>

Sabtu, 31 Maret 2012

Cruising Bali

The original inhabitants of Bali are the Bali Aga, who still live and maintain their tradition in small communities on the eastern part of the island. They are descendants of a prehistoric race who migrated from mainland Asia and were later influenced by the Indian traders who brought Hindhu learning and religion. The recorded history of Bali begins with the marriage of Balinese King Udayana and the princess of Mahendradata from East Java in the 10th century. During the fall of the Majapahit Kingdom in East Java to the Islamic influence, the last Hindhu prince crossed the Bali Strait in 1478 together with many thousands of Hindhu priests, nobles, soldiers, artists and artisans. The prince was then declared as the King of Bali.



Bali has been effectively preserved from Islamization and is now the only island in Indonesia that still embraces Hindhuism. Unlike other major Islands, the majority of Balinese are Hindhu.

The Hindhu teaching and local tradition are still practiced in daily life. Every family has a temple at home and this family temple is the most important part of a Balinese house compound. The Balinese have a strong social community. The village where they live and share public facilities is called Banjar, and every family in a Banjar is obliged to take participate in any social activity ( birth,weddings,funeral,and temple ceremony) that is taking place in their Banjar.

The majestic volcanoes, the breathtaking view of rice terraces, the beautiful white sandy beaches, the rich culture and tradition and the hospitality of the people has made Bali the most visited tourist destination in the archipelago for many years.






Places of Interest
Port of Benoa and Padang Bai

Taman Ayun Temple
Taman Ayun Temple was built in 1634 by the founder of Mengwi Kingdom. It is one of the most beautiful temples in Bali, with a classic design complete with a lawn, ponds and surrounded by a moat.



Bali Bird Park
Bali Bird Park or locally known as Taman Burung was built in 1995. The park provides sanctuary to almost 1,000 birds of 250 different species and accommodates an amazing display of flora with more then 2,000 tropical plants including 50 varieties of palms alone and attracts numerous butterflies.






Celuk Village, Home for Gold & Silver Smiths
There are a large number of shops selling gold and silver jewellery, both in traditional and modern designs along the main road of celuk village. In this relatively small village, hundreds of family live as gold and silver smiths.

Kesiman Village, Batik Processing
In Kesiman Village you can see the process of making batik, the Indonesian traditional textile. Balinese wear batik on many occasions, mostly in official events and religious festivities.






Denpasar
The capital city of Bali Province. There are two places worth visiting in Denpasar :
·         *Werdi Budaya Art Center is where young artist study, train and sell their works. Here, they perform Kecak Dance every night. Kecak is an attractive and unique dance which is telling of the Hindhust epic, Ramayana.
·         *The Bali Museum, an ethnographic museum showing the history and culture of Bali, Balinese way of life, the arts and the religion.

Bedugul
As a cool mountain area, this area is very popular among local visitors for its fresh vegetables, fruits and flowers. There are three beautiful lakes in Bedugul, one of them is lake Beratan, where the beautiful Ulun Danu Temple was built at the edge of the lake. Here you can visit the first and only botanical garden in Bali and the famous Bali Handara Golf Course.

Jagatnatha Temple
Pura Jagatnatha, a temple dedicated to the Supreme God, Sang Hyang Widi Wasa. The statue of a turtle and two nagas signify the foundation of the world and you will find lotus thrones which Balinese believe they are the seats of the Gods.

Ubud Village
People simply describe it as “ a place to go in Bali “. Ubud has for decades attracted foreign artists and celebrities, Walter Spies, Rudolf Bonnet, Antonio Blanco are few among those who have settle here and become a part of the local community. In the Puri Lukisan Museum, you can find a collection of world class paintings in traditional and contemporary styles. Dining and staying in Ubud can be a memorable experience for those who appreciate the beauty of the country side with genuine family hospitality.

Monkey Forest
A six hectares forest with giant nutmeg trees that is inhabited by hundreds of monkeys. Here you have the chance to stand close to the monkeys and feed them with peanuts, but beware they are easily attracted to shiny objects, they will snatch your belonging quicker than any pick pocket in town, to trade for food.

Cultural Lesson
A short course on learning the art of “Banten” making, Balinese ceremonial offering, the ‘“Canang” daily offering and other ceremonial equipment, as well as learning how to wear the traditional Balinese cloth, or how to play the Balinese bamboo musical instrument.





Bali Tours
Denpasar City Sightseeing
Duration : 3 Hrs 45 Mins
08:30 Benoa,Departure
09:15 – 09:30 Parliament House (passing by)
09:30 – 10:15 Bali Museum
10:15 – 11:00 Werdhi Budaya Art Centre
11:00 – 11:45 Kumbasari Market
12:15 Benoa, Arrival




Ubud Walking Tour
Duration : 4 Hrs 15 Mins
14:00 – 14:30 Traditional Market, Ubud
14:45 – 16:15 Start Walking Tour
17:15 Benoa, Arrival




Bali Bird Watching
Duration : 5 Hrs 30 Mins
07:00 Benoa, Departure
08:00 – 11:30 Bali Bird Walk, Ubud
12:30 Benoa, Arrival




Bali Countryside
Duration : 5 Hrs 30 Mins
08:00 Padang Bai,Departure
08:30 – 09:00 Kerthagosa, Klungkung
09:00 – 09:20 Bukit Jambul
10:10 – 10:20 Selat
10:50 – 11:20 Putung Refreshment Stop
11:45 - 12:30 Tenganan
13:30 Padang Bai, Arrival






Hindhu Pilgrimage & Batur Volcano
Duration : 9 Hrs 15 Mins
09:30 Padang Bai, Departure
10:00 – 10:45 Sidan Village, The Barong Dance
12:15 - 12:40 Batur Temple
12:45 - 13:45 Lunch
14:15 – 15:00 Tampak Siring
15:30 - 16:15 Ubud
16:45 - 17:15 Mas Village
18:45 Padang Bai, Arrival







Source: Cruising Indonesia by Ministry of Culture and Tourism Republic of Indonesia

Rabu, 28 Maret 2012

Cruising East Java


Historically, East Java can be divided into three periods, Kediri Kingdom (929-1222), Singasari Kingdom (1222-1292), and Majapahit Kingdom (1292-1527). Majapahit was the greatest and most powerful empire in the history of Java. The glory of the Majapahit empire began in the 14th century, during the reign of the brilliant King Hayam Wuruk and his skilled general (chief minister) Gajah Mada. Majapahit (the bitter gourd) had control over Sumatra, Malaya and Borneo, its influence extended to as far as Burma, Thailand, Cambodia and Vietnam. The centre of activity of the empire was its capital, Trowulan, which was the largest city in Asia at that time.

