LABUHAN ALIT
During his reign, Panembahan Senopati was in love affair with Kanjeng Ratu Kidul. This authority of the South Sea was willing to help Panembahan Senopati in all of his problems and Panembahan was requested to give offerings to Kanjeng Ratu Kidul. This is the legend and the belief of the local community.
The Commemoration of the Sultan Coronation
Labuhan Alit is part of the commemoration of the Sultan coronation. The ceremony is started in Parang Kusumo beach and ended in the Merapi and Lawu Mountains at the same time.
The offering to the sea (labuhan) was initiated by Panembahan Senopati as being grateful to the continuation of Mataram Kingdom and to pray for the safety of the Sultan of Yogyakarta Kingdom and Yogyakarta people.
Labuhan comes from the word labuh that means to float offerings to the sea. Labuhan Alit that used to be done twice a year is changed to once a year by Sri Sultan Hamengku Buwono X; only on the commemoration day of his coronation. Labuhan Agung is done once every eight years.
The Place and the Implied Meaning
The ceremony of Labuhan Ageng is done based on Dal year, thus it is only done once in eight years. The goods are divided into four to be floated in Parangkusumo beach, and to be offered in Merapi Mountain, Lawu Mountain and Dlepih Kahyangan. Those four locations were selected based on the consideration that those places were used by the kings of Mataram (especially Panembahan) to isolate himself and to communicate with the spirits.
On the other hand, Labuhan Alit is done every year. This ceremony usually does not include Dlepih Kahyangan as the offering place. Local community has the belief that Ratu Kidul will get angry if they stop giving the offerings; genies and evil spirits will be sent to spread diseases and calamities.
Two main places, namely Pantai Kidul and Merapi Mountain, are symbols of harmony between human being and nature. The South Ocean is element of water and Merapi Mountain as element of fire; a wisdom to harmonize human being and their dwelling places.
Procession and the Goods to be Offered
The labuhan is started with the ritual of pasrah penampi (handing over offerings) from the representative of Yogyakarta Kingdom to the Regent of Bantul in Kretek Sub-District hall. After that, the articles of the offerings are brought to Parangkusumo hall to be checked out before they are handed over to the caretaker of Parangkusumo beach, as well as to be prayed. The praying is done is a certain location in Parangkusumo beach where there is a stone that is believed to be the meeting place of Panembahan and Ratu Kidul.
After saying the prayer, one of the offerings containing Sultan's used clothes, fingernail, and hair of one year period is planted at the corner of the place while spreading flowers and burning incense.
The rests of the offerings consisting of nine sheets of clothes with different styles and colors, money as much as five hundred rupiah placed on them, special oil, incense, some kinds of dried flower, residue of water used to wash sacred weapons, and traditional cookies are carried on a litter passing through the pathway leading to the seaside on which both sides are bordered with poles.
The articles are then floated to the sea. When the offerings are sent back to the shore by the waves, people rush to get them. Those articles are believed to bring luck. YogYES that had the opportunity to see the ceremony considered it one of the appeals of the ceremony itself.
The King servants then leave for Merapi Mountain. Before labuhan, the articles in the forms of nine rice cones and one uluwetu huge cone are brought from Palemsari village to the house of the Merapi Mountain caretaker to be prayed and stayed a night.
The procession of the offering is accompanied with a dancing fragment entitled Wahyuning Mongsokolo Labuhan, traditional arts such as jathilan, uyon-uyon and karawitan. In the following night, there will be performance of leather puppet entitled Semar Bangun Kahyangan. In the next early morning the offerings are brought to the second post at the southern part of Merapi Mountain foot. Merapi offering giving is done at the same time with the one done in Lawu Mountain in Karanganyar, Central Java.
You can check with our updated calendar of events to see the ceremony.
When you have the opportunity to see this ceremony, you will get spiritual experience in addition to awareness that the existence of human being and nature is inseparable; a fusion of culture and religion that touch your soul.
PESAN - PESAN PERJUANGAN ATAU KATA MUTIARA
DARI PAHLAWAN NASIONAL
1.
