CEREBROBOX

noreply@blogger.com (CEREBROBOX) — Wed, 03 Nov 2010 00:43:00 +0000

MYTH AMONG THE ERUPTION OF MOUNT MERAPI

noreply@blogger.com (CEREBROBOX) — Tue, 02 Nov 2010 01:43:00 +0000

Magelang - In the midst of the danger “wedhus gembel” (wisps of clouds that set up a group of sheep), refugees dread by the circulation of a photograph of clouds in the summit of Mount Merapi. How could it be? In a photograph taken by one of the residents of Srumbung Magelang district, the cloud that resembles a face of Petruk, one of the clown-servants in Javanese wayang with long noses.

This photo belongs Suswanto (40), a resident of Anom Hamlet, Sudimoro Village, District of Srumbung, Magelang, Central Java. He admitted taking the photo on Monday (25/10/2010) at 05.00 pm from his home. "After the morning prayer, I once saw the peak of Merapi and asking myself why there are oddly shaped cloud. Directly I captured it with my digital camera," said Suswanto.

Suswanto then showed the photo to some neighbors in his village as the village of Ngargosuko, Salamsari Village, Krajan Village, Jengglis Village, Kemiren Village, Sumberrejo Village and Kaliurang Village. "Some elders of the village declare if head of Nyai Petruk or Mbah Petruk is visible, means she’s willing to collect the promise and what’ll happen is the enormous eruption at the peak of Mount Merapi," said Suswanto.

Sugihartono, Suswanto neighbor, said local residents very trust the myth or Nyai Petruk or Mbah Petruk. The myth is believed to be hereditary. The Myths related to the story about disappointment of the King of Majapahit, Brawijaya to Demak Kingdom against tale of Sabdo Palono Genggong. Brawijaya would like to meditate at Mount Lawu but was expelled. Finally he meditated in the peak of Merapi. When alone at Merapi, Brawijaya met an old woman who allegedly called Nyai Petruk or Mbah Petruk. "Mbah Petruk said if there is a leader in the vicinity of Merapi, which is act as not such a good leader, she will claim the promise," said Sugihartono.

Sugihartono explained in the picture Mbah Petruk head facing south. This means that the largest eruption of Merapi will befall in Yogyakarta and surrounding areas. "Back pigtail and sharp nose facing south, Yogyakarta. So, it’s predictable that Yogyakarta and surrounds will get the worst impact.

”Mbah Diur (54), elder of Gantan Hamlet, Ketunggeng Village, Dukun District, Magelang, explain that philosophically and metaphysically the Merapi controlled by some souls of those who qualified. One of them is Nyai Petruk or Mbah Petruk that controls the top part with other supernatural beings, Den Mas Anwar, son of the Prince of Samber Nyawa ruler of Mount Lawu. "Petruk master the crater and Den Mas Anwar ruled parts of the peak down to it," said Mbah Diur.

There is any other supernatural figures who are believed to dwell on Mount Merapi. Supernatural figure is prince Sambang Dalan, authorities left the right side of the slopes of Merapi.

Original text: http://detiknews.com/read/2010/11/01/163415/1481726/10/heboh-foto-awan-puncak-merapi-berbentuk-kepala-petruk?992204topnews

first publication @http://www.facebook.com/danica.coloay

Effects of the eruption of Mount Merapi:

ACT for INDONESIA

noreply@blogger.com (CEREBROBOX) — Thu, 28 Oct 2010 13:26:00 +0000

The boy was crying, did not understand what happened

but no relatives around him.

Where are her parents? Where is his brother?

An old lady who came from nowhere try to soothe the child.

But it seems he just wanted to see his father or mother

His eyes were keen to see anyone passing in front.

Oh, no ... not .. that man, I do not know him, he thought.

Where are they? The people of my beloved?

Not long ago he began to quiet ...

Tired already he shed tears

In the old lady's arms, he fell asleep.

He was only 5 years

He is one of the victims of the disaster that this country is being blanketed

His parents disappeared, has not been ascertained whether they were dead

Both brothers were found dead,

The old lady was only his neighbors, she was separated from her husband.

This refuge is home for them.

The victims were one big family

Other natural disasters are still lurking

Waiting for the right to devastating bullion earth

The flow of flash floods that wreak wrath

High tsunami waves that swept life

Shot of the hot cloud envelops the soul of life

The earthquake that shook human consciousness

Grandeur of nature with El Nino rains

No one to blame

Merely reprimand God

Tears and prayers were offered simultaneously

A sense of resignation and the strength to survive into their back

Hungry and thirsty could not pay off

Tired and ill just be the color of life

Losing their loved ones into grief together

Property is just a piece of damaged goods

A house, as life shelter was no longer able to protect

Humans only a small pawn that easily removable by natural

Hope arises for a normal life

Sincere of helping hand to raise them

Honest assistance that saved them

PertinacityThat strengthen them

Warm embrace that protect them

A smile of peace which appease them

Handrails that convinced them

Will you help?

first publication @http://www.cerebrobox.co.cc

Indonesia Version

IN MY MIND, WHEN?

noreply@blogger.com (CEREBROBOX) — Wed, 27 Oct 2010 11:21:00 +0000

IN MY MIND, WHEN?

I asked "What have I done so these disasters happen?"

God replied "you know very well what you do, My child"

I asked "Why did you give to us this disaster?"

God replied "to whom it shall I give? "

I asked "Would not you love people? "

God replied "I love the human being more than anything."

I asked "Why did you lose this disaster? "

God replied "So human would be closer to me"

I asked "By taking them you have compassion? "

God replied "I give a loved one the best place with Me"

I asked "Why do not you give me too? "

God replied "I sent you to work, I have wonderful plans for you"

I asked "What is it, God?"

God replied "you will feel My bless at the time"

I asked "But I feel the grief and uncertainty"

God replied "Your path has been specified, you will always be guided by beliefs Me"

I asked "How could I know?"

God replied "Until you love Me"

I asked "I love You, Lord"

God replied "when it happened, My child? "

When do we love our Lord?

When hard?

When the grieving?

When the crying?

When the pain?

When let down?

When angry?

When happy?

While grateful?

When tired?

When hungry?

When thirsty?

During sleep?

DALAM BENAK KU, KAPANKAH?

Aku bertanya “Apa salahku sehingga bencana ini terjadi?”

Tuhan menjawab “kamu tahu betul apa yang telah kamu perbuat, anakKu”

Aku bertanya ”Mengapa Kau berikan bencana ini kepada kami?”

Tuhan menjawab ”kepada siapa seharunya Ku-berikan? ”

Aku bertanya ”Tidakkah Kau mengasihi manusia? ”

Tuhan menjawab ”Aku mengasihi manusia lebih dari segalanya. ”

Aku bertanya ”Mengapa Engkau menurunkan bencana ini ? ”

Tuhan menjawab ”Supaya manusia lebih dekat dengan Ku”

Aku bertanya ”Dengan Engkau mengambil mereka yang kusayangi? ”

Tuhan menjawab ”yang kamu sayangi sudah kuberikan tempat terbaik bersama Ku”

Aku bertanya ”Mengapa Engkau tidak memberikan juga padaku? ”

Tuhan menjawab ”Aku mengutusmu untuk berkarya, Aku memiliki rencana indah untukmu”

Aku bertanya ”Apa itu Tuhan?”

Tuhan menjawab ”kamu akan merasakan sendiri pada saatnya”

Aku bertanya ”Tapi aku merasakan duka dan ketidakyakinan”

Tuhan menjawab ”Jalanmu sudah Ku tentukan, kamu akan selalu dituntun dengan keyakinanmu padaKu”

Aku bertanya ”Bagaimana bisa aku mengetahuinya?”

Tuhan menjawab ”Sampai kamu mencintaiKu”

Aku bertanya ”Aku mencintai Engkau, Tuhan”

Tuhan menjawab ”bilamana hal itu terjadi, anakKu ?”

Kapan kita mencintai Tuhan kita?

Saat susah?

Saat berduka?

Saat menangis?

Saat sakit?

Saat dikecewakan?

Saat marah?

Saat senang?

Saat bersyukur?

Saat lelah?

Saat lapar?

Saat haus?