The people of East Java consist of three major ethnic groups, the Javanese who live in the mainland and make up the majority of the population, Maduranese who live in Madura island and Tenggerese, the hindhu community who live in the area near Mount Bromo. The Tenggerese are the direct descendants of Majapahit refugees and the only group of hindhu left in Java today.

Surabaya, the provincial capital city of East Java was the most important port in Dutch East Indies by the early 1900’s and is now the second largest city after Jakarta. Even though the city is not a popular tourist destination. Surabaya is a gateway to the historical sites of old East Java – the magnificient sunset over Mount Bromo, the Mountain Resort of Tretes and some other places of  interests around area.

Places of Interest
Port of Tanjung Perak 
Tantular Museum
Tantular Museum is an ethnographic and archeological museum that is located in the former residence of the Javaasche Bank agent. Here you will find the interesting collections of historical and archeological artifacts.




Wonokromo Zoo
Wonokromo Zoo is the oldest and largest zoo in Southeast Asia, with a variety of local and regional animals. Komodo Dragons and Borneo river dolphins are among of many endangered species visitors can see in this zoo.



Joko Dolog
The Joko Dolog is a stone statue that was carved in 1326. It was removed from its original place in Mojokerto during the Dutch occupation. Joko Dolog or the guardian of the young teak forest was erected as a memorial to King Kertanegara, the last King of Singasari Dynasty.






 Seloliman Centre for Environmental Education
This centre for environmental education gives visitors the opportunity to learn more about tropical forests and environment related issues, as you enjoy a walking tour. Seloliman center for environmental education is located in Trawas.

Surabaya City Sight Seeing Tour
Duration : 4 Hrs
13:00 Tanjung Perak,Departure
13:15 – 13:30 Joko Dolog, the monument
13:50:30 – 14:20 Mpu Tantular Museum
14:30 – 15:30 Wonokromo Zoo
16:00 – 16:30 Mirota Souvenir Shop
17:00 Tanjung Perak, Arrival

Trawas Excursion
Duration : 6 Hrs 15 Mins
13:30 Tanjung Perak,Departure
15:00 – 17:15 Trawas Centre for Environmental Education
18:45 Tanjung Perak, Arrival


Source: Cruising Indonesia by Ministry of Culture and Tourism Republic of Indonesia

Senin, 26 Maret 2012

Cruising Central Java

Central Java was the historical center of Java in the early 8th century. This Javanese Kingdom was rule by the Sailendra Dynasty, which was then followed by an array of kingdoms, empires,sultanates and dynasties. The people still pay great respect to the descendants of their kings. The palaces are still well maintained and even though by law the kings do not govern all the tradition and rituals are still practiced.



In Central Java lies some of the world's most magnificient monuments. There are at least two great masterpieces located in this region which portray the glory of the Hindus and Buddhist royal dynasties of the past. They are Prambanan, an enormous Hindhu temple complex in Bokoharjo Village and Borobudur, a magnificient Buddhist monument which is claimed to be one of the seven wonders of the world.

Ancient palaces in Central Java have also been attracting foreign visitors from all over the world, among the finest is Surakarta Palace in Solo.

Central Java is the centre of art, culture, and tradition of the island. The traditional dance institute in Solo is known to be one of the best in Indonesia. Here visitors can see and learn the typical Central Java traditional dances and hear the famous Gamelan orchestra. Three of the world's known Batik factories (Batik Keris, Batik Semar and Batik Danar Hadi) are situated in Central Java. The performance by shadow puppets, wayang kulit, is performed regularly at some places.




Places of Interest
Port of Tanjung Emas, Semarang

Losari Coffee Plantation
Losari Coffee Plantation is situated in the highlands of Central Java and has cool and pleasant weather all year round. A tea/coffee stop is normally made here after a long drive. The area offers visitors a breathtaking panoramic view.







Prambanan Temple
Prambanan was built in the 9th century. It is a large temple compound and is considered one of the greatest Hindhu temple ever built. Some call it Loro Jonggrang which is the name of a princess from Javanese legend. The name Prambanan refers to the name of the village where the temple is located. It was discovered in 1773 and after much work has now been restored to its former glory. At the open theater in front of the temple during nights of a full moon, the epic Ramayana unfolds.

Borobudur Temple
Borobudur was built during the Sailendra Dynasty in the 8th century, it is one of the greatest monuments on earth and is one of the wonders of the world. The meaning of Borobudur itself has been disputed for many years, some say it means The Buddhist Monastery on the hill, others say Boro means monastery while Budur is the name of the place where this monument resides.



Railway Museum
The Ambarawa Railway Museum is located in the old train station and has a large and interesting collection of locomotives from as early as 1891. Visitors have the opportunity to ride an old steam engine from Ambarawa to Bedono which takes approximately one hour.





Gedong Songo
This is a complex of Hindhu temples dating between 730 and 780. Gedong Songo is located on top of a hill, in a volcanic area. The place offers a breathtaking view of nothern Central Java.



