Indonesian Art

The term-term in Dance and jewelry

2011-11-11T19:24:00.001-08:00

Badhak Peacock. Dancers wearing huge masks, usually in the show Reyog or Dhoger. Headgear or mask was widened to the top. Called badhak peacock mask because his face resembled the badhak animals, being that extends to the top painted peacock feathers or peacock feathers often earnest. Badhak is often called Dhadhak Peacock Peacock or Peacock-merakan.Pads. The thread is wrapped with cloth of thumb is used as a base xylophone keys. There are times when the material is in the form of fibers wrapped in cloth.Bara. Javanese dance decoration on clothing worn at the waist to the right and left. The shape is as wide as the belt, approximately 40 cm in length, usually ornate and Ketep mote.Benges. Dressing materials which color red or pink. This term is used if for coloring the lips (lipstick). Various gerongan sung in a low tone with high tone.Blangkon. Headband made of fabric denganmotif batikyang manifold. Blangkon name comes from the word blank, which means the headband, it's already assembled or dipas such a way according to the size of the head. This headband as the completeness of the male costumes in Java. The development is now common for dance apparel.

Blencong. round tube filled with coconut oil, on the side of the existing perforated pipe where the inclusion of benag axis, as a means of illumination (sort of, a lamp), which hung in the middle of the veil, just above the head dhalang the puppet show.Bokongan. Imitation of the buttocks in order pantatnta look big. Clothing is usually worn for the role of men in the puppet or how to put on equal dhandhan.Guarantor. material makeup or makeup on the wayang wong dance-colored or yellow. Cream is often also called scrubs, its function is usually to give color to the entire body so that it becomes yellow. According to tradition the dancers must have a yellow skin color.Pufferfish. section or wayang wong dance clothing made from paper that ermacam-range color. Pieces of folded paper as a way, so after a tied and strung together a round-shape into small round, which is approximately 70-10 cm in diameter. The series of papers were arranged elongated roundabout approximately up to 2 meters. According to tradition, bloated as the completeness of the bride Javanese traditional clothes that originally made from leaves. Pufferfish derived from the word meaning bontel variety of colors.Oxtail. Artificial tail for the role of an ape. how to wear a belt worn on the back like a tail, the tip is connected to the Irah-irahan. Danger to Yogyakarta style made from cotton that is inserted in the fabric so that the rounded shape and length of approximately 1.50 m.Tail lizards. places to hold kemanak long and shaped like the tail on the curved edges.Cancutan. Often also called cawetan the way to the role of monkeys in particular berkain Yogyakarta style.Cawi. sunggingan shape and inlay on the skin for dance clothes shaped like tiny lines bentukl needle.Kohl. part of the eyelids which were black, so that more eyes look big or sharp.Pants banner. Dance pants length approximately to below the knee.Celuk. Introductions with a vowel, usually using the first verse or the last verse of one song (see song).Cemehi Samandiman. Whips carried by Wirayuda in dance Waterford Jathilan or horse shows.Mobile. Kothak bat on the puppet show. Mobile is made of wood shaped like a stupa with a diameter of about 10 cm and length 15 cm. In Yogyakarta, mobile made of brass or bronze that looks smaller, used as a hitter kepyak with dijapit toes.Ceplik. Often also called borokan, is thothok ornament consisting of a pair on the right and left.Cindhen. Motives and pants sampur pennants and other parts of Yogyakarta style dance costumes are basic colored red, blue, green, yellow.Congoran. Often called cangkeman, and serves as a mask, but only cover the mouth. To the front of the others were dressing. Congoran Yogyakarta style used in Langenmandra Vanara.Corekan. Make-up after the front of the given base, yaiu mustache, eyebrows, godhek and others.Cundhuk teeter. Jewelry (see cundhuk mentul) that serves as cundhuk that looks like a comb or a teeter. Jewelry is usually made of gold or imitation gold.Cundhuk Mentul. Jewelry is usually for a princess. This jewelry as cundhuk like flower shape that moves like a pear or a Java language-mentul mentul. This ornate jewelry worn on the bun, the material is made of gold or imitation gold.Dhadhan. Dance as part of artificial dhadha seupaya look big. This section is used for roles that wear clothes, especially the role and the giant ape. Dhadhan is made of cotton wrapped in a cloth, or with woven from rattan which is formed in such a way. How to use it given the strap and worn around the neck.Dhampar. Chairs lined square ottomans for seating the king and the knights of the scene in the hall official in Javanese wayang wong dance drama (see wayang wong) Yogyakarta style.Dhendhan. Logs are located on the right and left upper rancakan gender where there is a hole to insert pluntur as a rope to stretch gender pitches. This is a tool Dhendhan pluntur fasteners. In the area of Yogyakarta is a similar form of gravestone (dhendhan kijingan).Dhingklik. Chairs lined round ottoman to seat the knights in the scene in the hall official in Javanese wayang wong dance drama (see wayang wong) Yogyakarta style.Dhuduk. The woman in charge of delivering weapons menladeni prang like a shield and arrows to the dancers Srimpi Yogyakarta style.Dhuwung. Java language Krama (high, smooth) to the keris is a Javanese dance costume supplies Yogyakarta style which is also used sa gun fight. The role of princess wearing a dagger in front tucked in a belt attached to the abdomen, while the role of the son of someone wearing a dagger in front such as the gods, sages or hermits, but is generally worn tucked behind the belt. To Yogyakarta style of leather.Dhuwung Branggah. Selosongnya keris head shape (order) pointed next door. To dance Yogyakarta style dagger is used which is also used as a weapon of war. The role of princess wearing a dagger in front of the belt menmpel inserted in the abdomen, while the role of the son of someone wearing a dagger in front such as deities, sage, or ascetic, but is generally worn tucked behind the belt. To Yogyakarta style of leather.Dhuwung Gayaman. Keris which forms the head of the slug (order) blunt to dance kerisini Yogyakarta style worn by dashing son of a dancer.Dodod.1. Berkain way. Fabric size is smaller than the seam, approximately 4 meters long, 1.10 meters wide. In addition to clothing dance, in a ceremony imposed by the greatness of the king's consort, and the king's daughters who are married.2. Menthak slipcover made of velvet fabric decorated with golden thread, commonly used in the gamelan panbuh Yogyakarta area.Dolanan Sondher. Range of motion describing the left and right hand were playing (Dolanan) scarves (sampur or sondger) contained in a smooth and handsome son dance style of Yogyakarta. This motion is used in Kelana dance.Dolanan Supe. range of motion describing the left and right hand dancer playing (Dolanan) with the ring (superior) in Yogyakarta style dances. This motion is used in dance and Klana Golek.Gabahan. Guided eye makeup part of puppet forms, such as grain. The role that has the form of the eye as the characters are usually smooth, like Arjuna, Krishna, Rama and so on. grain means 'grain'.Gada. Weapons of war dance gallant sons of Yogyakarta style paddle. In Yogyakarta shaped beater who has three flat sides.Gadhung Mlati. Motif color or color combination that is often used in dance costumes, among others, to fabric, sampur, headbands, tank and so forth. The color consists of white and green colors.Bun. Irah-irahan or close a motive such as hair ornaments coiled or curved backward. Irah-irahan inibiasa used a figure both heroic knight and smooth. Examples such as Arjuna, Bhima, Gathutkaca, Hanuman and so on.Bokor bun. Bun motif used in dance Bedhaya or Srimpi, especially Yogyakarta style. Named for the shape bun bun bowl resembles a bowl or bowl of water or vegetable place.Bend your bun. Bun motif that is used when an adult daughter who had entered the palace. this way comes with a cloth wearing strapless or semekan. The development is now often to sanggulan types of dance.Gendreh. Motifs that form of batik cloth or paranganya lereknya smaller than the machete damaged. Usually used for the role of Arjuna, Puntadewa and so forth.Gendring. Slawatan kind that many in Bantul. Dance is a fan brought KITAP called tuladha or tldha, read by dhalang. This folk dance serves as a ceremony of maturity such as circumcision, or also kaulan. This dance is not the kind of public spectacle, because the present senua danced. This dance is accompanied by the music fly.Gimbalan. Type-irahan Irah made of fake hair that long and only given zamang only. Irah-irahan used this particular role or giant rekasasa the trash that is not the principal role in the puppet.Lipstick. Material makeup or makeup that color is red or pink, which is used to color the cheeks look so much younger or prominent.Godheg. Artificial hair that grows on the face of the ear under the forehead, by way of makeup. In the Wayang Wong this godheg forms vary according to the character.Godheg Ngundhup Turi. Bentuknyaseperti turi flowers are still blooming buds yet. In the Wayang Wong this godheg form for smooth character or for the daughter.Godheg Pengot. Shaped like a knife or similar pengot. In wayang wong or the fingers of this type, for the brave or tough character.Grompolan. Sumping decorations mounted on a headband made from buffalo skin tepen or sapai, small shape like a flower ..Halup-halup. Basic make-up, usually white. This term is often used in a particular way of dressing Wayang Wong style of Yogyakarta.Iket Kodhok Bineset. Headband or blangkon but the top is open, so that after the top of the hair worn look.-Ilatan physical defect. Part of mekak. Called-ilatan physical defect because it resembles a long tongue, used in the middle of the chest extends down to cover the function buttons or straps mekak.Stitches. How to makeup for the eyes to the type of dance styles Bedhaya Yogyakarta. The shape is based on the entire face scrubs, but in part around the eye is not, so in the form of the eye that can njahit.Zamang. Terbuaat headdress of buffalo or cow leather, inlaid and disungging or dinada and given kepet, nuts such as lobes or necklace. This ornament is the unity of the Irah-irahan. Zamang motifs vary according to type-irahannya Irah or character.Janget. Same with jenjetan, except that the material is made of cow leather which formed flat of approximately ½ cm, often there is a round flat there is a square.Januran. Zamang or Sumping form that is often also called zamang or Sumping pundhak setegel. Roles in the wayang wong using this form, among others, Bhima, Hanuman, and other Ontorejo sebaginya.Arrow. Krama Javanese (high, smooth) to Yogyakarta style arrow that the bow with his arrows into one. The use of arrow in the war did not sincerely, because the arrows can not be separated from his bow when fired, but only cause noise thek.Impur Alus. Type of fine son Yogyakarta style dances for the knights a smooth and humble like Arjuna, Rama, Admiral, Panji and Darmawulan. Arm motions rather open, many uses symmetric arm design and use sampur. This type of dance is also often simply called impur.Alus Kalang be all white. Type of fine son Yogyakarta style dances for the subtle but dynamic knight such as Salya, Bhishma and Wibisana. The motions of the arm slightly open, a lot of use with an asymmetric design and use sampur. This type of dance is also called clumsy be all whiteAndhe-andhe Lumut. Folk dance drama that developed in many areas of Bantul and Kulonprogo. This dance drama contains stories Andhe - andhe Lumut. That story Panji. The show was accompanied by a set of gamelan tunings or slendro slendro. Formerly enumerated by male dancers only danced alone, but perkembanan now is not the case. Motion under the influence of puppet dance wong, especially Yogyakarta style. The dancers convey its dialogue with the form of song and prose.Ngajeng wedge. The first dancer from the right first row of spectators pad assemblies Bedhaya Yogyakarta style.Wingking wedge. The first dancer from the right audience on the third row of the assembly Bedhaya Yogyakarta style.Bedouin. Rodhat kind that developed in many areas Sleman. Dancers advance of 20 to 80 people each pair. Dancer-dancers carried a fan and broom tanga. The form of songs sung dialogue and sholawat with language support as well as Indonesian language and the Java language. Dance motion performed in a standing position. Any change to the tent gerakn whistles sounded by the head of the dancer. Bedouin dance from Sleman never get the first prize at the festival of folk dances of Indonesia in Jakarta in 1977.Ballet, Ramayana. Yogyakarta dance drama without dialogue that bring the story of the epic Ramayana. Ballet terms derived from French, ballet has the same meaning as the term ballet. The word ballet widely used by groups which organized the Ramayana dance performances for the tourists.Bango Mate. Variety ngruji motion with his left hand, right hand nyempurit. Like the motion of a bird bango. This motion contained the daughter of Yogyakarta style dances.Students get up. Students Cobras kind, in the middle there pertujukan acrobatic demonstrations. The show consisted of playing on the torch on a rope stretched at the two ends of the tall bamboo about fifteen feet.Bapang Dhengklik Keplok Asta. Type gallant son of Yogyakarta style dances for the role-pranan giant armies. Shows the characteristic motion dhengklik said one leg lifted up and set out with knee bending and pressure. For the army of giants who used the hand position is called keplok asta which means "clap hands"Wipe Asta Dhengklik Bapang Keplok Rawis. Type of dance styles Yogyakarta khusu gallant son to the giant genie who has no good character.Bapang Kentrog. This type of dance style gallant sons to dance Bugis khusu Yogyakarta Yogyakarta style. Motion-motion comes on Bapang, but coupled with the motion of the motion kentrong hopping on one battery.Sekar Bapang Suhun Dhengklik. Type gallant son of Yogyakarta style dances for roles king or prince giant giants like King Newata Kawaca and Kumbhakarna. Sekar suwun is the name of the position of the arm which is always pointing upward and the other leads diagonally down. Shows the characteristic motion dhengklik said one leg lifted up ditapakan with bending and pressure.Bapang Ukel Asta. Type gallant son of Yogyakarta style specifically for that character humor god is Bathara Narada.Barong. Jathilan or animal figures in Incling. Barong is often called Barongan is danced by two hooded cloth or bagor, so the shape of large animals. One person was in front of moving his head, was only behind moving his butt and tail. This Barongan big-headed beast with a big mouth, but it is not clear what type animals.Batak. Dancers second lane from the right audience at the center of the assembly Bedhaya Yogyakarta style. Together endhel pajeg, dancer Batak plays an important role in the story presented by Bedhaya. In a telling Bedhaya Srikandhi Meguru Manah, dancer Batak is what serves as Srikandhi, while the dancers endhel pajeg role as Arjuna.Beber.1. This type of puppet show which way spread the cloth that has been painted with images of puppets and has a color are offered, taking the story of Panji cycle. Puppet beber there are still areas in the Village Panung Pacitan, East Java.2. How to offer in ngamen gamelan performances sounding drums in such a way as to make known to the general public in order menanggapnya.Bedhah Earth. The first dancer to dance tayub ngibing, usually at the ceremony that started the dance village clean ngibing is the host. Bedhah earth has a symbolic meaning, namely intercourse, bedhah means opening (njebol) yatitu dancer son, was the earth that is land that is the dancer putrinya.Upacara it is a symbol of clean soil fertility in the village after the harvest time.Botoh.1. Two interpreters or referee on a separator Lawung Yogyakarta style dances that berfumgsi as signal giver training when the war begins and ends as well as lead the way exercise. Botoh using a type of dance prop gallant son of the king be all white.2. Gambler.Arjunawiwaha, Bedhaya. Bedhaya Yogyakarta style of processing results of Raden Lurah Sasmitamardawa Kawedanan hageng Punakawan Krida Mardawa Yogyakarta Palace in 1976, taking the story when Arjuna meditated in Indrakila with all sorts of temptations to kill Niwatakawaca then crowned the king of fairies. Gendhing Ranumanggala accompaniment, Pelog nem.Dewa Ruci. Bedhaya. Bedhaya Yogyakarta style of dance composition prepared by Sudharsono Pringgobroto in 1946, which was first staged at the opening of the University of Gadjah Mada in Yogyakarta. Costumes, dance techniques, as well as the amount equal to Bedhaya classical dancers, but the theme is sung is a story of Dewa Ruci, an episode in the epic Mahabharata which describes the event when Bhima is being tried by his teacher, that Drona, in search of living water in the bottom Samodra. After all the hurdles can be overcome, Bima met with the god who gave him instructions Ruci-opetunjuk good.Laleha, Bedhaya. Bedhaya to the accompaniment of the piece and is one of Laleha Bedhaya Sultan Hamengkubuwono VI creation time, take fiber Harjunasasra when the war against Sumantri.Sexual intercourse, Bedhaya. Bedhaya using gendhing sexual intercourse as a retinue, and was created in the days of Sultan Hamengkubuwono VII in Yogyakarta. This dance contains romance Panembahan meeting of Mataram by Senapati Kajeng Queen of South on the coast of the South Seas (Ocean Indonesia).Manten, Bedhaya. Composition Bedhaya Yogyakarta style dances that illustrate the process according to traditional Javanese wedding ceremony, was created by Sultan Hamengkubuwono IX in 1943. Dance technique and dance clothes like Bedhaya others, but the dancers only six people.Mattock, Bedhaya. Bedhaya order gendhing accompaniment: Ketawang Pangkur gendhing kemanak Ladrang Kembangpepe in larasd pathet manyura slendro.Prabudewa, Bedhaya. Bedhaya ciptaaan Sultan who later in the time of Sultan Hamengkubuwono VI reprocessed, as well as heirloom Bedhaya awarded in the Duchy.Revolution, Bedhaya. Bedhaya Yogyakarta style of dance composition prepared by Sudharso Pringgobroto in 1959. The theme of the series of events that brought the history of Indonesia menggambarklan started since Dutch colonial times until the time of the restoration of security in 1950 that describes secar symbolic. Bedhaya Revolution also brought by nine dancers princess, but her clothes to wear on the wayang wong daughter Yogyakarta style and make-up and head to use bridal princess of Yogyakarta.Sapta, Bedhaya. Bedhaya dance composition prepared by Tumenggung Purbaningrat in the forties, danced by seven female dancers. Bedhaya Seven (Sapta means seven) mengisahksn story when Sultan Agung (1613-1645), king of Mataram Mataram III makes the boundary between the Pasundan.Student Park history, Bedhaya. Dance composition prepared Bedhaya Sudharso Pringgosubroto in 1952, described the history of the College Student Park in 1922 with the character Ki beat Dewantara. Costumes, dance techniques and the amount equal to Bedhaya classical dancers, only just a new theme.Begalan.1. Folk art that developed in many areas of Banyumas. Contains folk art discourses, so that the show often to enliven the wedding party. These performances are overlooked dialogue, being gerask simple and spontaneous dance-influenced dance movements Java and Sundanese dance. The contents of the story is unclear, only consists of two dancers, yatitu as a mugger and the mugged, as a symbol between good and evil.2. In the war flower wayng skin, which happened after the war because, the war between a knight against a giant who is usually called blind robber.Beksa Alus. Son delicate dance techniques Yogyakarta style used for the role of fine-knight role of Mahabharata, Ramayana, Panji and Darmawulan like Arjuna, Krishna, Rrama, Admiral, Panji, Darmawulan and others. Characteristic of the type of fine is the son of an open lower leg position, the step is, removal of lower leg, arm position slightly open, his movements slow motion except in war. Beksa alus, Java language Krama (high, smooth) of djoged alus usually sung by men who are somewhat slim boned.Beksa Gagah. Son of the dashing style of dance technique that is used to Yogyakarta roles gallant knights of the epic Mahabharata, Ramayana, Panji, Darmawulan and forth, like Bhima, Balarama, Ravana, Klana, Sewandana, Menakjingga and so on. Characteristic of the type of gallant sons is an open foot position rather quickly. beksa dashing, Java language Krama (smooth, high) of the gallant Joged typically sung by a man who boned sturdy and tall.Princess., Beksa. Daughter of Yogyakarta style of dance technique that is used for dance Bedhaya, srimpi, doll and daughter roles in dance dramas of Java. Cir typical type of dance is the daughter of foot position is closed, a very small step, the position of the arm rather closed, small head motion without pressure, bending-bending limbs are not sharp, motion-slow motion. Beksa daughter usually danced by women, except before 1918 for doll and daughter roles in wayang wong, and Langen Mandrawanara Langendriya performed by male dancers who are still teenagers, slender and flawless.