Pesan Pahlawan Nasional Nyi Ageng Serang :
" Untuk keamanan dan kesentausaan jiwa, kita harus mendekatkan diri kepada Tuhan Yang Maha Esa, orang yang mendekatkan diri kepada Tuhan, tidak akan terperosok hidupnya, dan tidak akan takut menghadapi cobaan hidup, karena Tuhan akan selalu menuntun dan melimpahkan anugrahNya yang tiada ternilai harganya"
(Disampaian pada saat Nyi Ageng Serang mendengarkan keluhan keprihatinan para pengikut/rakyatnya akibat perlakuan kaum penjajah)
2. Pesan Pahlawan Nasional Jenderal Sudirman:
" Tempat saya yang terbaik adalah ditengah-tengah anak buah saya, Saya akan meneruskan perjuangan ini . Met of zonder Pemerintah TNI akan berjuang terus untuk negeri ini"
(Disampaikan pada jam-jam terakhir sebelum jatuhnya Yogyakarta dan Jenderal Sudirman sesungguhnya dalam keadaan sakit, ketika menjawab peryataan Presiden yang menasehatinya supaya tetap tinggal di kota untuk dirawat sakitnya)
3. Pesan Pahlawan Nasional Prof. DR. R. Soeharso :
" Right or Wrong my contry, lebih-lebih kalau kita tahu, negara kita dalam keadaan bobrok, maka justru saat itu lah kita wajib memperbaikinya"
(Pernyataan sebagai seorang nasionalis dan patriotis)
4. Pesan pahlawan nasional Prof. Moh. Yamin,SH
" Cita-cita persatuan Indonesia itu bukan omong kosong, tetapi memang benar-benar didukung oleh kekuatan-kekuatan yang timbul pada akar sejarah bangsa Indonesia Sendiri"
(Disampaikan pada kongres II di jakarta tanggal 27-28 Oktober 1928 yang dihadiri oleh baerbagai perkumpulan pemuda dan pelajar, dimana ia menjabat sebagai sekretaris).
5. Pesan Pahlawan Nasional Supriyadi :
" Kita yang berjuang jangan sekali-kali mengharapkan pangkat, kedudukan ataupun gaji yang tinggi"
(Disampaikan pada saat Supriyadi memimpin pertemuan rahasia yang dihadri beberapa anggota Peta untuk melakukan pemberontakan melawan pemerintah Jepang)
6. Pesan Pahlawan Nasioanl Teuku Nyak Arif :
" Indonesia merdeka harus menjadi tujuan hidup kita bersama"
(Disampaikan pada pidato bulan Maret 1945, dimana Teuku Nyak Arif menjadi Wakil Ketua DPR Seluruh Sumatra)
7. Pesan pahlawan Nasional Abdul Muis :
" Jika orang lain bisa, saya pun juga bisa, mengapa pemuda pemuda kita tidak bisa, jika memang mau berjuang"
(Menceritakan pengalamannya di luar negeri kepada para pemuda di Sulawesi, ketika Abdul Muis melakuan kunjungan ke Sulawesi sebagai anggota Volksraad wakil SI)
8. Pesan Pahlawan Nasional Pangeran Sambernyowo/KGPAA Mangkunegoro I :
- Rumangso melu handerbeni (merasa ikut memiliki)
- Wajib melu hangrungkebi ( wajib ikut mempertahankan)
- Mulat Sario hangroso wani (mawas diri dan berani bertanggung jawab)
(Merupaan prnsip Tri Dharma yang dikembangkan oleh Mangkunegoro I)
Yogyakarta Water Castle
Water Castle
Taman Sari is a water castle that is located only about 1 kilometer at the west side of the Sultan Palace, Kraton Yogyakarta. It was built on the era of Sultan Hamengku Buwana I that was finally finished by Sultan Hamengku Buwana II. He built this place by creating a new style that was a combination and a mixture of Javanese and Portuguese architecture.
Some say that Taman Sari has been built after the Treaty of Giyanti (1755). During the time, Sultan Hamengku Buwana has been dealing with battles and conflicts. Therefore, Taman Sari was intended to be a place where Sultans can find a peaceful heart and mind as a refreshing place. It was also created as a fortress to anticipate the emergency situation, as a place for worship that is also equipped with a little mosque at the Sumur Gumuling.
Taman Sari consists of:
1. The Sacred Room
There is the sacred place in the complex showing a separated building, which once functioned as a hermitage place for the Sultan and his family
2. The Bathing Pool
This part was formerly a pleasure place for the royal family. Consists of two bathing pool that are separated with a 2-storey building. From this building the Sultan watched all the women swimming in the outer pool. Then he might ask some of them to accompany him into the inner pool. The water sprouts from a forming animal statue into the pool. The pool is also adorned with some big flowerpot.