Borobudur Tour
Duration : 8 Hrs 45 Mins
07:30 Tanjung Emas,Departure
08:45 - 09:15 Eva Coffee Plantation, Bedono
10:15 – 12:15 Borobudur
12:30 – 13:30 Lunch
14:30 – 15:00 Eva Coffee Plantation, Bedono
16:15 Tanjung Emas, Arrival

Bedono and Tlogo Plantation
Duration : 8 Hrs
08:00 Tanjung Emas,Departure
09:00 - 11:20 Tlogo Plantation
11:30 – 12:30 Lunch
13:00 Train Museum
13:10 – 14:05 Steam Engine Train Side
16:00 Tanjung Emas, Arrival


Source: Cruising Indonesia by Ministry of Culture and Tourism Republic of Indonesia

Minggu, 25 Maret 2012

Cruising DKI Jakarta

DKI Jakarta, the capital of Indonesia is the melting pot of people from different cultures, traditions, races, religions, education backgrounds and social status. Here, the traditional and modern, rich and poor, spiritual and material live side by side in their daily activities. DKI Jakarta is the heart of the Indonesian economy, it is estimated that over 70% of the total money in Indonesia circulates in Jakarta.

DKI Jakarta was founded in 1572, when Sultan Fatahillah attacked and took over this area (formerly known as Sunda Kelapa) and renamed it as Jayakarta, which means victory. In 1619, the Dutch under the command of Jan Pieterszoon Coen attacked Sunda Kelapa and renamed it Batavia and since then this city became centre for trade and the most important city in the archipelago. Batavia was known as "The Queen of The East" to the European. In 1942 the Japanese took over the city and renamed it Jakarta.

The indigenous of Jakarta are called Betawi. They now live and survive among the migrants who have become the majority of the population. Despite the intense influences of the modern world, one can still see the old tradition of the Betawi people in certain areas. The Ondel-Ondel parade is one of the typical Betawi traditions that involves giant mascots dressed in Betawi traditional outfits with colorful ornaments. This parade is held during special events.

Today, DKI Jakarta has been expanding its tourism related facilities, such as accommodation, meeting and conference, its golf courses, dining, nightlife, shopping malls, tourist attractions, heritage, and others. As the main gateway to Indonesia, there are plenty of convenient connecting flights to other major cities in Indonesia from Soekarno-Hatta, the international airport of DKI Jakarta.  

Places of Interest
Port of Tanjung Priok
Taman Mini Indonesia Indah (Indonesia Miniature Park)
This miniature park of Indonesia was a museum of Indonesian culture and traditions. It gives visitors an overview of the entire Indonesia archipelago, its geography, arts, cultures, customs and traditions. Every province in Indonesia is represented by a model of their most representative architectural style. Taman Mini is one must see when visiting DKI Jakarta.


National Monument (Monas)
Monas ( Monumen Nasional) is a 137 meters high monument that represents Lingga (symbol of fertility) and national independence. The monument was commissioned by Soekarno, the first President of Republic of Indonesia in 1961 to commemorate Indonesian Independence. On the top of monument, there is a bronze flame (spirit of revolution) coated with 25kg of gold leaf.



 National Museum
This museum was built in 1778, inspired by group of Dutch intellectuals and collectors. JCM Radermarcher, donated a building and his collection of cultural objects and book. in 1962 the museum was handed to the Indonesian Government and became the central museum. In the National Museum today, there are nearly 200,000 cultural objects comprising several collections in the fields of prehistory, archeology, ethnography, plastic art, numismatic/heraldic, ceramics, geography, and historical relics.

Sunda Kelapa
This area is locally known as Pasar Ikan or the fish market. Every morning, the catch is auctioned and includes squids, shell and lobsters. Sunda Kelapa is also an inter-island port where visitors can come to see traditional wooden sailboats. Among the most interesting sailboats are the world famous schooners from South Sulawesi which still sail the sea, carrying merchandise as they did centuries ago.




The Flea Market
This flea market in Jakarta is located in Jalan Surabaya. There are stalls along the street offering antiques, such as ornate lamps, porcelain, brassware, handicrafts, bags, and others. You will need skill to distinguish the authentic from the imitations and then to bargain the price down.





Bogor Botanical Garden
Bogor Botanical Garden has a reputation as a major center for Botanical research in Indonesia. The garden adjoins the Bogor Presidential Palace and is located in the city center of Bogor, 60 Kms south of Jakarta. The garden was officially opened in 1817 and originally used for research to grow and develop plants and seeds from all parts of Indonesia for cultivation. There are over 15,000  species of  trees and  plants,      3,000 variety of orchids, nearly 400 types of exceptional palms that becomes home of many varieties of birds.

Jakarta - Tours Schedule 

Indonesia in Miniature (Taman Mini)
Duration : 4 Hours 30 Minutes
08:30 Tanjung Priok,Departure
09:45 – 10:45 Museum Purna Bhakti
11:00 – 12:00 Taman Mini Indonesia Indah
13:00 Arrive to the pier side


Jakarta City Sightseeing
Duration : 3 Hours 50 Minutes
08:00 Tanjung Priok,Departure
08:30 Sunda Kelapa
09:30 – 09:40 Photo Stop at National Monument and Presidential Palace
09:45 – 10:45 National Museum
11:30 – 12:00 Batik Workshop
13:30 Tanjung Priok, Arrival


The Bogor Botanical Garden
Duration : 4 Hours
08:00 Tanjung Priok,Departure
09:15 – 10:45 Bogor Botanical Garden
12:00 Tanjung Priok, Arrival


Source: Cruising Indonesia by Ministry of Culture and Tourism Republic of Indonesia

Ngaben Ceremony

Ngaben Ceremony  or the Cremation Ceremony is the ritual performed to send the dead through the transition to his next life. The village Kul Kul, hanging in the tower of the village temple, will sound a certain beat to announce the departure of the deceased. The body of the deceased will be placed at Bale Delod, as if he were sleeping, and the family will continue to treat him as if he were still alive yet sleeping. No tears are shed, for he is only gone temporarily and he will reincarnate into the family.

