijangko tidaklah nanti rebah Pergi tidaklah nanti kembali Jauh tidaklah lagi bertemu Cukuplah dulu adikku, oh ibu Oh, capek berhenti dulu meningkah Jika payah berhenti dulu kita Jika letih tukar dulu
Balik Berbalik Iye balik berbalik Gelap uram terang uren urum sidang Simunamat punce wae ala aho He nyan e hae ala aho Aho - aho - aho Iye balik berbalik Gelap uram terang uren urum sidang Simunamat punce wae ala aho He nyan e hae ala aho Aho - aho - aho	Balik Berbalik :: Iya ku balik berbalik Gelap dengan terang, hujan dengan teduh Yang nmemegang punca Dialah, Ya Tuhan Itulah dia, ya Tuhan Ya Allah - Ya Allah - Ya Allah Iya ku balik berbalik Gelap dengan terang, hujan dengan teduh Yang nmemegang punca Dialah, Ya Tuhan Itulah dia, ya Tuhan Ya Allah - Ya Allah - Ya Allah
Penutup
Gere Kusangka Gere kusangka, aha kenasibku bese Berumah rerampe ehe itepini paya Berumah rerampe ehe itepini paya Suyeni uluh, nge turuh supue sange Mago-mago bese aku putetangak mata Mago-mago bese aku putetangak mata Tetea tetar ahar reringe petepas Gere kidie melas dengan naik iruangku Gere kidie melas dengan naik iruangku	Tidak Kusangka : Tidak kusangka, aha kalau nasibku begini Berumah rerumputan ditepinya rawa Berumah rerumputan ditepinya rawa Tiangnya bambu, sudah bocor atap dari pimping Sulit-sulit begitu aku berputih mata Sulit-sulit begitu aku berputih mata Lantainya belahan bambu, dindingnya pun tepas Tidakkah kiranya menyesal saudara naik kerumahku Tidakkah kiranya menyesal saudara naik kerumahku
Kemutauh Uren Kemutauh uren ari langit Munerime kedie bumi Kemutauh uren ari langit Munerime kedie bumi I nampaan ara baro renah Cabang tewah ku lawe due Ari abang gih mungkin berubah Bier lopah itumpun kudede Kemutauh uren ari langit Munerime kedie bumi Kemutauh uren ari langit Munerime kedie bumi I nampaan ara baro renah Cabang tewah ku lawe due Ari abang gih mungkin berubah Bier lopah itumpun kudede Kerna langkah ni kami serapah Berizin mi biak sudere Kesediken cerak kami salah Niro maaf kuama ine	Jika Turun Hujan Jika turun hujan dari langit Menerimakah kiranya bumi Jika turun hujan dari langit Menerimakah kiranya bumi Di nampaan ada waru rendah Cabang rebah ke lawe due Dari abang tidak mungkin berubah Biar pisau tancapkan ke dada Jika turun hujan dari langit Menerimakah kiranya bumi Jika turun hujan dari langit Menerimakah kiranya bumi Di nampaan ada waru rendah Cabang rebah ke Lawe Due Dari abang tidak mungkin berubah Biar pisau tancapkan ke dada Karena langkah kami segera bergegas Mohon izin kepada sanak saudara Sekiranya ucapan kami salah Mohon maaf kepada ibu-bapak

Values in the Tari Saman
Saman dance in the beginning with persalaman consisting of rengum and greetings. If observed carefully praising and encouraging their actual name of Allah with lafadz;

Hmm laila la ho
Hmm laila la ho
Hmm tiada Tuhan selain Allah
Hmm tiada Tuhan selain Allah

If you see this Saman dance performances, you will be stopped immediately when he heard the murmur of the dancers and come late along with the emotions of the dancers. Rengum it is spoken in a low voice but echoes. Thrilling stage and the souls of the dancers and the audience. There was a silence directly created at the time. Spectators are invited to participate in mentauhidkan God's wisdom.