3. Kenanga or Cemeti Island
This part compounds of some building such as Kenanga or Cemeti Island (forming Island), Sumur Gemuling and underground tunnels.
Taman Sari was once a beautiful and sophisticated water-park that long time years ago was also called as 'Segaran' which is in the Javanese word means artificial sea.
Long time ago, every time Sultan visited the park, he went there by rowing a private canoe through the suspension bridge called 'Kreteg Gantung' which lay in front of the palace gate, southward or northward Kemandungan. The remainder of the building that was once connected by the suspension bridge can still be seen. Besides water transportation, there was also an underground passage or alley from the Kraton of Yogyakarta leading to one of the park buildings which is called Pasarean Ledok Sari.
Formerly, the water castle was not only a beautiful park but also the means of avoiding danger. Whenever the enemies attacked the palace, Sultan and his family would flee away through the underground passage. When all were in a safe place, the Watergate would be opened and the water would overflow the passages and the enemy would be sunk.
One part of the place was called Pulau Kenanga because in the front of the front yard of the building grew Kenanga trees (Canangium Odoratum). The flowers spread out the sweet fragrance through all parts of the park. The lofty buildings such as the pond were built especially for the Sultan and his family as a bath-place. The underground passage leading to the west area, and the bulwark which encircled the area of the palace, as well as the one which leads south ward to a small village called Krapyak, have been restored.
Versions on the Establishment of Taman Sari:
First Version
This version states that, in Mancingan (a place in beach of south Yogyakarta), there was a unknown person whom the people consider him as a spooky. He did not speak Javanese. As the people took him to Sultan Hamengku Buwana II, the king took him as a servant in the palace. Afterward, the strange man began to speak Javanese. He said that he was a Portuguese. By Sultan, He then was declared as an architect.
Sultan Hamengku Buwana II ordered him to establish a fortress. For his work, the Portuguese was promoted as a demang called Demang Portegis or Demang Tegis. It was Demang Tegis who was considered as the architect of the Taman Sari. The concept of the building was known came from Portugal seen from its art and design.
Second Version
The second version states that once upon a time, the regent of Madiun named Rangga Prawirasentika who has served Sultan Hamengku Buwana I for years asked him to be freed from the taxes obligation. Rangga Prawirasentika will agree with certain conditions if only Sultan Hemengku Buwana I asked him to complete the ornament of the palace. Sultan then agreed with the condition.
By Sultan Hamengku Buwana I, in 1684 Raden Rangga Prawirasentika was ordered to create brick stones and other materials to make a garden as a place for recreation as the result several wars. The order was marked by 'Sengkalan Memet' that stated atur Naga Rasa Tunggal' (1684).
To establish the garden, the project was led by Raden tumenggung Mangundipura and directed by K.P.H. Natakusuma, who later became K.G.P.A.A. Paku Alam I (Sultan's son from his wife Bendara Raden Ayu Srenggara). The making of Gua Siluman is begun 1687 and marked with candra sengkala Pujining Brahmana Ngobahake Pajungutan (1687). The doors and the gates, then finished in 1691.
The end of the project was marked with Sengkalan Memet 'Lajering Kembang Sinesep Peksi' (1691). It described birds that absorbed the honey of the flowers.
This version also explained that the price to create the garden was even bigger that the amount of money to be submitted for two years. Raden Rangga Prawirasentika then asked Sultan to cancel the project. Sultan agreed and ordered K.P.H. Natakusuma to finish the garden with his own money.
Nilai Estetis Tari Gambyong
Komunitas awam apalagi seniman tentu mengenal tari Gambyong. Suatu tarian yang disajikan untuk penyambutan tamu atau mengawali suatu resepsi perkawinan. Biasanya penarinya rata-rata masih muda dan parasnya cantik. Sebagai suatu bentuk performance art, tari Gambyong menjadikan santapan estetis tersendiri bagi siapa saja yang menyaksikan.
Awal mula istilah Gambyong tampaknya berawal dari nama seorang penari taledhek. Penari yang bernama Gambyong ini hidup pada zaman Sunan Paku Buwana IV di Surakarta. Penari taledhek yang bernama Gambyong juga disebutkan dalam buku Cariyos Lelampahanipun Suwargi R.Ng. Ronggowarsito (tahun 1803-1873) yang mengungkapkan adanya penari ledhek yang bernama Gambyong yang memiliki kemahiran dalam menari dan kemerduan dalam suara sehingga menjadi pujaan kaum muda pada zaman itu.