Actually Ngaben comes from the word "Beya" means the provision, which is a kind upakara required in the cremation ceremony. Beya said that means the stock, then in the Indonesian language to be charged or "prabeya" in Bali. people who hold Beya in Balinese called "meyanin". Ngaben or meyanin said, has become the standard language, to name but a ceremony of "sawa wedhana".What is clear is ceremony meyanin cremation or organization sawa (bodies) for a deceased person.In other languages ​​in Bali, which connotes a smooth, cremation is called Palebon, which comes from the meaning prathiwi dust or soil. Palebon means making prathiwi (ash).

To make the land there are two ways, namely by burning and planting into the ground. But burning is most rapid. Place to process a land called "pemasmian" and called tunon their area. Tunon derived from the word "tunu" which means to burn. While pemasmian derived from the word meaning Exterminate destroyed. Another Tunon he says is "Setra" or "sema". Setra means tegal. While the sema derived from the word meaning smasana Durga. Humans consists of two elements, namely: Physical and Spiritual. According to Hinduism man is composed of three layers, namely Raga Sarira, Suksma relics, and the Antahkarana Sarira. Sarira sport is rough body, the body that is born of passion (ragha) between mother and father. Suksma Sarira astral body or the body is composed of soft body such as thoughts, feelings, desires, and passions (Citta, Manah, Indriya, and ahamkara). Antahkarana Sarira is the cause of life or Sanghyang Atma. When a human dies, Suksma Sarira by Atma will leave the body. Atma which had so long united with the relics, the relics Soul confines, difficult to leave the agency. Though the body is not able to function, because some parts are damaged. This is a suffering for the Atma.For not too long hindered the departure of Atma, the body needs to speed up the ballpark ceremony return to its source in nature. Similarly, for the Atma should be made to go into nature ceremony Pitra and decided attachment to the body ballpark. This process is called cremation. If the cremation ceremony is not held within a period of time, the body would be roughly the seeds of disease, called bhuta cuwil, and atma will get to hell.

 Purpose of cremation ceremonies in principle are:
 *Removing the Atma from earthly ties.
 *To get the safety and enjoyment.
 *To get the morning heaven Pitra.

The proper day of the ceremony is always a matter of consulting a specialist on ceremony days. On the day of the ceremony, the body of the deceased is placed inside a coffin. This coffin is placed inside a sarcophagus resembling a buffalo (Lembu) or in a temple structure (Wadah) made of paper and wood. The buffalo or temple structure will be carried to the cremation site in a procession. The procession is not walking in a straight line. This is to confuse bad spirits and keep them away from the deceased. The climax of Ngaben is the burning of the whole structure, together with the body of the deceased. The fire is necessary to free the spirit from the body and enable reincarnation. Ngaben is not always immediately performed. For higher caste members it is normal to perform the ritual within 3 days. For lower caste members the deceased are buried first and later, often in a group ceremony for the whole village, cremated.

PLEASE leave COMMENTS.I appreciate them a lot!
They make me SMILE.

Selasa, 20 Maret 2012

Lembah Baliem Festival

Lembah Baliem Festival is gathering of tribe in Papua. The main point of interest of the festival will be the massive tribal attraction involving different tribes living on the villages around Baliem Valley such as Dani, Lani and Yali tribe. All tribes group will deliver their envoy to attend the festival while bringing all tribes attributes, kotekas, art and craft. Lembah Baliem Festival  is a right chance to observe the rich culture of the hinterland.



Baliem Valley area is mainly occupied by three main big clan, namely Dani, Yali, and Lani. They have different phisical feature, culture and way of life as well as unique custom. Many kinds of tribal attraction will be performed by the stone - age tribe group. Among them are the Mocked War, Pig Feast, Earth Cooking Ceremony, Traditional Mouth Harpa, etc.To show the stimulation of war, Kampung Wosiala, Village Wosilimo Kurulu District, the local government has prepared a plot of land with a wide field about 400m x 250m, which can display the war show about dancers 500-1000

Staging war games are usually scheduled for 2 days with displays of tribal warfare about 26 war group consisting of 30-50 people per group. Then in a separate area also featuring traditional music game pikon created from the bark, called in his mother tongue "Hite" (bark to bow). While the song being played is an expression of the hearts of the music player in the ring and then played back to console her and the listeners. Interestingly, not everyone can play the Baliem Valley of the instrument, as it requires special expertise.

Special attractions Sege throwing and archery competitions devoted to international tourists in honor of his visit. Foreign tourists can also try to live the culture by wearing koteka Baliem Valley and blacken his body as the ancient natives, so that helped liven up the atmosphere of the festival.

To achieve Jayawijaya district, can only be reached by traveling through air transport (aircraft), and require considerable expense, but the satisfaction you will be paid off if you watch the whole Baliem Valley Festival activities and witnessed firsthand the true life of the Dani, Yali, and Lani tribe. To be able to get to the Baliem Valley, visitors must pass through the main airport in Papua province, the Sentani Airport. Sentani airport can be accessed by using maspakai flight from Jakarta, Surabaya, and Manado. On arrival at Sentani Airport, visitors can go on with the aircraft Hercules and Twin Otter to Wamena, the capital of Jayawijaya.

Wamena Baliem Valley currently has some jasmine-class hotel is quite comfortable include: Hotel Baliem Pilamo, Ranu Jaya I and II, Baliem Valley Resort, Hotel Orchid, Hotel Nayak as well as some traditional inn (honai) that has been created especially for foreign guests countries that want to enjoy life as the local community. Everything can be reached with relatively low prices. WELCOME! Here too you can come together and mingle with the people who still hold fast to traditions that may be far different from what we have. All that is found in the Baliem Valley will surely make your trip will always be fond of all time.