Dance movement itself is still very limited and simple. Head bowed and hands to be worshiped. Regum show submission to Allah, also serves to equate vocal and concentration. Having created the atmosphere of reverent and then proceed with persalaman. Greeting addressed to the audience and the various parties by saying Assalamualaikum. then asked for permission to play Saman (manners and ethics).

After shaking hands then continued with the Ulu Ni song. It literally means head ulu ni song. But here means more variety-variety dance movement. The scene of this song ni ulu movement has varied, kesenyawaan between gestures, pat chest - the body and head movements. But the movement is still sluggish. Solemn atmosphere is still felt here. This section is like a warm-up before we are invited in ecstasy Saman other fast motion. Then known as the sheikh in a shrill voice will memberkan on cue at the end of the motion signify ulu ni song that will soon change the motion and entered the fast rhythm of the verse saying:

Inget-inget pongku - male i guncang
Ingat -ingat teman akan diguncang

At half the songs. This round was the culmination saman dance movement. The dancers are required optimal concentration and stamina. Apart from having to move quickly this round is also interspersed with the vocals together (crane). The whole movement look at the velocity of the hand strikes the chest, thighs or clapping, body movements simultaneously up-down or crossed, body tilted left - left to right in unison and crossbones (novice kuwen), head movements and head nodding rapidly rotating under ( girik), and the passage of a finger. Interspersed with slow movement that begins greeting words of the sheikh.

Similarly, repetitive movement between fast and slow, to the accompaniment of a few songs. In addition to dancers who brought in fast motion and kedinamisannya ecstasy, the penontonpun go hold your breath following the turn of the rise and fall motion and rhythm of dance. How beautiful enchanted in motion. Because of the speed and uniformity are stunningly attractive that you seemed to join in the rhythm of dancers moving in unison.

Then you are invited to relax tension and restore breathing in Ni-half aunt Kemuh which means literally cure motion. Accompanied by singing a simple and low tones are not pushy. If the condition of the dancers have been recovered, started fast motion that begins on cue by the sheikh with a variety of other motion. At the time of peak motion of the passionate, vocal accompaniment stops only visible motion only. Here there was no sound except the sound beating, chest stomping, clapping, thigh meghentak in traction quickly. You can imagine the atmosphere created at the time. Fast motion without a vowel is then how to create a magical atmosphere for the dancers and the audience.

Only after that you will re-watch a simple motion as a cover in the dance saman. In this round is overlooked is the poem, the phrase says, adieu, an apology to the audience and certain parties.
After witnessing the saman dance as a whole you will get an impression of this dance. Could be due to the speed in a magical atmosphere that brought him or you sense when following every move and dance rhythms.

(source : http://virtualaceh.com/aceh_art.php)

Gerebeg Mulud

2011-09-08T12:45:00.000+07:00

In the Java language, meaning gerebeg Mulud crowd and is one calendar month name in Java. Celebration, also known as Sekaten, to celebrate the birth of the Prophet Muhammad. The procession lasted all day and 'showing' two gamelan performances are paraded toward the grand mosque.

In the evening there will be a market north of the city to add a festive city, the perfect place to try different foods as well as Java and Yogyakarta to hunt for souvenirs.

Bali Arts Festival

2011-09-08T12:42:00.001+07:00

One of the largest annual celebration of art and culture in Indonesia, Bali Arts Festival is always crowded. During the month, various art performances, exhibitions and other cultural activities will take place in Bali, offering dance, music and beauty of their culture.

Celebration of the famous attractions such as traditional dances that have been almost forgotten, the trace of a remote area in Bali, food, crafts, as well as new creations from dance schools in Denpasar and contemporary choreography of national and international artists.

Pottery

2011-09-03T18:02:00.001+07:00

Pottery is thought to have existed since the time of early humans. In historic sites, has found many ancient pottery that serves as home furnishings.