Tari Gambyong memiliki daya tarik yang sangat kuat karena estetika gerak-geraknya yang bersifat erotis. Motif-motif geraknya merupakan gerak-gerak nonrepresentatif (tan wadhag) atau gerak-gerak yang sangat distilisasi sehingga tari tersebut mempunyai teba tafsir yang lebih luas bagi penonton atau penikmat. Selain itu, motif-motif gerak yang bervariasi dengan tempo gerak yang cepat serta cekatan menjadikan tari Gambyong lebih dinamis. Juga karena spesifiknya motif-motif gerak tarinya yang disebabkan oleh tuntutan untuk dapat menimbulkan kesan erotis menjadikan penyajian tari Gambyong menarik untuk dinikmati para penonton atau penikmat.
Koreografi tari Gambyong sebagian besar berpusat pada penggunaan gerak kaki, tubuh, lengan, dan kepala. Gerak kepala dan tangan yang halus dan terkendali merupakan spesifikasi dalam tari Gambyong. Arah pandangan mata yang bergerak mengikuti arah gerak tangan dengan memandang jari-jari tangan menjadikan faktor dominan gerak-gerak tangan dalam ekspresi tari Gambyong. Hal ini dapat diamati pada gerak ukel asta (memutar pergelangan tangan) sebagai format gerak yang sering dilakukan.
Gerak kaki pada saat sikap berdiri dan berjalan mempunyai korelasi yang harmonis. Sebagai contoh, pada gerak srisig (berdiri dengan jinjit dan langkah kecil-kecil), nacah miring (kaki kiri bergerak ke samping, bergantian atau disusul kaki kanan di letakkan di depan kaki kiri), kengser (gerak kaki ke samping dengan cara bergeser/posisi telapak kaki tetap merapat ke lantai). Gerak kaki yang spesifik pada tari Gambyong adalah gerak embat atau entrag, yaitu posisi lutut yang membuka karena mendhak (merendah) bergerak ke bawah dan ke atas.
Penggarapan pola lantai pada tari Gambyong dilakukan pada peralihan rangkaian gerak, yaitu pada saat transisi rangkaian gerak satu dengan rangkaian gerak berikutnya. Sedangkan perpindahan posisi penari biasanya dilakukan pada gerak penghubung, yaitu srisig, singget ukel karna, kengser, dan nacah miring. Selain itu dilakukan pada rangkaian gerak berjalan (sekaran mlaku) ataupun gerak di tempat (sekaran mandheg).
Tari Gambyong sebagai tarian wanita mempunyai regulasi-regulasi dalam implementasi geraknya sehingga privasi geraknya tampak dibatasi. Hal ini dilakukan agar sifat kewanitaan yang halus selalu dapat dipertahankan atau ditonjolkan. Dalam tarian wanita jarang ditemukan luapan emosi, tetapi harus selalu lembut, halus, dan sopan. Sifat wanita yang ideal dan luhur ini selalu dihormati dengan ungkapan seni yang halus. Oleh karena itu, tidak ada gerak lengan yang lebih tinggi dari bahu, tidak pernah ada gerak meloncat, dan kedua paha selalu rapat. Bentuk torso (badan) wanita yang halus dan kelenturan anggota badannya menyempurnakan garis-garis kewanitaan menjadi sangat indah. Ini dapat tercapai dengan naluri dan budi pekerti yang halus. Keharmonisan
Perkembangan tari Gambyong tidak terlepas dari nilai estetis yang mengungkapkan keluwesan, kelembutan, dan kelincahan wanita. Nilai estetis ini terdapat pada keharmonisan dan keselarasan antara gerak dan ritme, khususnya antara gerak dan irama kendang. Sinergitas antara gerak dan ritme ini menjadikan tari Gambyong tampil lebih sigrak (tangkas). Nilai estetis tari Gambyong akan muncul apabila penarinya juga menjiwai dan mampu mengekspresikan dengan perfek sehinga muncul ungkapan tari yang erotis-sensual.
Busana dan rias pada tari Gambyong mempunyai peran yang mendukung ekspesi tari dan faktor penting untuk suksesnya penyajian. Bentuk rias corrective make up yang menghasilkan wajah cantik dan tampak alami, menarik untuk dilihat.