The Gamelan

The music of the gamelan, played often for the pleasure of the hearers, has also special compositions reserved for ceremonial occasions.

In Bali, for example, the gamelan is an integral part of religious life of the community in that it forms the sonorous background of ceremonies and prayers in the temples. When the Balinese march in procession, carrying the images of the gods, to the sea, they are accompanied by a special melody of the gamelan  called the "bleganjur". For the cremation ceremonies , the "gambang" composition is played. And the "sanghyang" with vocal accompaniment is performed during the sacred dance of little girls in trance.


In Java too, specific compositions are played for weddings, and for official or religious ceremonies. One of the principal occasions for the playing of the gamelan is the shadowplay during which performance the three successive states of mind are of primary importance for the corresponding accompaniment. Hence the most fundamental feature of gamelan music for the accompaniment of the shadowplay, is the tonality of the melody chosen to correspond to the mood of the play during its various phases.

The choice of tone c.q. tonality is particularly important since the change of key, across the successive acts of the repertoire to recite, symbolizes the quest of man straining towards the highest significance of life. The act begins with the base key called "patet nem", but at midnight, the mood changes and the gamelan passes on to a higher key; the music then corresponds to the most calm and mysterious moment of the night. When dawn arrives and life begins anew, the orchestra passes to a higher key and plays a vivid melody. The change of tonality punctuates the different phases of the repertoire, it symbolizes the slow rise of the subject matter across human desires to the final intelligence of the divine. Thus the shadowplay and its gamelan music accompaniment are no longer a simple diversion, but contain a vigorous moral and acquire a metaphysical significance.

For a wayang kulit performance the Javanese gamelan orchestra may consist of some stringed instruments like the rebab (a bi-or sometimes tri-chord violin type) and the chelempung ( a Javanese zither), a wind instrument the suling ( a bambo0 flute) and of some percussion instruments like the kendang ( a type of Javanese drum ), the gender (a Javanese metallophone instrument), the gong, etc.

The Balinese gamelan accompaniment, however, is much simpler in strength and consists only of some gender instruments for such performance. The gamelan plays then a polyponic dramatical music composed either on pentatonic scale called the selendro, or on a diatonic scale called the pelog, such according to the nature of the acts of the shadowplay.

Selendro: A pentatonic scale of five notes, i.e. barang-gulu-dada-lima-nem, on the base of three patet's (read : tonality), i.e. patet nem, patet manyura, and patet sanga.

Pelog: A diatonic scale of seven notes, i.e. bem-gulu-dada-pelog-lima-nem-barang based on four patet's, i.e. patet lima, nem, manyura, and barang.

However, in the practice only three of these patet's are used for wayang kulit performance. Briefly, each patet of both scales the selendro and the pelog, is put in accordance with one of the three periods of the wayang kulit theater as indicated by the following schedule:

Key 1st Period, Eve 2nd Period, Midnight 3rd Period, Dawn
Selendro patet nem patet sanga patet manyura
Pelog patet lima patet nem patet barang 

The difference between the selendro and the pelog lies in the scale systems employed by each, however, neither of the two are corresponding with the note intervals of Westrn music.
When using a specific measurement, first introduced by the physicist Ellis, the so-called 'cent' inwhich a whole tone is measured by 200 cent and a half tone by 100 cent, the selendro and the pelog scale can be denoted by undermentioned table:
Selendro:
Barang  -  Gulu  -  Dada  -  Lima  -  Nem  -  (Barang-alit)
         240c      240c     240c      250c      240c

Pelog:
Bem  -  Gulu  -  Dada  -  Pelog  -  Lima  -  Nem  -  Barang  -  (Bem-alit)
      120c     150c      240c      150c     120c      150c        270c

In general the selendro system is used a.o to accompany a wayang kulit performance, although in the coastal regions of Central java only the pelog is prevailing for such occasion and the selendro plays the role of giving some variations from time to time to the whole gamelan composition.

Sabtu, 17 Maret 2012

Wayang (Puppet)

The word Wayang (Puppet) probably derived from the word `Wewayangan ', which means shadow or a reflection of the properties that exist in the human soul, like wrath, righteousness, greed, and others. Conjecture is consistent with the fact the Shadow Puppet performances that use "Kelir (a piece of cloth)", as a barrier between the puppeteer who plays the puppet, and the audience behind the curtain. The audience only saw the puppet movements through the shadows that fell on the kelir (a piece of cloth) . At that time the wayang accompanied only by a simple set of gamelan consist of saron, todung (a type of flute), and kemanak. Another type of gamelan and singer at that time there has been no suspected. The play is performed by a " Dalang (puppeteer)" who is assisted by several gamelan players and one or two people waranggana as a vocalist. In addition, a puppeteer sometimes also have a special assistant to him, in charge of organizing puppet before the game started and prepare for that kind of puppet figures will be needed by the mastermind of presenting the story. Mastermind function here is to set the course of the show as a whole.
It was he who led all crewnya to yield in the story line is presented.

Even to the small scene there must be solidarity among all the art crew.Thus, in addition required to be able to appreciate each character of the existing characters in the puppet, a puppeteer also have to understand about gending (song). Design floor puppet used in the game are straight lines, and in playing puppet, a puppeteer is limited by the base used to stick puppets. In the puppet show known set of right and left set.
Right Set is a collection of figures or warrior-knight leader defenders of truth and virtue, while the left set of figures is the place insolence. However this provision is not absolute.