Ceramic pottery that is also. But it is usually interpreted ceramics using low-burning, high water absorption, for example, bricks, jars, pots, tile house. Pottery-producing area known as the Kasongan. Actually a lot of pottery producer in Indonesia. Can often be found in the villages and carried out by one family is also close neighbors.

Because his motives are never changed, for example maker jars, pots, mortar once it's cheap. But if given a touch of art will add value.

Raw materials for making pottery is very simple, only clay and fine sand. Clay is dried first, then destroyed and filtered. Comparison of the material varies from the high plasticity of the clay used. Some are wearing comparison clay: fine sand = 1: 2 or 2: 3.

Mixing, dry clay that has been filtered is mixed with sand in the ratio mentioned above, stirring until blended as if mencampu sand and cement. Then poured a little water while stirring with a can be formed.
Way of formation, there are several ways, namely using a rotary tool, to make flower vases, pots, pans. Directly formed by hand with a twisted way, to make the statue, ashtray etc..

The burning of earthenware many wearing traditional combustion techniques, such as I have ever seen, made his home yard hole like a hole to dispose of waste if the village, pottery items that have been laid out in a dry hole, on top of stacked and burned There also are used the method of burning tiles. Fuel wood use.

Long burning between 7 to 9 hours. below I've included a picture waiting for pottery.

Finishing. After the burn, pottery decorated with regular paint, there is also wearing duco paint to paint the car, there is also wearing metallic paint.

Friend's

2011-09-03T14:15:00.009+07:00

Arts Collection

2011-09-01T22:51:00.002+07:00

(

This is partly a collection of beautiful works, which is priceless.

Are you interested in this.?

Dayak Not Melayu

2011-09-01T22:41:00.000+07:00

The Dayak are the indigenous tribes of Borneo who live in groups living in rural, mountain, and so on. Dayak word itself is actually given by the Malay people who come to Borneo. Dayak people actually using the name of Dayak objection, for it is interpreted rather negative. In fact, the Dayaks motto is "Menteng Ueh mammoth", which means someone who has the power of courage, and know not to give up or persist.Dayak origin of the word itself until now people still disagree. Some call comes from the word 'power', which in Kenyah language means river or inland. But there are also outside the Dayak people, especially in the last century who interpret it as head-hunters or hunters. This is possibly due to their past tradition of warlike tribal, by beheading their enemies as a symbol of conquest as well as 'friends' (for those, who already decapitated head of an enemy it could also be interpreted as a friend, because in addition to protecting them from the spirits evil, can also bring a blessing or fortune).
In one study, mentioned, at first Dayak tribes from Yunnan Province, a region in southern China (Mainland). They later settled in the Apo Kayan, the Long gorgeous now, near the border with Malaysia. When it comes from, no one knows-because the Dayak culture left no written records-cataan. After that they spread to all corners of Borneo, especially along the river flow.
Meanwhile, according to Dayak beliefs, especially the interior of Kalimantan, which passed from mouth to mouth, from grandmother to father, from father to son, until recently the unwritten lead to more or less than the truth, that the origin of the ancestors of the tribe Dayak is derived from the seventh heaven to this world with "Palangka boelau" (Palangka means holy, clean, a shelf, as the stretcher is sacred, holy axle of gold derived from the sky, often also referred to "rack or Kalangkang").

According to the historian, formerly the Asian continent and the island of Borneo, which is part of the country that are still fused, allowing the Mongoloid race of wandering through the Asian mainland and arrived in Borneo to cross the mountains now called the mountains "Muller-Schwaner '. Dayak tribe of Borneo is the true population. But after the Malays of Sumatra and the Malay Peninsula came, they increasingly retreat into.

Not to mention the arrival of the Bugis, Makasar, and Java at the height of the Majapahit Kingdom. Dayak tribes living scattered across the Kalimantan region in the long span of time, they have spread down the river-the river to the downstream and then inhabit the coast of the island of Borneo. This tribe is composed of several tribes, each of which has different properties and behavior.