Bindi.1. Weapons of war on the dance dashing son of Yogyakarta in the form of a cylindrical bat.2. Percussion (bat) Bonang, Kethuk, Kempyang and Kenong.Bliu Tau. Belajarmemainkan wrong way atu misalanya rebab gamelan instruments but without the correct method, generally only by listening and imitating.Bronjong Wire. The attitude of the hand like a man eating rice without using a spoon or fork, which uses the fingers to take food. Attitudes do seem to be rigid.Bugis. The composition of Yogyakarta style of dance in pairs, performed by one or two pairs of dancers, using a type of dance is typical for the gallant sons of Bapang kentrong.Tari Bugis is estimated born outside the palace in the 19th century, depicting soldiers from ethnic Bugis from Sulawesi South who were practicing war.Knapsack. Dancer number 7 on the middle lane of the assembly Bedhaya Yogyakarta style.Cakilan.1. This type of dancing giants.2. Small round bamboo magnitude approximately two-thirds cm length is two and a half inches, was used as a means of retaining gender pitches, slenthem tied to pluntur.Cancutan. Often also called cawetan the way to the role of monkeys in particular berkain Yogyakarta style.Canthang Balung. One of the dancers on the dance doll gambyong. Canthang cockscomb an antagonist and is described as a unique figure.Cekehan. Leg movements in the dance horse shows, which is run by foot or mendhak modestly, but time will step foot lifted high by jumping a little bit. This movement can be carried forward and rewind, slow rhythm.Cepet. Figures in dance or Incling Jathilan wearing masks cover the entire face. In this show there are two dancers, namely cepet lanang black mask, and cepet wadon white mask. The two leaders are also often called Hurry or Kecepet.Cindhil Ngungak Tumpeng. Range of motion imitating a young rat (cindhil) who saw a flash (ngungak) lump of rice (cone). This motion contained in Yogyakarta dashing dance or role that will be insolent.Copyright Budhaya. Private organizations Yogyakarta style of dance education in Yogyakarta is now no longer active.Coklekan. Bending motion of the head to the left or right side of the dance style of Yogyakarta.Gallop. dance dance at horse shows similar motion drap (see drap), but his legs straight not bent, somewhat slower than drap rhythm.Congoran. Often called cangkeman, and serves as a mask, but only cover the mouth. To the front of the others were dressing. Congoran Yogyakarta style used in Langenmandra Vanara.Wisnuwardhana Contemporary Dance School. Creation of new dance educational institutions founded by private Wisnuwardhana (see Wisnuwardhana).Cundrik. Prop dance as a weapon of war, shaped like a dagger, but without a sheath. Prop is usually used to dance the role of women, particularly in the Wayang Wong dance style or Surakarta.Damarwulan. Art historical story of the original Java depicting a knight named Damarwulan who are willing to defend the kingdom of Majapahit against the rebel Duke of Blambangan Menakjingga. Damarwulan Menakjingga managed to kill, and to preserve his love with the Goddess Anjasmara, daughter Patih Logender of Majapahit. This story is the theme of the opera Javanese dance drama named Langendriya Yogyakarta style. Damarwulan also often staged in the drama of a new dance called ballet.Deder Sampur. Sampur who worked as arrows superimposed on the left arm, and pulled with right hand fingers.Dhadha.1. Dancer of the number 6 on the middle lane of Bedhaya assembly (see assembly Bedhaya) Yogyakarta style.2. The name of the tone in the gamelan (see gamelan). For normal recording is replaced with the number 3, for the barrel and barrel slendro slendro.Dhadha Mungal. Dada (dhadha) raised to the top (Mungal). This position is a good chest position in Yogyakarta style dances.Dhuduk. The woman in charge of delivering weapons menladeni prang like a shield and arrows to the dancers Srimpi Yogyakarta style.Drap. Leg movements in the dance horse shows in the Waterford area, the movement ran with kakai lifted and bent a bit high, fast rhythm.Sitting Wuluh. range of motion contains the left and right with ngoyog sideways motion, ending with the left arm diagonally leads straight down, right arm bent in a position like hips. This motion contained the daughter of Yogyakarta style dances.Ebeg. Emblek kind that brings the local banayak Banjarnegara. the dancers ride horse shows with a sword, usually wear glasses varying in color. at the climax of the show were also held with the game of war glass mirror reflects the light, atahari addressed to his opponent.Emblek. Jathilan kind of Kedu in mountainous areas. Players consist of 7 persons, six dancers horse shows that berpasanga-pairs, one as a leader. The show with war and war with the game of glass reflecting the sun, addressed to his enemies. Usually they danced round and round until there are no conscious and possessed spirits (ndadi).Encot. Motion of the whole body down after a stop is moved back to the top. This motion contained the daughters and sons smooth dance style of Yogyakarta.Encot-encot asta. Variety encot footwork that diakkhiri denganlengan aligned diagonally to the bottom right. This motion contained in Yogyakarta style dance princess.Pajeg, Endhel. Dancers strip number 3 in the middle of the assembly Bedhaya Yogyakarta style. Together batak dancers play an important role in the story presented by Bedhaya. In narrating Srikandhi Bedhaya Meguru Manah, dancers endhel pajeg is what serves as Arjuna, while the dancers act as Srikandhi Batak.Wedalan Ngajeng, Endhel. Dancer number 2 on the third row of the assembly Bedhaya Yogyakarta style.Wedalan wingking, Endhel. Dancers number 9 on the third row of the assembly Bedhaya Yogyakarta style.Endraya. The attitude of the left hand ngelak dragon in a position in front of the navel. While the right hand with the attitude mangap ambaya hand on his back with the fingertips touching the right hip.Engkrang. Range of motion of the left and right hand position sampur sampur nyanthok and then thrown out. If the motion is followed by lifting and bending the left leg is called engkrang kiwa. and if the right leg raised and bent called engkrang Tengen. Engkrang used to smooth and handsome son of dance styles in enjeran Yogyakarta, which is a preparation for the war dance.Engkrang Mlampah. Range of motion is coupled with leg engkrang step. This motion contained in the smooth and handsome son dance style of Yogyakarta.Enjeran. Dance preparation and heating at Yogyakarta-style war dance composition. Enjeran second part of the composition of the whole war dance that consists of four parts, namely advanced gendhing, enjeran, war and retreated piece.Sampur moaned. Imitating motion sindhen, by covering the lips and use sampur as cover.Erek. A movement if it will be war in the kind of dance Jathilan. Before the war usually two dancers use movement erek horse shows, which is like spinning a composition of the circle.Etheng, Beksan. Composition of Yogyakarta style dance group who danced in pairs by 12 male dancers, which was created by Sultan Hamengkubuwono I in the 18th century. This is a dance war dance performed by three groups of dancers, a group that uses a type of dance smooth four sons who pitted his strength, the type of dance groups receipts 4 people as a dashing son of the complainant, and the comedian group consisting of 4 people anyway.Impur dashing. Type of Yogyakarta style dances for the gallant son of gallant knights, but false in behavior such as King Suyudana and Patih Udawa. Open arm motions, many uses symmetric arm design as well as on the type of use sampur alus impur son dance. This type is also commonly called impur clumsy.Kalang be all white, Gagah. Type of Yogyakarta style dances for the gallant son of gallant knights and aggressive like Suteja, Sentyaki, Indrajit and so on. Motions of the open arms, many using sertamenggunakan sampur symmetric arm design. This type of dance is also often simply called a loop be all white.Kalang be all white King, Gagah. Type of Yogyakarta style dances for the gallant sons of the kings of valiant and aggressive as Balarama and Ravana. Principle the same as the stout prop motion be all white, but there is little abnormality in his left hand motions. This type of dance is also often simply called a loop be all white king.Flowers, Gagah. Type of dance son gagahgaya Yogyakarta for gallant knights and honest and steadfast stance as Bima, Gathutkaca Yogyakarta style, Antareja and Antasena. Open arm motions, many uses symmetric arm design and use of hand positions without sampur ngepel. This type of dance is also commonly called kambeng.Gajahan. Range of motion with one arm bent upward until hands are near the ear, the other arm diagonally downwards performed alternately left and right. This motion is used in Yogyakarta style dance son.Ngoling elephant. Range of motion of both hands above his right ear and left like an elephant who was ngoling (stretched) by waving its trunk up in the dance style of Yogyakarta. This motion is used in dance and srimpi Bedhaya.Gambyong.1. The name of one of the existing role of dancers in dance Golek Gambyong.2. The name of bonang carabalen tone gamelan.Gambyongan.1. The name of suatubentuk piece.2. A form of rhythm in the Javanese gamelan.Gapruk. Motion clashing weapons commonly mace, sword or spear in the war dance style gallant son of Yogyakarta. Gapruk means clashing.Gebesan. Head motion in the dance horse shows similar pacak Gulu, a simple movement of the head is moved to the right and to left together with moving the horse's head braid.Gedheg. Shook his head to the left and right on the dance son Yogyakarta style. Head movement is usually used by the masked roles in order to advance seems to live ..Gedrug. Motion stomp one foot left or right to the floor with toes behind the other foot on the dance daughters and sons fine Yogyakarta style. If the left leg snapped named gedrug kiwa, and when the snapped right leg named gedrug Tengen. Kiwa is left, Tengen is right.Degree. Classic war strategy widely used in classical dance dramas such as wayang wong Yogyakarta style. This title was different, among others, degree of shape formation Garudha Nglayang like an eagle that was flying, a form of degree CVD Neba CVD formation like birds in large quantities that are flying, degree Wulan Tumunggal the formation of curved like the moon which had just stepping on the first day, a form of degree Meta Dirada formation like an elephant who was angry, and others.Gendhewa. Compound bow, which is part untukmelepaskan arrows. In the wayang wong gendhewa often brought untukmenunjukkan that which brings the knight.Genjotan. Motion major step to the left or right along with this tekanan.Gerak present in Yogyakarta style dances gallant son.Genjring. The name of the instrument, shaped like a small fly on the wood but a hole to place a thin metals. Genjring also called tamper or triangle.Genukan. Same with grimingan. This term is generally used pedhalangan Yogyakarta.Gidrah. Range of motion, which ended by bringing his left hand and right in front of the abdomen. This motion is used in the dance style princess of Yogyakarta.Gladhi Rehearsal. This term is used to refer to the last exercise as a preparation stage or dance performances. According to tradition the role of the son wearing the banner, cloth sapit urang (can also use ordinary cloth wiron), coal belt buckle dictionary, dagger, without clothes, udheng. As for the daughter of the fabric, kebaya, bend or ukelan ordinary bun.Asmaradana, Golek. This type of puppet styles of dance that accompanied the piece asmaradana Yogyakarta.Swing-swing, Golek. This type of puppet dance that accompanied the piece Yogyakarta style swing-swing.Surenggraha doll. This type of puppet dance that accompanied the piece Yogyakarta style Surenggraha Tumenggung Purwadiningrat created in 1967 and is the oldest Golek in Yogyakarta.Segara thunder. The composition of the group pairs Yogyakarta style dances, performed by four dancers son, using a type of dance gallant son. Dance depicting a war between two pairs of these knights were created by Sultan Hamengkubuwono I in the century - 18. Both pairs of knights ittu Jayasena which is danced by two dancers and Guntur Segara is danced by two dancers as well. Both knights who fought it are the characters of the story Bannerman.Impang Gout. Range of motion with his right foot crossed the left leg, which ended with encot footwork. This motion contained the daughter of Yogyakarta style dances.Impang Lembehan. Range of motion dengankaki right leg crosses over left, with the hand motion followed by a pitch (lembehan). This motion contained the daughter of Yogyakarta style dances.Impang Ngawer Udhet. Range of motion of the left leg crossed right dengankaki left hand to the front range with ngruji position, right hand holding udhet (belendang) with an upward movement digerak-e dank bottom. This motion contained the daughter of Yogyakarta style dances.Indra. Motion in the dance style of Paku Alam Bandabaya where repeatedly done in the same attitude that is followed to step right foot left foot near the heel gedrug right. While carrying shields near the left hip and right to bring a sword, thighs and arms straight near sharp sword straight section above.Parallelogram. Four dancers on the dance Lawung son Yogyakarta style with the status as a soldier. Parallelogram using a type of dance Bapang son.Jongko Ngilo. Reflecting the range of motion dance style smooth and handsome son of Yogyakarta style is done with the left hand holding the position sampur miwir and right hand nyempurit.Jangko means "high", ngilo means "mirror". This motion is used in the preparation of enjeran yangmerupakan war dance.Tall w ith. Range of arm movement with mencangkolkan sampur on the left and right elbow followed by a movement called the head w ith. This motion contained the daughter of Yogyakarta style dances.Jaran pounder. Dancer in the dance horse shows Dhoger that serves as the principal dancer. Usually dancers are dancers dhadhak peacock until ndadi, after dancing horse consciously kept changing until ndadi pounder also.

Ramayana Characters : Sumantri

2011-09-30T23:12:00.000-07:00

Bambang Sumantri is the hermitage of Sage Suwandagni Argasekar with consort Goddess Darini, a Hapsari / angel Bathara Sambujana descent, son of Sanghyang Sambo. He has a sister named Bambang Sukasarana / Sukrasana, tangible giant dwarf / bajang.

Sumantri very powerful and has a heritage in the form of weapons Cakra Arrow. In addition to experts in the science of governance and state governance. Sumantri were also proficient in soldiering and master the various degrees of war procedures. As an adult, he served the King Arjunasasra / Arjunawijaya Maespati country. As a touchstone, he was commissioned applied Citrawati Goddess, daughter of country Magada which time it became seizure / application of the kings of a thousand nations.

Sumantri succeeded in bringing Goddess Citrawati. But before handing over to the King Arjunasasra, he first wanted to test the ability of King and his supernatural powers Arjunasasra accordance with his ideals to serve the king who could surpass his power. In a duel, can be defeated King Sumantri Arjunasasra the bertiwikrama. He was then ordered to move the Garden of Paradise Sriwedari Maespati Untarasegara to state if you want his services received. With the help of his brother, Sukasrana, Garden Sriwedari can be moved, but was accidentally killed by him Sukasrana Chakra weapon. By King Arjunasasra, Sumantri appointed state governor Maespati Patih Suwanda title.

End of history Sumantri / Patih Suwanda told; he died in battle against King Dasamuka, the king states that in its fangs Alengka Sukasrana incarnate spirits.

Ravana, Human Blood Vile And Greed

2011-09-14T19:52:00.000-07:00

Syahdan: Baby substantial red clot, "covering" the wilderness, born of a beautiful woman, yet intelligent nobleman named Goddess Sukesi, with her husband, a minister named begawan Wisrawa Wicaksana.

The birth of this newborn baby a stir throughout the state population, because unless the baby is frightening is that there is disgusting. Blood Gumpalah magic grows more and more queries and eventually turned into a monster that has "Dasa face", face of ten. Of each issue mlutnya flame licked up, down, right and left, with the participation of gumuruh and jarring sound that strikes like a lightning-nyambar. It was very frightening.

It is true that, after he successfully became king in Alengka replace grandfather, it was called Rahwanaraja, Dasamuka and Godayitma title. It is the king of bestial, cruel sadist and the rapacious greed. Neighboring countries, especially the small conquered, killed and his property confiscated punggawanya.

Greed and cruelty more rampant. Clergy houses seized and burned, high mountains spread out the wet marshes dikerngkan, and then built maksiah places. Budget-particularly effusive.

In short, most angkuhlah it. If you are holding the ceremony, all the animals, emblim chest, scarf, necklace, belt and put all the command staff, and even above the stars crowded pundaknya gold 24 carats of 1.5 kilograms wear too, so tilt pundaknya.

It has a charm Pancasona. It will not die even though his head split by "gembungnya", as long as still affected by the soil. Because kesaktiannya Dewapun fear, especially the kings sebangsanya. Once he made Geger in Kahyangan and succeeded in getting the award bdadari, dance goddess named as his wife. But Ravana could not get enough, it took the wife of Rama Wijaya, Sinta, his name. Sinta diroda successfully captured and forced more than 12 years.

Because kerakusannya, then it should die by the arrow The other Gunawijaya Rama Wijaya's savage wrath.

Before the release time panahnya Sri Rama said:

"O Ravana, raise your heads, sambatlah to Mother pertiwimu, take a deep breath last your, as now reached ajalmu."

Sri Rama unfinished word, lepaslah Gunawijaya arrow from its bow and trim grabbed the head of Ravana once finished tenth. Ravana did not tumble sadarkan themselves. Anoman alert, then lifted into the air and mountain Rongrongan carcasses piled on Ravana who is dying, so as not to be alive again.

Sugriwa

2011-09-14T00:16:00.000-07:00

Sugriva also known by the name Guwarsa (puppetry). He is the youngest son of Rishi Gautama hermitage Erraya / Grastina with Dewi Indradi / Windardi, nymph offspring Bathara Asmara. Sugriva saudra has two siblings each named: Dewi Anjani and Subali.

After becoming Vanara / ape, in the struggle Cupumanik Astagina, his father was ordered to be imprisoned Sugriwa Ngidang (life as a deer) in the forest if wanted back Sunyapringga human form. Receipt for services that managed to kill King Subali Maesasura and Jatasura, Tara Sugriwa can marry and become king in the kingdom of Gowa and wadya Kiskenda / army of monkeys. King Sugriva Suwarsih also married to Endang, the civil Dewi Anjani and obtained a son named monkeys Suweda Kapi.

Tara and the royal Kiskenda been seized by Rishi Subali affected by evil King Dasamuka incitement, king of Alengka country. With the help of a successful kill Rishis Ramawijaya Subali with arrows Gowawijaya, Sugriva managed to get back to Tara and her country. In return, Sugriva Ramawijaya deploying soldiers helped liberate keranya Dewi Sinta from sekapan King Dasamuka.

When the war Alengka, Sugriva senapati war appeared as King Rama. He managed to kill several senapati Alengka war, among others; Pragasa, Kampana and Gatodara. After the war ended, returning to the Gowa Sugriwa Kiskenda, living happily with his wife, Tara. He could not return the original kewujud as human beings, because surrender himself to the Gods is not perfect, is still fettered by worldly pleasures.

Anoman, White Ape Who Owns Ajimundri, Jaya-Kawijayan And Occult

2011-08-25T00:05:00.000-07:00

Is aji-aji in the puppet that really exist? And if there is how "rapal" and spell? Thus the question of Mr. Imam Tauchid dated August 8, 1976.

Aji-aji or "Aji Jaya-kawijayan" it was really there, but not in the puppet itself. That exist in the puppet is just merukan "pasemon" or a mere symbol. Aju Jaya-Kawijayan also called occult or witchcraft, and by Wedhatama called "ngelmu reef". Ngelmu reef by Wedhatama prohibited, as for why is because "ngelmu reef" was compiled by a supernatural creature, which is simply a "bouquet" of it (so bangsaning kakarangan occult / pickaxe 9). Like the proverbial "cream" (powder) that can not seep into the body, but only attached to the outer skin only. Ngelmu is when faced with sudden danger, be disappointing and unreliable (kapengkok ing pancabaya, ubayane mbalenjani).

Now "ngelmu rock" was not studied again, because now there is a more powerful weapon, for example basoka (Mariam) for tanks, atomic and thermonuclear system. No matter how powerful and kebalnya people with "aji-aji" (the ora distinct footprint paluning Pande, sisaning gurenda, tanapi tedaning miser, tinatah mendat jinara menter) but when exposed to atomic bomb or basoka, I think it will be "melting" and "memret" Bone the meat into "sewalang-Walang". Now, who studied the occult is a white, for example, to treat the sick and help fellow humans in distress. Ngelmu white (for those who believe) really exists and can be studied. But sorry can not of course diurakan here.

The author himself on June 26, 1976 on Saturday along with SENA Pahing WANGI, NAWANGI and PT INALTU hold leather puppet play Ruwatan with "Sudamala (Sahadev and Semar meruwat the Gods). Suddenly there came a day before ruwahan of Jember submit aji-aji/jimat shaped "kris semar". After kris (intangible) Semar I received, the person is leaving soon, will not be given money instead, because according to his confession, he served as opposed to just pass / carry messages from the deceased parents. Until now kris Semar is still my store and not known what the true intentions of this incident? Was just kidding or serious? It is not clear, obvious that the keris Semar came 24 hours before the (puppet) Semar meruwat the Gods.

Let us now explore the "Aji Mundri" property Anoman,

Aji Anoman Mundri is used by air to try to bridge that was built by Wibisana in the play "Rama's Pond". Because of its Mundri aji, the bridge was destroyed when the "genjot" by Anoman. In addition, because of its miracle, Anoman can also land on the sun and traveling Alengka - Maliawan less than half a day, does that mean? Anoman as a commander and ambassador ambassador's actually white symbolizes the sacred messenger of Sri Rama, therefore Anoman ago named Ramadayapati. This means that it is the peak power Anoman strength (inner) of Sri Rama. While Rama is Vishnu and Vishnu is the truth Truth. Truth is the Almighty and Most Holy. The messenger of the Most Holy is the Insan Kamil, Kamil Insan are beings who have received grace and divine revelation. In short Anoman Ambassador of Sri Rama is the symbol of the sacred messenger of Truth.

The ordinary man may not be Insan Kamil, the "best" can only be a human being clairvoyant or great philosophers, like Jayabaya and Ranggarwarsita. People who are pure like white Anoman it will be alert, not awasnya eyes, but awasnya conscience / mind. No matter how sharp eye to see when it's blocked by a leaf alone could not have eyes to see. But instead a true vision (awasnya liver) was able to see REALITY and essence of all existence. Although there is a wall of steel that block, a true vision will be able to penetrate easily. Wedhatama said: "Tuladan Marang was paos, mring jatining pandulu (true vision)" that the conditions should be ("layout-titi, ngati-ati, atetep talaten atul, sareh sanis Kareng behavior, kalakone saka lan hawas heling quiet thread:) regularly , careful, careful, diligent, industrious, not easily tempted, all actions have to be patient, sareh, pious, quiet, clear, syahdhu, conscious and alert mind. Human words can be short sighted when it gets ma'rifat. While to get to ma'rifat, humans must go through the level-level called Zahid (ascetics) that is left of the flesh or kematerian; tobhat; warq, farq, patient, tawakal, and blessing. But even if these requirements have been fulfilled, but there is still one more condition, namely: "His will" means that man can not force God to bestow His Revelation. Overall it was only by the will and if God is pleased.

Now, how is the case with Ravana's charm Pancasona?

Ravana is the symbol of "insolence". We know, if today we managed to kill savage lust, surely tomorrow will live again, tomorrow we managed to kill another, day after tomorrow will surely come back to life, so onward. Every human being has an Ravana (insolence) complete with "pancasonanya". Lust Fury (Ravana) will be lost if there is (dwells) Anoman (purity of white). Therefore not surprising that in an era of Pandavas, if there is Ravana, there will also Anoman. When Ravana (Godakumara) came to tempt, then there Sri Krishna (Vishnu) will call Anoman to expel the Fury's Wrath Ravana.

Dari uruain can we know that the speed of flying to Alengka Anoman it symbolizes the speed of human mind. There was no speed in the world is faster than the speed of the human mind. Moderate strength Mundri owned Ramadayapati aji (Anoman) is pmusatan symbolizes the power of humans who have become one. And this is called Triwikrama, namely three strengths (creativity, taste and intention) are united in unison "makarti" together. It must be known, that human life is only use 10% rather than the entire energy. If humans can focus all its energy and its potential 90% of course, he must have some sort of aji Mundri.

Thus, subtle and delicate symbolism in the puppets.

Learning about King Ravana

2011-08-14T20:12:00.000-07:00

Emperor Ravana lived about 5000 years ago in Sri Lanka. As a buddhist ravana was vegetarian and worshiped Kashyapa Buddha. His kingdom was Lankapura and queen was Mandodari King’s children were known as Upendraminika (son) and Sohili (daughter). According to Ramayana, the emperor Ravana was assassinated by Rama. But referring ola manuscripts, rock inscriptions and folklore of Sri Lanka, Ravana was not died at war. He was not to killed by any other common person as Dasis Ravana represented a soul of a bodhisattva. The emperor had many names as he ruled many countries. Ravanna, rabanan, ravanan, dasis, ravan, ravula are some of them.

Emperor Ravana lived about 5000 years ago in Sri Lanka. As a buddhist ravana was vegetarian and worshiped Kashyapa Buddha. His kingdom was Lankapura and queen was Mandodari King’s children were known as Upendraminika (son) and Sohili (daughter). According to Ramayana, the emperor Ravana was assassinated by Rama. But referring ola manuscripts, rock inscriptions and folklore of Sri Lanka, Ravana was not died at war. He was not to killed by any other common person as Dasis Ravana represented a soul of a bodhisattva. The emperor had many names as he ruled many countries. Ravanna, rabanan, ravanan, dasis, ravan, ravula are some of them.
Ravana had many talents in many subjects. As a well experienced, Ayurvedic physician, the king wrote several books on medicine. As an artist he composed Ravana raagas such as Sinhala and .to know more about emperor of emperor Dasis Ravana you can visit ravanabrothers.com ..
Demons are one group under siwhela. Siwhela means sinhala.. It is called sinhalese according to the English..History of Sri Lanka was going beyond more than 30,000 years ago.. Sri Lanka is homeland of Siw hela..

Siw hela Four hela ..Siw hela had being eveluated as sinhala. Yaksha,Naga,Raksha and Asura are belonging in Siwhela(Sinhala.) .. It can be proved through ancient puskola books as well as inscriptions..So Ravana is not tamil king. Ravana is tamil was 1000% fake Story..We can prove Ravana is Sinhalese and devotee buddhist king under the Loard Kashyapa Buddha.
Deamon is mean Yaksha according to the sinhala language So don’t disort our history..
Please read Ravanavaliya..If Ravana is tamil, How can tell you that Ravana is deamon king.. Deamons are one of major group under siwhela Siwhela is mean sinhala

Don’t disort real Ravana’s greatest history.
Scholar Arisen Ahubudhu is the current representative of the ultra nationalistic Hela movement founded by the renowned Sinhala litterateur, the Late Munidasa Kumaratunga. The Hela movement has been urging the Sinhalas to go back to their roots shunning Indian, Hinduistic and other alien influences.
In his book Sakvithi Ravana (first published in 1988) Ahubudhu says that Ravana reigned over Sri Lanka from 2554 to 2517 BC. He quotes Ravanavaliya to say that Ravana belonged to the “Sun race” as Ra signifies the sun and vana signifies generation.
Ravana’s ten heads represent the ten crowns he wore as a result of his being the sovereign of ten countries. Ravana’s ancestors ruled over what is now the Polonnaruwa district in North Central Sri Lanka, the name Polonnaruwa being a derivative of the word Pulasthi, the name of the dynasty to which Ravana belonged. Ravana, however, ruled over the entire island and many places beyond.
Ahubudhu trashes the Ramayana story that Rama invaded Sri Lanka because Ravana had kidnapped Sita. According to the author, Ravana’s step brother Vibhishana, had invited Rama to invade Sri Lanka because he was wanting to oust Ravana from the kingship of the island.
“When considering the fact that Sita’s chastity was proved, this can be taken as a story concocted by Yuwaraja Vibhishana in order to discredit Ravana in the eyes of his people and take advantage thereof,” he says.
So That is why we could prove 1000% great emperor Ravana was siwhela(Sinhalese) buddhist king under the loard kashyapa buddha…

Seeking adventure sinta

2011-08-12T19:24:00.000-07:00

In a mission to help Rama find Sprott, Sugriva Vanara army sent him to go to all corners of the earth to find signs of Sprott, and took him to the presence of Rama if you can afford. Vanara forces are deployed Sugriwa led by Hanuman, Anggada, Nila, Jembawan, and others.