Performances for a long time the play is about 7 to 8 hours. Musical instruments used in the accompanying puppet show is a complete Javanese gamelan pelog and slendro, but if not complete, and commonly used is the only type of slendro. Female of singer in the music called waranggono  can be one person or more. In addition, there is still a male vocalist called penggerong or wirasuara, which number 4 to 6 people and served to accompany waranggana dengan voice "choir". Male vocalist can be provided exclusively or concurrently by the gamelan players, so it is also penggerong gamelan. In determining the play to be presented a puppeteer can not just choose according to his will.
He was limited by several factors.
Among them are:
(1) types of puppets are used as a demonstration tool;
(2) confidence in the surrounding community;
(3) the purposes of holding of the show.
Will affect the type of puppet theater that can be presented through the puppets.
A set of " Wayang Kulit (Puppets made from leather) for example can only be used to play the stories from the Mahabharata or Ramayana .
Wayang Kulit (Puppets made from leather) can not be used to display the chronicle Menak. Instead the "Wayang Golek" can not be used for performing Mahabharata, is because there are characters who figure in these puppets had been made ​​for the staging of the specific stories.

In some communities, particularly rural communities, who still adhere to traditions and customs of the relics of his ancestors, we meet a lot of taboos of a particular play for a puppet show. Most of the people for example assume that the play was staged in Bharatayuda taboo for marriage ceremonies. If the restrictions are violated, people believe that the family will be in trouble. Whether there will be a family member who died, there would be a divorce in the family, or other catastrophe. In rural areas are still a lot we meet ceremonies organized by the puppet show.To a certain ceremony, staged puppet plays also certain.
At the ceremony the village clean, that salvation after the harvest, the play should be performed is "Kondure Dewi Sri" (Dewi Sri go home), while the ceremony "ngruwat" the figure is Batara Kala. In addition to these restrictions puppet theater often also determined by demand or the agreement between the puppeteer and the puppet responders.

Puppet one of the nation's top arts and culture of Indonesia's most prominent among the many works of other cultures. Include the role of puppet art culture, the art of singing, music, speech arts, literary arts, painting, sculpture, and art is also symbolic. Puppet culture, which continues to grow from age to age, also a lighting media, propaganda, education, entertainment, philosophical understanding, as well as entertainment.

History of Wayang (Puppet)
On the history of this puppet, in the world there are two opinions. First, the notion that puppets originated and was first born on the island of Java, specifically in East Java. This opinion is in addition to adopted and raised by the researchers and experts from Indonesia, also the result of research of Western scholars. Among Western scholars belonging to this group, is Hazeau, Brandes, Kats, Rentse, and Kruyt.
The reason they are strong enough. Among other things, that the art of the puppet is still very closely related to sociocultural and religious nation state of Indonesia, especially the Javanese. Panakawan, the most important figures in the puppet, which Semar, Gareng, Petruk, Bagong, there are only puppets in Indonesia, and not in other countries. In addition, the puppets names and technical terms, it all comes from the Javanese and no other language

Meanwhile, a second opinion suspect puppets from India, who brought along with the Hindu religion to Indonesia. They include Pischel, Hidding, Krom, Poensen, Goslings, and Rassers. Much of this second group is the British scholar, the European country that once colonized India.

However, since the 1950's, the books seemed to have agreed that wayang puppet originated from Java, and was not imported from other countries.
 Puppet culture in Indonesia is estimated to have been born at least in the reign of King Airlangga, king Kahuripan (976 -1012), ie, when the kingdom in East Java was-prosperous prosperous. Literary works are the subject of puppet story was written by the poet Indonesia, since the X century Among other things, literary manuscript Book of Old Javanese Ramayana Kakimpoi language written in the reign of Dyah Balitung (989-910), which is a spin-off from the Book of the Ramayana written by Indian poet, Valmiki. Furthermore, the poets of Java is no longer just translate the Ramayana and the Mahabharata into Old Javanese language, but it is composed and recounted by incorporating into it the philosophy of Java. For example, the work of Professor Kanwa Arjunawiwaha Kakimpoi, which is composed by a berinduk on the Book of Mahabharata. Composition different from other, more tangible version of the original story derigan India, is a master work of Baratayuda Kakimpoi Panuluh Sedah and master. This masterpiece is done during the reign of King Jayabaya, Kediri king (1130-1160).

Puppet as a performance and spectacle had already started there since the reign of King Airlangga. Some inscriptions are made in those days, among others already mentioned the words "mawayang 'and` aringgit' which means that the puppet show.
since the early days of the Majapahit Kingdom introduced another wayang stories are not from the Ramayana and the Mahabharata Book. Since then Panji stories; the story of the ancestors of the kings of Majapahit, was introduced as one form to another puppet. Flag story is then used to show more Wayang Beber. Menjawakan tradition of wayang stories are also forwarded by some Islamic scholars, among them by the Wali Sanga. They began mewayangkan story Majapahit kings, among them the story Damarwulan.
Introduction of Islam to Indonesia since the 15th century is also a big influence on the cultural shadow puppets, especially the religious concept of the philosophy of the puppet. At the beginning of the 15th century, the time of the Kingdom of Demak, began to use specially-shaped oil lamp called Blencong on Shadow Puppet performances.
Since the days of Kartasura, composing a puppet story in the Ramayana and Mahabharata  farther away from the original. Since the days of the fans that know the genealogy of wayang puppet figures, including the god figure, which originated from the Prophet Adam The genealogy continues to come to the kings of the island of Java. And further, began to be known are the stories grip puppet. the appropriate standard of stories, puppets and stories carangan out of the standard line. In addition there is another offshoot called "Wayang Sempalan" the play, which was too far out of the story grip.

Indeed, so strong as puppet art is rooted in the culture of Indonesia, so there was some confusion between the wayang stories, legends, and history. If the Indians thought that the story of Mahabharata and Ramayana actually happened in his country, a Javanese wayang story even consider actually happened on the island of Java.
And in the Kulonprogo East Java puppet is still very interested by all ages. Not only by parents, but also teenagers and even young children have also always to see a puppet show. Besides, the puppet is also commonly used in certain events in the area Kulonprogo, both in urban areas or in rural areas Wates in Kulonprogo.