Dayak tribes had built an empire. In the Dayak oral tradition, often called "Nansarunai Usak Java", ie, a kingdom that was destroyed by the Dayak Nansarunai Majapahit, which is estimated to occur between the years 1309-1389 (Fridolin Measure, 1971). The incident resulted in the Dayak tribe driven and scattered, partly into the hinterland. The next major currents occur when the influence of Islamic kingdom of Demak berasala with the entry of Malay traders (circa 1608).

Most of the Dayak tribe embraced Islam and no longer recognizes him as the Dayaks, but calls himself a Malay or Banjar. While the Dayak people who reject the religion of Islam back down the river, into the interior of Central Kalimantan, have settled in areas of Tangi Wood, Amuntai, Margasari, Watang Amandit, Lawas and Labuan Watang Balangan. Sebagain longer continue to push into the jungle. The Dayak adherents of Islam are mostly located in South Kalimantan and some Kotawaringin, one of the famous Sultan of the Sultanate of Banjar is Gastric Mangkurat is actually a Dayak (Ma'anyan or Ot Danum).

Not only from the archipelago, other nations also came to Borneo. Chinese nation is expected to start coming to Borneo during the Ming Dynasty in 1368-1643. Of starch lettered manuscripts mentioned that the city's first visit is Banjarmasin. But it remains unclear whether the Chinese came in the era Bajarmasin (under the Majapahit hegemony) or in the Islamic era.

The arrival of the Chinese nation does not result in displacement Dayak population and has no direct effect because it directly because they only trade, especially with the kingdom of Banjar Banjarmasin. They do not directly trade with the Dayaks. The legacy of the Chinese nation was saved by some Dayak tribes like malawen dishes, pots (jars) and ceramic equipment.

Since the beginning of the fifth century the Chinese had arrived in Borneo. In XV century the King of Yung Lo sent a large army to the south (including the archipelago) under the leadership of Ho Chang, and returned to China in 1407, having previously stopped to Java, Borneo, Malacca, Manila and Solok. In 1750, Sultan Mempawah accept Chinese people (from Brunei) who is looking for gold. Chinese people are carrying too merchandise such as opium, silk, glassware such as plates, cups, bowls and jars (Sarwoto kertodipoero, 1963)

Puppet, The Masterpiece Ancestors Become World Heritage

2011-09-01T22:16:00.001+07:00

In the Java language, the word wayang means "shadow". If viewed from the meaning of his philosophy "puppets" can be interpreted as a shadow or a reflection of the qualities that exist in the human soul, like rage, virtue, greed and others. Wayang is the traditional art of Indonesia which is mainly developed in Java and Bali. Puppet show has been recognized by UNESCO on November 7, 2003, as the work of an amazing culture in the field of narrative story and legacy of beautiful and valuable (Masterpiece of Oral and Intangible Heritage of Humanity).

This puppet show is basically a religious ceremony or ceremonies associated with the confidence to go "Hyang", performed at night by a medium (shaman) or treated by the head of the family by taking the stories of ancestors or ancestors.

This ceremony is intended to call and connect with the spirits of ancestors to ask for help and his blessing if the family will start or has finished performing a task. Such ceremonies are thought to arise in the era of Indonesia or to Neohithik ± 1500 BC. In its development later this ceremony done by a person who has the expertise, or make it a permanent job, the so-called mastermind.

Within a long puppet show and then continue to grow gradually but still maintain its core functions, namely as an activity associated with the trust and the education system.

Regarding the type of puppet known by the Java community, the Wali in the Land of Java has been set up in such a way into three parts.

First Wayang Kulit in East Java, the Wayang Wong or Wayang People in Central Java, Wayang Golek and third in West Java.