They traveled for days and explore a cave, then get lost and find a city that stands majestically in it. On the testimony Swayampraba who lived there, the city was built by architect Mayasura and now deserted because Maya went to the nature of the Gods. Then Hanuman tells the journey with the intent to Swayampraba length. The help of a magic Swayampraba, Hanuman and other Vanara disappeared from the cave and were on a beach in a heartbeat.
At the beach, Hanuman and other Vanara met with Sempati, giant birds that are not winged. He sat alone at the beach while waiting for the carcasses of animals for food. Because he heard a conversation regarding the Vanara Sprott and Jatayu's death, Sempati became upset and demanded that the Vanara recounted the incident actually happened.
Anggada told at length and then ask for help Sempati. On the testimony of Sempati, the Vanara know Sinta imprisoned in a castle in the Kingdom Alengka teretak. The kingdom was ruled by a giant king named Ravana. The Vanara grateful after receiving testimony Sempati, then they figure out how to get Alengka.
Go to Alengka

Because the Vanara persuasion, Hanuman thought of his strength and flying across the ocean to arrive in Alengka. After he set foot in there, he was disguised as a small monkey and searched Sprott. He saw Alengka as well as a strong bastion of the heavily guarded city. He saw people singing the Vedic mantras and hymns victory to Ravana. But not infrequently there are people faced with the cruel and poorly armed.
Then he came to the palace of Ravana and observe the beautiful women who are countless, but he did not see Sprott was miserable. After looking back and forth, he entered a park that has not been investigated. There he saw a woman who looked sad and depressed that he believes as Sita.
Then Hanuman Ravana to seduce see Sprott. After Ravana failed with rayuannya and left Sprott, Sprott and Hanuman went to tell the purpose of his arrival. Sprott initially suspicious, but suspicion Sprott lost when Hanuman gave Rama's ring. Hanuman also promised help would soon arrive. Hanuman suggested that Sprott flew with him to the presence of Rama, but Sprott declined. He expects Rama came as a true knight and come to Alengka to save himself. Then Hanuman asked the blessing and farewell from the presence of Sprott.
Before going home he was devastated at the palace of Ravana Asoka garden. He killed thousands of soldiers, including soldiers Jambumali options like Ravana and Aksha. Finally he can be arrested with weapons Indrajit Brahma Astra. Hanuman's body memilit weapon. But Brahma Astra magic vanished when adding a giant army of straw rope. Indrajit anger mixed with disappointment because Brahma Astra can be released anytime Hanuman, but Hanuman has not reacted as it waits for the right moment.
Burning Alengka
When Ravana was about to give capital punishment to Hanuman, Hanuman Wibisana to defend his sentence commuted, considering that Hanuman is a messenger. Then Ravana Hanuman tail sentenced to be burned. Seeing this, Sprott pray that the fire that burned tail Hanuman became cool. Due to the god Agni Sprott prayer had been answered, the fire that burned tail Hanuman became cool.
Then he rebelled and release Brahma Astra binding himself. With tails blazing like a torch, he set fire to the town Alengka. Alengka city became a sea of flame. After causing a major fire, he plunged into the sea so that fire in his tail off. Hanuman of the heavenly host praising the courage and said that in addition to the residence of Sprott, Alengka city engulfed in flames.
With glad tidings, Rama and Hanuman facing the state telling Sprott. After it, Rama prepares to demolish Alengka Vanara forces.
Big battle
In the great battle between Rama and Ravana, Hanuman rakshasa eradicate many soldiers. When Rama, Laksmana, and other entangled his army by a magic weapon Nagapasa, Hanuman went to the Himalayas on the advice Jembawan to find medicinal plants. Not knowing exactly how the characteristics of the tree in question, Hanuman cut the mountain and bring the pieces to the presence of Rama. After Rama and his soldiers recovered, Hanuman continue the fight and eradicate many of the troops rakshasa.
Next life
After the great battle against Ravana ended, Rama was about to give a gift to Hanuman. But Hanuman refused because he just wanted to Sri Rama dwells in his heart. Understand the purpose of Hanuman and Rama dwells spiritually in the physical. Finally, Hanuman went to meditate on a mountaintop pray for salvation of the world.
At the time of Dwapara Yuga, Hanuman met Bhima and Arjuna from Hastinapur palace environment. From his meeting with Hanuman, Arjuna uses the symbol of Hanuman as an ensign at the time Bhāratayuddha chariot.

Ravana The Fury's Wrath

2011-08-12T01:07:00.000-07:00

Here I am, the insolence. Specify the type of crime you know. I must have done it all.

Maybe I'll soon be off life. Or pinched by falling Mount Suwela immortal. It can not kulawan Guwawijaya heritage, even with its many years Pancasona thrilling universe. But I'm satisfied with everything lelakon my life. Creating chaos in various court. I can laugh as he let go of life.

Except for one thing that makes me regret it.

I admit, my color is jet black. More black than a tense night. But, really I was confronted with an opponent who is white? It really lives only consists of black and white?

That I was born as a self-centered, in fact, is not on my will. Keangkaraanku is just karma from the act of father and mother. My father, Wisrawa Begawan, is a sage who could not judge him wisely.

Look hikayatnya that has become legend. He came to Alengka, facing King Sumali, best friend, to woo the princess, goddess Sukesi, through a contest they held. Not for himself, of course, but for her beloved, Danaraja. But what happened?

My father was a very powerful sage. Therefore, to exert all his knowledge, he could qualify the first contest, which beat Jambumangli, Sumali King's sister, who previously unbeaten by any warrior and sage.

He was ready to meet the second requirement, as prompted by the Goddess, the secret knowledge contained in the spell of Literature Jendra Hayuningrat Pangruwating Diyu.

O, there has never been a human who could understand the secret of this spell.

Except Wisrawa Begawan.

And that indeed the Begawan, my father, reluctant to decipher the secrets of Literature Jendra. Just for the sake of his son tercintalah he was willing to violate his own convictions. Except my dad, no one reached a level of perfection of life. And he had to break them down to a beautiful young woman did not tertara.

Both, Begawan Wisrawa and Goddess Sukesi, must be in a quiet room, not to be disturbed the hustle and bustle of the world around it, if you do not want the exposure that secret failed.

Quiet, dimly lit, with the only light came from holes on all four walls the wind. They sat opposite each other, a distance of only a hand's length. Sukesi Wisrawa old face looked, and looked at the Begawan point between the bright eyes of the goddess.

Softly, opened all the secrets contained in Literature Jendra.

Ah, I do not own secret Jendra Literature. Therefore, my knowledge is limited to the surface, namely that Jendra Sastra is the science or knowledge about the secrets of the universe and its development. So, Literature science Jendra Hayuningrat Pangruwating Diyu is the way to achieve the perfection of life.

The man who mastered the Sastra Jendra will be liberated from all misfortune. If it dies, his spirit will gather with the spirit of human beings have been perfect, together with the gods, noble.

However, the undertone was able to shake Suralaya Begawan. Cause an earthquake and a tornado that struck the palace of the gods.

Guru, who knows for what happened, right down to arcapada, accompanied by the Empress. As an omniscient god, he realized, Literature Jendra not be opened by anyone. If people can understand the point, someday there will be no longer a function of the gods, because humans will be equal gods. Destiny requires it must not happen.

Guru and the Goddess Uma and immediately possessed Begawan Wisrawa Sukesi Goddess, tickling the weak points of both.

Begawan Wisrawa indeed a powerful preacher, smooth manner, and clairvoyant. But he is also human, who was still keeping outward passion. Especially in front of him was a woman of unparalleled beauty, with skin like marble and hair like a waterfall, which issued a seven fragrant flowers crawl both nostrils.

Both Begawan Wisrawa and Goddess Sukesi powerless against temptation. Their chests burned by passion that grew red hot.

And it came to what is desired Maharaja Gods.

Months later, the seeds they grow insolent lust in the offspring. And here I am, that when born to my father and my mother terguguk silent. Something surprising. Is not who sows shall reap greedy appetite? I immediately born with ten heads and twenty hands, giant menggiriskan tangible. Maybe because too disappointed, my father and mother then reluctantly care of me.

I dumped my grandfather, King Sumali, that can actually accept my physical circumstances that are large beyond reason.

Some time later, I knew my father and my mother was disappointed when the second child was born more giants from me and a third child is also a giant even though female sex.

Ah, is it true I was born and then mostly just to spit greedy?

Perhaps no one knows you. My grandfather, King Sumali, educate me that likes to meditate and live a geni starch. He has been whispered that he wanted me to someday be a knight who mandraguna without tara, has the advantage of anyone.

At the peak of Mount Gohkarna, who had never stepped on humans before, I do penance penances. Compute, I did penance of five years for each head. So, to be imprisoned for ten of my head, I turned off my body no less than fifty years. Are there other people who undergo penance as I do?

Guru himself down from the top Gohkarna Suralaya when tapaku arrived at its end.

"What do you want with a dead body fifty warsa" asked the Guru. My eyes are dazzled by the gleam of her body.

I answered honestly what it is.

"I want to have supernatural power and superiority over anyone arcapada residents. Not only is there on earth, but also all creatures under the earth, even deep in Suralaya. Slave wants to be amounting Gohkarna bertiwikrama. "

Guru looked stunned. But he could not pull his words. "Fulfill your every wish."

Well, what's wrong with the way my life?

Fifty years I hid in the mountains, which are too quiet, not knowing what was going on down there.

Or maybe that was the base. I meditate too long and not yet fully ready to explore the world when suddenly my eyes dazzled by the light emanating from the beautiful face. Very beautiful. I'm sure, my mother's face that there's not been staggering one-tenth.

People called him Sprott.

True, she was a woman who didamba anyone. Wrong if I also harbored love?

Yes, love.

This is probably the base of the disaster, so I came to be known as the greedy.

In fact, only one fault: he belonged to Rama. And one mistake: I burnt love.

But I was eager to have it. No matter what I do. Sprott must be Alengka interest, as my mother used to be a flower that radiates beauty all over the world.

O, Mantili daughter, perhaps I'm sorry for the contest came when I was myself in Gohkarna mesu so as if there's only one person that can lift and shoot off Gendewa. But it's OK. I'm sure that I was not too late to have it. Ayodya is just a piece of land smaller than Alengka and other countries that have such kutaklukkan Maespati and Lokapala, and Rama was too gentle for me even though the news reached me that he was the Wisnuputra.

I was kidnapped Sinta when it left the beautiful Rama fooled by a simple game. Anyway, for what he has to suffer as beautiful goddess in the jungle?

You know, I placed at the Sprott Alengka the most beautiful palace. And you know, I never touched her though could have been if only kuturuti sheer lust.

I offer love.

Greater than that already granted Rama.

Ah, Sprott, how much I love, more than anything in the world. I'm willing to dedicate whatever you ask, although it must move Suralaya Maharaja's palace.

Oh, do not it proper that I harbored a burning love?

No it proper ugly giant who love beautiful women? Not mine was born with a bad face immeasurably. And not one of Sprott, of course, blessed with extraordinary beauty. And if I have a love one? Is not love just grows, without ever a plan?

I faced all the challenges, kutaklukkan all odds, despite the outbreak of war that should never guess. Great war which destroyed half the universe.

All for love.

And I'm proud of it. I faced all not for fame or big names. I felt what I had previously been greater than just fame. I'm more powerful than anyone. I'm more powerful than all of them. I'm the king of every emperor.

Only one who has not reach.

Be loved.

I have and with all my heart I give love. Because of that I craved also love of the beloved person. Is not that fair? I love and I want to be loved. Not by anyone, but by Sprott.

Ah, Sprott.

Unfortunately, for love, I have to face almost the whole world, even Suralaya. Only helped my people and one sister, also my son, I faced Rama supported the mighty king, even one of his own biological sister. I, the man who won his own level of superiority through my efforts, dealing with lelananging universe that was already destined to assert any kind of greedy, get help from the kings, sages and brahmins too, as well as the warrior god of children, and even got a protection from the gods own.

I'm proud. My people have fought with valor. My son developed a chest full of passion. My brother was competing and then the country perlaya into flower.

And I stretch out my chest and face forward for the sake of belief that is not too shaky.

Love.

Rama I faced even though I knew that already recorded in the line of fate in the end I will perlaya Guwawijaya.

Only, before I took off my life, know that there is no white color on top of the world. Even the gods, as well as the overlord of the gods, drawing sheets with the stroke of lust is also life-gray. How could the Manikmaya captivated by his wife on the back Andini cow? Why the gods can also be tempted by the women arcapada?

Understand that the universe was not a knight lelananging perfect. He prefers that his wife's selfishness and his own father could not stand it anymore. Is not Dasarata died of grief unbearable by his departure to the forest? Did not Rama's own heart to leave his wife for the sake of chasing a shadow that is not real? And the biggest mistake, is not he suspected the goddess had been tainted by the hand and should face punishment kasarku immeasurably: plunge into the flames?

Every second, I always imagined body vibration Sprott like crater of Mount Gohkarna imagine. However, I never touched her because I was expecting something far more valuable than just a burst of magma. That is love.

Therefore, let me die with satisfaction at heart. That is actually a blatant keangkaraanku not much compared to thousands of bersaput greedy Brahmin face. I'm sure, greedy so much more dangerous than a mere savage Ravana

Gua Kiskenda

2011-08-09T17:31:00.000-07:00

Kiskenda Goa is a large cave in which is shaped like a castle. Goa is home Kiskenda Maesasura and Lembusura, two sisters creature, animal-headed human body
who have extraordinary supernatural powers. Goa People Kiskenda an assortment of vicious animals. Maesasura and Lembusura led the kingdom with arbitrary. Supernatural powers they possess extraordinary powerful.

One time they came to the heaven filed his desire to marry his daughter Tara Indra Bathara. Biadad attitudes that lead to anger the gods. The gods immediately rejected the
such applications. The two brothers could not accept rejection. They then raging to the heaven.
Thousands of soldiers were deployed to attack biantang heaven. Because the miracle are both very powerful,
none of the gods who can beat Maesasura and Lembusura.

In such circumstances, Bathara Teachers looking for ways to quell wadyabala Kiskenda Goa. There is only one
way is to use his supernatural powers kadewatan almighty beat them separately. Magic was called aji Pancasona. But who can accept that he must be noble and a holy man
capable of controlling all his lust so all-powerful magic is not used arbitrarily.

The gods agreed to submit it to the magic Subali Resi Gotama's son who was imprisoned in Suryapringga. For years they meditated lethal whole body and focus all their radiance to the Creator. Their purpose is only one begging forgiveness of the gods for all the deeds they've done. There was silence becomes vibrant when accompanied by Bathara Bathara Guru Narada and the gods down to marcapada meet them. Subali and Sugriva soon roused from his hermitage. And the king said to the gods that their request would be granted on condition that they must crush the first insolence which now dwells in the body and Lembusura Maesasura. Subali and Sugriva willing. And before they set out in particular, confers Master Bathara aji Pancasona to Subali Subali can use it with the hope for peace in nature.

With sincerity, Subali and went to Goa Kiskenda Sugriva. At the mouth of the cave, Subali message to
brother to be vigilant and ready just in case. If the blood red liquid out, then it can
ascertained that the enemy had vanished from this earth. But in case of a pool of white blood
flowing out of the cave, then Sugriwa should immediately close the door of the cave. After Sugriwa undertakes, Subali
confront directly into Maesasura and Lembusura.

The battle between the powerful creatures that can not be circumvented. The walls seemed to cave to collapse withstand the onslaught of supernatural powers from both sides. And only thanks to the magic spell that has Pancasona Subali,
Maesasura and Lembusura be destroyed. Both are pitted head so shattered. The brain of
Maesasura and Lembusura fall apart so that melted out of the cave. From outside the cave, Sugriva menantidengan anxiously. And how heartbroken Sugriwa to learn that the liquid flowing red and white. This means Subali died with his enemies. Frantically Sugriwa exert all his strength and destroy the cave door so the door closed Kiskenda cave. With grief, Sugriva immediately report this to the heaven.

The situation became excited when the gods know the news of the death Maesasura and Lembusura. But the situation was turned into sorrow when I learned Subali also died in the fighting. Sugriva have
report was then awarded the prize to marry Tara. Shortly after the marriage
Subali it suddenly appeared in the middle of the crowd. Subali rampage and consider Sugriva had betrayed him. Sugriva who have not had time to explain the surprise nothing was immediately struck by Subali. Subali supernatural powers which are far above Sugriwa make Sugriwa more helpless. Bathara Master came to intervene and sit down at length to explain the actual case.

Subali sorry to hear about it and sadly apologized to his brother. Sugriva great love to his brother made him accept all that has happened. Finally Subali already berdharma as a Brahmin, give cave Kiskenda and Tara to Sugriva. Sugriva then build the kingdom of monkeys, named Pancawati, while continuing Subali bratanya tapa.

Kiskenda cave is located in the Village District Sebolong Girimulyo Kulon Progo Regency of Yogyakarta, a few miles of my hermitage. Stalagnit ornament stalactite in the cave and the story describes the Maesa-Ox Suro Suro until the collapse of the empire Kiskendo cave.

Inside the cave there are several Ksikendo the hermitage, hermitage ledhek one of them, who often used the candidates sinden and imprisoned mastermind in order to obtain a successful career, about the result of natural wallahu bisawab ...

Cave Story Kiskenda another version that I heard, on his deathbed gives aji pancasona Subali intends to Sugriva. However, because of suspicion and disbelief Sugriwa not want to draw closer to Subali although his condition was dying. In the story, still has the properties described Subali cunning. Long story short Pancasona Aji finally fell into the hands of King Alengka king Ravana.

Puppet: Work, Work and Dharma Part 3 / 3

2011-08-03T00:09:00.000-07:00

Buto cakil first created at the time of Sultan Agung. Earlier figures were not there at all. Usually they appear in scenes of war or war-bang back bambangan. In its development also known as blind Hair Geni. It is said that this is a representation of blind-Londo Londo-man of color who come and become imprealis in the archipelago

While Punakawan, he echoed from Java. In the Indian myth of this character totally unknown. Semar the term itself is believed to be derived from the Arabic, Ismar which means nail. That was then nail the Javanese palace was used as the title by Surakarta, Pakubuwono (Woodward, 1999: 329). That is why Semar is often regarded as a representation of the Prophet Java outside Gods. He is considered to be more grounded and more willing to know the case of Java compared with figures (imports) more. Semar is also known by the name of the Hyang Ismaya. He is the brother of Sang Hyang Manik Maya or commonly called Guru. Semar also has a brother that are inversely proportional to her, namely Sang Hyang aka Tejamaya Tejamantri. Togog Tejamantri or called by the Sundanese people, famous for menghambanya nature to those who can afford more (On the birth Togog and Semar and see why they are ugly puppet Encyclopedia, p.. 238).

On the one hand, the Javanese people themselves regard as a spiritual teacher Arjuna Semar though he always joked sarcastically, did not know alkaline, coarse, short, ugly, black and often fart's. They also believe that the Bagong, one of the children born of Semar Semar own shadow. Third son of Semar, Gareng, Petruk and Bagong was a reflection of past, present and future. And there is nothing beyond mistitisme Semar in Java, though Guru, King of the Gods, his brother. But even trustedas a spiritual teacher Pandavas, is basically just a servant Semar, the common people, farmers in general and not at all let alone a blue-blooded aristocracy.
That fact is paradoxical, but at this point that it mawujud pointedness. Semar became the essence of all wisdom and padanyalah conical. Semar is a god but he is at once human and human though he is not just a man. Semar is vague and he was not just any. In "Finding Semar Raga", Sindhunata analogize Mandira Semar as a tree that grows between the moon and sun. Semar who was worried because he considers himself does not know and to know himself finally got word from Sang Hyang Tunggal to find the body.
Before his departure, Sang Hyang Tunggal said to Semar, "Mandira tree is a tree and a light evening, it did not separate the sun and moon, day and night. So you are vague, yes Semar. Do not you faint on the dark, do not you faint to bright anyway. Only with a faint heart, you can see the darkness and light, good in evil (...) You're pale as a corpse. You're like a man who had vanished.
In the life of Semar, already contained death. Only the brave life leads to death within him, that's what life will continue with immortality (...) You are dhudha Nanang nunung.Bersusu your breasts like a woman. But you berkuncung like men. So it is hard to make sure whether you're male or female. You are strong like a man. You're like a fertile woman. You are the father sky and mother earth. Rupamu ugly, Semar, but in you a man and woman united. In you, man lives not because kegagahannya, she does not live because of her beauty. In you, Semar, men and women live and exist because of love. Then you, the ugly, the dhudha Nanang nunung this is also theAsmarasanta. Seeing yourself, Semar, although low, sudra and papa, people will be attracted to virtue, because in you there is true love men and women "(1996: 10-12).

Once the importance of these figures to the point in its development then Semar is associated with a discourse of power of the people, especially farmers. Strange (1998: 138) says, "since the era of India, the peasant movement has been crystallized with a variety of expectations that the new fair queen will emerge to fix the time of the chaotic order and restore communities in balance with nature".
Thus the position of the bridge Semar masses with a court or shaft power has become an important ideograph for milenaris. Condongnya idea of 'usurpation' main attraction is then sought in the governance in the post independent Indonesia. The most obvious case is, call it political maneuvering by both Preseiden Indonesia, Suharto to counter the oposannya. In the early rising, Suharto legitimize his rule with a piece of mail known as Supersemar, Decree of March 11 (1966).

Strange himself and then interpret that Suharto tried to play as the reincarnation myth-Sabdopalon Semar at the end of the founding of Majapahit, and quote it as if it was he who obtain the promised revelation sabdopalon it. As already explained, Majapahit was regarded as the culmination of meetings with self self. That is, people feel there the peak of the nature of Java, Java successfullymanifested. The story is narrated Darmogandhul that after the fall of Majapahit, Java identity will also be annihilated along with the disappearance Sabdopalon. But Sabdopalon said that there would be his time 'era Buda' ie the time when a Java back in power and Java people will find herself again after 500 years of that time (See Nurul Huda, Figure antagonists Darmo Gandhul: Historical and Religious Social Tragedy in the end Majapahit. London: Temple Press, 2005).

Puppet art form, in turn, continues to experience stretching. Various sanggit up with new forms of performance more in line with the state of society today continues to be developed. Now, what shape or however we can only hope that the art of this tradition is not lost value. (This note is part of the study "Political Identity of Javanese-Chinese", Cin, 2008)

Puppet: Work, Work and Dharma Part 2 / 3

2011-07-03T18:25:00.000-07:00

Flashback story of Wayang in Java
Color propertiesRed: Fire Anger AngerBlack: Earth aluamah FoodYellow: Sufia Water FunWhite: Purity Air Mutmainah
The four horses obviously paired with a four-lust, power or energy should be directed to one goal. Lust four will be useful for life if he is not be confused desires mastery. He is not a thing that should be avoided especially contested. Living in fact need the power and passion. Unbridled ego in the four-latitude in turn will encourage the attainment of a higher, namely union: Pain, represented by God Narada; Spirit Batara Respati; Lust-Batara Parasu; Budi-Batara Janaka (Arjuna); in Yourself living-Krishna (See Woodward, 1999: 281, cf. Strange,1998: 57-58).