Saat tidur?

first publication @http://www.facebook.com/danica.coloay

ACT for INDONESIA (Vers. Bahasa)

noreply@blogger.com (CEREBROBOX) — Sat, 23 Oct 2010 16:28:00 +0000

Anak itu menangis, tidak mengerti apa yang terjadi
namun tak ada sanak keluarga di sekelilingnya.
Dimana orang tuanya? Dimana kakaknya?
Seorang ibu yang entah darimana mencoba untuk menenangkan anak itu.
Tapi rasanya ia hanya ingin melihat ayah atau ibunya
Matanya tajam melihat sesiapa yang lewat dihadapannya.
Oh, bukan…bukan .. orang itu, aku tidak mengenalnya, batinnya berucap.
Dimana mereka? Orang-orang yang kukasihi?
Tak lama berselang ia mulai terdiam…
Lelah sudah ia mengeluarkan air mata
Dalam dekapan ibu itu, ia pun tertidur.

Usianya baru beranjak 5 tahun
Ia adalah salah satu korban bencana yang sedang menyelimuti negeri ini
Orang tuanya hilang, belum dipastikan apa mereka pun meninggal
Kedua kakaknya pun ditemukan meninggal,
Ibu itu hanyalah tetangganya, ia pun terpisah dari suaminya.
Tempat pengungsian ini menjadi rumah bagi mereka.
Para korban adalah satu keluarga besar

Bencana alam lain masih mengintai
Menunggu saat yang tepat untuk meluluh lantakan bumi
Aliran banjir bandang yang meluapkan murka
Menyapu kehidupan kedalam gelombang tinggi tsunami
Menghembuskan awan panas menyelubungi sukma hidup
Mengguncang kesadaran manusia dengan gempa bumi
Kebesaran alam dengan hujan El Nino
Tak ada siapapun yang disalahkan
Semata-mata hanya teguran Tuhan

Tangis dan doa dipanjatkan bersamaan
Rasa pasrah dan kekuatan bertahan hidup menjadi sandaran mereka
Lapar dan haus tak terbayarkan
Lelah dan sakit hanya menjadi warna hidup
Kehilangan orang yang mereka cintai menjadi duka bersama
Harta benda hanyalah seonggok rongsokkan
Rumah tempat berteduh tak lagi dapat melindungi
Manusia hanya sebagian pion kecil yang mudah dipindahkan alam
Harapan timbul untuk kehidupan normal

Uluran tangan tulus untuk membangkitkan mereka
Iklasnya bantuan yang menyelamatkan mereka
Ketabahan hati yang menguatkan mereka
Rangkulan hangat yang melindungi mereka
Senyuman damai yang menentramkan mereka
Pegangan tangan yang meyakinkan mereka

Maukah kamu membantu?

first publication @http://www.cerebrobox.co.cc

DOING GOOD

noreply@blogger.com (CEREBROBOX) — Thu, 14 Oct 2010 02:43:00 +0000

Doing good to people in need is not something that should be programmed as our daily routines.
Doing good is the real action of our sincere intentions.
Doing good can be done anywhere, anytime and to anyone.
Doing good purely for our self-awareness.
Doing good does not need to wait for tomorrow when today can be done.

Even someone who is less capable than we are, able to provide a greater good than we are.

Life experiences led me to realize many wonderful things overlooked in life.
Life experiences led me to see that there are still many people who live in adversity.
Life experiences led me to witness the beauty of God's work through the hands of the needy.
Life experiences led me to be grateful for the blessings that have been received and distributed to those in need.

You can see the results of your goodness, before your death.…

LABEL GUIDLINE

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 11:53:00 +0000

admire
This section contains figures that are influential in changing the world according to its time, as well as profiles that are considered to give effect to human development and the world.

array
This section contains CEREBROBOX team work program is being planned, will be done, under construction / in progress, or already completed.

brain corner
This section contains papers, manuscripts, short stories, responses, proposals, suggestions, original thoughts of the author in person on a condition / situation that is evident in everyday life and has been going on.

clue
This section contains general information.

creed
This section contains writings, prayers, poems, hymns, stories related to religion, particularly Roman Catholic

deleberate
This section contains matters relating to the business world, communication (advertising and media relations), success tips, ideas / suggestions of business development, strategic planning, marketing.

doodle
This section contains poetry, stories, original outpouring of the hearts and minds of the authors.

footstep
This section contains notes about life, romance, love and sorrow. Experience retold as a reminder of the meaningful life.

funnel
This section contains notes, documentation and information about the guidelines that will benefit the local and foreign tourists when visiting Indonesia.

homeland
This section contains information about the culture and history of Indonesia.

just me
This section contains the writings of the author about her own thoughts

levy
This section contains stories, small notes, comments, references and information on movies and music.

voyage
This section contains stories, small notes, comments, references and information on tourist sites and historic sites that were visited.

yummy
This section contains stories, small notes, comments, references, family recipes and information about food and drink, restaurants, shops, and cafes.

THE LEGACY OF PHINISI

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 06:26:00 +0000

Now let's flashback to the early history of phinisi boat at the southern tip of Sulawesi island, where local community build a maritime tradition for hundreds of years. The stories about the courage of the sailors of Bugis, Makassar, Mandar, and Konjo has become

a byword to a distant country across the ocean. The beauty and resilience in the face of malignancy boat sea waves, has produced stories of heroism are admirable.

The story of the boat from Tanah Beru Phinisi and the sailors from the Bira, Bulukumba, who drove the boat, now is not an ordinary story. But not many realize the greatness of the sailors from the southern tip of Sulawesi, was built from a long tradition. This culture is based on the myth of the creation of the first boat by their ancestors.

Once Upon A Time in the mythology of Tanah Beru community, their ancestors create a larger boat for sailing on the sea, carrying merchandise and catch fish. When the first boat made, it’s been voyaged at sea. But accidents happen on the road. Waves and storm struck the boat and destroy it. Body parts dumped in the village of Ara boats, sailing and landed at Cape Bira landed in the Land of Lemo.

This incident seems to be a symbolic message to the village of Ara. They must beat the sea with their cooperation. Since the incident, Ara only as a special boat manufacturer. People who acquire the remaining special sailboat pleased to learn about astrology and the signs of nature. Lemo-Lemo While people are entrepreneurs who invested and used boats. The tradition of segregation of duties has been going on for years which finally led to the creation of a traditional wooden boat called Phinisi.

Now the mystical belief of the ancient mythology is still strong in every process of making Phinisi. Starting with a small ritual, boats Phinisi made after cutting ceremony in full. The ceremony was led by a boat handler called Panrita Lopi.

Various bidding requirements that they are not allowed to get behind in this ceremony as all snacks should taste sweet and healthy white chickens. Cake to generate the wishes of the owner of the boat will carry a higher profit. A little blood from white chickens attached to the boat hull. Ritual as a symbol of hope that there is blood spilled in the ship being designed. Then, his head cut off both ends of the hull builder and submit it to the boat-making leader. The tip pieces settled to the sea front in the exhaust as a sign that the ship can be fused with the waves at sea. Being back in pieces thrown to the ground as far as boats go to sea reminded that he must return him safely to shore. In the end, proclaiming Lopi Panrita prayers before the Creator.

Parts of the phinisi:

Anjong, triangle in front of as an imbalance.
Sombala, main screen large reach 200 m.
Tanpasere, triangular small screen in every major pillar.
Cocoro pantara, auxiliary screen in front
Cocoro tangnga, maid was in the middle of the screen.
Tarengke, auxiliary screen behind.

Related to this story phinisi ship, not afraid of the people in Bulukumba, South Sulawesi, that phinisi ship design will be submitted by foreign patents. Given the manufacturing center of the boat or ship phinisi the largest in the world located outside Indonesia. Examples of centers that exist only in some countries such as Japan, Australia, Malaysia and Brunei. Previously, the ship was already well known as a producer Bulukumba phinisi first with the best quality.

Do you still remembers our kids’ folks song “Nenek Moyangku Orang Pelaut” (My Ancestors Sailors).

Nenek moyangku orang pelaut
Gemar mengarung luas samudra
Menerjang ombak tiada takut
Menempuh badai sudah biasa
Angin bertiup layar terkembang
Ombak berdebur di tepi pantai
Pemuda b'rani bangkit sekarang
Ke laut kita beramai-ramai

{The meaning of the song is my ancestor sailor’s love to wade of vast ocean, no fear of crashing waves and was used to take the storm. While a wind blow, the sail expanded, waves crashing on the beach, brave young men got up now, and together we roll into the sea.}

PHINISI BUILDER AT TANAH BERU

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 06:26:00 +0000

Tanah Beru is located 24 Kms to the East of Bulukumba. Tanah Beru is a Symbol of Bulukumba as the land of boat - builders BUTTA PANRITA LOPI.