Each highly bekaitan one another. Namely "Which one of Contents (Wayang Wong) and Which Skin (Leather Puppet) should be sought (Wayang Golek).

Completeness Puppet

As a tool to demonstrate a ceritra puppet played by a puppeteer who is assisted by several gamelan players and one or two people waranggana or sinden as a vocalist.

In addition, a puppeteer can sometimes also have a special assistant to himself, in charge of organizing the puppet before the game started and prepare the kind of puppet characters that will be needed by the mastermind of presenting the story.

Mastermind function here is to set the overall course of the show. It was he who led all crewnya to yield in the story line presented. Even to the scene of small-kecilpun there must be solidarity among all the arts crew.

Thus, in addition required to be able to appreciate each character of the existing characters in the puppet, a puppeteer must also understand gising (song). Design floor puppet used in the game are straight lines, and in playing the puppet, a puppeteer is limited by the base used for stick puppets.

In the puppet show known set of left and right sets. Set the right is a collection of character figures or warrior-knight defender of truth and virtue, while the left set of figures is where the rage. However this provision is not absolute. To demonstrate the various settings / decorations and a change of scene is usually used symbols in the form of mountains.

Puppet show can be performed on the day or night, or day and night. Long show for a play is about 7 to 8 hours. Musical instruments used in the accompanying puppet show is complete Javanese gamelan pelog and slendro, but if not complete is commonly used and the type slendro only.

Vocalist daughter in the accompaniment of music called waranggono can one person or more. In addition, there is still a male vocalist called penggerong or wirasuara, which number 4 to 6 people and served to accompany waranggana or sinden voice "choir". Vocalist this man could be provided special or concurrently by gamelan players, so the gamelan is also penggerong.

In determining the play to be presented a puppeteer can not just choose according to his will. He is limited by several factors. Among them are: (1) types of puppets are used as a demonstration tool, (2) confidence in the surrounding community, (3) the purposes of holding the show. (Dean / multiple sources)

Ulos & Weaving

2011-09-01T22:05:00.000+07:00

Ulos or we can say muffler of Batak, it's weaving, used in ceremony of Batak or using daily. Ulos have three color's black, red and white. Ulos have motif and color is different it have means for using the color's and the motif.

In ceremony of Batak, what kind ceremony ? Prepare Ulos that you using must be befit with the ceremony.
Mostly women do weaving, with using traditional weaving equipment.

Carve and Chisel Art Part of Sopo, Solu (Small Boat), ornament and other is sample of wood carve and chisel Art Batak. Carve and chisel art used three color's black, red, white make unique Batak carve and chisel.

Batak's Language

2011-09-01T21:57:00.001+07:00

Batak House: source wikipedia

Batak speak a variety of closely related languages, all members of the Austronesian language family. There are two major branches, a northern branch comprising the Pakpak-Dairi, Alas-Kluet and Karo languages that are similar to each other but distinctly different from the languages of the southern branch comprising three mutually intelligible dialects: Toba, Angkola and Mandailing. Simalungun is an early offspring of the southern branch. Some Simalungun dialects can be understood by speakers of Batak Karo whereas other dialects of Simalungun can be understood by speakers of Toba. This is due to the existence of a linguistic continuum that often blurs the lines between the Batak dialects.

The Batak possess their own script known as the Surat Batak. The writing has chiefly ceremonial importance within traditional religious ceremonies, and was subject to little change for this reason. It is likely that the Batak people received their writing system from southern Sumatra.

Ritual cannibalism

2011-09-01T21:55:00.003+07:00


Source: Wikipedia: Judgement Place of Toba Batak

Ritual cannibalism is well documented among Batak people, performed in order to strengthen the eater's tendi. In particular, the blood, heart, palms and soles of the feet were seen as rich in tendi.

In Marco Polo’s memoirs of his stay on the east coast of Sumatra (then called Java Minor) from April to September of 1292, he mentions an encounter with hill folk whom he refers to as “man-eaters”. From secondary sources, Marco Polo recorded stories of ritual cannibalism among the "Battas".