The Pandavas themselves are often associated with the five senses at once the symbol of nature. And people love to fuse Java-madankan those traits for themselves and for the benefit of the broader pedagogical, for their children. Bima is a symbol of strength and sincerity. His meeting with him through Nawaruci is the most classic example of the later 'meruwat' shortcomings: weigh to go forward without wavering. Yudhishthira is a picture of altruism to the point of self sacrificeand ultimately greater interest. He is often stuck in the sense of 'can not say no' and so are always in need of his brothers to take decisions related to public policy.
While Arjuna, the warrior so his heart to do the cruelty behind the refinement, the character and appearance. Essentially puppet philosophical debate often open space once a caseThe most widely cited. Look Gatholoco. He asked what the older, puppeteer, puppets, screen or blencong. Ahamd Arif said screen, Abduljabar guess puppeteer and puppet Abdul Manaf said.But instead Gatholoco answer the oldest is blencong. In his explanation blencong interpreted as God's revelation, the screen is a symbol of the sport, is a true puppet and puppeteer suksmano other is the Rassulullah.
"Just move the puppet puppeteer, according to the command responders, named Kyai Sepi. Everything is quiet without, the digelas earnest, eternally never changed, no less no more, no rule without a purpose, more control over speech gestures puppet puppeteer. Who witnessedThe only Kyai life. When the light has been extinguished, all empty, no nothing, like me before birth, remained empty there is nothing. Lamp life is a revelation, like unto the Lord, the light of life, mastering yourself inside and out, down and up. Wujudmu is a manifestation of God Almighty "(in Sumardjo, 2002: 332).
The puppet khasan not merely dwell on who or what is involved in it. Three large round was in every puppet show called Strange (1998: 66) as an illustration of the process of 'spiritual evolution'.
Puppet usually began at nine. The first three hours is known as an introduction. Prologue of events, a causality that would be. People call this phase with the Pathet Nem. Nem own words and then identified with the word eNom or younger. The removal of mountains of gedhebok bananas by the mastermind is a symbol of the birth of the two, namely the inter-binary pehelaan in life.
At midnight the show will enter the Pathet Sanga. This period was associated as an adult looking at the problem, sort and assign a value to him. At this time The Punakawan appear with gojekan-gojekannya that sarcastically. Also illustrated how a character trying to solve the problem. These portrayals are usually realized with the efforts to bring themselves to self malalui tapa road, solitude and so forth.
Geertz (1981: 369) describes this effort (tapas, solitude, etc.) can not be paired with a rejection of life. What exactly is the temporary resignation or his language "... is not an escape from life, but an escape in life that praised"
because this is the true warrior ethic. The resignation thus serves to unite Yourself with the End of Reality, an attempt to negate the worldly emotions. This way energy will be focused into a great power that is useful. The choice will ultimately depend on how the characters look at the context of the problem, "... mysticism is a science that is morally neutral and can also be used per person. He brings knowledge, and science as well as ongenerally, that knowledge is power for good or evil "(Geertz: 1981: 366).
Business tapa, Nyepi and so this can actually be paired with business behind bars or better known as distansiasi in modern society. When someone questioned the mystical (which is simply trusted without any diniscayai in fikir) so he has been in the ontological space. Ontological phase, which in turn will show the actual function and role. Ethics knight playing at this level. Like Arjuna cruel in the name of necessity 'fate', each character in turn will play their respective roles and must finish the job. No one can change the weight or obligation-however naively-that unless the reformulation of the role and position earlier.
The climax is the preparation for war ageng of figures that have become knights. Pathet manyura or Peacock is the final phase of the journey. This phase begins at about three in the morning until near dawn and a description of a day old. He seemed to expose the philosophical and behind-the-silent: the conclusion of the cut end of life journey.
It is worth noting, as the play Carita, Ramayana although both bring a great epics are actually not getting the same place with the Mahabharata. The Javanese tend to prefer the latter. Mahabharata is considered a totality, each character can be said to have traveled on their own. At least this is evident from the many carangan generated while Ramayana dwell only on a large plot which is considered likely to static and linear. What is also interesting is the presence of Buto (giant) and also the Punokawan: Semar and his sons; Gareng, Petruk and Bagong.
Buto is a creature that always exist in both the Ramayana and the Mahabharata story. He has no name, not own ancestors and did not come from one kingdom. Say it sort of creature with no identity and empty her curriculum vitae. Nevertheless he was always present, there is, even when the death has been picked up.
They are at a time will come alive again and so on. Geertz explains (1981: 363) immortality is for the Javanese and then juxtaposed with images of lust that must always be excluded. Once successful does not mean forever man has been freed from it (lust). Magnis-Suseno (2001: 166-167) calls Buto function as a contrast between 'the Java instead of Java' as well as the deflection of a dark tragic Mahabharata. Technically Buto function is pengulur, insulation and keeping the scene.

Puppet: Work, Work and Dharma Part 1 / 3

2011-06-15T17:26:00.000-07:00

Flashback story of Wayang in Java
Ever diungkakan that for the Javanese 'between work, interaction and prayer there is no intrinsic difference principle "(Magnis-Suseno, 2001: 82) thus any activity or motion is fully controlled by the' awareness'. And the derivation of the whole philosophy of Java is a 'patent' such knowledge in a work. Essentially, the work is a living embodiment of the true peak for the Javanese.
From the heyday was known and dikenanglah various Poet, Reader, Heritage and the tomb, as a living museum: sites and cultural rites, even to its existence today. However it should be noted, post Ronggowarsito poet who is often referred to as the cover, or the militias after the fall of Diponegoro (1825-1830), faces a lot of Java experience a shift and change. Java no longer produce a true life cycle. This is further aggravated-gentry gentry that Java as a middle class in the structure of social hierarchy that Java does not play a significant role. Yetdecline was offset by the socialization of art in society, because indeed that is all they can do. Commenting on the situation, in an early days 42 years ago, Anderson says:

"In the countryside changes occur more slowly, and there is an old Javanese culture most strongly maintains grip over the human soul. Nevertheless, autumn has arrived. In Javanese culture tree leaves fall one by one "(2003: 70).
There is for Java today is the culture as a commodity, its main tourist commodities. One is left, katakalah so, is PUPPET. However now this art form can continue to survive-even toch remained in touching nuance-and he is believed to be one of the goal past the defense of Java today. Java Padanyalah actually rely.
Puppet plays an important role in the history of Java, even though he was considered not genuine coming from Java. Research on the origins of the puppet itself has not reached an agreement to this day. Puppet ascribed to India and made the 8-9 orbit BC by Vyasa (Krishna Dvipayana).
However, not the name of Vyasa are a candidate for the author of Mahabharata, there are two other speakers on the side of Vyasa said, they are Ugrasravas and Vaisempayana. Initially the book consists of some 24,000 couplets, and in turn grow up to 100,000 couplet (Amir, 1997:42).
Javanese puppet plays themselves are often adapted the two great epic, Mahabharata and the Ramayana or carangannya (a branch of the story) and this is going on since the beginning of its development. In Java, for example, play Arjunawiwaha, or at least in literary form was first adapted to the time of King Dharmawangsa, the 11th century AD, while the Ramayana adapted a bit first.
Then Kakawin Ramayana made by Yogisvara ± 903 M. Kakawin follows Bhattikavya version made in Khasmir in the 5th century AD and not the first and last books menyantumkan Valmiki, the Bale Kanda and Uttara Kanda. Interestingly, not long after the penyadurannya, Kakawin direct Ramayana staged. This is evidenced by the inscription Balitung, "... the Teeth for Hyang macerita kumara Bhima yes ..."or "Teeth hold a puppet show and take the play a young Bima" (Amir, 1997: 34, 40).
Puppet become a distinctive art form, mainly because he actually comes from the tradition of the palace, but then instead of living in most of the people. According to Geertz (1981: 358) is due to the nature of the people most likely to ritualists, polytheistic and magical while the gentry tended to close the mystical-Pantheists and speculative.
Socially, the puppet has a privileged position because he is regarded as one art form that is able to bridge the barriers that exist. Ben Anderson (2003: 12) describes as the
".... The religious mythology is almost universally accepted, is capable of fostering an intellectual and emotional attachment to the deep. (...) Javanese wayang mythology is an attempt to explore the poetic existential position of the Javanese, his relationships with the natural order of real and supernatural world, to colleagues and to himself. In sharp contrast with the great religions of the Near East, however, the 'religion' puppet does not have a prophet, the Bible or the Redeemer. This tradition does not view the world in a linear motion trajectories, or preach the message of universal salvation. Nor did he offer as an ecstatic revelation of the future as in the traditionChristian, merely the tidal time constant ".
Explanation relativism Anderson puppet shows, including the values contained in it, which may be analogous to the translation of the term puppet assumed to originate from the word shadow. The dichotomous logic of complementary in the puppet is the most fundamental of life. This is not just a dichotomous effect at the time or the incident but also to the character, role, character and function of those who nudge each other and Anderson called the whole intersection as "tension that is consistent and energetic stability of the Weltanschauung" or to follow the formula Claire Holt, "stable world that is based on the conflict".
Take as an example, Kresna Duta. Famous play depicting Krishna in Baratayuda hands down. Krishna incarnation of Vishnu who became a figure who knows what to and what will be. Nothing hinders his will to follow and fulfill the destiny determination. In the play it is described how the four horses and their retinue figures were actually answering the complementary nature of the Hindu pantheon as well as attacks shirk (charges of ideolatry) are often blamed for the puppet, in addition to connectivity and sentence Kalimasada Yudhishthira's Creed Keep Sunan Kali.

semar wake heaven

2011-06-12T18:41:00.000-07:00

The play Semar mbangun heaven Story carangan by puppeteer Ki Hadi Sugito.
Once country Amarta Puntadewa King King Yudhisthira yes, with his brother were discussing causes failure in building a country that always collapse and disaster struck, suddenly, came the king Dwarawati namely Krishna asking Betara absence Amarta Semar in the palace and declared that that is the reason for failure them. For that diperintahkanlah Arjuna to call Semar from Karangkabujutan to overlook the Amarta.
But not yet had time to come Petruk Arjuna stood facing the meeting who told him that he was instructed to invite the five Pendawa Semar to go Karangkabuyutan by bringing three royal heritage to help Semar build heaven.

Hearing this Krishna prohibit the Pandavas to go to Coral kabuyutan, and become involved in the debate by Petruk that only as a carrier refused orders to return to Karangkabuyutan by Krishna, he would only return if it gets the word from the Pandavas so out words that are not ethical by Krishna. Finally Petruk paseban told to wait outside the meeting in order to await the decision of the Pandavas.
Beyond Paseban Petruk met with a third Antasena Bima son, and tell the whole incident in paseban earlier, a wise Antasena Petruk promised to assist in dealing with Krishna action.
Krishna who heard that Semar will build heaven invites Arjuna to Suralaya to report to the teacher but also ordered Betara Gatotkaca, Antareja and Setyaki to drive back to Coral Kabuyutan Petruk
The King Yudhisthira along the Milky Nakul and Sahadev, not hesitated to grant the request immediately to Keetempat Heritage Semar at the proposal from Kraton Sadewa to seek third petunjuk.Mendadak Heritage Palace Amarta sped away toward Karangkabuyutan.
Seeing this incident four brothers soon discovered and went to Karangkabuyutan silently through the back door of the palace. The Setyaki, Antareja and expel Krishna instructed Gatotkaca Petruk Petruk was not able to deal with that have been united with Antasena inside their bodies, just when it received word from Arjuna Petruk would abide by flying home to be assisted Antasena.bersama Karangkabuyutan Gatotkaca, Antareja and Abhimanyu
Arriving at the Suralaya Krishna facing Betara Teachers reported plans to build Goda rival Suralaya Semar, heard the report Betara Teacher ordered Betara Goddess Durga and Krishna to block the plan Semar.
In Karangkabuyutan Semar welcoming King Yudhisthira, the Milky third with Nakul and Sahadev Amarta Heritage Palace who had arrived first with son son Pandawa.Semar Petruk and somewhat disappointed that the arrival of Pandavas only four people but soon conduct a ritual ceremony with the four brothers to enter into one Semar into the body.
It turns out that dwells in the body Semar Sanghyang Wenang that give clues to the discourse of life and science that is very meaningful to the Pandavas, and ordered to be imprisoned for ten days to the four brothers.
The Son of the Pandavas with Petruk and Bagong and Gareng guarding, spirits Burglar disturbed soul into killing each other, but was soon overcome by Semar and given the mantra to deal with all the evil that came.
Krishna disguised as giant of the hill was not able to deal with these spells as well as Arjuna in disguise be a very big tiger became limp and was caught by the Son of Pandavas and ask forgiveness of Semar,
Kresnapun get angry because as a king of Semar is not vigilant and take action without first checking the case sits.
Even Semar Betara Master so angry left Suralaya, and tear apart tear Suralaya no single weapon capable of paralyzing Semar so Betara Teachers fled to Karangkabuyutan, but anger can not be avoided wherever Semar Guru hiding always found by Semar, until the teacher asks Betara Protection of the Pandavas and ask forgiveness for any mistakes Semar.
After the anger subsided and forgive Semar Betara Betara Guru Guru then returned to the SuralayaTancep Kayon

Gagrak and Pakem

2011-06-10T18:07:00.001-07:00

Leather puppet show and / or musicians, in the present is known as an event that is played by a 'gagrak' (pattern, style, madhhabs, or style) and 'grip' certain. As in painting, a painting known naturalist style, super-naturalist style, the style of abstract, modern style and so forth. Like that also play gamelan instruments commonly known as 'musicians'. Even we in the present, also know a number of artists musicians and / or puppet that stands out in a certain gagrak.
Very likely, the problem of 'gagrak' not too dominant in the past. Perhaps this is also due to the difficulty of communication links between one area to area. However, in line with the development of cultural and inter-regional relations (in the past, usually the relationship between the kingdom or trade), also develops regional properties applied in the game gamelan instruments (gamelan) and also at various puppet game. Thus, we finally recognize the existence of some form of 'gagrak' certain, according to a specific regional characteristics.

Application of certain gagrak, not just made to play the gamelan instruments, but also to work on, how to play the gamelan instrument, arrangement, composition, leather puppet show, puppet-shaped form, the type of puppets, how to speak (antawacana), how to tell (janturan) , sulukan (singing dhalang), how nembang (singing), or senggakan (vocal filler). In fact, to the problems of traditional clothing traditional clothes or used, can also be very different. All of this, a wealth of extraordinary culture and Nusantara priceless. Developments such as this, is definitely a positive development nuanced and commendable, and appreciated.
Grip understood as a 'joint agreements' designed, made, agreed, and observed by a group of people (artist) supporters. Grip, in the past was developed in the centers of power, like a palace or administrative centers (royal). So imagine, this grip today we know as a sort of 'guidelines' (instruction execution) or 'guidelines' (technical guidance), which is used to implement a gamelan performance and / or puppets.
Grip, is not something that is absolute, dogmatic, and in no way be changed. Nevertheless, strong support to a certain standard, in fact do exist. In the past, the dominance of power centers or centers of government (kingdom), is very real. Therefore, in the past the change grip arguably much less likely to occur. However, in line with the cultural development and shifting centers of power (government), grip shift and become something that is no longer too obeyed as something that is dogmatic and must be followed.
Around the year 1966, Ki Narto Sabdo, a puppeteer from skin purwa city, began 'breaking the grip' by applying two different gagrak, namely Surakarta and Yogyakarta (Mataraman) in every single show he played shadow puppets prototype. In fact, in the next period, he also inserts gagrak Banyumasan and even combine it with the game style of Sundanese. At first, all of which carried Ki Narto Sabdo many people opposed, especially those who become fanatical supporters gagrak-gagrak them. This inability to what is done sukaan Ki Narto Sabdo, even to the prohibition of actions staged performances in a particular region.
However, the facts obtained turned out differently. The groups who oppose Ki Narto Sabdo, dealing with the wider community that does not question what it is gagrak or certain standard. For people pecintanya, leather puppet show performed purwa Ki Narto Sabdo acceptable public audience, as well as 'extremely meet the tastes and desires' them. Even at around 1971, the results of a poll conducted by the RRI (Radio Republik Indonesia), indicating that Ki Narto dhalang Sabdo is most popular in Indonesia (then).
Since this incident, little by little, leather puppet show that applying some gagrak prototype at a time, starting fluid and no longer enemy or disputed. In fact, at the present time, we can see two or three gagrak game combined in one purwa leather puppet show, has a prevalence that is no longer questioned.
Although conditions at the present time has become more liquid, but the leather puppet show (any), actually remained at a gagrak oriented and / or a certain standard. Of course, often comes with change, adjustment, and merging with other gagrak. Therefore, at the present time we are very lucky to still be able to watch performances, puppet performances in accordance with gagrak and / or a certain standard.

Exhibition gagrak Surakarta
Gamelan performances and / or puppet gagrak Surakarta (Solo), generally very mengeksploitas game gamelan instruments are exotic, complex and elegant.

Exhibition of Yogyakarta gagrak
Among the common people, better known as Yogyakarta gagrak gagrak Mataraman. Gamelan performances and / or puppet gagrak Yogyakarta (Mataraman), generally very mengekspolitas game gamelan instruments that are 'original Mataram', full of populist, and full freedom berkespresi.

Exhibition gagrak Banyumasan
Gamelan performances and / or puppet gagrak Banyumasan, better known as it is very close to the coastal gagrak. Generally featuring performances that are happy, full of humor, populist, many apply 'senggakan', full of cheers and excitement.

Exhibition gagrak Semarangan
Gamelan performances and / or puppet gagrak Semarangan, many exploit gendhing-based gendhing pelog tone. Gagrak Semarangan can be said to receive a strong dominance of gagrak Surakarta. Nevertheless, the game that many exploit karawitannya pelog tone, makes it very different and very handsome memorable.
Exhibition coastal gagrak
Gamelan performances and / or coastal gagrak puppet, is the form most widely exploit performances gendhing game-based gendhing tone 'slendro goods oblique' (minor tone). This is one peculiarity which is generally not found in other gagrak. Therefore, the game puppets, musicians, and vocals; tend to display the colors and atmosphere of melancholy, romantic, and also sad.

The performance of Java gagrak Timuran
Gamelan performances and / or puppet gagrak Timuran Java, has a style that is very unique and different from other gagrak gagrak-originating from Central Java and West Java. The impression is strong, independent, energetic, and ferocious, it is seen not only in games gamelan instruments, but also in the form of-way wayangnya.

Exhibition gagrak Bali
Gamelan performances and / or puppet gagrak Bali, it can be said really bebda as the one on the island of Java. Many people who do not know, that the Balinese gamelan is used as a puppet gagrak completeness Balinese gamelan music, is a ladder-based gamelan slendro tone, and wearing a ricikan gamelan gender. Therefore, gamelan performances and / or puppet gagrak Bali to be very exotic and very elegant. This will be a very, very different performances with Balinese dance performances, for example (which is very well known).
Exhibition gagrak Sunda
Gamelan performances and / or gagrak Sundanese wayang, has changed rapidly since around the 1970's. Gagrak Sundanese gamelan games, started receiving a lot of changes since that time until now. Puppet style of play very exploit certain puppet figures, is one peculiarity gagrak Sundanese wayang performance today.

Exhibition gagrak Outside Java
Gamelan performances and / or puppet gagrak Outside Java, often highly influenced by geographical conditions, language and local custom. Therefore, at the present time we can see gagrak Outside Java is growing in several different areas, and produce performances of musicians and / or different puppets as well. For example, leather puppet show style Jambi, Palembang, Banjar-salty, Lombok, or other.

Exhibition gagrak Cirebonan
Gamelan performances and / or puppet gagrak Cirebonan, can be said is a combination of several different gagrak. Generally, a combination gagrak Sundanese (very dominant), gagrak Banyumasan (Java), and some of them also with gagrak Betawi. The influence of Islamic religion and culture of China, was very closely with the various performances musicians and / or puppet gagrak Cirebonan.

Exhibition gagrak Betawi
Gamelan performances and / or puppet gagrak Betawi, in general, strongly influenced by gagrak Sundanese and Chinese culture.

The term-term and jewels In Dance

2011-06-09T19:07:00.000-07:00

Badhak Peacock. Dancers wearing masks, usually in the show Reyog or Dhoger. Headgear or mask is widened to the top. Badhak called peacock because the mask on the face resembling badhak animals, is a widening to the top painted peacock feathers or peacock feathers often seriously. Peacock Badhak is often called the Peacock or Peacock Dhadhak-merakan.
Bearings. Yarn wrapped in a cloth of thumb is used as the base xylophone keys. There are times when this material in the form of fibers wrapped in cloth.
Bara. Javanese dance decoration on clothing worn at the waist to the right and left. The shape is wide belt, approximately 40 cm in length, usually ornate beads and Ketep.
Benges. Dressing materials are red or pink color. This term is used if for coloring the lips (lipstick). Various gerongan with low tones sung with a high tone.

Blangkon. Headband made of fabric denganmotif batikyang manifold. Blangkon name comes from the word blank, which means the headband, it has been assembled or dipas such a way as to size of the head. This headband as the completeness of custom clothing man in Java. The development is now common for dance apparel.
Blencong. round tube filled with coconut oil, on the side of the existing pipe where the entry axis of benag, as a lighting instrument (sort of, a lamp) that hung in the middle of the curtain, just above the head dhalang on leather puppet show.
Bokongan. Clone of the buttocks so pantatnta look great. Clothes are usually used for men's role in the puppet or how to wear the same as dhandhan.
Guarantor. dressing materials or make up the wayang wong or dance that is yellow. Security is often also called scrubs, its function is usually to provide color throughout the body so that it becomes yellow. According to tradition dancers must have a yellow skin color.