This a place are famous phinisi boat, the phinisi boat called Phinisi Nusantara had sailed crossing the pacific ocean to Vancouver, Canada, Ammanagappa sailed until

Madagaskar, Hati Marege sailed the ocean of south of east Timor until Darwin, Australia and Damar Sagara sailed to Philippine-Japan-Africa.

Bonto Bahari people combined their technical skill and magic to build the boat. People of area and Lemo - Lemo are expert of making phinisi boat but are not good sailors. People of Bira are expert in sailing but they don't have skill to build phinisi. In this pleace you will feel amazing to watch people of Bonto Bahari skill building a phinisi with traditional tools. Each phinisi building holds a traditional ceremony.

KAIN SARONG BANGKURU BIRA

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 06:24:00 +0000

Kain Sarong Bangkuru Bira, Bulukumba has become a symbol of victory homelands, but caused of the lack of market system and competition also inadequate facilities for making this sarong as "part of history." These sarong also have their own history in the genealogy community Bira Bulukumba.

Starting from the history that is closely associated with the delivery at the first call. Where is the system of inter-island trade, particularly for sarong Bangkuru Bira. In ancient times,

people who live in Bira was mostly sailors who had to migrate to the sea to the land of Java, where in the social development of life has been able to change the economic system of society in Bira. Based on historical note, every time Bira people wandered out of the area, they almost certainly carry 'Sarong Bangkuru' in preparation for overseas which sometimes takes a long time. Uniqueness is sarong Bangkuru Bira is resilient and not easily fades with any influence.

This tribe, known as one of the producer of the first sarong in Indonesia. This cotton yarn knitted made from the results of which are designed by skilled hands. Sarong made with traditional tools still used by a party of the people in this area. Barriers to sarong maker at Bira currently is the lack of marketing system and knowledge. With the emergence of various sarong products variety of modern styles, which supply most of the sarong wholesalers from other regions, such as Java, Kalimantan and others, indirectly affect the market movements of sarong Bira tradition. Wholesale of sarong market so that this becomes thin market, combined with less of government awareness in helping develop the potential of these sarongs, the more they slumped in developing its operation.

When examined carefully, the market, the current sarong has interference from the outside supply sarong. Automatically, the quality is questionable, the results are rarely impressed knitting yarns and colors quickly fade. Also, the sarong come from the outside is processed by technology or plant that looks shabby, easily torn and there are many more differences that inevitably will harm consumers.

Let’s preserve culture of Kain Sarong Bangkuru Bira!!

WHITE SAND - BIRA CAPE

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 06:23:00 +0000

Bira Cape located in Tanjung Bira Village, Bonto Bahari District, Bulukumba Regency, Province of South Sulawesi, Indonesia. The distance is about 42 kilometers eastern of Bulukumba capital regency, or about 200 kilometers southeast of Makassar City. It is the main to gate to Selayar Island. Bira has beautiful white sand and shows a beautiful panorama. There are so many kinds of fish and corals in the sea surrounded it.

This panorama enriches the beauty of the surrounding. White in the back side, soars up “puang Janggo’ mountain with a height of more than 400 meters. It can be reached in 20 minutes by car, or by hiking for approximately 40 minutes. Tip off South Sulawesi peninsula offers a very charming romantic place. That is Tanjung Bira (Cape of Bira) Beach. Tanjung Bira has clear views of sea, white sand, with very adequate facilities. Come to Tanjung Bira. Feel soft of white sand while enjoying the breezy wind. The location of Tanjung Bira, which is located in the southern tip of South Sulawesi peninsula, makes this place as different objects among others tourism places. You can watch the sunrise in eastern horizon and sunset in western horizon in a straight line. Along the coast, white sand is extended. It feels very soft. Many foreign tourists willing to enjoy the warm of sun shine along the day, than swim, or just immerse themselves to feel the sea water. You can also play volley beach there.

Along the scenery off to the waters is only wide blue sea. In front of the eyes look, there are Liukang Loe Island and Kambing Island, which is often visited by tourists. Fishing boats are parked in other side of beach. The boats can be used to bring you to the two islands. Tanjung Bira area consists of lowland coastal plains and high hills. Landscape brought beautiful scenery. From the rather high plains, you can view the activities of Bulukumba Port, the crossing port to Selayar Island. Night at Tanjung Bira is always romantic. Lying on the beach, enjoying the sound of pounding waves, while see the shining star up there. By the middle of the night, you can interact with fishermen. Buy some fresh fish or other sea foods than roast it.

FAMOUS KAJANG AMMATOA

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 06:19:00 +0000

Kajang Tribe is organized under Ammatoa (Clan Leader), their heritage is one of the most ancient and unique inland culture in South Sulawesi, especially in Indonesia. You can reach their village within 2 hours by car. They are living in group inside the 50 Km square of natural jungle wide. They isolate themselves from neither modern world, nowadays economic activity nor the governmental issue of Bulukumba Regency. Kajang people are still keeping their aged tradition and living based on nature offerings. They always use black shirt and sarong everytime, the reason of equal and simple life. You know that none of black better than other black. Through this color, they belief in stronger, equally life in front of God, and also their appreciation of the long lasting scenery that serve human life. More about Kajang Ammatoa...

Legendary Heritage of Kajang Tribe
Ammatoa Cultural History
Ammatoa and Pasang
Religious System of Kajang
Kajang and Woods
Kajang and Natures
Kajang Woman and Man
Kajang Harvest Ceremonial

AMMATOA – LEGENDARY HERITAGE of KAJANG TRIBE

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 06:06:00 +0000

Culture is only possessed by humans because only people, who vote, agree and maintain their culture to remain durable. That culture can also be studied and taught both orally and in writing that took place from time to time over generations. Culture also has a pattern as a result of being taught the culture. In addition, there is a link (relationship) a very close relationship between the cultural, natural and human environment are interrelated to one another. This is
called interaction. Man and culture can also be varied and changed. The interactive relationship between humans and the environment that can vary and change although there are similarities.

One other important thing is the cultural systems of human adaptation. Adaptation can also be said that a strategy in interacting with their environment, both the human adaptation to the environment (physical), social or ideological. This then becomes the system of ideology, social and technological. Adaptation also has a diachronic nature (length) and synchronic (short) is used to determine the variation (synchronic) and change (the diachronic).

Among the tribes there, in South Sulawesi Province, Bulukumba, Kajang Subdistrict, there is one group of society that holds strong traditions. They maintain that the patterns of cultural value system born from the legacy of their ancestors and are less likely to accept, even partially rejected entirely new things (modernization). Kajang is a sub-ethnic communities Makassar ethnics who live in certain areas. This regions has population of less than 5000 inhabitants somewhat isolated from the outside world and modernization. Customs is located in the Village area Ammatoa Tanahtoa Kajang, Kajang district is 56 km from the capital Bulukumba (153 km from Makassar), South Sulawesi, with an area of 182 square kilometers.

Geographically and administratively Kajang divided into the customary Kajang Insider and Outsider. Kajang insider communities scattered in several villages including the village of Tana Toa, Bonto Baji, Malleleng, Pattiorang, Batu Nilamung and most of at Tambangan. Kajang insider community Area as a whole is bordered with Tuli in northern, Limba in eastern, Seppa in southern and Doro in western. Meanwhile, Kajang Outsider spread in almost all Kajang districts and some villages in the district Bulukumpa, including the Village Jojolo, Tibona, Bonto Minasa and Batu Lohe.

Community Ammatoa easily recognizable because it shows characteristics that distinguish it from other social groups. Specifications are not only imposed on attributes such as dress pants that almost touch your knees, sarong, robe, headband used to people, all black.

Here's a little story about Kajang ancient culture in South Sulawesi in an effort to adapt to the natural environment, particularly forests based on their culture that has continued today.

AMMATOA CULTURAL HISTORY

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 06:04:00 +0000

According to the tribe of Amma, Ammatoa existed since the human being is born into the earth. According to them there together with human Amma before-before we (Homo erectus). So, Ammatoa has existed since ancient times. Kajang community still firmly held the ancestral message called Pasanganga Ri Kajang where natural and cultural authenticity that only survive and remain intact. They also remain obedient to the customs regulations and still run a very simple lifestyle. This is reflected in the

black clothing that represents their everyday clothes. Similarly, the uniform building their homes north facing wooden houses shaped like a regular stage-house model in rural areas in Sulawesi.