Marco Polo's stay was restricted to the coastal areas, and he never ventured inland to directly verify such claims. Despite never personally witnessing these events, he was nonetheless willing to pass on descriptions which were provided to him, in which a condemned man was eaten:

"They suffocate him. And when he is dead they have him cooked, and gather together all the dead man's kin, and eat him. And I assure you they do suck the very bones till not a particle of marrow remains in them...And so they eat him up stump and rump.

And when they have thus eaten him they collect his bones and put them in fine chests, and carry them away, and place them in caverns among the mountains where no beast nor other creature can get at them. And you must know also that if they take prisoner a man of another country, and he cannot pay a ransom in coin, they kill him and eat him straightway.

The Venetian Niccolò de' Conti (1395–1469) spent most of 1421 in Sumatra in the course of a long trading journey to Southeast Asia (1414–1439), and wrote a brief description of the inhabitants: "In a part of the island called Batech live cannibals who wage continual war on their neighbors.".
Judgement Place of Toba Batak
Batak warriors, 1870.

Source: wikipedia/Batak warriors, 1870.

Sir Thomas Stamford Raffles in the 1820s studied the Batak and their rituals and laws regarding the consumption of human flesh, writing in detail about the transgressions that warranted such an act as well as their methods. Raffles stated that "It is usual for the people to eat their parents when too old to work," and that for certain crimes a criminal would be eaten alive: “The flesh is eaten raw or grilled, with lime, salt and a little rice.”.

The German physician and geographer Franz Wilhelm Junghuhn visited the Batak lands in 1840-41. Junghuhn says about cannibalism among the Batak (whom he called "Battaer"):

“People do the honest Battaer an injustice when it is said that they sell human flesh in the markets, and that they slaughter their old people as soon as they are unfit for work...They eat human flesh only in wartime, when they are enraged, and in a few legal instances.”

Junghuhn tells how after a perilous and hungry flight he arrived in a friendly village, and the food that was offered by his hosts was the flesh of two prisoners who had been slaughtered the day before,however he maintains that the Batak exaggerated their love of human flesh in order to frighten off would-be invaders and to gain occasional employment as mercenaries for the coastal tribes who were plagued by pirates .

Oscar von Kessel visited Silindung in the 1840s and in 1844 was probably the first European to observe a Batak cannibalistic ritual in which a convicted adulterer was eaten alive.

Interestingly, his description parallels that of Marsden in some important respects, however von Kessel states that cannibalism was regarded by the Batak as a judicial act and its application was restricted to very narrowly defined infringements of the law including theft, adultery, spying or treason. Salt, red pepper and lemons had to be provided by the relatives of the victim as a sign that they accepted the verdict of the community and were not thinking of revenge.

Ida Laura Pfeiffer visited the Batak in August 1852 and although she did not observe any cannibalism, she was told that:

"Prisoners of war are tied to a tree and beheaded at once; but the blood is carefully preserved for drinking, and sometimes made into a kind of pudding with boiled rice. The body is then distributed; the ears, the nose, and the soles of the feet are the exclusive property of the Rajah, who has besides a claim on other portions.

The palms of the hands, the soles of the feet, the flesh of the head, and the heart and liver, are reckoned peculiar delicacies, and the flesh in general is roasted and eaten with salt. The Regents assured me, with a certain air of relish, that it was very good food, and that they had not the least objection to eat it. The women are not allowed to take part in these grand public dinners."

Dutch and German missionaries to the Batak in the late 19th century observed a few instances of cannibalism and wrote lurid descriptions to their home parishes in order to raise donations. The growing Dutch influence in northern Sumatra led to increased Malay influence in coastal trade and plantations, pushing the Karo farther inland. Growing ethnics tensions culminated in the 1872 Karo Rebellion where the Karo were suppressed by Dutch and Malay forces.