Bloated. the dance or wayang wong dress made of paper which ermacam-kind color. The pieces of paper folded as a way, so after being tied up and assembled into a round-shaped small round, which is approximately 70-10 cm in diameter. The series of papers was prepared elongated roundabout approximately up to 2 meters. According to tradition, bloated as the completeness of Javanese traditional clothes bride who originally made from leaves. Derived from the word bloated bontel which means a variety of colors.
Tail. Artificial tail for the role of the apes. how to wear a belt worn on the back like a tail, the tip is connected to the Irah-irahan. For the danger of Yogyakarta style made of cotton fabric that is inserted in a round shape and length of approximately 1.50 m.
Lizard tail. kemanak place to hold a long-shaped and curved edges similar to the tail.
Cancutan. Often also called cawetan the way to the role of monkeys in particular berkain Yogyakarta style.
Cawi. sunggingan shape and inlay on the skin for clothes dance in the form of small lines like bentukl needle.
Eye Shadow. section than the eyelid that are colored black, so that more eyes look large or sharp.
Pants banners. Long pants dance about until below the knee.
Celuk. Introductions to the vocals, usually using the first verse or the last stanza of one song (see song).
Cemehi Samandiman. Whip carried by Wirayuda in dance Jathilan or braid horse Waterford.
Mobile. Kothak bat on leather puppet show. Mobile made of wood shaped like a stupa with a diameter of about 10 cm and 15 cm in length. In Yogyakarta, the mobile is made of brass or bronze that looks smaller, used as a bat kepyak with dijapit toes.
Ceplik. Often also called borokan, is thothok decoration consisting of one pair on the right and left.
Cindhen. Motif Sampur and pants pennants and other parts of the Yogyakarta style dance costume that basic colored red, blue, green, yellow.
Congoran. Sometimes called cangkeman, and serves as a mask, but only cover the mouth. To the front of the others given a dressing. Congoran Yogyakarta style used in Langenmandra Vanara.
Corekan. Make up face after the face given the basic, yaiu mustache, eyebrows, godhek and so forth.
Cundhuk teeter. Jewelry (see cundhuk mentul) that serves as cundhuk that looks like a comb or teeter. Jewelry is usually made of gold or imitation gold.
Cundhuk Mentul. Jewelry is usually for a princess. Jewelry is as cundhuk like flower shapes that can move like a pear or-mentul mentul Java language. Jewelry is worn in a bun garnish, the material is made of gold or imitation gold.
Dhadhan. Part dance as artificial dhadha seupaya looks great. This section is used for roles that wearing clothes, especially the role and the giant ape. Dhadhan is made of cotton wrapped in cloth, or with woven of rattan which is formed in such a way. How to use given a string and worn around the neck.
Dhampar. Chairs lined square ottoman for seating the king and the knights in the scene in the hall official in Javanese wayang wong dance drama (see wayang wong) Yogyakarta style.
Dhendhan. Logs are located on the right and left upper rancakan gender where there is a hole to insert a rope to stretch pluntur gender pitches. This is a tool fasteners Dhendhan pluntur. In the area of Yogyakarta, there is a similar form of headstone (dhendhan kijingan).
Dhingklik. Chair mat round ottomans for seating the knights in the scene in the hall official in Javanese wayang wong dance drama (see wayang wong) Yogyakarta style.
Dhuduk. Woman charged with delivering weapons menladeni take place such as a shield and arrows to the dancers Srimpi Yogyakarta style.
Dhuwung. Java Language Krama (high, smooth) for the keris which is the dance costume supplies Java Yogyakarta style which is also used sa gun fight. The role of princess wearing a dagger in front tuck on a belt attached to the abdomen, while the role of the son is wearing a dagger in front such as the gods, sages or hermits, but is generally worn tucked behind the belt. For the Yogyakarta style of leather.
Dhuwung Branggah. Keris selosongnya head shape (order) pointed next door. To dance Yogyakarta style dagger is used which is also used as a weapon of war. The role of princess wearing a dagger in front of the belt menmpel inserted in the abdomen, while the role of the son is wearing a dagger in front such as gods, receipts, or a hermit, but generally worn tucked behind the belt. For the Yogyakarta style of leather.
Dhuwung Gayaman. Keris which forms the head of the slug (order) blunt to dance kerisini Yogyakarta style worn by dancers dashing son.
Dodod.
1. How berkain. Fabric size smaller than the seam, about 4 meters long, 1.10 meters wide. In addition to dance apparel, in ritual imposed by the empress king's greatness, and the daughters of the king who was married. 2. Menthak cloth made from velvet fabric decorated with golden thread, is generally used in the gamelan panbuh Yogyakarta area.
Dolanan Sondher. Range of motion describing the left and right hand are playing (Dolanan) shawl (Sampur or sondger) contained in the fine and gallant son dance Yogyakarta style. This motion is used on the Kelana dance.
Dolanan Supe. range of motion of his left hand and right depict dancers playing (Dolanan) with ring (Supe) in Yogyakarta style dance. This motion is used in dance and Klana Marionette.
Gabahan. Guided part of the eye makeup of the wayang kulit form, like grains of rice. The role that has the shape of the eyes as this is usually fine characters, like Arjuna, Krishna, Rama and so forth. grain means 'grain'.
Gada. Weapons of war dance Yogyakarta style gallant son of battering. In Yogyakarta shaped paddle which has three flat sides.
Gadhung Mlati. Motif color or color combination that is often used in dance costumes, among others, to fabric, Sampur, headband, tank top and so forth. Colors consist of white and green.
Bun. Irah-irahan or close a motive such as hair ornaments bun or curved backwards. Irah-irahan inibiasa used a figure of both gallant knight and smooth. Examples such as Arjuna, Bima, Gathutkaca, Hanuman and others.
Bokor bun. Hairpin motif that is used in dance Bedhaya or Srimpi, especially Yogyakarta style. Named bight knot shape resembles a bowl because the bowl or the bowl where the water or vegetable.
Bend your bun. Hairpin motif that is used if an adult daughter who had entered the palace. how is equipped with a cloth wearing a tank top or semekan. The development is now often to sanggulan the types of dance.
Gendreh. Motif batik cloth that forms paranganya lereknya or smaller than the machete damaged. Usually used to the role of Arjuna, Puntadewa and so forth.
Gendring. Slawatan kind that many in Bantul. Dance is a fan brought KITAP called tuladha or tldha, which was read by dhalang. This folk dance serves as a ceremony of maturity such as circumcision, or also kaulan. This dance is not the kind of public spectacle, because the present senua danced. This dance is accompanied by the music fly.
Gimbalan. Type-irahan Irah wigs made of long and only given zamang only. Irah-irahan rekasasa role is especially used a giant trash or not the principal role in the puppet.
Lipstick. Materials makeup or makeup that red or pink color, which is used for coloring the cheeks to make it more visible or prominent young.
Godheg. Artificial hair on the face of the ear under the forehead, by way of makeup. In the Wayang Wong this shapes godheg vary according to their character.
Godheg Ngundhup Turi. Bentuknyaseperti turi flower buds that are still yet to bloom. In the Wayang Wong godheg form is for fine or to female characters.
Godheg Pengot. Shaped like a knife or similar pengot. In wayang wong or fingers of this type, for gallant or hard character.
Grompolan. Sumping ornament mounted on a headband made of buffalo skin tepen or sapai, small shape like a flower ..
Halup-halup. Basic makeup, usually white. This term is often used in a way makeup Yogyakarta Wayang Wong particular style.
Iket Kodhok Bineset. Headband or blangkon but the top is open, so that after use the top of the visible hair.
-Ilatan physical defect. Part of mekak. Called-ilatan physical defect because it resembles a long tongue, used in the middle of the chest extends downward to cover the function buttons or straps mekak.
Stitches. How to make up the eye for this type of dance Bedhaya Yogyakarta style. The shape is based on the face of all the scrubs, but in the eyes not around, so that the eye shape that can njahit.
Zamang. Terbuaat headdress of buffalo or cow leather, carved and disungging or dinada and given kepet, nuts such as lobes or necklace. This ornament is the unity of the Irah-irahan. Motif zamang variety by type Irah-irahannya or character.
Janget. Same with jenjetan, except that the material is made from cow skin that is formed flat at approximately ½ cm, often there is a round flat there is a square.
Januran. Zamang form or sumping often called zamang or sumping pundhak setegel. Roles in the wayang wong using this form, among others, Bhima, Hanuman, and other Ontorejo sebaginya.
Arrow. Javanese Krama (high, smooth) for Yogyakarta style arrow that the bow and some arrows into one. Use the arrow in the war sunguh not really, because the arrows can not be separated from his bow when fired, but only cause noise thek.
Alus Impur. This type of dance style fine son of Yogyakarta to knight a smooth and humble like Arjuna, Rama, Admiral, Panji and Darmawulan. Arm motions rather open, many use symmetrical arm design and use Sampur. This type of dance is also often just called impur.
Alus Kalang be all white. This type of fine son Yogyakarta style dance to the subtle but dynamic knight such as Salya, Bhishma and Wibisana. Arm motions rather open, many with asymmetrical design and the use Sampur. This type of dance is also called clumsy be all white
Andhe-andhe Moss. Folk dance dramas that are emerging in Bantul and Kulon Progo. This dance drama contains stories Andhe - andhe Moss. Namely Panji stories. The show was accompanied by a set of gamelan tunings slendro or pelog. Oelh formerly danced only male dancer, but perkembanan now is not the case. Motion dance got influence from wayang wong, especially Yogyakarta style. The dancers delivered the dialogue with the form of sung poetry and prose.
Apit Ngajeng. The first dancer from the audience right pad first row of the assembly Bedhaya Yogyakarta style.
Apit Wingking. The first dancer of the right audience on the third row of the assembly Bedhaya Yogyakarta style.
Bedouin. Rodhat kind that are emerging in the area of Sleman. Anatar dancers 20 to 80 people each pair. Dancer-dancers carried a fan and a broom tanga. Dialogue that was delivered in the form of singing and sholawat with language support as well as Indonesian and Javanese. Motion dance performed by a standing position. Each switch gerakn with tents whistles sounded by the leader of the dancers. Bedouin Dance of Sleman never get the first prize at the festival of folk dances of Indonesia in Jakarta in 1977.
Ballet, Ramayana. Yogyakarta dance drama without dialogue that bring the story of the epic Ramayana. The term ballet comes from French, ballet has the same meaning as the term ballet. The word ballet widely used by groups who organized the Ramayana dance performances for tourists.
Bango Mate. Variety ngruji motion with his left hand, right hand nyempurit. Like the motion of a bird bango. This motion contained in the Yogyakarta style dance princess.
Student Build. A kind of Cobra Students, in the midst of a demonstration pertujukan acrobatics. The show consists of playing on the torch on top rope stretched at the two ends of the bamboo height of approximately fifty feet.
Bapang Dhengklik Keplok Asta. This type of dance style gallant son of Yogyakarta to the role of giant-pranan armies. Shows the characteristics of motion dhengklik said one leg lifted up and set with knee bending and pressure. For the armies of giant used the hand position is called keplok asta which means "clap hands"
Asta Keplok Dhengklik Bapang Smear Rawis. This type of dance styles Yogyakarta khusu gallant son to the giant genie who have no good character.
Bapang Kentrog. This type of dance style gallant son to dance Bugis khusu Yogyakarta Yogyakarta style. Motion-motion based on Bapang, but coupled with the motion kentrong ie jumping up and down movement on one battery.
Sekar Bapang Suhun Dhengklik. This type of dance style gallant son of Yogyakarta to roles giant king or prince giants like King Newata Kawaca and Kumbhakarna. Sekar suwun is the name of the arm position that is always pointing up and another pointing diagonally downwards. Shows the characteristics of motion dhengklik said one leg lifted up ditapakan with bending and pressure.
Bapang Ukel Asta. Type Yogyakarta style gallant sons specific to the god of character humor that is Bathara Narada.
Barong. Jathilan or animal figures in Incling. Barong is often called Barongan is danced by two hooded men or bagor cloth, so that the shape of a large animal. One person was in front to move his head, was only behind the buttocks and wiggled his tail. This Barongan big-headed beast with a big mouth, but no clear type animals.
Batak. Dancer second from right audience in the middle lane of the assembly Bedhaya yogyakarta style. Together endhel pajeg, vagabond dancers play an important role in the story that was delivered by Bedhaya. In a telling Bedhaya Srikandhi Meguru Manah, this Batak dancers who acted as Srikandhi, while dancers endhel pajeg role as Arjuna.
Beber.
1. Type puppet show how spread a cloth that has been painted with pictures of puppets and has dibri color, taking the story of Panji cycle. Wayang beber is still there in the Village Panung Pacitan, East Java. 2. How to offer at the show with the sounds of gamelan ngamen kendhang such a way as to be known by the general public for menanggapnya.
Bedhah Earth. Dancers on the dance tayub ngibing first, usually at a ceremony that started the clean village is dancing ngibing host. Bedhah earth has a symbolic meaning, namely to do intercourse, bedhah mean open (njebol) yatitu dancer son, is the earth's land means that it is a symbol of dancers putrinya.Upacara soil fertility in the village clean time after harvest.
Botoh.
1. Two interpreters separator or referee on the dance Lawung berfumgsi Yogyakarta style as a giver aba training when the war begins and ends as well as lead the way exercise. Botoh using a type of dance prop gallant son of the king be very special. 2. Gamblers.
Arjunawiwaha, Bedhaya. Bedhaya Yogyakarta style of processing results from Kawedanan Raden Lurah Sasmitamardawa hageng clown-servants Krida Mardawa Sultan Palace in 1976, taking the story when Arjuna meditated in Indrakila with all sorts of temptations to kill Niwatakawaca for later crowned king of fairies. Accompaniment gendhing Ranumanggala, pelog nem.
Dewa Ruci. Bedhaya. Yogyakarta style of dance composition Bedhaya compiled by Sudharsono Pringgobroto in 1946, which was first staged at the opening of the University of Gadjah Mada University in Yogyakarta. Costumes, dance techniques, as well as the amount equal to Bedhaya classical dancers, but the theme is brought Dewa Ruci story, an episode in the epic Mahabharata which describes the event when the Milky Way is being tested by his teacher, that is Durna, to search for living water in the bottom Samodra. After all the hurdles can be overcome, the Milky met Dewa Ruci which gave a good clue-opetunjuk.
Laleha, Bedhaya. Bedhaya with accompaniment gendhing Laleha and is one of the era of Sultan Hamengkubuwono creation Bedhaya VI, taking fiber Harjunasasra when the war against Sumantri.
Sexual intercourse, Bedhaya. Gendhing Bedhaya using sexual intercourse as a retinue, and was created at the time of the Yogyakarta Sultan Hamengkubuwono VII. This dance romance contains a meeting of Mataram by Senapati Panembahan Kajeng Queen of South on the coast of the South Sea (Indonesia Ocean).
Manten, Bedhaya. Dance composition Bedhaya Yogyakarta style that describes the process of the marriage ceremony according to Javanese tradition, created by Sultan Hamengkubuwono IX in 1943. Dance technique and dance clothes like Bedhaya others, but the dancer is only of six people.
Pickaxe, Bedhaya. Bedhaya order gendhing accompaniment: Ketawang pickaxe gendhing kemanak Ladrang Kembangpepe in larasd slendro pathet manyura.
Prabudewa, Bedhaya. Bedhaya ciptaaan Sultan who later in the time of Sultan Hamengkubuwono VI reprocessed, as well as heirloom Bedhaya awarded in the Duchy.
Revolution, Bedhaya. Yogyakarta style of dance composition Bedhaya compiled by Sudharso Pringgobroto in 1959. Theme brought menggambarklan sequence of events initiated Indonesia's history since the Dutch colonial era until the time of the restoration of security in 1950 that describes ririskiky symbolic. Bedhaya Revolution also brought by the nine female dancers, but the princess is wearing her clothes on wayang wong Yogyakarta and style makeup and bridal makeup daughter of his head using Yogyakarta.
Sapta, Bedhaya. Bedhaya dance composition prepared by Tumenggung Purbaningrat in forties, danced by seven female dancers. Bedhaya Sapta (Sapta means seven) mengisahksn story of when the Sultan Agung (1613-1645), king of Mataram III makes the boundary between Mataram with Pasundan.
History Taman Siswa, Bedhaya. Dance composition Bedhaya Sudharso Pringgosubroto compiled in 1952, describes the history of College Student Park in 1922 with the character Ki beat Dewantara. Costumes, dance technique and the amount equal to Bedhaya classical dancers, only just a new theme.
Begalan.
1. Folk art that flourished in many areas of Banyumas. Contains folk art discourse-the discourse, so that the show often to enliven weddings. Major emphasis is that the dialogue, is gerask simple and spontaneous dance-influenced dance movements of Javanese and Sundanese dance. The contents of the story is unclear, only consists of two dancers, yatitu as a hijacker and a dibegal, as a symbol between good and evil. 2. In wayng skin is a war of flowers, the war that happened after trouble, namely the war between a knight against a giant who is usually called blind robber.
Beksa Alus. Fine son dance technique used in Yogyakarta style to the role of fine-knight role of the Mahabharata, Ramayana, Panji and Darmawulan like Arjuna, Krishna, Rrama, Admiral, Panji, Darmawulan and others. Typical of smooth type son is a position open toe low, medium step, removal of lower leg, arm position slightly open, his movements slow motion except in war. Beksa Alus, Javanese Krama (high, smooth) of Alus Joged typically performed by men who are somewhat slim-boned.
Beksa gallant. Gallant son dance technique Yogyakarta style that is used for roles gallant knight of the epic Mahabharata, Ramayana, Panji, Darmawulan and so on, such as Bima, Balarama, Ravana, Klana, Sewandana, Menakjingga and so forth. Typical type gallant son is an open leg position rather quickly. beksa gallant, Javanese Krama (smooth, high) of the gallant Joged typically performed by men who boned sturdy and tall.
Princess., Beksa. Yogyakarta style princess dance technique that is used for dance Bedhaya, Srimpi, doll and female roles in a variety of Javanese dance drama. Cir typical type of dance is the daughter of a closed foot position, very small step, arm position rather closed, small head movements without pressure, bending-bending limbs are not sharp, motion-slow motion. Beksa daughter usually danced by women, except before 1918 for the doll and daughter roles in the wayang wong, and Langen Mandrawanara Langendriya performed by male dancers who are still teenagers, boned slim and flawless.
Bindi.
1. Weapons of war in the Yogyakarta gallant son dance in the form of a cylindrical bat. 2. Tabuh (battering) Bonang, Kethuk, Kempyang and Kenong.
Bliu Tau. How wrong belajarmemainkan atu misalanya gamelan instruments fiddle but without the right method, usually just by listening and imitating.
Gabion wire. The attitude of the hands of such people eat rice without using a spoon or fork, which uses the fingers to pick up food. Attitude seems rigid done so.
Bugis. Yogyakarta-style partner dance compositions are performed by one or two pairs of dancers, using a type of dance that gallant son of Bugis is typical for this kentrong.Tari Bapang estimated born outside the palace in the 19th century, depicting the soldiers of the tribe Buginese of Sulawesi South who were practicing war.
Knapsack. Dancer number 7 on the middle lane of the assembly Bedhaya Yogyakarta style.
Cakilan.
1. Type giant dance. 2. Small round bamboo about two-thirds the size cm in length two and a half inches, was used as a means of retaining gender pitches, tied to the pluntur slenthem.
Cancutan. Often also called cawetan the way to the role of monkeys in particular berkain Yogyakarta style.
Canthang Balung. One of the dancers on the dance doll gambyong. Canthang cockscomb an antagonist and is described as a unique character.
Cekehan. Movement of horses feet on the dance braid, which is run by foot or mendhak modestly, but the time is going to step foot lifted slightly high with a little jump. This movement can be carried forward and rewind, slow rhythm.
Cepet. People in the dance Jathilan or Incling who wore masks cover the entire face. In this show there are two dancers, namely cepet lanang black mask and white mask cepet wadon. The two leaders are also often called Hurry or Kecepet.
Cindhil Ngungak Tumpeng. Range of motion mimicking a baby rat (cindhil) who saw a flash (ngungak) pile of rice (cone). This motion contained in Yogyakarta dashing dance or role that would be disrespectful.
Notices Budhaya. Private dance education organization style Yogyakarta in Yogyakarta that is no longer active.
Coklekan. Bending motion of the head to the left or right side of the dance styles of Yogyakarta.
Gallop. dance dance movement in horses similar to the motion drap braid (see drap), but does not bend his legs straight, slightly slower rhythm than drap.
Congoran. Sometimes called cangkeman, and serves as a mask, but only cover the mouth. To the front of the others given a dressing. Congoran Yogyakarta style used in Langenmandra Vanara.
Contemporary Dance School Wisnuwardhana. New creations dance education institution founded by Wisnuwardhana private (see Wisnuwardhana).
Cundrik. Prop dance as a weapon of war, and shaped like a dagger, but without a sheath. Prop dance is usually used for the role of women, especially in the Wayang Wong or dance style of Surakarta.
Damarwulan. The story of historical art from the original Java depicting a knight named Damarwulan who are willing to defend the kingdom of Majapahit to the rebel Duke of Blambangan Menakjingga. Damarwulan managed to kill Menakjingga, and to preserve his love with the Goddess Anjasmara, daughter Patih Logender of Majapahit. This story is the theme of the dance dramas of Java Yogyakarta style opera called Langendriya. Damarwulan also frequently staged in the new dance drama called ballet.
Deder Sampur. Sampur who worked as arrows superimposed on the left arm, and pulled with a finger right hand.
Dhadha.
1. Dancer number 6 on the middle lane of Bedhaya assembly (see assembly Bedhaya) Yogyakarta style. 2. Name of tone in the gamelan (see gamelan). For ordinary recording is replaced with the number 3, for the barrel and barrel pelog slendro.
Dhadha Mungal. Chest (dhadha) raised to the top (mungal). This position is a good chest position on the dance style of Yogyakarta.
Dhuduk. Woman charged with delivering weapons menladeni take place such as a shield and arrows to the dancers Srimpi Yogyakarta style.
Drap. Movement of horses feet on the dance braid in Waterford area, the movement run by kakai lifted a bit high and bent, fast rhythm.
Sitting Wuluh. range of motion contains the left and right with the motion ngoyog to the side, ending with the left arm diagonally pointing straight down, right arm bent in a position like hips. This motion contained in the Yogyakarta style dance princess.
Ebeg. Emblek kind that flourished in the area banayak Banjarnegara. The dancers ride a horse braid with a sword, usually wearing glasses that various colors. at the climax of the show were also held war games with mirror glass that reflects the light, atahari addressed to his opponent.
Emblek. Jathilan kind of Kedu in the mountains. Players consist of 7 members, six dancers who berpasanga braid horse-pairs, one as a leader. The show with war and war games with the glass that reflects sunlight, addressed to his enemies. Usually they were dancing round and round until there is no conscious and possessed by spirits (ndadi).
Encot. Motion throughout the body down after a stop is moved back to the top. This motion contained in the daughter and son dance smooth Yogyakarta style.
Asta-encot Encot. Variety encot footwork that diakkhiri denganlengan aligned diagonally to bottom right. This motion contained in the Yogyakarta style dance princess.
Pajeg, Endhel. Dancer number 3 on the middle lane of the assembly Bedhaya Yogyakarta style. Together these dancers hobo plays an important role in the story that was delivered by Bedhaya. In narrating Bedhaya Srikandhi Meguru Manah, this pajeg endhel dancer who acted as Arjuna, while the dancers act as Srikandhi hobo.
Wedalan Ngajeng, Endhel. Dancer number 2 on the third row of the assembly Bedhaya Yogyakarta style.
Wedalan Wingking, Endhel. Dancer number 9 on the third row of the assembly Bedhaya Yogyakarta style.
Endraya. The attitude of the left hand ngelak dragon in a position in front of the navel. While the right hand with the attitude Mangap ambaya hand on his back with his fingertips touching the right hip.
Engkrang. Range of motion left and right hand with the position Sampur Sampur nyanthok and then thrown out. If the motion is followed by a lift and bend your left leg is called engkrang Kiwa. and if the right leg raised and bent called engkrang Tengen. Engkrang used to smooth and handsome son of dance styles in enjeran Yogyakarta, which is the preparation of a war dance.
Engkrang Mlampah. Variety engkrang movement that coincided with stepped foot. This motion contained in the fine and gallant son dance Yogyakarta style.
Enjeran. Dance preparation and heating at Yogyakarta style war dance composition. Enjeran second part of the whole war dance composition that consists of four parts, namely forward gendhing, enjeran, war and retreated gendhing.
Sampur groaned. Motion sindhen mimicked, with the cover lips and use Sampur as a lid.
Erek. A motion if it will be at war within a kind of dance Jathilan. Before the war horses are usually two dancers use movement erek braid, which is like spinning a circular composition.
Etheng, Beksan. Composition of pairs Yogyakarta style dance group that danced by male dancers 12 people, which was created by Sultan Hamengkubuwono I in the 18th century. This dance is a war dance performed by three groups of dancers, the dance group that uses a type of fine son of 4 people who pitted his strength, which use a type of dance group gallant son of 4 people as the complainant, and the comedian group consisting of 4 people as well.
Impur gallant. This type of dance style gallant son of Yogyakarta for gallant knight, but false in behavior such as King Suyudana and Patih Udawa. Open arm movements, many use symmetrical arm design and use such as on the type of dance Sampur son impur Alus. This type is also commonly known as clumsy impur.
Kalang be all white, handsome. This type of dance style gallant son of Yogyakarta to gallant knights and aggressive as Suteja, Sentyaki, Indrajit and so forth. Open arm movements, many use symmetrical arm design sertamenggunakan Sampur. This type of dance is also often simply called a loop be all white.
Kalang be all white king, handsome. This type of dance style gallant sons of the kings of Yogyakarta for gallant and aggressive as Balarama and Ravana. The principle of motion together with stout prop be all white, but there is little disorder in his left hand movements. This type of dance is also often simply called a loop be all white king.
Flowers, gallant. This type of dance son gagahgaya Yogyakarta to knight gallant and honest and steadfast stance as Bima, Gathutkaca Yogyakarta style, Antareja and Antasena. Open arm movements, many use symmetrical arm design and use hand positions ngepel without Sampur. This type of dance is also commonly called kambeng.
Gajahan. Range of motion with one arm bent upwards until the hand near the ear, the other arm diagonally downwards done alternately left and right. This motion is used in dance son Yogyakarta style.
Elephant Ngoling. Range of motion of both hands above the right ear and left like an elephant who was ngoling (stretched) by waving its trunk upwards in Yogyakarta style dance. This movement used in dance and Srimpi Bedhaya.
Gambyong.
1. The name of one of the dancer's role is in Gambyong Marionette dance. 2. Name of bonang carabalen gamelan tones.
Gambyongan.
1. Name of suatubentuk gendhing. 2. A form of rhythm in the Javanese gamelan.
Gapruk. Motion clashing weapons that typically mace, sword or spear in the war dance style gallant son of Yogyakarta. Gapruk meant to clash.
Gebesan. Motion braid horse's head on the dance-like pacak Gulu, a simple motion of the head is moved to the right and left, along with moving the horse's head braid.
Gedheg. Shook his head to the left and right on the dance son Yogyakarta style. Head movement is usually used by a masked roles for face seems alive ..
Gedrug. Motion stamped one foot left or right to the floor with the tip of the foot behind the other leg on the dance daughter and son fine Yogyakarta style. If the left leg snapped named gedrug Kiwa, and when the right leg snapped named gedrug Tengen. Kiwa means left, Tengen mean right.
Degree. The classic war strategy widely used in classical dance dramas such as wayang wong Yogyakarta style. This title is diverse, including degree Garudha nglayang that shape their formation such as the eagle that was flying, a form of degree Emprit Neba emprit formation like birds in large quantities that are flying, degree Wulan Tumunggal a curved shape like a moon formation just stepping on the first day, Meta Dirada degree of shape formation like an elephant who is angry, and others.
Gendhewa. Bows and arrows, which is part untukmelepaskan arrows. In the wayang wong gendhewa often brought untukmenunjukkan that that brings is a knight.
Genjotan. Motion big step to the left or right side accompanied by tekanan.Gerak have the gallant son dance Yogyakarta style.
Genjring. The name of the instrument, shaped like a small aircraft but on the wood was given a hole to put the thin metals. Genjring also called tamper or triangle.
Genukan. Same with grimingan. This term is generally used pedhalangan Yogyakarta.
Gidrah. Range of motion that ends with right and left hands together in front of the abdomen. This motion is used in the Yogyakarta style dance princess.
Gladhi Clean. This term is used to refer to the last exercise as a preparatory stage or dance performances. According to tradition the role of son to wear pants pennants, cloth sapit urang (can also use ordinary wiron cloth), coal belt buckle dictionary, kris, without clothes, udheng. As for the daughter with a cloth, kebaya, buckling or ukelan ordinary bun.
Asmaradana, Marionette. Type of Yogyakarta style puppet dance to the accompaniment gendhing Asmaradana.
Swing-swing, Marionette. Type marionette dance to the accompaniment gendhing Yogyakarta style swing-swing.
Marionette Surenggraha. Type of Yogyakarta style puppet dance to the accompaniment gendhing Surenggraha created Tumenggung Purwadiningrat in 1967 and is the oldest Marionette in Yogyakarta.
Segara thunder. Composition of pairs Yogyakarta style group dance performed by four dancers son, using a type of dance gallant son. Dance depicting the war between the two pairs of these knights were created by Sultan Hamengkubuwono I in the century - 18. Both pairs of knights Ittu Jayasena who is danced by both men and Guntur Segara dancer who danced by two dancers, too. The two knights who fight it are the characters from the Panji stories.
Impang Gout. Range of motion with his right foot crossed the left leg, which ended with encot footwork. This motion contained in the Yogyakarta style dance princess.
Impang Lembehan. Range of motion right dengankaki crosses left foot, with hand gestures followed by pitch (lembehan). This motion contained in the Yogyakarta style dance princess.
Impang Ngawer Udhet. Range of motion right dengankaki left hand crosses the left foot forward with a variety ngruji position, right hand holding the udhet (belendang) with upward movement digerak dank-e bottom. This motion contained in the Yogyakarta style dance princess.
Indra. The motion on the dance style Bandabaya Paku Alam where repeatedly done in the same attitude that is your right foot stepping left foot gedrug followed by the right heel. While the left carrying shield near the waist and the right to bring a sword, straight arm and thigh near the sharp sword straight at the top.
Row. Four dancers on the dance Lawung son Yogyakarta style with the status as a soldier. Row using a type of dance Bapang son.
Jongko Ngilo. Range of motion reflect on the smooth dance style and dashing son of Yogyakarta style is done with his left hand holding Sampur with miwir position and right hand nyempurit.Jangko means "high", ngilo means "mirror". This motion is used in the preparation of enjeran yangmerupakan war dance.
Tall Miling. Range of arm movement with mencangkolkan Sampur on the left and right elbow followed by a motion of the head called miling. This motion contained in the Yogyakarta style dance princess.
Jaran pounder. Dancer horses in dance Dhoger braid that serves as the main dancer. Usually dancers are dancers dhadhak peacock until ndadi, after consciously kept changing dance lesson pounder also to ndadi.