Kajang is not only ‘a name’ in the region Bulukumba, but also synonymous with trust. Not only the physical matter that is displayed with a uniform everyday 'black' but also those whose faith is strong and unshakable adopted these principles. Ammatoa society lives in general principled kamase-masea. That is the conception to the charge: lambusu '(honest), gattang (firm), sa'bara (patient), and apisona (totally defenseless). This principle is stated in the emotional bond that is part and parcel of the belief system because it contains sacred values is accompanied by rewards and sacred sanctions. Activities that occur in their lives is an activity in achieving goals rather than earthly life, but the purpose of faerie (along with "God" and Tu Salama 'in a place that has been promised). "Natural voice is the voice of God" is a life guide of Kajang people that living in the far Bulukumba, in choosing their traditional leaders. This belief makes indigenous leader who is often referred to as sacred Ammatoa.

Location of the kitchen is right in front the living room so guests can find out what is being cooked on the host. According to a local citizen, it marks the Kajang community that is always open to visitors. They live in harmony with nature causes us to not find a modern transportation such as cars or motorcycles in the area due to modern transportation facilities are not allowed in the area of Kajang. Kinds of transportation they use are a horse that is one of their pets as well as cows, buffaloes, goats, chickens, and ducks. This scene looked when I entered the town of Kajang few weeks ago. A boy without a shirt is bathing a buffalo in the river at the edge of a rocky road.

Concerning education, many residents are also considered about education for them and their children. As evidence, there are some people who become leaders Ammatoa education among the people who have undergone many changes (modernization). However, developments in science and technology should not be brought into the territory Ammatoa, as because they resist changes in their culture. This can be justified, because after making direct observations, society did not know there as technology changes outside Ammatoa. We never saw the TV, radio, or bicycle. Their lives are very natural.

AMMATOA and PASANG

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 06:04:00 +0000

This community with Konjo mother language has chieftain called Ammatoa. Kajang community regards Ammatoa as blessed. Anyone wanting to see him must wear a shirt and black sarong and without shoes, should be like a Kajang people. Ammatoa is indigenous leaders and lifetime tenure.

An Ammatoa can not be said to be a leader if not able to act wisely on its citizens. Because of that reason, an Ammatoa is granted written regulation so he can perform tasks with all his best, called the Pasang (sort of a written order).

Pasang that contains a message from Turiek Akrakna (the Almighty) to Ammatoa are cannot be changed, plus and minus. It must be run by Ammatoa with the intent that the living world can run normally.

Alighting of Turiek Akrakna believed by Kajang people in the middle Borong Karamaka. Therefore, the place down of Turiek Akrakna then taken as Passamayaya (where begging His blessing), place of appadongkok paknganro or apparuntuk paknganro (putting offerings) to Turiek Akrakna and place of ammole niak (to meet the desires / appointment as a sign thank you because his praying was granted by Turiek Akrakna).

Turiek Akrakna is much sanctified by Kajang people. The place was really not inviolable and can only be visited during a ritual ceremony. While on a typical day is considered kasipalli (taboo, forbidden) to enter it. Seen from the environment policy and the belief that the place was sacred, so no one allows entering it perform great benefits.

Pasang is never wrong. But if there are mistakes that man who have one. To be able to know the details of the contents of pairs defined by abborong activities (gathering) deliberation of all citizens Keammatoaan (Kajang) fully grown. This meeting is an effort to adjust Pasang with the development of society and the environment that occurred on this day.

In charge of traditional leadership Ammatoa leaders select five people to run the wheels of government. Five leaders appointed by Ammatoa with agreements, such as unfriendly nature of the death of plants and animals, or natural disasters, five traditional leaders must be willing to remove his post.

A harmony atmosphere in this region is probably due to traditional Ammatoa or customary leaders who helped by five traditional leaders, that vigorously implement the customary rules, difficult to execute. Ammatoa even harder in the running of this rule can be seen from the house belonging to people who are considered sacred. Houses of Traditional leaders are the ugliest house. The walls were only made of bamboo, while five other traditional leaders have a better house than Ammatoa. But in running his leadership, the five leaders are subject to customary social contract. They can be suspended from office if they make a mistake that can be viewed from natural phenomena.

Ammatoa is being very respected and very stable, especially to keep Pasangnga Ri Kajang. Trust the most important thing is to preserve the forests, because forests are the soul and life of citizens of Kajang. Being a Ammatoa require great sacrifices.

People believed that Ammatoa was the last person who will experience the welfare if people Tanatoa already gained their prosperity, but became the first person who will feel the poverty. Being, Ammatoa not easy position for life. His promise through certain rituals. Ammatoa election can be said quite mystical. Ceremony called Panganro.

When people choose a candidate to become Ammatoa, the candidates have been running into the woods. Nobody knows what happened in the forest until today. It is said that only candidates selected to enter into the forest and returned safely.

People believed that Ammatoa handpicked by Turiak Rakna or God Himself, and given the ability to preserve the forest and forest guards to communicate with their ancestors. If Ammatoa died (Kajang languages: linrung), the new customs officers would be appointed to preside over three years, after that a new Ammatoa elected by citizens.

RELIGIOUS BELIEF SYSTEMS of AMMATOA COMMUNITIES

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 06:03:00 +0000

Does a religious belief or religious activity of man in relation to culture. This means that religious behavior is seen as part of the culture and separated from the notion of religion as defined by religion such as Islam, Christianity and other religions.

Religion as a human phenomenon has been explained in various theories. Categorization theories about the origin of religion consist of:

patterned psychological theory
patterned sociological theory
patterned theory combined psychological and sociological

Belief systems of Ammatoa people are to emphasize efforts to curb the self desire, to take no action inconsistent with the moral that can harm other people. Also, do not destroy nature, obeying the rules of the leader, honest, resolute, patient, humble, and not love the material and totally defenseless to achieve safety goals in the supernatural.

Their obedience in carrying out the principle of due kamase masea:

the benefits kalumannyang kalupepeang (unequaled wealth)
the existence of sanctions for those who do not comply. Common Sanction form of sanctions (expulsion from the area of Tana Kamase -Mase or exclusion of all community activities) and more severe sanction is consecrated (God's rejection of the soul when dead).

Ammatoa society generally embraced Islam. However, they have not entirely run the pillars of Islam. Like the five daily prayers, fasting, and pilgrimage. But people do not want to say Ammatoa as non-Islamic.

When Amma grieving taksiyah conducted for 100 days and for the family left should not wear clothes. Only use black gloves during 100 days.

KAJANG and WOODS

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 06:01:00 +0000

For the people of Kajang entering the woods, especially if chop down trees can endanger lives and livelihoods. It mentioned in the first of Pasang of Turiek Akrakna to Ammatoa contain ‘jaga lino lollong bonena, kammayatompo langika, rupa tauwa siagang borongnga’ (keep the world and its inhabitants, and the sky, people and forests).

To preserve the forests in their neighborhood, community Kajang applying customary law. If in the area occurred in the forest timber theft and the perpetrator were not

known then to perform the ceremony by Ammatoa called attunu panrolik (crowbar burning) and attunu passauk (incense burning). Ceremonial activities listed in the Pasang.

Ammatoa will be asked to collect all citizens in cases of timber theft and the perpetrators are unknown. Ammatoa will appoint officer on orders as Puto Duppa Gamaru that will burn a crowbar to become red hot. After that every person attends required to hold a hot crowbar to know who the perpetrators of illegal logging. An easy way to find the culprit, because the theft would feel the heat, while a resident who’s not the perpetrator wouldn’t feel any heat. However, until now when there are events of timber theft none of residents who feel the heat. Therefore possible that timber theft is a citizen who comes from outside the area Kajang.

Although escape from attunu panrolik exam does not mean residents can breathe easier. Because after attunu panrolik there are still other tests that attunu passauk (burning incense). Attunu Passauk conducted by their own Ammatoa together with indigenous leaders in Borong Karamaka when in attunu panrolik not produces the culprit.

Before the event, preceded by Puto Beceng is announcing to the citizens, every day for a full month regarding to attunu passauk ceremony because there were trees cut down and the perpetrators are unknown. Interestingly, besides the announcement conveyed by word of mouth also by the sound of beating drums from inside a house Ammatoa with a certain rhythm.