Despite this, Karo resistance to Dutch imperialism lingered into the early twentieth century. In 1890 the Dutch colonial government banned cannibalism in the regions under their control.[18] Rumors of Batak cannibalism survived into the early 20th century but it seems probable that the custom was rare after 1816, due partially to the influence of Islam.

BATAK (INDONESIA)

2011-09-01T21:50:00.001+07:00

Batak is a collective term used to identify a number of ethnic groups predominantly found in North Sumatra, Indonesia. The term is used to include the Toba, Karo, Pakpak, Simalungun, Angkola and Mandailing, each of which are distinct but related groups with distinct, albeit related, languages and customs (adat). Occasionally it is also used to include the Alas people of Central/Southern Aceh, but usually only as relates to language groups.

In North Sumatra, Toba people typically assert their identity as 'Batak', while other 'Bataks' may explicitly reject that label, preferring instead to identify as specifically 'Simalungun', 'Karo', etc

Black Reflections

2011-08-30T21:26:00.000+07:00

Black Reflections, 1959
Franz Kline (American, 1910–1962)
Oil and pasted paper on paper, mounted on Masonite

Kline arrived at Abstract Expressionism later than others, having continued working in a figural style redolent of American Scene painters into the late 1940s. By that time, he was ready to concentrate on formal concerns, and his friendship with Willem de Kooning helped pave the way. As a means to break free of figurative representation, Kline experimented with a Bell-Opticon enlarger (in de Kooning's studio) to project some of his small drawings in large scale, and he made a leap toward abstraction. By late 1950, he was exhibiting abstract work that immediately brought him success. Large-scale black and white compositions of energetic, dramatic gestures in which wide swaths of paint thrust across the canvas. For many, even these works of complete abstraction still evoke figural references (to various landscapes or urban scenes of industry, or to trees or other referents). Kline acknowledged this residue of imagery: "There are forms that are figurative to me, and if they develop into a figurative image … it's all right if they do. I don't have the feeling that something has to be completely non-associative as far as figure form is concerned."

In 1956, Kline reintroduced color. Black Reflections, an intensely colored small work on paper, may in fact relate to an earlier black and white piece. Kline's work, so apparently spontaneous or impulsive in its emphasis on highly dramatic gestural brushstrokes, is, in fact, carefully considered. The sweeps and rapid brushings of both thick and diluted paint are the product of much meditation. He often drew inspiration for large compositions from small studies, and he also continued explorations of key elements in works even years after their creation. In this case, the central black shape is a mirror image of the shape in a black and white untitled painting of 1954.

Black Untitled

2011-08-30T21:24:00.000+07:00

Black Untitled, 1948
Willem de Kooning (American, born the Netherlands, 1904–1997)
Oil and enamel on paper, mounted on wood

29 7/8 x 40 1/4 in. (75.9 x 102.2 cm)
From the Collection of Thomas B. Hess, Gift of the heirs of Thomas B. Hess, 1984 (1984.613.7)
© 2011 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York

The Abstract Expressionist painter Willem de Kooning was a masterful and prolific draftsman throughout his seven-decade-long career. His first known drawings were realistic still lifes, done in about 1921, while he was a young art student in Rotterdam. Following his arrival in the United States (in 1926), he supported himself as a house painter, then moved to New York City (in 1927), where he soon became friends with other ascendant artists, including John Graham, Stuart Davis, David Smith, Arshile Gorky, Jackson Pollock, Franz Kline, and Mark Rothko. The gestural style of painting and the visual vocabulary of forms that he began to develop at this time continued to inform his later work. From the late 1930s through the '50s, his biomorphic abstractions (which allude to figures and landscapes) and his figurative series Woman (see 1984.613.6) placed him at the center of the Abstract Expressionist movement.