Antaboga

2011-06-08T18:01:00.000-07:00

Mahabharata is a puppet story, Sanghyang Antaboga or Sang Hyang Nagasesa or Sang Hyang Hyang Anantaboga or Basuki was the god ruling the earth. God in heaven beristana Saptapratala, or into seven basic layers of the earth. From his wife named Goddard Supreti, he has two children, and the Dragon Goddess Nagagini Tatmala. In the puppet mentioned, although located in the bottom of the earth, the situation in Saptapratala not much different from the other heaven.
Son of Sang Hyang Antaboga is Anantanaga. His mother named Goddess Wasu, daughter Anantaswara. Although in normal circumstances similar to Sang Hyang Antaboga human intentions, but in a state triwikrama, his body turned into a big dragon. In addition, once every 1000 years Sang Hyang Antaboga skin changes (mrungsungi).

In the puppet, puppeteer told that Sang Hyang Aji Antaboga have Kawastrawam, which allowed him to blossom into anything in accordance with desired. Among others, he had transformed into a white grate (a kind of forest weasel or stoat) who saved the Pandavas and Kunti from the raging fires in Bale Sigala-gala event.

His daughter, Dewi Nagagini married to Bhima, the second person in the family Pandavas. His grandson who was born of the Goddess Nagagini named Antareja or Anantaraja.
Sang Hyang Antaboga have the ability to turn the dead whose death has not been outlined, because it has holy water Tirta Amrita. Water magic is then given to his grandson Antareja and never used to turn on Wara Goddess Subhadra who were murdered in the play Subhadra Burisrawa float.
Antaboga Sang Hyang Guru never asked for help capture Bambang Nagatatmala, his own son. At that time Nagatatmala caught being berkasih-pity with Dewi Mumpuni, wife Batara Yamadipati. But the gods fail to catch it because it lost the magic. Because Nagatatmala was guilty even though it was his son, Sang Hyang Antaboga forced to arrest him. But the snake god did not think Guru will impose capital punishment on their children by entering it into the crater Candradimuka. Fortunately Goddess Supreti his wife, then turn back Bambang Nagatatmala with Tirta Amrita. Guru also never take the remaining skin when Sang Hyang Antaboga mrungsungi and menciptanya a terrible vicious creatures. Guru named the vicious creature that Candrabirawa.
Sang Hyang Antaboga, when he was young called Nagasesa. Although he was the grandson of Sang Hyang Wenang, ujudnya still a dragon, since his father named Antawisesa also a dragon. Mother Goddess Sayati Nagasesa named, daughter of Sang Hyang Wenang. Once when the gods tried to get Tirta Amrita that allow them to turn the dead. To obtain Tirta Amrita gods must drill the ocean floor. They revoke Mount Mandira from where brought to the ocean, be reversed so that the peak is below, and then turning it to pierce the bottom of the ocean. But after a successful play, the gods could not pull back the mountain. And if the mountain can not be revoked, it is impossible Tirta Amrita can be taken. At the time the gods were puzzled why Nagasesa come help. With his body wrapped a long way to the mountain and membetotnya upward, Mount Mandira Nagasesa hacked, and then put in her place. Thus the gods to take Tirta Amrita they want. That is why, Nagasesa who would become known by the name of Sang Hyang Antaboga also have Tirta Amrita .*
*) There are other opinions that say that to get Tirta Amrita, the gods not to drill the ocean, but stir-aduknya. It is based on the meaning of the word ngebur in the Java language, which means stirring, disruptive, making the ocean water becomes 'chaotic'.
Services Nagasesa the second was when he handed Cupu Linggamanik to Bathara Teacher. The gods are very wanted cupu mustika it. At that time Nagasesa was imprisoned in Guwaringrong with my mouth open. Melesatlah Suddenly a beam of light entering the mouth. Nagasesa immediately clamped his mouth, and then that appears Bathara Teacher. Dewa was asked where he had gone shimmering light that enters Guwaringrong. Nagasesa answer, it mustika light in him and will be submitted to Bathara Master, when leaders of the god was willing to maintain it well. Teacher Bathara menyanggupinya, so he got the original Linggamanik Cupu tangible light.
Cupu Linggamanik very important for the gods, because it has the properties to bring peace in heaven. That's why all the gods in heaven feel indebted to Nagasesa kindness.
Because of his services and that the gods reward Nagasesa equal footing with the gods and are entitled to a degree Bathara or Sang Hyang. Since then he holds Sang Hyang Antaboga. The gods also give him the right as the natural ruler of the underground. Not only that, by the gods Nagasesa also given Aji Kawastram * which makes it able to change the shape itself into a human or any creature wished.
*) Some people call Aji Kemayan. spertinya designation was not quite fit, because Kemayan derived from the word 'cyberspace' is a charm to make the owners of that knowledge to become invisible to the naked eye. The word 'virtual' means invisible. So who is Aji Kawastram true.
To build family ties, the gods also give away an angel named Goddard Supreti as his wife. Please note, the grandson of Sang Hyang Antaboga, namely Antareja found only in Indonesia's puppet. In the Book of Mahabharata, Antareja never existed, because it's original character created by the ancestors of Indonesia.
Sang Hyang Antaboga ever do make mistakes when in a play carangan incitement persuaded King Boma Narakasura grandson, to ask the Rev. Senapati on Bathara Teachers. Together with the law, a husband King Krishna Dewi Pertiwi, Antaboga go to heaven. Apparently Bathara Teachers are not willing to give that revelation to the Boma, because in his opinion Gatotkaca more appropriate and more right. Differences of opinion almost the heats because of Sang Hyang Antaboga would insist, but eventually clash of ideas that can be mitigated by Bathara Narada. Rev. Senapati remain reserved for Gatotkaca.

Batari Durga (Gedeng Permoni)

2011-06-07T20:59:00.000-07:00

Goddess Durga was originally named Goddard Pramoni. He is very beautiful so intoxicated by romance Guru, because the capital it looks beautiful, Guru will fall cintan him. One day he went to meditate wanted his wife mejnadi Guru. Wishes come true, but only in the outer yaang done, because at kakekatnya, soul goddess Pramoni can not be realized in reality. Everything telaha da certainty that supernatural nature. Beautiful carnal Guru became empress, while the soul must reincarnate to the physical Umayi Goddess who has turned into raseksi. So between the Goddess and the Goddess Pramoni Umayi sports exchange. Pramoni soul into the sport that intangible Umayi raseksi, s ebaliknya soul occupies the body Umayi Pramoni beautiful goddess.
Umayi Goddess is actually a princess from the land tycoon Merut kpada god dedicated teacher. After the page Top five people, one evening Guru and the Goddess Umayi gallivant bull riding Andini. In a sightseeing flight in space, Sanghyang Teachers want her love desires arise above bersengama punggu Andini ox, but Goddard Umayi refused to maintain her dignity as queen of all the angels in heaven. Rejection Goddess Umayi merely want to keep kewibaan Guru desire not to engage her love in any place. Because mekasa Guru, the Goddess Umayi menyabda that her husband's desire that exceeds his desire giant, instant Guru has fangs and the degree Sanghyang Randuwanda.

Due to the great passions Rahsa Sanghyang Randuwanda, Goddess Umayi away so kama (sperm) jumped down into the samodera, which eventually beruah into a giant fireball, the longer a ball of fire occurrence from kama misdirected it into a giant. Later bayir aksasa they pose a shock and the gods could not face it. By Sanghyang Teachers, giant magic Batara was given the name Kala.
In wandering over the bull's back Andini, Batara tertararik teacher with a woman named Goddard Lokati, because he felt abandoned by istriya. Guru Goddess approached Lokati, namaun berparas beautiful daughter that has been transformed into a grain of rice. By Sanghyang Teachers, rice grains are picked and delivered to the king of King Sri maha Purwacarita Ridge or King Makukuhan for planting.
Rice seeds have been planted by the king Makukuhan fruitful. Teachers return arising affair Sanghyang want to eat rice reincarnation of goddess Lokawati, so that the king tribuwana changing into a white sparrow and fly into the country Purwacarita. Seeing her husband's changing into failed finches, the goddess Dewi Umayi mngajak seketi (1000.000) less one uuntuk infiltrated into rice plants. The angel had been changing into grass kejawan whose fruits are similar to rice fruit.
At the time began to turn yellow rice, fruit and even then had begun to weed kejawan buahny old. Fruit rumpuh kejawan cover made of rice ready for harvest. Meanjadi angry sparrows pecking the fruit of rice every wish always dihangangi by grass kejawaan fruit, fruit finally pecked and bit of grass and even then kaut-strong, then they turn into Umayi Guru and female deity. At the same time that always came Batara Kala memeperhatikan Goddess Umayi. Guru became jealous, and Goddess Umayi into an outlet temper. "If you fall in love with Batara Kala, be raseksi alone." Sanghyang word Guru. Goddess Umayi instantly turned into a creepy raseksi.
One day Guru saw a beautiful woman who is nothing but the goddess Parvati, the daughter of tycoon Umaran Ranti created from fruit. Women are beautiful and also named Goddess Pramoni wife had been taken by the male deity, Master, but only his body only. Parvati soul transferred into the body of the Goddess Umayi raseksi event, otherwise the soul Umayi taken and placed into the body Pramoni.

Raseksi reincarnation of goddess Pramoni was then placed in the woods Setaganda deceased and dijodohkand ith Batara Kala. He got the assignment rule of gandarwa, demons and other evil spirits. At the same time hold a female deity Pramoni Goddess Durga. While his marriage to Batara Kala, kala lower female deity Pramoni Yawana, Kala Durgangsa, Jaramaya, Ranumaya and many other sons.

The nature of goddess Durga is very bad because he assumed the task of teasing people virtuous. In wayang, the form of goddess Durga or syllables are called syllables Rangkung. While the story Sudamala, goddess Durga successfully diruwat by Raden Sadewa, youngest Pandavas. He again became a beautiful angel and go home to Tinjomaya, where bersemayamnya the angel heaven.

(version of the library hall)

Damarwulan Jumeneng Nata

2011-06-07T05:51:00.000-07:00

Meanwhile Damarwulan with a horse who escorted the two uncles who also rode with the fast riding. They had to take two days and two nights of travel, while their horses sped like an arrow out of his bow. They feel in a state of fatigue and sleepiness because it has not been a break during the trip, all of that to save the default form to be presented to the Queen's head Menakjingga Wungu.Tiba Kencana Ayu's voice suddenly cut off from the base of the tree, and fell menghunjam ground. Soil around the tree fell it vibrates menakutkan.Sebuah large tree fell across the middle of the road. They become wild horses, frightened. Damarwulan and both pamongnya fell from a horse. Recently they can stand, they get hit from two masked men. They fell powerless, maybe just the three of them had been killed. Both men were dragged Damarwulan mysterious and both pamongnya into the forest.

Until they are in a well-toxic, they raised Damarwulan, Noyogenggong and Sabdopalon one by one and inserted into the wells poisoned. Both men are none other than Seta and Layang Layang Kumitir laughed out loud, raising her head Menakjingga parcel. While all three of their horses were eating grass, dicambuknya, so that all three horses ran ran ass. Because these three horses, the horses choice, and had "njilmo" on the second and uncle Damarwulan Damarwulan, horse horse managed to return Seta and Layang Layang kepatihan.Kini Kumitir, go back to the Majapahit Kingdom, with a head of Majapahit. They both came home with gagahnya. Meanwhile in Kepatihan Majapahit, derapan horse voice, which startled the occupants of the house makes kepatihan, especially Goddess Palipurati Anjasmara and waistband. Seeing all three horses came home without bringing his master, the liver was Anjasmara be was, without a long ICRS again Anjasmara Damarwulan catch horses, and bring it back toward Blambangan. Anjasmara trying to find the existence of Damarwulan. Meanwhile Seta and Layang Layang Kumitir been approached Kutaraja Majapahit. Some border guards know the arrival of two sons of the governor Logender, and welcome to enter the territory of Majapahit Kutaraja. Border guard was surprised, just balls they got news of the soldier telik password, that has defeated Damarwulan Menakjingga, why now that came with the package that they bleed. And they also have been passing Damarwulan victory to the queen. They're scared Do not do it later border guards who deliver news Damarwulan victory, his head could be beheaded. Her Majesty has accepted the arrival of Seta and Layang Layang Kumitir. Sri Ratu Kencana Wungu became upset and doubt on the testimony provided by both Layang it, because earlier the Queen had received news Damarwulan victory. While Layang Seta feel entitled to become king of Majapahit and Sri Ratu Kencana Wungu marry. Sri Ratu Ayu calm the mind. In his heart, that both children conceived Patih Logender dishonest, no engineering that makes Damarwulan until now not been able to attend. Then the queen decided, that he can not decide now. Her Majesty is still awaiting news from Blambangan. Meanwhile, Damarwulan and two uncles who now resides in the well pass, it still gets the protection of the Gods. Not one person thought that there is a pass inside the wells jinn kingdom. King Jin Wells had a child pass a pretty girl like an angel. In the story, and second Damarwulan helped his uncle who died so they live longer. Damarwulan introduced by his daughter. Damarwulan attracted him to the daughter of the king well pass. After some time been dikerajaan pass well, and the daughter of King Jin Damarwulan Pass Wells fell in love and eventually became a very happy couple. After finishing the event, King of Jin Wells pass intended to help describe the complexity experienced by Damarwulan. Damarwulan tell accurately the events they experienced the events. Hearing the story Damarwulan, Genie Wells Pass King told the penerawangannya replace the current events. Told that a hit and two uncles are Damarwulan Seta and Layang Layang Kumitir. Now they are in Mjapahit, with a head Menakjingga. They insisted, that those who had killed Menakjingga, because Damarwulan has died at the hands Menakjingga. But it seems the Queen has not been convinced of the two children Patih Logender recognition. While Damarwulan horse horse horse owned by his uncle and two, had been beaten by Seta and Layang Layang Kumitir, so ran helter-skelter back to Kepatihan. While Goddard Anjasmara see the third horse home without bringing his master, Goddess Anjasmara Damarwulan and worried about the presence of both his uncle. Goddess Anjasmara now, taking one of them and spurred his horse tail toward the direction Blambangan looking Damarwulan existence. Damarwulan moved and shed tears. King Wells Pass request Damarwulan and both his uncle returned to Blambangan, to seek evidence of success Damarwulan beat Menakjingga, in lieu of the robber chief Menakjingga Seta and Layang Layang Kumitir. Damarwulan now getting ready to leave were told to pass well. All three were told to close my eyes, and hold your breath, because they will pass the road passes poisonous wells. Within seconds, they had arrived at the Palace Blambangan. Arriving at the Palace Blambangan, Damarwulan meet and Dewi Dewi Wahita Puyengan. Dewi Dewi Wahita and Puyengan and both his patih, Patih Kotbuto and Patih Angkatbuto Attendance Damarwulan back to Blambangan, surprised residents Blambangan Duchy. However they are ready to execute the command Damarwulan. Damarwulan his experience, is the time to bring the head Menakjingga to Majapahit, amid travel dibegal by Seta and Layang Layang Kumitir, so there is no evidence that Damarwulan Damarwulan who beat Menakjingga, because the head Menakjingga been taken by Seta and Layang Layang Kumitir. Damarwulan asked them to be witnesses in front of Sri Ratu Ayu Kencana Wungu. They besedia help Damarwulan, to testify before the Sri Ratu Ayu Kencna Wungu. Dewi Dewi Puyengan Wahita and take a train kecana Blambangan Duchy, and do not forget to bring heirloom Gada Wesi Sengkayana Yellow and sword. . While Patih Kotbuto and Patih Angkatbuto, escorting trains Kencana with riding. With a position on the right and left Train. Damarwulan position was in front as a guide, while the second uncle rear guard of the train. Damarwulan stop his entourage when he saw someone riding with fast women. Damarwulan discontinue her journey. Apparently he Anjasmara. Anjasmara kekuda Damarwulan immediately brought his horse. Anjasmara very pleased to meet again with Damarwulan. Damarwulan invite Anjasmara back together to Majapahit. Finally they rode together back to the Majapahit. The closer Kutaraja Majapahit, Damarwulan further improve alertness, also estimates Damarwulan Yes, dozens of armed soldier arrows, attacked the party from various directions. With eyes batinnya.Damarwulan King Wells immediately requested assistance Pass to maintain their safety. Suddenly just golden and horse carriage horses and their passengers coarse eyes and not look at all the soldier Kepatihan. Damarwulan entourage arrived at the Palace of Blambanganpun Majapahit. Sri Ratu Kencana Wungu be surprised when I saw Damarwulan still alive. Damarwulan and facing immediate entourage of Blambangan Wungu Sri Ratu Kencana. Damarwulan telling events experienced during the task than the queen. However, the Seta and Layang Layang Kumitir Damarwulan rejected reports that there was only a mere slander and management engineering. Layang Seta convincing, that he was carrying the head Menakjingga it is an absolute that must be considered the only evidence. Layang Seta calls for the Queen made himself king of Majapahit, and after that will condemn to death Damarwulan. Finally Sri Ratu menutuskan, that for justice and truth, then the party Damarwulan Seta and Layang - Layang Kumitir will in fighting the battle in blabar wire. Whoever wins that battle will be appointed to be king, while the loser must leave the territory of Majapahit. Sri Ratu Ayu Kencana Wungu Patih Menak Koncar ordered to prepare a place of their battle. The battle immediately began, Damarwulan beaten by his own second cousin, Layang Seta and Kumitir.Dalam long time no two children Patih Logender lose that too and could not stand anymore. With the defeat of Seta and Layang Layang Kumitir, then as punishment, with his father Patih Logender they must leave the Territory of Majapahit, and Damarwulan appointed with the title King of Majapahit King Wijaya BreRatu Ayu and Damarwulan a pair of wedding. Sri Ratu Ayu was made empress Bre Prabu Wijaya. While Goddard Anjasmara, Goddess Wahita and Puyengan and Miss Wells Pass into garwa concubine. They lived happily, although the later will experience a jolt of them, due to incitement Patih Logender despite staying away from the outer region of Majapahit,

Minakjinggo Bill Promise

2011-06-07T05:42:00.000-07:00

Damarwulan been a while lived in Keputren Probolinggo. All the fatigue and fatigue has been reduced. When they told each state respectively, the sound of the door broken down. Apparently Duke has to know the arrival Damarwulan Menakjingga. Menakjingga knew exactly who his guests, Menakjingga Damarwulan challenging, so come out to face a fight between two men, compete in jantan.Damarwulan stepped out toward Menakjingga. Damarwulan see Menakjingga its servant kinasihnya, Dayun, was watching him, who is stepping memnghampirinya.Damarwulan ambassador said the Queen to capture Menakjingga. Menakjingga laughed wryly, because he is the first ambassador of the queen who gets the task of killing King Uncle Kebo Marcuet, but after he managed to kill King Kebo Marcuet, the Queen has broken a promise.