Within one month grace period is expected from an agent or someone who knows acting consciously and promptly admit it or report on the perpetrators who have committed to Ammatoa. If up to one month time limit no one came to admit his actions, so it was forced attunu passauk ceremony.

The ceremony was held at midnight during the full moon in the middle Borong Karamaka where they used to do assamaya and appadongko paknganro (begged his blessing and put the offering). This ceremony is a magical feel that not everyone can attend. The aim, of course, actors are reluctant to get recognition from Turiek Akrakna punishment in the form of successive disasters that may occur. The disaster was not only imposed on the perpetrators but also occurs in the family, especially descendants. Even people who know but are reluctant to report such action to Ammatoa. Like to mention in the Pasang, the affected players will experience poor life of all time, will not be illuminated by the sun from all directions.

KAJANG and NATURES

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 05:59:00 +0000

Kajang community efforts in preserving the forest does not mean they are closing the forest area and should not be touched. Instead they try to manage them in a way that ensures the use of natural resources. That they believed inherent in the system of

Pasang where they understand the principles of human ideology - the sky - forest. Similarly, if any sanctions on illegal logging in the forest for no apparent reason to be obeyed by the Kajang community as a social system they run. Therefore, the Kajang only use dry wood that fell from the trees used for firewood.

Similarly at the time they decide when to go to the field. Natural signs that are used as benchmarks to give them an idea how wise in managing their natural environment. For them, Kajang community who do not follow the agreement and then receive the sanction so that the social system here go hand in hand with ideological systems (such as those found in Pasang) as well as technological systems (agriculture) to them.

The principle of simplicity is reflected in their everyday clothes of black and using tools of non-manufacturing is that they use technology systems. Although the use of homemade instruments, now seems to have started to change because society Kajang wear factory-made instruments, such as plastic buckets and basins. Except in the traditional ceremonies that are still using natural tools. Changes in the use of equipment on public Kajang Kajang shows society's adaptation to its environment. Perhaps, now they are very difficult to obtain raw materials for making the equipment they need because the raw materials that have been exploited by outsiders. So that the feared sanctions by the Kajang community seems powerless against outsiders.

KAJANG WOMAN and MAN

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 05:58:00 +0000

Under the leadership of Ammatoa and fifth traditional leaders, ancestral customs are still running. Precisely with custom self-sufficiency in all factors of life can continue to run. According to village head, a habit that must be executed is a woman's obligation to make clothing for their family members.

Making clothing is a necessity for a woman to marry. So that the woman in her life without the skills to make clothing, can not be married. Preparation done in traditional clothing, ranging from manufacturing of yarn, weave to the coloring process until a piece of cloth.

In Kajang Community life, women are required to make cloth and cooked. While men are required to work in the fields and houses made of wood supply. Expertise to make this wood supply is also an obligation for men to live.

SOMETHING ABOUT CREATIVE BASED TOURISM

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 05:49:00 +0000

Mengutip dari Notes seorang senior di Facebook mengenai Creative Based Tourism. Terdengar asing mungkin, tetapi inti dari pembahasan tersebut sangatlah menarik. Jujur, saya sangat awam dengan bidang ini. Memang sebenarnya tidak ada hubungan dengan pekerjaan yang saya pernah jalani, khususnya dalam bidang pariwisata dan pengembangan budaya, juga tidak merupakan bagian dari focus pendidikan saya (secara khusus). Namun titik beratnya adalah pada kecintaan saya pada seni dan kreatifitas, kekaguman saya pada keunikan suatu bangsa/suku, kegembiraan saya pada garis lukisan alam dan kenyamanan saya pada aneka budaya.

Terus terang saja sebagai warga Negara ada terbesit rasa malu bahwa sedikit sekali yang saya dan mungkin generasi seangkatan saya ketahui akan betapa kayanya budaya dan pariwisata di negeri ini, justru negara lain yang berani meng-ekplorisasi dan bahkan sampai terjadi kasus pengakuan budaya nenek moyang kita. Kalau dipikir-pikir kejadian tersebut luar biasa, betapa orang lain lebih menghargai warisan budaya nusantara ketimbang bangsanya sendiri, sungguh ironis.

Tidak banyak pula generasi penerus dari daerah masing-masing tetap mau melestarikan budayanya, mereka lebih tertarik dengan formasi dunia baru, apalagi sejak mengenal akses tanpa batas melalui dunia maya, dimana kita bisa saling terhubung dengan siapa pun, dimana pun dan kapan pun. Tidak menutup mata bahwa dengan semakin majunya dunia dan teknologi, semua dituntut saling terhubung tanpa batas jarak dan waktu. Namun yang menjadi perkara adalah, hanya sedikit yang memanfaatkan sistem dan kecanggihan akses yang ada untuk pengembangan daerah asalnya, kalau pun ada hanya sebatas memberikan informasi yang dangkal, tidak menyeluruh dan tidak terperinci

Tidak dipungkiri semua fasilitas, kenyamanan dan segala hal yang bernama modernisasi memiliki keunggulan dan kelemahan, yang menjadi masalah adalah bukanlah kelemahan itu sendiri namun bagaimana cara kita menjadikan kelemahan itu sebagai sesuatu yang menguntungkan atau setidaknya bagaimana mengatasi kelemahan tersebut agar tidak menjadi lebih buruk.

Sehubungan dengan kreatifitas, patut kita sadari bangsa Indonesia adalah bangsa dengan kreatifitas tinggi. Apapun bisa dihasilkan di negeri ini, dari bahan alam, bahan mentah, dan bahan produksi dapat dibuat aneka ragam barang yang mendukung keberlangsung hidup masyarakatnya, bahkan sampah maupun sisa pembuangan dapat dikreasikan oleh anak bangsa atau masyarakat, menjadi bahan produksi, barang-barang keperluan dan hiasan. Banyak hasil kreatifitas masyrakat yang masuk pasaran dunia. Bahkan sekam padi pun menjadi karya indah dalam kemajemukan bangsa Indonesia. Sebenarnya boleh dibilang semua orang kreatif dan bisa menjadi kreatif, selain dasar kreatifitas “bawaan lahir” juga dapat kita jumpai kreatifitas lain apalagi dalam kedaan sulit atau terdesak, dalam pengertian positif, namun kadang kala ada faktor lain yang membatasi kreasi mereka. Inilah hal yang mengacu pada ekonomi kreatif, ada ungkapan dalam dunia kerja

saya yang selalu saya pakai “Nggak Kreatif, Nggak Hidup”. Kendala-kendala yang biasa ditemui adalah kurangnya bentuk penghargaan atas karya mereka, rendahnya tingkat pendidikan berarti kurangnya pengetahuan, kurangnya fasilitas dan dukungan pemerintah, kerjasama dengan sektor swasta tanpa membebani masyarakat, serta yang terutama adalah modal bagi mereka. Dengan adanya modal yang cukup, informasi dan pengetahuan yang transparan, kesepakatan kerangka kerja serta dukungan pemerintah dan swasta maka masyarakat akan lebih leluasa berkarya dan menghasilkan suatu “keajaiban”

tidak hanya bagi daerah mereka namun untuk Indonesia juga.

Selain itu perlu dikembangkannya konsep tumbuh kembang dengan berkolaborasi bersama unit-unit kreatif yang sudah ada seperti para designer, tim kreatif media, photographer, unit product creative, unit home production, dan sebagainya. Karena sejauh pengalaman saya, banyak dari unit kreatif tersebut yang mencari “ilham” ke daerah-daerah, bahkan sampai ke kampung-kampung. Bagi mereka banyak hal menarik dan kreatif yang bisa diangkat namun permasalahannya “hal menarik dan kreatif” itu sedikit yang memberikan efek saling menguntungkan dengan masyarakat. Alangkah baiknya bila pemerintah pun bisa menjembatani kolaborasi ini sehinggi menjadi hubungan yang saling menguntungkan, terutama bagi

masyarakat, bahasa gaul-nya “biar nggak mati gaya”.