Between 1946 and 1949, de Kooning created a series of paintings on canvas and paper that explored biomorphic abstraction with a restricted palette of mostly black and white. Black Untitled of 1948 is a prime example of the allover compositions he produced that cohesively integrate positive and negative spaces, without representational allusions. Like his friend Franz Kline, de Kooning used both black and white paint, rather than letting the white of the paper show through. Sweeping white rivers of paint rush across the dark black ground, creating writhing intertwining shapes that suggest figures in a landscape setting, but without any specificity whatsoever.

Source: Willem de Kooning: Black Untitled (1984.613.7) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Symphony No. 1, The Transcendental

2011-08-30T21:21:00.000+07:00

Symphony No. 1, The Transcendental, 1941–42
Richard Pousette-Dart (American, 1916–1992)
Oil on canvas

With this work of 1941–42, Pousette-Dart, then twenty-five years old, became the first of the Abstract Expressionists to make a mural-size painting. The monumental, heroic scale is integral to the artist's fundamental goals, expressive of highly personal, mystical beliefs that are as all-encompassing and vast as the work itself seemed at the time. Pousette-Dart worked in several media simultaneously, including painting and photography, and he also wrote a great deal, including poetry, art theory, and a host of other observations. He left more than 200 diaristic notebooks, providing an exceptional snapshot of the world view that shaped his art making. In a notebook probably written in 1940, he wrote, "Art is only significant as it takes us to the whole man and gives us new insights and opens secrets toward the unknown heart of our total mystic awareness." He also wrote, "My definition of religion amounts to art and my definition of art amounts to religion. … Art and religion are the inseparable structure and living adventure of the creative."

Like other Abstract Expressionists during the 1940s, Pousette-Dart looked to the art of other cultures for inspiration in seeking meaningful content. African, Pacific, Pre-Columbian, and American Indian art were seen as vehicles to express what Pousette-Dart described as "transcendent"—beyond empirical experience. This densely packed composition is organized around a structured grid that emerges sporadically. But Pousette-Dart breaks away from a basic Cubist structure to develop a new artistic vocabulary. Circles, teardrops, ovals, arcs, diamonds, and crosses evoke cosmic and organic forms, a rhythmic spread in black, white, and earth tones with points of bright color. Here and there, a nuanced reference to something identifiable emerges: perhaps a bird at the lower left, or some primitive weaponry at the upper left. The paint surface is layered, reworked, evidence of the artist's process of decision making in creating the work of art. The linear grid is apparent and principle elements are all outlined. But the image as a whole seems to pulsate in and out of focus. Pousette-Dart wanted an art that was "mysterious and transcending, yet solid and real."

The Glazier

2011-08-30T21:04:00.000+07:00

The Glazier, 1940
Willem de Kooning (American, born The Netherlands, 1904–1997)

Oil on canvas

54 x 44 in. (137.2 x 111.8 cm)
From the Collection of Thomas B. Hess, Gift of the heirs of Thomas B. Hess, 1984 (1984.613.1)
© 2011 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York

In his fascination with landscape and figurative subjects, Willem de Kooning has always veered away from mainstream Abstract Expressionism, a movement of primarily abstract painting, in which he was nevertheless a leader. The Glazier belongs to an early series of men—placidly sitting or standing, singly or in pairs—which were painted in the late 1930s and early 1940s. Later, in the 1950s, his subjects favored fierce female characters (such as Woman, 1950, 1984.613.6), for which he is still best known.
The Glazier has a ghostly, elusive quality. Parts of the body, especially the arms and head, seem to evaporate into veils of color, while other sections of the picture—the face, right shoulder, trouser creases, and table covering—are quite solidly modeled. The representation of space is equally ambiguous, vacillating between what de Kooning called the "no-environment" of color fields and abstract rectangles, and the specificity of an elegant ewer placed on a table and reflected in a mirror. The artist said that his palette of somber earth tones was inspired by the Boscoreale frescoes that he had often come to see at the Metropolitan Museum.