Types of puppets:
Wayang Kulit (Shadow Puppet)
As the name implies, "Wayang Kulit " puppets made ​​of leather animals (buffalo, cow or goat).Wayang Kulit  are used to demonstrate the act of the play chronicles the Mahabharata and Ramayana, therefore also called Wayang Purwa. Until now a puppet show in addition to entertainment facilities is also a part of traditional ceremonies such as: clean village, ngruwat and others.To perform a puppet show in full is required by about 18 supporters.One person as a puppeteer, two people as waranggana, and 15 people as gamelan wiraswara concurrently. Average performances in one night is 7 to 8 hours, from 21:00 hours to 05:00 hours in the morning. When done in the daytime show usually starts from 09.00 to 16:00 hours. Place a puppet show stage set up with the concept of abstract. Arena stage consists of a screen of white cloth as a means of technical and placed under the banana stem to stick puppets. In the puppet show, a number of scenes in the play can not be determined. This scene number will vary based on the play that was shown or hanging behind it. As a pre-show is drumming that has nothing to do with the main story, so it is just as heated atmosphere or introductory course to get into the actual show. As a guide in presenting puppet show usually a puppeteer would use a grip puppetry books.
Wayang kulit, shadow puppets prevalent in Java and Bali in Indonesia, are without a doubt the best known of the Indonesian wayang. Kulit means skin, and refers to the leather construction of the puppets that are carefully chiseled with very fine tools and supported with carefully shaped buffalo horn handles and control rods.
The stories are usually drawn from the Ramayana, the Mahabharata or the Serat Menak.


There is a family of characters in Javanese wayang called Punakawan; they are sometimes referred to as "clown-servants" because they normally are associated with the story's hero, and provide humorous and philosophical interludes. Semar is the father of Gareng (oldest son), Petruk, and Bagong (youngest son). These characters did not originate in the Hindu epics, but were added later, possibly to introduce mystical aspects of Islam into the Hindu-Javanese stories. They provide something akin to a political cabaret, dealing with gossip and contemporary affairs.
The puppets figures themselves vary from place to place. In Central Java the city of Surakarta (Solo) is most famous and is the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found in West Java, Banyumas, Cirebon, Semarang, and East Java. Bali produces more compact and naturalistic figures, and Lombok has figures representing real people. Often modern-world objects as bicycles, automobiles, airplanes and ships will be added for comic effect, but for the most part the traditional puppet designs have changed little in the last 300 years.
Historically, the performance consisted of shadows cast on a cotton screen and an oil lamp. Today, the source of light used in wayang performance in Java is most often a halogen electric light. Some modern forms of wayang such as Wayang Sandosa created in the Art Academy at Surakarta (STSI) has employed spotlights, colored lights and other innovations.
The handwork involved in making a wayang kulit figure that is suitable for a performance takes several weeks, with the artists working together in groups. They start from master models (typically on paper) which are traced out onto kulit (skin or parchment), providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A further smoothing follows before individual painting, which is undertaken by yet another craftsman. 

Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week.
The painting of less expensive puppets is handled expediently with a spray technique, using templates, and with a different person handling each color. Less expensive puppets, often sold to children during performances, are sometimes made on cardboard instead of leather.

Wayang topeng or wayang gedog or wayang wong

Wayang wong also known as Wayang orang (literally human wayang) is a type of theatrical performance with themes from the kingdom of Jenggala, in which the players wear masks known as wayang topeng or wayang gedog. The word "gedog" comes from "kedok", which, like "topeng" means "mask". The main theme is the story of Raden Panji and Candra. This is a love story about princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the crown prince of Jenggala. Candra Kirana was the incarnation of Dewi Ratih (goddess of love) and Panji was an incarnation of Kamajaya (god of love). Kirana's story was given the title "Smaradahana" ("The fire of love"). At the end of the complicated story they finally can marry and bring forth a son, named Raja Putra. Panji Asmarabangun ruled Jenggala under the official names "Sri Kameswara", "Prabu Suryowiseso", and "Hino Kertapati". Originally, wayang wong was performed only as an aristocratic entertainment in four palaces of Yogyakarta and Surakarta. In the course of time, it spread to become a popular and folk form as well.
Wayang wong has fixed patterns of movement and costume:
For male performers:
  • Alus: very slow, elegant and smooth movement. For example, the dance of Arjuna, Puntadewa and all other slimly built Kshatriyas. There are two types of movement, lanyap and luruh.
  • Gagah:
    • Kambeng: a more athletic dance, used for the roles of Bima, Antareja, and Ghatotkacha.
    • Bapang: gagah and kasar for the warriors of Kaurawa.
    • Kalang kinantang: falls somewhere between alus and gagah, danced by tall, slim dancers in the roles of Kresno or Suteja.
  • Kasar: a coarse style, used in portraying ogres and demons.
  • Gecul: ponokawan and cantrik
    • Kambeng dengklik: for ape warriors, such as Hanuman.
    • Kalang kinantang dengklik: for ape warriors, such as Sugriwa and Subali.




For female performers: Kshatriya noblemen. Costumes and props distinguish kings, Kshatriyas, monks, princesses, The movements known as nggruda or ngenceng encot in the classical high style of dance consist of nine basic movements (joged pokok) and twelve other movements (joged gubahan and joged wirogo) and are used in portraying Bedoyo and Srimpi.
Today, the wayang wong, following the Gagrak style of Surakarta, is danced by women. They follow the alus movements associated with a Kshatriya, resembling Arjuna. Following the Gagkra style from Yogyakarta a male dancer uses these same Alus movements to depict princes and generals. There are about 45 distinct character types.

Wayang Golek (Rod Puppets)

Wayang golek are wooden doll puppets that are operated from below by rods connected to the hands and a central control rod that runs through the body to the head. The simple construction of the puppets belies their versatility, expressiveness and aptitude for imitating human dance. Little is known for certain about the history of wayang golek, but scholars have speculated that it most likely originated in China and arrived in Java sometime in the 17th century. Some of the oldest traditions of wayang golek are from the north coast of Java in what is called the pasisir region. This is home to some of the oldest Muslim kingdoms in Java and it is likely the wayang golek grew in popularity through telling the wayang menak stories of Amir Hamza, the uncle of Muhammad. 