Selain daripada itu hasil kreatifitas masyarakat mengacu kepada pemahaman budaya dan sejarah kehidupan mereka. Tidak aneh apabila masing-masing daerah memiliki ciri khas yang unik, bahkan dalam satu daerah yang sama pun dapat dijumpai keberagaman karya yang pada akhirnya menjadi suatu ciri khas dan pencitraan dari masyarakat setempat, tinggal bagaimana kita menyikapi pelestarian karya tersebut. Pertanyaan berikutnya adalah seberapa besar rasa nasionalisme kita? Seberapa besar dan jauh kita dapat menghargai budaya kita? Dan seberapa kuat rasa memiliki atas kekayaan bangsa Indonesia? Maaf, apabila perkataan saya agak tajam, banyak dari generasi ini yang tidak mampu untuk menghargai dirinya sendiri sehingga untuk menghargai orang lain menjadi suatu hal yang “tidak biasa”, hal ini mengacu pada ungkapan

“Hargailah orang lain sebagaimana layaknya kita ingin dihargai orang lain, Awalilah dengan menghargai diri sendiri dan berikan penghargaan yang serupa kepada orang lain.” Saya tidak pesimis dengan keberadaan kondisi saat ini, selama masih ada mereka yang peduli berarti masih ada harapan. Hargailah apa yang menjadi milik bangsa ini, tumbuhkan rasa nasionalisme, berbagi pengetahuan dan jadilah kreatif.

Ada hal menarik akibat kemunduran mental kreatif yang saya dapatkan di beberapa daerah, setiap saya bertanya kepada penduduk lokal mengenai apa yang menjadi cirri khas atau keunikan daerah tersebut. Kebanyakan dari mereka akan menyebutkan hal-hal yang boleh dibilang “sudah” kita ketahui, katakanlah penghasil batik, kerajinan perak, kerajinan ukir, sutra, dan sebagainya, selain itu??? Bingung apa lagi. Sepertinya sudah tidak adalagi karya yang dapat dikembangkan, cukup pelik memang dengan bahan yang tersedia tetapi tidak tahu mau diapakan. Berarti menjadi tugas bagi generasi bangsa untuk melestarikan sekaligus mengembangkan budaya kreatif masyarakat. Tugas ini bukan hanya milik sebagian kelompok namun seluruh bangsa, kita semua bisa, masalahnya mau atau tidak.

Saya setuju dengan konsep dasar yang beliau sampaikan dalam note tersebut, namun ada hal lain yang perlu dipertimbangkan juga, dari seluruh konsep tersebut mengacu kepada lapisan masyarakat maju dengan pemikiran yang sudah tertata dan terstruktur serta tentu saja dapat memberikan keseimbangan dalam pola pikir untuk meningkat daya kreatif dari masyarakat ini untuk menciptakan karya yang dapat mengangkat citra masyarakat tersebut dan citra Indonesia sebagai salah satu tujuan wisata terbaik. Bagaimana dengan pola “merangkul” kerjasama dengan masyarakat sekarang ini yang notabene agak skeptis. Hal tersebut bukanlah dikarenakan semata-mata karena ketidakmampuan atau keterbatasan

sumber daya, namun ada hal lain seperti penyalahgunaan kepercayaan yang mereka berikan, sering kali terjadi azas “pemanfaatan” yang merugikan masyarakat itu sendiri. Dengan mengatasnamakan kerjasama untuk peningkatan produksi, peningkatan kesejahteraan atau perdagangan, dan sebagainya. Banyak cerita saya dengar, bagaimana masyarakat ini “diperdaya” dengan embel-embel yang muluk-muluk, walaupun tidak banyak yang bisa saya bantu bahkan hanya bisa menjadikannya bahan perenungan. Tapi hal-hal tersebut dapat dijadikan referensi dalam mengatasi keraguan mereka, merangkul mereka untuk kembali yakin pada daya dan karya mereka sehingga nikmatnya pun dapat dirasakan bersama.

Saat ini saya sedang mengerjakan proyek percontohan pengembangan pariwisata dan budaya di daerah Bulukumba, Sulawesi Selatan. Banyak hal menarik yang saya dapati disini, termasuk salah satu yang membuat penasaran adalah apa yang menyebabkan masyarakat ini berani “mati” untuk sesuatu yang mereka anggap benar (walaupun pada kenyataannya belum tentu benar). Proyek ini bukan kerjasama dengan pemerintah maupun badan lain (tepatnya belum), salah satu penyebabnya adalah keterbatasan komunikasi, kurangnya informasi yang saya dapatkan, serta kurang aktifnya dinas terkait, boleh dibilang adem-ayem. Mungkin suatu saat nanti bisa dikembangkan suatu system kerjasama yang baik antara sektor swasta, kelompok swadaya maupun pemerintah dengan masyarakat Bulukumba. Saya sempat mendapat pernyataan lucu dari salah satu warga, mereka bilang “Aneh ya, koq orang luar pulau yang mau bikin kota kita maju. Pemerintahnya kemana ya?”, buat saya itu sentilan yang tidak terpikirkan. Belum banyak yang dapat saya bagikan, saya sendiri pun berada disini baru sekitar 2 bulan, langkah awal saya membantu mengembangkan promosi sebuah wisma, dimana saya menginap. Saya menemukan adanya akses dari wisma ini tidak terbatas hanya penyediaan tempat penginapan, tetapi juga lokasi yang strategis, para muda yang bisa menjadi pemandu wisata setempat dan masih banyak lagi kemungkinan yang bisa dikembangkan. Selain banyak objek wisata yang belum dikenal, dengan dibantu pemuda setempat, satu persatu data saya susun, sepertinya perjalanan masih panjang.

first publication @http://www.facebook.com/danica.coloay

MARNING... made in Bulukumba

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 05:47:00 +0000

MARNING is originally made in Bulukumba, its crunchy folk’s food. The ingredients are dry loose maize corn, strained whiting and vegetables oil. The mixtures of spices are garlic, bleng, chicken bouillon powder, lemon grass, bay leaves and toasted coriander. It will take 2-3days sun-dried process as to get the real crunchy and dry result. It’s one snack that you should try once you visit Bulukumba..

TRADITIONAL WEAPON of South Sulawesi

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 05:46:00 +0000

Kawali (Badik) is the nation's weapons of driving traditional Buginese. Bugis people themselves call it by various names, such as tappi (which sliped), gajang (booster), and most called kawali. Like Kawali Raja (Bone) and Kawali Rankong (Luwu). There was also named gecong. Made from coconut leaves (Nypa fruticans). With the master-maker of the famous dagger ancient magic, the coconut leaves is being massaged meanwhile the reading of praying (zikir) persistently accompany the rite until the coconut leaves becomes hard as an iron. The form is thin & fragrant. This is a rare type of Badik, now no longer makers able to make that kind of badik. Badik usually only owned by the kings and his dynasty.

Bone Kawali consists of iron (blades) that flat, rather broad and pointed tip. While kawali Luwu consists of flat iron and straight. Kawali has parts: pangulu (ulu), iron (blades) and wanoa (sarong). In South Sulawesi community knew two types of badik: Badik Saroso and Badik Pateha. Badik Saroso made with ingredients pamor, given the carved wood and silver-plated glove, while pateha badik made with simple shapes, sometimes not with pamor and sheath made of leather or plain wood.

Badik completely made from meteorites stone. Badik makers do not form a master's of pamor, an aura of pamor will appear after forging. pamor is what should be a magical effect on badik. Good Badik is Badik that has an intimate relationship with the owner, such as a strong life connection. Therefore, badik is never bought and sold, only inherited. Because that would be a disaster for those who have no inwardly connection. Kawali making process take place in an atmosphere of ritual. Kawali made without the ritual ceremony, kawali pamor was the same as usual knife. The making of usual kawali will generally completed within seven days.

However, because it will make only done on Fridays, then one kawali with the pamor that is expected to be completed within seven Fridays means it takes 49 days. During the making of kawali, the master maker will constantly read the praying (zikir). Without zikir, usually the pamor that comes from badik made to bring the bad issue so that their owners actually stabbed, or businesses fail, or always sickly.

There are several types badik based on the usefulness of magical effects, such as the Toasi Type of badik that serves to deny the suffering for the owner. Sambang Type can deny the dangers of wild animals. In addition, there are also badik that serves as a sacred trust, like badik Saroso, which has historical value. There are also some who believe that badik useful as a talisman of good and bad influence. To test kawali character, is by holding the edges with your fingertips. When cold, it badik for peace and prosperity. However, if the heat, much less pain in the fingertips, so that's a killer type badik.