He did not get anything, not the kingdom of Majapahit or mate with the queen Wungu Kencana, then Menakjingga feel sorry for Damarwulan, and suggested better go home to his village, not to experience the Damarwulan Menakjingga reoccur. Menakjingga also can not expect anything from Sri Ratu Kencana Wungu, because now he has become King Blambangan, and it does not want to deal with the queen. Damarwulan not respond to conversation Menakjingga, Damarwulan Menakjingga only ask, to give themselves and will be brought Majapahit.Menakjingga presented to Her Majesty or not, would rather die than be a prisoner of the queen of Majapahit. Then there was intense fighting between Damarwulan and Menakjingga. They were each issued a ajian and heritage heritage they have. Sound the sound of explosions heard in the middle of the night in the Garden of Probolinggo.Her voice is deafening. Sometimes they bounce off each other, because fighting supernatural powers. Menakjingga dropped, and chased by Damarwulan, but Menakjingga immediately got up and there was fighting back. Menakjingga then challenged Damarwulan, to pierce all body parts. Menakjingga amused when pierced nusukkan Damarwulan kerisnya sensitive area. Finally Menakjingga reminder, please if you want to pin prick, just do not puncture the eye. Quick quick Damarwulan Menakjingga piercing eyes. Menakjingga shortly be blind not to see what's what, when his eyesight was restored, Menakjingga not play play again, asked for a rod of iron which was brought Dayun yellow, then struck ketubuh Damarwulan, Damarwulan killed instantly. Menakjingga Semgkayana take the sword, which brought Dayun, to behead Damarwulan. But Dayun not give it. Because Damarwulan is dead, and no longer need to behead Damarwulan. Incidentally Menakjingga also feel very sleepy, he then said goodbye to Dayun, will return to the Palace, then yellow and heirloom iron Gada Sengkayana brought his own sword by Menakjingga to be stored in the warehouse were told to wait pusaka.Sedangkan Dayun Damarwulan corpses which lay at page park Probolinggo. However Dayun not want to keep, because the dead are not going anywhere where. Dayun bendoronya started to follow, returning to the Palace, to sleep well, while Menakjingga and Dayun away from Castle Probolinggo, Goddard and Goddard Puyengan Wahita Damarwulan approach that has been killed by blows a rod of iron yellow. Asked to carry the body of both the civil Damarwulan Damarwulan into Keputren Probolinggo Park. Sabdopalon Noyogenggong and immediately brought into the room Damarwulan Damarwulan then get treatment. Sementra the Goddess Wahita sprinkle tirta Damarwulan panguripan in both eyes. Savor Tirta Panguripan, is cure diseases incurable by the doctors and medicines are available, also the dead are not the time, still out of the will of the gods. Damarwulan right again, because the gods do not want Damarwulan back to the days of eternity. Damarwulan then meditate, be grateful for any overflow of the blessings that have been given Gods. Dewi Dewi Wahita and Puyengan, then said goodbye to both Noyogenggong and Sabdopalon, going to the Palace Menakjingga. Arriving in front of Palace Gate, Goddess Puyengan read aji panyirepan, so that all residents of the Palace will fall asleep. Without encountering difficulties Menakjingga second wife has entered Gedong Heritage. They have found a second storage tempan heritage. They tried to take second Menakjingga heritage, but very heavy. Both heritage did not want to shift from its place. Dewi Dewi Wahita and Puyengan, still remember ever told by Menakjingga, both when to take can not breathe. Finally, both heirloom Menakjingga can so easily drawn. Both wives immediately leave Gedong Menakjingga Heritage, and immediately returned to the park in the park Probolinggo.Sesampai Probolinggo, just finished Damarwulan of meditation. On the following day, AT Palace Blambangan, Menakjingga has lost both of their inheritance, the Heritage Gada Wesi Sengkayana Yellow and Sword. Menakjingga ordered his retainer and his servant to seek a second heritage, but can not be found. Both his patih otbuto and Angkatbuto, and ki Festive Pamenggar into an outlet. Olek Ki Pamengger Ajar, with spiritual strength, finally discovered the existence of heritage Gada Wesi Sengkayana Yellow and Sword, was stolen by the two Menakjingga own wife, Dewi Dewi Puyengan.Menakjingga menjdi Wahita and out of control. He immediately went back to the place his wife to ask for both inheritance. Dayun, as abd kinasihnya not want to miss him, he escorted trip to the park Menakjingga Probolinggo. Arriving at the park Probolinggo, Menakjingga arrival was greeted by Damarwulan. Menakjingga become Gada Wesi urka when he saw the Yellow and the sword in the hands Damarwulan Sengkayana. Menakjingga lose control. Damarwulan attacked without considering safety. Many times Damarwulan hit Menakjingga body, but Menakjigga can still survive, until finally with a hard blow on the head Menakjingga. Menakjingga fell and died. Both wives Menakjingga shout hysterically when she saw her husband, Menakjingga hit head, fell and died. Dewi Dewi Puyengan Wahita and approached Menakjingga who have been killed. Both mourn the death of Menakjingga. At least they remembered the happiness experienced during this together Menakjingga, After the situation died down and the second wife's departure Menakjingga feel sincere will of her husband, then Damarwulan ask permission to bring the head into Majapahit.Kedua Menakjingga Menakjingga wife was let go. Pertarungn Menakjingga finished second wife, both his patih, Patih Kotbuto and Payih Angkatbuto and Ki Festive Pamengger declare allegiance to the Damarwulan, and acknowledge the existence of Majahapahit. After notice to each other, and both his uncle farewell Damarwulan back to the Majapahit. Their journey back to the Majapahit to risk more severe than the time of departure. Because Damarwulan now brings Menakjingga head, would be the target of people who ambitions to become king of Majapahit. Because by bringing the head Menakjingga. to the presence of Sri Ratu Ayu Kencana Wungu, is one who can beat Menakjingga, thus entitled to become king of Majapahit, and once to marry Sri Ratu Ayu Kencana Wungu.Layang Seta and Layang Kumitir is preparing plans for the spoliation Damarwulan who has managed to bring the Head Menakjingga, money now now back to the Majapahit. After finding a strategic place, Layang Layang Seta and Kumitir hiding in the grove bush bush dipinggiran woods near the road to be traversed Damarwulan home.

Born Wisanggeni

2011-05-05T02:06:00.000-07:00

dresnala goddess beautiful goddess who was awarded in its sixth ahrjuna other goddesses because arjuna giant succeeded in killing the king who asked Supraba goddess as his wife. apparently the god of Goddess Durga srani children also want dresnala this beautiful goddess. but what is immoral? the goddess along with 7 goddess laninya already contains the seeds seed arjuna. and I think arjuna affection also to the goddess, arjuna often visited this beautiful goddess in heaven.

the god srani complained to the mother Goddess Durga, the mother then said, menghadaplah to betara teacher I will try to help you, then departed god srani accompanied by the mother Goddess Durga to paseban bhetara great place to meet teachers and the gods.

In paseban ahdir great god of gods and especially Bhatara teacher as king of the gods, then Bhatara Narada as his patih the gods, and bhetara penyarikan, bhetara senses, bhetara Kamajaya and various kinds of gods present at the meeting that great. nah then menghadaplah srani god, expressed its intention to "marry" dresnala goddess, accompanied by Goddess Durga who also lobbied to Bhatara teachers.

As usual teacher-eaten waffle bhetara Goddess Durga and the gods srani, then the teacher betara a decree to expel arjuna and heaven (incidentally arjuna is on a visit kayanan dresnala goddess), disproving all the content of an angel who came from Harjuna seed, and marry dresnala with god srani.

Bhatara Narada and Kamajaya trying to prevent, but instead given a criminal with a detachable rank and kedudukanya as a god, Bhatara Narada angry and down to earth with Kamajaya. while the troops under the command of god and god betara penyarikan senses immediately sent to run the command, abort all the content of an angel, cast out of heaven and bring Harjuna force

Terkisahkan troops arrived at the residence of god goddess dresnala, Harjuna violently expelled and returned to ngarcapada sadly. dresnala goddess was forced to come to the residence of the god srani, sadly sangking dresnala goddess screamed loud, then gives birth to baby from her stomach along with the cry.

Meanwhile, in a report semar ngarcapada Harjuna events that occur, especially outfit troops west of the residence of the goddess Durga gandamayit centers sempet arjuna inhibited step, profit could be destroyed. semar up blood and went to Khayangan to see what happens.
baby is still infant son dresnala it should be viewed with great affection, but not with troops god. they just beat the red baby. opening die strangely, it was a red baby can crawl. bahatara Bhatara penyarikan senses and confused, then disiapkanlah heritage. dihantamkanya to a baby crawl earlier. miracle happens again, the baby had turned into small children who can walk. lost his senses baby candradimuka incorporated into the crater.

Semar see full gregetan, he can not wait pengen dah manampar god god without pity, then semar down and stood beside the crater candradimuka. young people suddenly out of the crater with a red body heat. He then went semar and asked who he was and who the father or mother.

Semar Wisanggeni naming him. so given the name of this young man Wisanggeni badanya be healthy, fresh and full of strength. He thanked the semar. olehs emar then told to ask the god who the father forces her mother. what if not answered? said the Wisanggeni, gebuki aja semar said.

Wisanggeni troops confronting the god, and as pointed out, the troops god i do not know who the father of this child's mother, then Wisanggeni rampage and army dihajarlah god until topsy turvy, and ALRI Bhatara facing teachers. Wisanggeni followed before a teacher Bhatara accompanied by semar from afar.

Batara teacher angry, semar sent Wisanggeni do the same in Bhatara teacher, asked who the father or mother if not answered gebuki. and competed against Wisanggeni Bhatara teachers, and lost. cis in the right hand left hand was unable to penetrate the skin Wisanggeni. Bhatara teacher fled to the world ....

Wisanggeni Bhatara teachers to follow the flight of the world. Bhatara teacher in the world to see that again arjuna Werkudoro grieve together. he was accompanied by 2 people hermit who guided arjuna. Bhatara teacher came and asked for assistance. that there is a demon child who Khayangan random shuffle. walo arjuna sad akrena badly treated by the gods, he's ready to go. but Werkudoro prevent and advanced first.

Wisanggeni saw a big ask knight semar, who is it? Answered ole semar, knight yodipati Werkudoro. when the going got beat by Wisanggeni, semar ban and ordered Wisanggeni hit the nail pancanaka Werkudoro, akrena it kelemahanya. and really, after challenge there was a fight between Wisanggeni challenging and Werkudoro. Werkudoro retreat when Wisanggeni hit the nail. Werkudoro pain while holding arjuna sent forward.

Seeing no good knight forward Wisanggeni asked who he was? Then answered by semar that your father, do not melawanya. and Wisanggeni even fight without power, he almost dikeris by arjuna, but blocked semar. semar say better kill me, because he was your son, and berangkulanlah two boy's father, weeping.

Bima berserk berserk after tau Bhatara false teachers, he said no wonder I lose, I mbela la culprit. 2 hermit turned into Kamajaya and Narada after strong not to deal with semar.bhatara teacher apologized to semar, Bhatara Narada and also arjuna Wisanggeni. and ebrjanji not be repeated.

Wisanggeni berated residence srani god, god srani beaten by wisnaggeni, goddess dresnala invited to go home, while his mother Durga in the face semar bhetari, then lunglailah the Goddess, he's not against semar.pasukan ebrani western clothes who had been brought back setelahs emar screwed meaafkan the Goddess Durga. ahirnya berkumpulah, dresnala, arjuna, Wisanggeni

Born Gatotkaca

2011-05-05T01:46:00.000-07:00

After a long-awaited end Arimbi Goddess of the Milky bear children. All the people Pringgandani very glad, because this child will become the next generation as King Arimbi Pringgandani when Goddard was dead.

At that time all the sons Pandavas accompanied Batara Sri Krishna did not miss the whole clown-servants Semar, Astrajingga, Dawal and Gareng Pringgandani gathered at the Palace, they see themselves being gathered waiting for the birth of the son of Bima. Not long ago a baby's cry sounded jarring rattle around Pringgandani, all of which are on the ward took a deep breath. A moment later there was waistband that deliver to news that the men's crown prince has been born in good health as well as the condition of the mother. Hearing this bertambahlah happiness all, each one of them congratulated Werkudara aka Raden Aria Bima on putrannya birth.

Some time later they can go see into the room, where Goddess Arimbi seen lying on the bed decorated with a gold jewel-blue silk repose seemed pleased with the welcoming smile of his lips swell Milky sometimes accompanied by all wargi (brother). Not far from where she lay seen a smaller bed, lay on top of a baby boy is very handsome and a place like dynasty warrior god, it's just that the placenta of the baby still attached have not been disconnected. When it is asked waistband replied that the overall effort to cut the umbilical cord is always failed. There is no single successful senjatapun cut it.

Hearing this the Milky very upset and asked for help to his brothers to cut the umbilical cord which named her newborn Tutuka. Bima tried to cut the nails Pancana failed, followed by Arjuna tried to use all his weapons begins with the transition kris, kris Kalandah, arrows Sarotama arrows even Pasopati all failed. Batara Sri Krishna who was present to try with magic weapons Udaksana chakras, producing only a spark-ignition when it tried to cut the umbilical cord. Everything stunned amazed and surprised with the despair, the Goddess Arimbi could only cry to see it embroiled in a sense to worry if their children should carry the umbilical cord into adulthood. Amid the atmosphere of the previously undetected Begawan Abiyasa that no other grandfather or great-grandfather of the Pandavas from newborn Tutuka was present in place, all those present gave sungkem worship him. The magic Begawan mandraguna said that the umbilical cord would only be cut by weapons kadewatan derived from batar Teacher. For that the Begawan asked Arjuna to go to heaven to find weapons. After receiving orders from his grandfather and asked for permission to his brothers accompanied Arjuna oelh the clown-servants immediately go to heaven to find the weapons in question by Abiyasa Begawan, Begawan alone while the rush to go back to Padepokan after giving prayer and chanting some mantras to great-great / The great-grandson.

Deep in heaven there is a state broke down due to attacks from the Dragon Percona one who wants to marry an angel named Goddard Supraba. Due to the Naga Percona not just any creature, he is the king who has supernatural powers capable and can say the same even slightly above the above the gods, obviously very inconvenient ranks of the gods led by Indra in the face of his Batara. Lightning attack Batara Indra no different than throwing dried leaves of the children, the fire Batara Brahma only be a toy only. Batara Bayu that mendoronganya with a big storm membutnya not resign even if the tip of the nail, even his body did not shake at all. Udaksana of Vishnu Chakra batar mencenderainya nothing, in short, the gods were beaten back with bruised condition.

Guru mantra chanting and saw Glass Trenggana, obtained information that can defeat the Dragon Percona Tutuka newborn child is a newborn Bima. Furthermore Batara Narada Guru ordered to give him a weapon called the arrow Konta Wijayadanu to Arjuna to cut the umbilical Tutuka newborn infants with benefits should be facing Naga warlord Percona. At the same time Aradeya or Karna was imprisoned on the banks of the Ganges River looking for the magic weapon for himself, when Batara Narada approached the place his heart is happy because Aradeya thinks Arjuna, because it really seems to like and Batara Surya who is the father of the deliberate release Aradeya ray glittering around Aradeya so Batara Narada is not too clear to see, so it is not aware that the person entrusted with such weapons is not Arjuna.

After getting the magic weapon kadewatan Aradeya very excited and immediately ran without thanked Batara Narada, it makes Batara Narada people realized that he was wrong, not long after Arjuan accompanied by the clown-servants came to the place that, sadly Batara Narada told me that he had one person who should have handed over weapons kadewatan Tutuka submitted to the newborn through the hands of Arjuna, in fact handed over to strangers and have a way similar to Arjuna. Hearing this really blame Semar Batara Narada because reckless handed magic weapon to a stranger, and immediately asked Arjuna to pursue that person.

Arjuna ran and caught up with Aradeya, the arms were originally asked nicely and is said to be used by him to cut the umbilical cord nephew. Aradeya ignored eventually be war-fighting weapon duel, until one day when Arjuna managed to hold the holster the weapon while holding the arrow shaft Aradeya Waijayadanu Konta. They attract each other and eventually fall off due to Konta weapon of sheath / scabbard. Then Aradeya ran back and this time Arjuna lost track.

With sad hearts showed Arjuna warangka Konta weapon to Semar, then on the advice of their return to Pringgandani Semar Batara while Narad told to go home to heaven and said that the newborn Tutuka will soon be taken to heaven. Arriving at the Palace Pringgandani sheath was used to cut the umbilical cord newborn Tutuka, magic once the umbilical cord while the sheath senajata kadewatan break it into newborn udel Tutuka. This is according to Semar is a twist that will end the war stories of / Bharata Yuda weapons would go back kewarangkanya, in other words Tutuka newborn will die if faced Wijayadanu Konta weapon.

After a successful umbilical cord is cut Arjuna about to bring newborn Tutuka to heaven to fulfill a promise to Batara Narada, that newborn Tutuka will become commander of the war and confront the Dragon Percona. Originally Bima ban because his son was a baby and be able to replace him against the Dragon Percona. Having said that newborn Tutukalah Semar who had to leave because he was trusted by the gods and newborn Tutuka others have used the weapon kadewatan not others. Besides, Semar guarantee in the event of a newborn Tutuka things that cause harm, Semar dare entrust his life to the Milky Way. Hearing this from Semar, who has a view of the Milky linuwih and realize who really Semar is, ultimately allowing the son to war against the Naga Percona.

Arjuna par with clown-servants immediately bring newborn Tutuka into heaven, after approaching gerbanga Selapa Tangkep precisely in Tegal Ramat Kapanasan Arjuna put newborn Tutuka middle of the road toward the gate. Next Arjuna attention from far along with the gods, not so long ago the Dragon Percona dating and saw a baby in the middle of the road. He teased Guru had gone mad because he says told him to fight with a baby who can only cry. Then he lifted newborn Tutuka and thrust his face into the baby's face, not disangkan newborn hand and managed to swing Tutuka meluaki one eye that was bleeding. Dragon Cash Percona angry and slammed the door towards the newborn Tutuk Gerba to death. Seeing this, the gods no exception batar Teacher, Batara Narada and Arjuna was shocked and alarmed if the Bima to know her son died by Dragon Percona will definitely mengamu into heaven. Semar's just quickly whispered to Guru to be brewing in the Crater Candradimuka Tutuka newborn, immediately ordered Batara Guru Yamadipati to immediately bring the body into Crater Candradimuka Tutuka newborn and menggodoknya. Furthermore, the gods sent them throw / mixing senajata it has to form a newborn accused Tutuka stronger, eventually forming the body of the gallant knight in these godogan. Then the gods membirkannya newborn clothes and jewelry for the new Tutuka, then he died not time diakarenakan successfully revived by batar Teachers.

In addition to their gift of clothing, jewelry and weapons that have formed her newborn Tutuka beberanama also obtained from the gods are: Krincing Wesi, Glass State, several main, Buttons Jaya, Arimbi Suta, Bima Putra and Gatotkaca. Last name is then used in the puppet world. With a view that is very different from previous Tutuka newborn using the new name Gatotkaca fought back with Dragon Percona, and eventually tear the mouth and body behasil Dragon Percona into two parts. That's the end of his life Percona Dragon brings peace in heaven, well into the early heroic Gatotkaca the son of Bima.

Humans are born into the world should be useful to someone else, ideally from the start inhaling the breath on this earth until the end of his life could be useful for others. Child birth is definitely a pride of parents, especially if the child could actually be useful and instrumental for others. To achieve success do not hesitate to forge a child's ability in accordance with the limits the ability of these children, so they can maximize all the hidden talents and abilities, in addition to forging a child receives will make it strong, resilient and mature in thinking and acting. In addition, when handling the mandate handaklah credible and appropriate to give it to the correct destination, do not let one express mandate would cause havoc due to end later. The whole struggle would require sacrifice.

Antareja, sang Hanantareja

2011-04-28T05:33:00.000-07:00

Raden Hanantareja, which means having a high power, which in puppetry is called Antareja, has another name Wasianantareja, Anantarareja. He is the son of the Goddess nagagini Werkudara raden, daughter Batara Antaboga, in heaven Saptapretala. Antareja married with Dewi GAnggi, daughter of King Ganggapranawa king snake in the kingdom Tawingnarmada. From this marriage was born the Aryan Danurwenda who later became governor outside (patih njaba) Yawastina country during the reign of King Parikesit..
Antareja based in kasatriyan Randuwatang or also called jangkarbumi. Along with the birth Antareja, king of countries jangkarbumi kagyangan Suralaya King Nagabaginda attack. He asked the Goddess Supreti Antaboga Sanghyang wife to be queen, but king Tribuwana not pleased, but the gods could not resist kesaktian King Nagabaginda. Finally Batara Antaboga mmusnahkan King designated order nagabaginda earlier, which was a baby Antareja finally brought his grandfather headed into battle and met with the king Jangkarbumi.

Before pitted, baby Antareja Antaboga smeared saliva to become immune to weapons. Antareja baby did not die but get older. Finally King nagabaginda can be destroyed by Antareja, state Jangkarbumi then handed over to the son of Bima. Nagabaginda King who was killed was later into the body menjilma Antareja.

This event inspires Antareja when helping his brother. Arya Gatutkaca Tribuwana king who demanded a promise. When Gatutkaca to crush the king and governor Gilingwesi Kala Prabu Pracona Sekipu, Sanghyang Gatutkaca Teachers promised to appoint as king in heaven. Because the long-awaited Hyang Guru did not immediately fulfill its promise, promise bill Gatutkaca assisted his brother, Antareja.

At that time the king Puserbawana Antareja King Nagabaginda title. He attacked the Suralaya so Sanghyang teacher called Gatutkaca. Before dealing with Gatutkaca, King nagabaginda escape so Gatutkaca later became king in King Sumilih Suralaya title. King Nagabaginda who fled from heaven, and then invaded the country Astina. Kurawa frenzy so that asking for help to the Pandavas. Since the Pandavas and Sri Krishna are also unable to stem the forces Puserbuwana war, Sri Krishna and Arya Bima asking for help to King Sumilih. Finally, King and King Nagabaginda Sumilih war, both to be back to normal and Raden Arya Gatutkaca Antareja.

Antareja have supernatural powers venom in their saliva that can destroy opponents in an instant. Napakawaca scaly skin can withstand a sharp weapon attacks. He also has a magic ring Mustikabumi gift from his mother to sign Antareja is evidence that the son of Goddess Nagagini. In the play Subhadra float, the ring was disclosed to the Arya Werkudara his father, so the bima acknowledge his son. At that time Antareja surprised to see the boat body that no other woman is his wife Subhadra Wara Janaka. With the ring Mustikabumi, Subhadra Antareja may revive the dead was killed by Burisrawa by accident.

Finally, Gatutkaca which was tasked to oversee the bodies Wara Subhadra became suspicious and accused of killing his aunt's Antareja. Both were then at war, but was quickly dissuaded by Sri Krishna and was given advice that they are still brothers. Wara Subhadra himself admitted that the killing itself was Satriya Madyapura Burisrawa Raden, son of King Salya Mandaraka king.

In the story of Krishna Gugah, Sri Kresnah transform themselves into white beetle and leave his physical in the form of a sleeping giant. Spirit of Sri Krishna in the form of white kumbah investigate Jitabsara book written by Batara Panyarikan. Book tells Jitabsara complete Bharatayudha Senopati Kurawa paired with Senopati Pandavas. When King Balarama written Kurawa impartial and dealing with Antareja, Sri Krishna does not have the heart, then he poured black ink on paper that explains exactly Baladewa against Antareja partner. So they fail to be met in Bharatayudha.

Finally Antareja history told in the play Tawur or family sacrifices in order to achieve the glory of war. Kurawa not willing to sacrifice one of his family, but kill Ijrada, tarka and Sarka, while Antareja and Wisenggani willing to sacrifice himself for the casualties of pandawa victory. Antareja menjiliat willing to die with his own feet with the grace of paradise occupies nine levels (Swarga delay sanga) belonging to Sri Krishna.