These stories are still widely performed in Kabumen, Tegal, and Jepara as wayang golek menak, and in Cirebon, wayang golek cepak. Legendary origins of wayang golek attribute their invention to the Muslim saint Wali Sunan Kudus, who used the medium to proselytize Muslim values. In the 18th century the tradition moved into the mountains of West Java where it eventually was used to tell stories of the Ramayana and the Mahabarata in a tradition now called wayang golek purwa, which can be found in Bandung, Bogor and Jakarta. Wayang golek purwa has become the most popular form of wayang golek today and the most famous puppeteer family is the Sunarya family which has produced several generations of stellar performers.

Wayang Karucil or Wayang Klitik
Wayang klitik figures occupy a middle ground between the figures of wayang golek and wayang kulit. They are constructed similarly to wayang kulit figures, but from thin pieces of wood instead of leather, and, like wayang kulit figures, are used as shadow puppets. A further similarity is that they are the same smaller size as wayang kulit figures. However, wood is more subject to breakage than leather. During battle scenes, wayang klitik figures often sustain considerable damage, much to the amusement of the public, but in a country in which before 1970 there were no adequate glues available, breakage generally meant an expensive, newly made figure. On this basis the wayang klitik figures, which are to appear in plays where they have to endure battle scenes, have leather arms. The name of these figures is onomotopaeic, from the sound klitik-klitik, that these figures make when worked by the dalang.
Wayang klitik figures come originally from eastern Java, where one still finds workshops turning them out. They are less costly to produce than wayang kulit figures.
The origin of the stories involved in these puppet plays comes from the kingdoms of eastern Java: Jenggala, Kediri and Majapahit. From Jenggala and Kediri come the stories of Raden Panji and Cindelaras, which tells of the adventures of a pair of village youngsters with their fighting cocks. The Damarwulan presents the stories of a hero (Damarwulan) from Majapahit. Damarwulan is a clever chap, who with courage, aptitude, intelligence and the assistance of his young lover Anjasmara, makes a surprise attack on the neighboring kingdom and brings down Minakjinggo, an Adipati (viceroy) of Blambangan and mighty enemy of Majapahit's beautiful queen Sri Ratu Kencanawungu. As a reward, Damarwulan is married to Kencanawungu and becomes king of Majapahit; he also takes Lady Anjasmara as a second wife. This story is full of love affairs and battles and is very popular with the public. The dalang is liable to incorporate the lawayang local gossip and quarrels and work them into the play as comedy.

Wayang beber

The wayang beber has strong similarities to narratives in the form of illustrated ballads that were common at annual fairs in medieval and early modern Europe. They have also been subject to the same fate—they have nearly vanished. Chinese visitors to Java during the 15th century described a storyteller or unrolled scrolls and told stories that made the audience laugh or cry. A few scrolls of images remain from those times, found today in museums. There are two sets, hand-painted on hand-made bark cloth, that are still owned by families who have inherited them from many generations ago, in Pacitan and Wonogiri, both villages in Central Java. Performances, mostly in small open-sided pavilions or auditoriums, take place according to the following pattern:
The dhalang (puppeteer, narrator) gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with a rebab (violin-like instrument held vertically) begins to play and the dhalang unrolls the first scroll of the story. Then, speaking and singing, he narrates the episode in more detail. In this manner, in the course of the evening he unrolls several scrolls one at a time. Each scene in the scrolls represents a story or part of a story. The content of the story typically stems from the Panji romances which are semi-historical legends set in the 12th-13th century East Javanese kingdoms of Jenggala, Daha and Kedhiri, and also in Bali.

Wayang Sadat

Sadat puppet that is a form of folk art of shadow puppets, but the characters and the story is the history of Islam is taken from the end of the Majapahit empire until the beginning of the Mataram kingdom. This puppet is played day and night by a puppeteer with gamelan accompaniment. This newly developed form is used by teachers of Islam to show the principles of Muslim ethics and religion to the natives of Java and Bali.

 About the birth culture of puppets, Ir. Sri Mulyono in his book, Symbolism and Mysticism in the Puppet (1979), estimates wayang existed in Neolithikum, ie approximately 1,500 years before Christ. His opinion was based on the writings Robert von Heine-Geldern Ph. D, Prehistoric Research in the Netherland Indies (1945) and Prof. writing. K.A.H. Hidding in the Encyclopedia of Indonesia page 987
UNESCO designated Wayang Kulit, a shadow puppet theater and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003. In return of the acknowledgment, UNESCO demanded Indonesia to preserve their heritage.

Of the 12 World Heritage owned by Indonesia as many as four of them in nature, the three cultural heritage, and five intangible heritage.

For the natural heritage of the world, according to him, consisting of Ujung Kulon National Park (Banten), Komodo National Park in East Nusa Tenggara (NTT), Lorentz National Park in Papua, and the tropical forests of Sumatra (Gunung Leuser National Park, Kerinci Seblat, and Bukit Barisan). 


While for the sanctuary of Borobudur Temple complex which UNESCO recognized since 1991, Prambanan Temple complex (1991), and The Prehistoric Site Sangiran.
 

Indonesia's Intangible Heritage that have been and will be recognized by UNESCO, namely Wayang (Masterpiece of the Oral and Intangible Heritage of Humanity, 2003), Keris ( Masterpiece of the Oral and Intangible Heritage of Humanity, 2005), Batik (a Representative list of the Intangible Cultural Heritage of Humanity, 2009), Angklung (a Representative list of the Intangible Cultural Heritage of Humanity, 18 November 2010) and Tari Saman (a Representative list of the Intangible Cultural Heritage of Humanity,19 November 2011).