Badik usually held with both hands in a horizontal position. Left hand holding a knife sheath and hand upstream badik firmly, ready to draw. How to attract & hold badik like this show that people who hold to understand the philosophy of badik used. For the Bugis, badik pulled from the holster only need to be in a force majeur, circumstances that are considered outside badik holder’s power, or if your opponent is no longer provided an opportunity to make peace. Once badik pull out from its sheathed, its prohibited to put it back to it’s sheath before returning to bleed.

Any Bugis who has puberty must have / keep this sharp objects. In its development kawali more as a symbol of dignity enforcement, affirming courage and responsibility in defending the honor. Among the nobility, kawali also serves as a symbol of power. In general, badik used to defend himself in building self-esteem a person or family. This is based on Siri culture 'with the meanings to defend the dignity of the family. Siri concept 'is already integrated in behavioral, social and cultural system and way of thinking of Bugis, Mandar and Makassar in South Sulawesi.

TRADITIONAL HOUSE of South Sulawesi

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 05:46:00 +0000

Bugis houses have unique characteristics, compared with stage-house of another tribe (Sumatra and Kalimantan). The form typically extends to the rear, with additional beside the main building and the front; in Bugis it calls lego-lego.

Typical architecture of Bugis stage houses consists of several main parts as follows:

Main mast (alliri). Usually consists of four bars per line. The amount depends on the amount of space that will be created. But in general, consists of three-quarters alliri line. So total there are 12 bars alliri.
Fadongko ', that is an extension of alliri in each row.
Fattoppo that is a hook of the top and center alliri of each row.

All the Bugis architecture of the building or house is the stage-house that has a 'trap', according to local people's stories, long before Islam entered the land of the Bugis (tana ugi '), the Bugis have faith that the universe is composed of three parts, the upper (botting langi), middle (alang tengnga) and bottom (paratiwi). Logically high-rise buildings structure has safe and comfort factor. Safe, because the snake can not go upstairs (average height of Bugis house stage is two feet high from the ground). Comfortable, in condition of hot wheather the circulation and wind more freely.

The part of the Bugis house is as follows:

Rakkeang, is the above part of the house (plasterboard). The former is usually used to store newly harvested rice.
Ale Bola is the center of the house. In which we live. At the Ale Bola, there is a central point called the center of the house (posi'bola).
Awa bola is under part of the house, located between house floor with the ground.

The most interesting part to create a Bugis house that it can be built / established without requiring a single nail, all the pure use of wood and pegs. In addition to the house can be removed or lifted up, of course, with a traditional ceremony which still contains a strong mystical.

BAJU BODO

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 05:45:00 +0000

Baju Bodo merupakan busana khas wanita di daerah Makasar, Mandar dan Bugis di propinsi Sulawesi Selatan. Baju Bodo disebut pula Bodo Gesung atau baju yang berlengan pendek dan menggelembung karena pada bagian punggungnya menggelembung. Baju Bodo merupakan busana tertua usianya di bandingkan busana adat lainnya di daerah Sulawesi. Busana adat ini terdiri dari blus sebagai busana bagian atas dan sarung sebagai busana bagian bawahnya. Sementara blusnya terdiri dari jenis baju Bodo dan baju Labbu. Baju Labbu merupakan baju Bodo berlengan panjang. Baju Bodo seperti telah di jelaskan di muka termasuk busana tradisional Indonesia yang tergolong jenis busana kutang pada bagian blusnya dan busana bungkus pada bagian sarungnya.

Penduduk Sulawesi mengenal busana dari tekstil sejak zaman batu muda. Ciri zaman batu muda adalah adanya kepandaian mengasah, membentuk alat-alat batu sehingga diperoleh bentuk yang indah dan bernilai seni tinggi juga terjadi perubahan penghidupan dari foodgathering menjadi foodproducting. Kehidupan mengembara menjadi kehidupan tinggal menetap untuk bercocok tanam dan berternak. Perubahan sosial yang terjadi membawa perubahan pada seluruh segi kehidupan, maka muncullah masyarakat terorganisir dengan segala bentuk peraturan. Ikatan kerjasama kemudian menciptakan pembagian kerja dan pada akhirnya timbul kepandaian tertentu seperti membuat kerajinan tangan sebagai perhiasan seperti gelang dan kalung, menenun pakaian dari bahan tekstil dan membuat periuk belanga.

Ketentuan atau tata cara berbusana pada masyarakat Sulawesi telah diatur dalam sebuah kitab suci yaitu Patuntung atau tuntunan yang merupakan pedoman dalam menjalankan kaidah kerohanian. Selain itu kitab suci tersebut berisi mantera untuk pengobatan, mandi dan pernikahan. Kitab suci tersebut berasal dari warisan kepercayaan asli yaitu animisme dan dinamisme sebagai sistem religi dan agama serta kepercayan yang benar yang terbagi kedalam Toani Tolotang, Patuntung dan Aluk Todolo.

Pada awalnya baju Bodo terbuat dari kain kasa merah atau hitam rangkap dua dan dikanji. Panjangnya hingga ke tanah , sehingga merupakan 2 x panjang busana dengan lebar 1 m. Kain itu kemudian dilipat menurut panjangnya. Kedua sisanya dijahit, lalu disisakan 12 cm sebagai lubang lengan. Bagian lubang lengan waktu memakainya agak disingsingkan sehingga lengan menggelembung. Sarung tidak diikat pada pinggang namun hanya dipegang saja dengan tangan kiri.

Ciri khas baju Bodo adalah :

a. Berbentuk segi empat.

b. Tidak berlengan .

c. Sisi samping blus dijahit.

d. Bentuk bagian badan blus menggelembung.

e. Bagian atas dilubangi untuk memasukkan kepala yang sekaligus juga merupakan garis untuk lubang leher.

f. Tidak memiliki sambungan jahitan pada bagian bahu

g. Memakai hiasan berupa kepingan – kepingan logam berbentuk bulat berwarna emas di seluruh pinggiran dan permukaan blus.

Kain yang dipergunakan untuk baju Bodo merupakan kain sutera yang tipis atau dari serat nanas namun tidak tembus pandang karena dibuat rangkap dua. Warna dan panjangnya Baju Bodo menunjukkan status perkawinan atau kedudukan si pemakai, seperti :

Wanita yang sudah bersuami - Merah tua (baju Bodo panjang)
Wanita puteri keraton - Merah jambu (baju Bodo pendek)
Gadis di lingkungan keraton - Hijau muda (baju Bodo pendek)
Gadis dari kalangan biasa - Kuning (baju Bodo pendek)
Ibu mempelai wanita - Hitam (baju Bodo panjang)
Pengantin wanita - Merah darah (baju Bodo pendek)
Ibu pengasuh puteri keraton - Putih (baju Bodo pendek)

Adanya pembagian warna pada pemakaian baju Bodo karena pada mulanya penduduk Sulawesi merupakan campuran dari berbagai ras, maka dalam perkembangannya kemudian terdapat sejumlah kesatuan sosial. Secara horizontal ditandai dengan adanya perbedaan suku dan masing-masing memiliki kebudayaan sendiri dan kepercayaan keagamaan yang bermacam-macam seperti kepercayaan asli yaitu animisme dan dinamisme, Islam dan Kristen.

Adaptasi ekonomi juga memperlihatkan perbedaan, seperti semi nomaden yang berpindah-pindah, menanam padi, nelayan, pedagang dan industri rumah tangga. Struktur masyarakat ditandai oleh adanya perbedaan secara vertikal antara lapisan atas dan lapisn bawah yang cukup tajam, sedang struktur politik tradisional terdapat mulai dari anak suku sampai pada kerajaan. Namun demikian masyarakat mengembangkan kepercayaan bahwa mereka berasal dari satu keturunan yaitu dari Dinasti Sawerigading yang didukung mitos yang hidup dalam masyarakat. Menurut kesusastraan Lagaligo, masyarakat Sulawesi Selatan mengenal pelapisan sosial strata bangsawan yaitu Ana ‘karaeng bagi suku Makasar, Anakarung bagi suku Bugis dan Tomaradeka atau orang merdeka bagi rakyat biasa. Dalam kehidupan sosial, kelompok bangsawan dipandang sebagai kelas yang terpenting, dalam strata ini selalu dipilih orang-orang yang pantas menduduki jabatan politik, sehingga sering dipandang sebagai lapisan sosial yang memerintah. Sarung yang dipergunakan sebagai paduan baju Bodo terbuat dari benang biasa atau sutera asli yang berasal dari serat alam, serat pisang hutan, serat akar anggrek liar.