Born Antareja

In countries Saptapratala, Hyang Anantaboga, receipts Abiyasa, the Pandavas, gather to wait for Goddess Nagagini who will give birth to sons, said receipt Abiyasa, â €?? Hyang Anantaboga nagagini let me take it to the state Amarta, if the baby has been born, will I leave again . â €? Hyang Anantaboga consented, and went Resi Abiyasa with Dewi Nagagini and the Pandavas returned to Amarta. Arriving in Amarta has also attended Kanekaputra Hyang and the angel, Hyang Narada said, â €? Trouble has occurred, none other is not, my decision Abiyasa receipt will lower the Gandamana alusan his, after all, I came across Amarta top Hyang names of teachers, to witness the birth of a baby Nagaginiâ €??. Shortly after Hyang Narada said, was born the baby from the womb goddess Nagagini.

Resi Abiyasa told by Hyang Kanekaputra, that Hyang Guru is pleased to give a name to the baby: Senaputra, Antarja, after all, given the revelation of supernatural powers on the HRU poison fangs of the baby. To get the enervation ototototnya, diseyogyakan war pitted the baby, the baby will later become Jagonya the gods. Once completed Hyang Narada said, go back to Suralaya diiring on an angel. State Amarta at the same time, surrounded by the enemy, the king of Paranggumiwang, named King Salksadewa, come will demand revenge the death of his father King Kaskaya, who was killed by King Pandudewanata, father of King Yudhisthira from Wanamarta country.

Anantaboga Hyang said, â €?? Let's face the enemy from Paranggumiwang Antarja, Werkudara Lead lagaâ son to the field €??. King Saksadewa dead by Anantareja, Paranggumiwang soldier, governor Kalasudarga, waistband Saksadewi Antareja can not also match, all of whom died by the son of Raden Arya Werkudara.

The whole palace rejoiced at the victory celebration, Hyang Ananboga bring his grandson back to Saptapratala Anatareja Raden.

Antareja takon Father

In the kingdom of Astina King Nagabagendo, facing King Duryudana Durna Begawan, Begawan Durna by students who said that the child named Nagabagendo willing to be ambassador to destroy the Pandavas. After all consensus, make your way along King Begawan Durna Amarta Nagabagendo toward land, but the journey to meet with R. Sentyaki and R. Udawa knights of Dwarawati.

After learning that the King Nagabagendo would be vandals and harmful Pandava family, both those knights and fought with King Nagabagendo second dam knight bullied Nagabagendo King, R. Udawa Amarta country fell on the ground and R. Sentyaki Amarta fall in the country. Once R. Sentyaki got himself in Amarta country, will immediately report the harm that will befall the Pandavas, has not finished reporting the incident experienced by the Pandavas, came King Amarta Nagabagendo to seize power, then there was war and the Pandavas nothing can beat King Nagabagendo kesaktian .

Finally, based on advice Prabu Kresna, that can beat the King Nagabagendo is the knight who skinned scales like a snake, then R. Angkawijaya assigned to look for knights in question. Meanwhile in the well Jalatunda, R. Kencana Pudak facing his grandfather, Sang Hyang Hanantaboga to be told who the real father and where is located.

By Sang Hyang Hanantaboga told that there are in the country ayahndanya Amarta lives in Kasatrian Jodipati. With the accompaniment of his grandfather, R. Pudak Kencana go towards kasatrian Jodipati and in the middle of the road he met with R. Angkawijaya who are looking for candidate to fight the King Nagabagendo. Arriving in the country Amarta, R. Pudak Kencana met with R. Werkudara, but R. Werkudara will recognize as a child when able to destroy King Nagabagendo. Finally R. Kencana Pudak fought against King Nagabagendo and perish, by his grandfather R. Pudak Kencana can be revived with water life, called Tirta Kamandanu and R. Pudak Kencana was given supernatural powers Ajian Onto Upas.

With the magic Upas Onto, R. Kencana Pudak Nagabagendo to destroy King and the army can be defeated by Pandavas Kurawa along with her sons.

With the death of King Nagabagendo Amarta country to be safe, serene and peaceful, and R. Kenchington Pudak become part of a large family of Pandavas and switch the name of R. Antareja.

Antareja version of Wikipedia

Antareja was the son of Bima Werkodara or from his second wife a daughter of the god Antaboga Nagagini. It was told he was a formidable warrior, magic mandraguna. He has 2 (two) other brother, mother, named: Raden Gatotkaca, son of Bima with Dewi Arimbi, and Arya Anantasena, son of Bima with Dewi Urangayu. Since childhood Anatareja lived with his mother and grandfather in Saptapratala (bottom of the earth).

He has a gift Upasanta Ajian Anantaboga Hyang. His tongue is so powerful, any creature who licked her feet would meet with death. Anatareja napakawaca skinned, so immune to the weapon. He also has a ring mustikabumi, giving her mother, who has supernatural power, distancing from death during still touching the earth / soil, and can be used to revive dead outside destiny. Another miracle Anantareja can live and walk in the earth.

Anantareja has the nature and disposition: honest, quiet, very devoted to the older and dear to the young, self-sacrificing and large kepercayaanya to the Creator. He was married to Goddess Ganggi, daughter of King Ganggapranawa, king snake / taksaka in Tawingnarmada, and berputra Arya Danurwenda.

As adults Anantareja become king of the country holding the title King Nagabaginda Jangkarbumi. He died before the war by order of King Krishna Bharatayuda by licking her feet as tawur (victim to victory) family Bharatayudha Pandavas in the war.

pandawa lima

2011-04-27T19:10:00.000-07:00

1. KING YUDHISTIRA

King Yudhishthira the story Javanese puppetry is king jin Mertani country, a Demon Kingdom are in plain sight is a very haunted jungle. King Yudhishthira has two siblings, each named; Arya Danduwacana, which controls kesatrian Jodipati and a master Aryan Dananjaya kesatrian Madukara. King Yudhishthira also has two other mothers of twins, that is; Ditya Sapujagad residing in kesatrian Sawojajar, and Ditya Sapulebu in kesatrian Baweratalun.Prabu Yudhishthira was married to Goddess Rahina, daughter of King Kumbala, king jin Madukara country with consort Goddess Sumirat. From that marriage he obtained a princess named Goddess Ratri, which later became the wife of forest Arjuna.Ketika Mertani Pandava family conquered thanks to the miracle of the oil resources owned by Arjuna giving Bagawan Jayengkaton Wilwuk / Wilawuk, winged dragon of Pringcendani hermitage. King Yudhishthira then submit the entire country along with his wife to Puntadewa, the eldest Pandava, son of King Pandu with Kunti. King Yudhishthira then transformed or combined in the body Puntadewa, until Puntadewa title King Yudhishthira. King Yudhishthira blood white symbolizes purity.

2. BIMA or Werkudara

Also known by the name; Balawa, Bratasena, Birawa Dandunwacana, Nagata, Kusumayuda, Kowara, Kusumadilaga, Pandusiwi, Bayusuta, Sena, or Wijasena. The second son of King Pandu Bima, King Country Astina with Dewi Kunti, the daughter of King Basukunti with Dewi Dayita from Mandura country. Bima has two siblings named: Puntadewa and Arjuna, and 2 other brothers mother, that is; Nakul and Sahadev. Bima have adequate nature and disposition; brave, steadfast, strong, courageous, obedient and honest. Milky has a privilege to play doubles specialist and has a variety of weapons, among others; Nails Pancanaka, Gada Rujakpala, Alugara, Bargawa (major axes) and Bargawasta, while ajian owned are; Bandungbandawasa Aji, Aji and Aji Blabakpangantol Ketuklindu-antol. Bima also have clothing that symbolizes the greatness that is; bun Pudaksategal, Fertilizer Jarot Asem, Sumping Surengpati, Kelatbahu Candrakirana, belt and pants Cinde Nagabanda Udaraga. While some of Gods gifts he received, among others; seam or fabric Poleng Bintuluaji, Candrakirana Bracelet, Necklace Nagasasra, Sumping Surengpati and fertilizer Pudak Jarot Asem. Bima lived in the Duchy Jodipati, Amarta state region. Bima has three wives and three children, namely:

1. Goddess Nagagini, berputra Arya Anantareja,

2. Goddess Arimbi, berputra Raden Gatotkaca and

3. Goddess Urangayu, berputra Arya Anantasena.

End of the Milky history is told, die perfect (moksa) together with the four siblings after the end of the war Bharatayuda.

3. ARJUNA

Is the son of King Pandudewanata, king of countries Astinapura with Dewi Kunti / Dewi Pritchard daughter of King Basukunti, king Mandura country. Arjuna is the third child of five children one father, who was known as the Pandavas. Two brothers of the mother is Puntadewa and Bima / Werkudara.

Meanwhile, two other brothers mother, the son of Pandu with Madrim is Nakul and Sahadev. Arjuna a knight who likes to wander, meditate and learn their studies. In addition to being students at Padepokan Sukalima Resi Drona, he is also a disciple of the Hermitage Untarayana Padmanaba Resi. Arjuna had been in Goa Mintaraga Pandita, Bagawan Ciptaning title. Arjuna made good kadewatan destroy King Niwatakawaca, giant king of the country Manimantaka. For his services that, Arjuna was crowned as king in heaven Kaindran King Karitin degree and get a gift of heirloom-inheritance magic from the gods, among others; Gendewa (from Bathara Indra), Arrow Ardadadali (from Bathara Kuwera), Arrow Cundamanik (from Bathara Narada) . Arjuna also has other powerful heirloom-inheritance, other atara; Keris Kalanadah Kiai, Arrow rejected (from Resi Durna), Candranila Arrow, Arrow Sirsha, Kiai Sarotama Keris, Keris Kiai Varuna, Keris Pulanggeni (given in Abhimanyu), trumpet Dewanata, Cupu oil contains Jayengkaton (gift from hermitage Bagawan Wilawuk Pringcendani) and Horse Whips Kiai Ciptawilaha with Pamuk. While Arjuna ajian owned, among others: Panglimunan, Tunggengmaya, Sepiangin, Mayabumi, the Compassionate and Asmaragama. Arjuna has 15 wives and 14 children. His wife and his children are:

1. Goddess Sumbadra, berputra Raden Abhimanyu.

2. Dewi Lara, Sumitra and Bratalaras berputra Raden.

3. Goddess Heroine

4. Goddess Ulupi / Palupi, berputra Bambang Irawan

5. Goddess Jimambang, berputra Kumaladewa and Kumalasakti

6. Goddess Ratri, berputra Bambang Wijanarka

7. Goddess Dresanala, berputra Raden Wisanggeni

8. Goddess Wilutama, berputra Bambang Wilugangga

9. Goddess Manuhara, berputra Pregiwa and Endang Endang Pregiwati

10. Goddess Supraba, berputra Raden Prabakusuma

11. Goddess Antakawulan, berputra Bambang Antakadewa

12. Goddess Maeswara

13. Dewi Retno Kasimpar

14. Goddess Juwitaningrat, berputra Bambang Sumbada

15. Goddess Dyah Sarimaya.

Arjuna also has clothing that symbolizes greatness, namely; seam / Fabrics Limarsawo, Tie Waist Limarkatanggi, Minangkara coil, Mustika Ring Necklace Candrakanta and Ampal (formerly owned by King Ekalaya, king of countries Paranggelung).

Arjuna also has many names and nicknames, among others; Parta (war hero), Janaka (having many wives), Pemadi (handsome), Dananjaya, Kumbaljali, Ciptaning Mintaraga (holy priest), Pandusiwi, Indratanaya (son Bathara Indra), Jahnawi (agile trengginas), Palguna, Danasmara (ladies' man) and Margana (helpful).

Arjuna has a characteristic disposition; Clever clever, reticent, thorough, polite, brave and like to protect the weak.

Duchy Madukara Arjunaa lead, within the territory of the Amarta. After the war Bhatarayuda, Arjuna became king at the State Banakeling, the former royal Jayadratha.

End of history is told Arjuna, he muksa (dead perfect) along with the four other brother.

4.NAKULA

Nang in Javanese puppetry Pinten also referred to by name (the name of the plants whose leaves can be used as a drug) is the fourth son of King Pandudewanata, king of countries Astina with Madrim empress, daughter of King Mandrapati with Dewi Tejawati, from Mandaraka country. Nakul born twin with her sister, Sahadewa or Sadewa (Javanese puppetry), Nakul also a father should be entitled three brothers, sons of King Pandu with Kunti, from the state Mandura named; Puntadewa, Bima / Werkundara and Arjuna. Nakul is Bathara Aswi incarnation, the god Physician. Nakul adept at riding horses and clever use of weapons arrows and spears. Nakul not going to forget about everything that is known because he mepunyai Aji Pranawajati giving Ditya Sapujagad, Senapati Mretani country. Nakul has also cupu contain, "Banyu Panguripan or water of life" (tirtamaya) provision Bhatara Indra. Nakul has the character of an honest, loyal, obedient, compassion, knew back in order and can keep a secret. Nakul live in kesatrian Sawojajar, Amarta state region. Nakul had two wives, namely:

1. Goddess Sayati daughter of King Kridakirata, king Awuawulangit state, and

    obtain two sons each named; Bambang

    Pramusinta and Goddess Pramuwati.

2. Srengganawati goddess, daughter of Resi Badawanganala, giant tortoise

    who live in the river / Narmada Wailu (according Purwacarita,

    Badawanangala known as the king of country Gisiksamodra / Ekapratala)

    and obtaining a princess named Dewi Sritanjung.

From the marriage of grace cupu Nakula get heirloom named Tirtamanik water-filled life. After finishing the war Bharatyuda, Nakul anointed king Mandaraka country as mandated by King Salya his mother's sister, Madrim. End of history is told, Nakul die moksa with four brothers.

5. SADEWA

In Javanese puppetry also referred to by name Tangsen (fruit from plants whose leaves can be used and used for medicine) is the son of the King Pandudewanata five or younger, king of countries Astina with Madrim empress, daughter of King Mandrapati with Dewi Tejawati from countries Mandaraka . He was born twin with his brother, Nakul. Sadewa also has three brothers of the father, the son of King Pandu with Kunti, from the state Mandura, named; Puntadewa, Bima / Werkundara and Arjuna. Sadewa is bead Bathara Aswin, Dewayne Physician. Sadewa very adept in the science kasidan (Java) / a mystic. Adept at riding horses and proficient using the arrow and spear guns. In addition to very powerful, also has Aji Purnamajati Sadewa giving Ditya Sapulebu, Senapati Mretani countries which merit; can understand and remember clearly at all events. Sadewa have the character of an honest, loyal, obedient, compassion, knew back in order and can keep a secret. Sadewa live in kesatrian Bawenatalun / Bumiretawu, Amarta state region. Sadewa married with Dewi Srengginiwati, brother Dewi Srengganawati (Wife Nakul), daughter of Resi Badawanganala, giant tortoises that live on river / Narmada Wailu (according Purwacarita, known as the king of country Badawanangala Gisiksamodra / Ekapratala). From that marriage he obtained a son named Bambang Widapaksa / Sidapaksa). After finishing the war Bharatayuda, Sedewa became state governor Astina accompany King Kalimataya / King Yudhistrira. End of history in the telling, Sahadewa die moksa together into four siblings.

Batara Semar

2011-04-26T21:04:00.001-07:00

Batara Semar
MAYA is a black light. Black light in order to disguise everything.
That there was really nothing.
Actually there, it was not.
Which is not thought so.
Yang wanter (excited) her heart, lost kewanterane (spirits), for fear that a mistake.
Maya, or Ismaya, black light, also called Semar means subtle, or not clear.
In the puppet story, Semar is the son of Sang Hyang Wisesa, he was given the gift mustika astagina beads, which has 8 power, namely:
1. never hungry
2. never sleepy
3. never fall in love
4. never be sad
5. never feel tired
6. ill never
7. is never overheats
8. never cold

eighth power is tied to the existing hair at the crown or crest. Semar or Ismaya, given some degree that is; Batara Semar, Batara Ismaya, Batara Iswara, Batara Samara, Sanghyang Jagad Wungku, Sanghyang Jatiwasesa, Sanghyang magnifier. He was ordered to master nature Sunyaruri, or the empty nature, are not permitted in charge of human beings in the natural world.
In nature Sunyaruri, Batara Semar paired with the Goddess Sanggani Sanghyang daughter of Silence. From the results of their marriage, was born ten children, namely: Batara Wungkuam or Sanghyang Bongkokan, Batara siwah, Batara Wrahaspati, Batara Yamadipati, Batara Surya, Candra Batara, Batara Kwera, Batara Tamburu, Batara Kamajaya and Goddess Sarmanasiti. The eldest son is named Batara Wungkuam or Sanghyang Bongkokan have dwarf children, ipel-ipel and black. The child was given the name Semarasanta and ordered to fall in the world, living in a hermitage Pujangkara. Semarasanta assigned to serve the resi Kanumanasa in Hermitage Saptaarga.
Narrated in the Hermitage Saptaarga Semarasanta emergence, beginning when Semarasanta chased by two tigers, he ran up to the Saptaarga and helped by Resi Kanumanasa. The two Tigers are diruwat by the sage and to both of them turned into a beautiful angel. The elder named Goddard Kanestren and a young man named Goddard Retnawati. Goddess Kanestren diperistri by Semarasanta and Goddess Retnawati become Resi Kanumanasa wife. From that point on serve in Saptaarga Semarasanta and given the designation Janggan Semarsanta.
As a Civil or servant, Janggan Semarasanta very loyal to Bendara (host) it. He always advocated to undergo behavior concerned with abstinence, prayer, reduced sleep and imprisoned, in order to achieve glory. Many of the suggestions and advice which led to the primacy of life dibisikan by these figures. So that only the sage, Reverend or strong Knights undergo behavior is concerned, has the unyielding spirit, humble and noble behavior, strong in Emong by Janggan Semarasanta. It could be argued that Janggan Semarasanta is a hidden blessing. Anyone who attended, his life will reach the peak of success that brings lasting inner and outer kebahagiaqan. In the puppet story notes, there are seven people strong in Emong by Janggan Semarasanta, namely; Resi Manumanasa to six offspring, Sakri, Sekutrem, Palasara, Abiyasa, Pandudewanata and until Arjuna.
If you're angry with the Gods, Janggan Semarasanta katitisan by eyangnya namely Batara Semar. If seen physically, is a human manikin Semarasanta ugly and black, but actually is behind that he is a personal god named Batara Semar or Batara Ismaya.
Because Batara Semar is not allowed direct control of the natural world, so he wore as a media wadag Semarasanta Janggan manitis (live and blends), so that eventually Semarasanta name rarely is mentioned, he is better known by the name of Semar.
As noted above, or Ismaya Semar is not clear depiction sesuatau disguised.
That there is Semarasanta, but actually Semarasanta not exist.
Actually there is Batara Semar, but he was not Batara Semar, he is a human-bodied dwarf, black named Semarasanta.
True, he is Semarasanta, but that is not done solely Semarasanta deeds.
If you are very confident that he Semarasanta, a sudden change of the belief that he is Batara Semar, and ultimately not convinced, for fear of wrong. That is something that is not yet clear, still disguised, drawn on a figure of Semar.
Semar is a mystery, the secret of the Creator. The secret will be hidden to people who are selfish, greedy, envious envy, arrogant and haughty, but open to those who are patient, sincere, noble and humble minds. And people who in anugerahi The Secret, or Semar, his life will succeed to the top of nan eternal happiness and glory.

Karna, His life as umbal disappearance Angkaramurka

2011-04-24T20:29:00.000-07:00

Duke Awangga Karna a king country, although the king but the king small. King is still ruled by another king (Queen rehrehan Java).
His wife's name was Dewi Surtikanti Karna, Mandaraka daughter, son of King Salyapati. Duke Children For if the puppet is two people, male and female, named Warsakusuma and Goddess Suryawati. For his patih was named Patih Hadimanggala. Many of the officials or community leaders who admired the character Karna, including my teacher. Ki Narto Sabdo. Even President Sukarno I also admire the character Karna, because history and the life of Karna was a bit strange or unique.
Karna Kunti's son Bathara Talibrata with Surya, but not by road through intercourse (intercourse), because the affected walat cast a spell or a curse caused limu Aji Kunta Wekasing Pain Without Opponent Single Word. Kunti, since the young (virgin) is pleased to learn science, including Kunti also studied the Brahmin named Reshi Druwasa, can be Science "Aji Kunta Wekasing Flavor Without Opponent Single Word", which has the power to bring the power of God only by the power mantra . Warning Teacher Druwasa. reading or chanting of science should not be done while taking a bath and / or going to bed.

But Kunti sepertinva not believe in the efficacy of Aji Kunta, because it tried to force spells Kunti Aji Kunta he did just before sunset. Thus Sanghyang Bathara Surya who should be resting, for a full day to set the course of the sun, suddenly feeling her heart seemed thrilled to get the inner contacts, but it is the god Surya Bathara the science of spiritual power, very high, only in the proverbial blink of an eye it had reached the destination , namely bathroom Kunti who was going to take a bath. Kunti so knowing there is god who came before him, immediately nervous and his body trembling, his hands moving quickly grabbed his clothes that he has begun to uninstall, but that is just kembennya teraih only, then he was wearing to cover part of his body.
Bathara Surya then asked Kepa da Kunti, there is what is meant until he cast Aji Kunta? Kunti is actually just a try, just be scared and erratic nervous in giving an explanation, that what he did was just try to spell it
Kunti heard confession like that, Bathara Surya became angry, because learning all that science must trust and believe, should not be just to play trial and error. Therefore Kunti then given a penalty, pregnant without intercourse. Kunti was crying, begging forgiveness, but Bathara Surya has been lost from the eye.
A few months Kunti did not dare to come out of the room keputrian, which he did sleep just wrapped up a meeting to cover the content which is great, and when asked by the father, mother and sister. the answer is sick .. But as clever-clever save bangke, eventually will smell also shoulder. Similarly as with what happened to Dewi Kunti, sister sendjri Vasudeva who knows the first time when she was pregnant.
Talk unimaginable how anger Raden Vasudeva know by sight alone so that his sister Kunti was pregnant, although not married to any man. Kunti intentions will dihajarnya, but fortunately her teacher Druwasa Reshi suddenly come Kunti, who then explained what actually happened to Dewi Kunti. What was described by Resi Druwasa acceptable by Vasudeva.
To keep the disgrace is not widespread, there are babies in the womb Kunti, and was born with the power of magical spells Druwasa Resi. Babies born through a hole Kunti's ear, because that baby is named Karna.
Baby Karna then inserted into the kendaga and washed away into the river for Ratri, the next baby was found floating in the river by one of the train driver Drestrarasta King, who named Adirata, who happened to just shower with his wife named Nyai Nadha, baby take home, maintained and nurtured to adulthood.
Karna also have a name; Suryaputra, Suryatmaja, Talidarma, Bismantaka, Pritaputra.
Duke Karna united with King Duryudana, because Kama indebted to King Duryudana in Astina, including Surtikanti, his wife Kama was actually his girlfriend (girlfriend) Duryudana, but given willingly become his wife Karna. In essence, all the glory of King Karna possessed a gift or a gift from King Duryudana. Therefore, although King was the son of Kunti Karma, and the brother of one mother of Pandavas, but King Karna stick together and feel and acknowledge that Duryudana which must be defended and protected. King Karna Kunti also recognize that it is mothers who gave birth to her, and it is saudaraya Pandavas. Nonetheless King Karna strong with his oath to defend the give glory, namely King Duryudana.
This is where we can take lessons, Katresnan or liability, but in reality King Kama choose obligation. In fact in the play "Krena Ambassadors". Kama met with Krishna (Sandi Tama Kawedar), Krishna persuade Karna to unite with the Pandavas. Karna did not want. Kunti itself also persuade and unite together Pandaiva requested Karna, Karna also did not want, still will defend Duryudana.
But Karna was also true affection towards the Pandavas, proof? Because it has a heritage that is innate from birth earrings that intangible called "Pucunggul Maniking Surya", and Kawaca (Kere Waja or chat Steel). Love the Pandavas, Karna throw kadewatan heirloom brought from birth while bekata: Hi, brother of the Pandavas. This heritage is very powerful mine that I had off, discarded. I do not need a victory, the Pandavas had to win. Insolence must vanish.