Sarung merupakan sarung tenun Mandar dan tenunan Bugis. Warna sarung yang dipergunakan biasanya memiliki warna dasar hitam, coklat tua atau biru tua. Apabila sarung dibuat dengan warna mengkilap disebut Lipa Sabbe. Ciri khas motif yang dipakai adalah corak kotak-kotak besar atau kecil dengan hiasan emas pada garisnya. Kelengkapan busana yang biasa dipakai untuk baju Bodo sebagai aksessoris dan millineris adalah :

a. Selendang tipis dengan ujung – ujungnya dihiasi bundaran emas atau perak.

b. Tali ikat untuk mengencangkan lilitan sarung.

c. Ikat pinggang emas dengan pendingnya yang penuh dengan perhiasan.

d. Kipas.

e. Berbagai perhiasan emas, seperti ;

Sanggul berhiaskan bunga dengan tangkainya (pinang goyang).
Anting panjang (bangkarak).
Kalung berantai (geno ma’bule).
Kalung panjang (rantekote).
Kalung besar (geno sibatu).

f. Alas kaki dahulu tidak beralas kaki, namun sekarang menggunakan alas kaki berupa selop atau sepatu pantoffel berwarna hitam.

Tata rias rambut yang biasa dipergunakan sebagai kelengkapan berbusana baju Bodo adalah :

Sanggul yang letaknya rendah dengan hiasan tusuk sanggul emas besar berupa kuntum bunga-bunga palsu dari kain, dan kembang goyang berupa bando yang berbentuk setengah lingkaran dipakai membujur dihiasi bunga-bunga emas.
Untuk acara resmi rambut ditata dengan model sasak sedikit tinggi (sigara).
Atau sanggul agak rendah dan diletakkan agak ke sebelah kanan, berhias tusuk konde dan di bagian pelipis kanan dan kiri diselipkan kembang goyang emas. Sederet bunga serempa dan bunga seruni menghiasi seputar sanggul.

Keseluruhan penampilan baju Bodo tampak mewah dan gemerlap, hal ini dilatar belakangi pada abad pertengahan penduduk Sulawesi memperlihatkan kekayaan mereka dengan busana yang mewah dan perhiasan dari emas murni, permata yang mahal, kain import yang berkualitas tinggi. Kondisi ini menurut ketererangan dalam sejarah Sulawesi yaitu pemberitaan Tome Pires, hingga permulaan abad 16 pelayaran niaga penduduk dari pulau Sulawesi atau dikenal dengan sebutan Ilhas dos Macassar berkisar pada pemasaran produksi pertanian dan pertambangan seperti beras dan emas dengan jangkauan pelayaran sampai kejaringan perdagangan Laut Cina Selatan dan Selat Malaka. Gambaran keadaan perdagangan Makasar pada permulan abad 16 hingga pertengahan abad 17 menunjukkan bahwa Makasar ketika itu telah berkedudukan sebagai pusat perdagangan terpenting, sebagai pelabuhan internasional dan pelabuhan transito bukan hanya untuk kawasan Sulawesi tetapi juga kawasan timur Indonesia.

Komoditi dagang saat itu terdiri dari berbagai jenis produksi dari India seperti karikam, dram, touria gadia, bethilles. Produksi dari Cina seperti : poselin, sutera, emas,perhiasan emas, gong. Selain itu kayu sapan, rotan, lilin, parang, pedang, kapak, kain selayar, kain bima, sisik penyu dan mutiara. Kemajuan Makasar dinyatakan oleh Anthony Reid sebagai kisah kemajuan dan keberhasilan yang luar biasa dalam sejarah Indonesia.

Pemakaian baju Bodo di Sulawesi lebih banyak dipakai untul ritual, seperti pada upacara kematian, perkawinan dan perayaan lainnya, semua kegiatan dalam upacara-upacara adat tersebut dilakukan secara gotong-royong karena mereka memegang konsep idela kebudayaan saling membantu pekerjaan untuk meringankan pekerjaan atau dikenal dengan istilah Mapalus. Luapan kegembiraan ditampakkan dengan tari dan nyanyi serta makan dan minum yang bersifat istimewa. Perkawinan yang membentuk keluarga batih menjadi peristiwa kehidupan yang dipandang salah satu hal yang sangat penting dalam perjalanan kehidupan. Perasaan, harga diri, martabat pribadi, keluarga dan kelompok ikut dipertaruhkan dalam penyelenggaraan perkawinan. Selain itu penampilan status dan kedudukan seseorang dalam masyarakat turutdi tampilkan melalui cara berbusana.

Tata cara pemakain baju Bobo juga erat kaitannya dengan konsep budaya lain yaitu Sirik yaitu suatu pandangan bahwa tingkah laku dapat diamati sebagai perwujudan kebudayaan yang mengandung lima hal pokok yaitu ade’, bicara, warik, rappang dan sarak. Kelima hal pokok ini di Bugis disebut Pangngaredeng, dan di Makassar disebut Pangngadakkang. Sirik merupakan motivasi untuk menegakkan kesadaran mempertahankan martabat salah satunya melalui busana.

Baju Bodo Saat Ini

Sejalan perkembangan zaman, baju Bodo kemudian bertahan dan berkembang sebagai busana tradisional Indonesia yang mencerminkan kebudayan dari Sulawesi Selatan. Keberadaannya kini sudah menjadi milik seluruh bangsa Indonesia, terbukti pada acara-acara tertentu di daerah lain selain Sulawesi Selatan, baju Bodo banyak di pakai sebagai salah satu busana nasional Indonesia. Kedudukannya sebagai busana tradisional telah bergeser menjadi lebih populer sebagai busana nasional.

Salah satu contoh dipakainya baju Bodo pada acara karnaval mulai dari kalangan taman kanak-kanak sampai para pejabat terkemuka. Untuk mempertahankan keberadaan baju Bodo, masyarakat setempat memproduksi kain dan sarung tradisional Bugis-Makassar untuk dijual kepada masyarakat umum. Harga sarung dijual dengan harga yang cukup terjangkau oleh seluruh kalangan masyarakat yaitu berkisar antara empat puluh ribu sampai tiga ratus ribu rupiah. Seperangkat baju Bodo lengkap dengan assessoris dan millineris imitasi kini banyak dijual seharga dua ratus riburupiah. Busana yang dibuat sesuai aslinya hanya dapat dilihat di museum. Pemakaian warna baju Bodo sekarang ini tidak memperhatikan aturan status sosial.

Kain yang digunakan tidak lagi dari kain transparan ditambah pula pemakaian pakaian dalam khusus yang dipakai bersamaan dengan sarung sutera. Perkembangan baju Bodo baik pemakaiannya di masyarakat luas maupun bentuk dan modelnya tidak terlepas dari peran perancang busana nasional yang aktif berkreasi membuat modifikasi baju Bodo sebagai salah satu cara mempertahankan budaya nasional. Salah satu perancang yang aktif melakukan inovasi pada baju Bodo adalah Edward Hutabarat. Beliau melakukan riset untuk mengangkat baju Bodo ke jenjang internasional agar busana tradisional Indonesia dikenal di mancanegara dan di lingkungan Indonesia sendiri baju Bodo menjadi populer dan menjadi busana nasional.

PUNCAK PUA JANGGO

noreply@blogger.com (CEREBROBOX) — Mon, 27 Sep 2010 05:38:00 +0000

Pua Janggo Highland is located in Bira Valley Hills, 2 KM from Bira Beach. You will find one of the stunning natural sights from this site to borderless marine with milieu of Bira port and Bira Cape that surrounds by magnificent rock hills. This earliest site of Pua Janggo is related to the local civilization myths. In the very beginning, the Bira people who worked as
fisherman had been visited by Moslem figure that called Pua Janggo. At nowadays there is still a confuseness for “Pua Janggo” real name, as some people mentioned Abdul Halis bin Abdullah, others said Abdul Basir bin Abdul Jalil. At this site, you will find lump of cylinder Andesit Stone that looks like as tombstone with of cudgel shape, sized 75 cm height and 20 cm of diameter, in the 4x4 meters building. While you enjoying the fresh air and magnificent panorama, you will smell of sting fragrance, that might be stroked by pilgrimate.