Sementara itu, busana tari Gambyong yang disebut angkinan atau kembenan menjadikan lekuk-lekuk tubuh penari tampak terbentuk. Dengan demikian, bagian-bagian tubuh yang digerakkan kelihatan jelas sehingga gerak seperti ogek lambung yang bervolume kecil dapat tampak lebih jelas. Bentuk busana ini memungkinkan juga memberikan keleluasaan gerak sesuai dengan manifestasi dan kelincahan tari Gambyong.
Dengan penggunaan kain yang diwiru, maka pada saat berjalan atau bergerak, lipatan kain (wiron) itu akan membuka dan menutup serta kelihatan hidup sehingga dapat memperkuat impresif kenesnya. Maka, busana yang dianggap sesuai dengan ekspresi tari Gambyong adalah busana angkinan dengan gelung gedhe.
Bagian bahu dibuat terbuka, bahkan kadang-kadang payudara dinaikkan sehingga tampak montok dengan sebutan glathik mungup (lekukan payudara, tampak seperti burung gelathik muncul). Perkembangan busana tari Gambyong yang beragam saat ini lebih terkesan dekoratif dan kurang memerhatikan kemungguhan (kesesuaian) tari. Meskipun demikian, perkembangan busana itu tetap membuat penyajian tari Gambyong semakin beragam dan menarik.
Penyajian tari Gambyong akan dapat mencapai nilai estetis apabila dilakukan oleh penari yang memiliki basic tari yang kuat. Kemantapan sajian tari dari seorang penari dipengaruhi oleh latar belakang budaya yang membentuk diri penari, di samping faktor kebiasaan dan kematangan. Kebiasaan dan kematangan pada tari Gambyong akan membentuk penari itu menjadi penari yang luluh atau menyatu dengan tari yang disajikan. Karena disadari penari tidak sekadar bergerak secara fisik saja, tetapi yang lebih penting adalah mampu mengungkapkan intuisi lewat gerak yang dinamis dan proporsional.
Kroncong (pronounced "kronchong") is the name of a ukulele-type instrument and an Indonesian musical style that typically makes use of the kroncong, a flute, and a female singer.
Characteristics
The name "Kroncong" may be derived from the jingling sound of the kerincing rebana, as heard in the rhythmic background to the music created by the interlocking of instruments playing on or off the beat. This background rhythm runs faster than the (often) slow vocal or melody, and is created, typically, by two ukuleles, a cello, a guitar and a bass. These instruments, especially the pair of ukeleles, interlock as do the instruments in a gamelan orchestra, and it is clear that the musical traditions of Indonesia have been applied to an orchestra of European instruments.
One ukulele, called the "cak" (pronounced "chak") may be steel-stringed and the instrumentalist strums chords with up to 8 strums per beat in 4/4 rhythm. The off-beat strums are accentuated. The other ukulele, called the "cuk" (pronounced "chook"), is larger and may have 3 gut or nylon strings. The instrumentalist may pluck arpeggios and tremoloes using a plectrum, and the on-beat is emphasised. As a set, the cak and cuk form an interlocking pair that mostly gives Kroncong its characteristic kron and chong.
The cello may have 3 gut or nylon strings and chords are plucked rapidly, often with a unique skipped-beat, using the thumb and one finger. This instrument then adds both rhythm and tone. The guitar may play similarly to either cak or cuk but, more often, plays extended scalar runs that provide an undulating background to a chord or bridge chord changes. The bass often is played in a minimalist style reminiscent of the large gongs in a gamelan.
On top of this rhythmic layer the melody and elaborate ornamentation is carried by a voice, flute or violin. The violin or flute are used to play introductory passages (often elaborate), fills and scalar runs, both faster and more elaborate than the guitar. The vocalist sings the melody which, in traditional Kroncong, is slow with sustained notes.
The repertoire largely uses the Western major key with some arrangements in the minor. One departure from this occurs when Kroncong orchestras play Javanese songs (Langgam Jawa). Javanese music ordinarily uses scales and intervals that do not occur in Western music. Kroncong Jawa maintains Western intervals but adopts a 5-tone scale that approximates one of the main Javanese septatonic scales. When playing this style, cak and cuk leave their characteristic interplay and both play arpeggios to approximate the sound and style of the Javanese instrument the siter, a kind of zither. The cello adopts a different rhythmic style as well.
[edit] History
Kroncong music began in the 16th century as sailors brought Bobian instruments and music to Indonesia. Lower-class citizens and gangs, commonly called buaya (a reference to "buaya darat" or crocodile on land, a term used to describe playboys to this day) adopted the new musical styles. Eventually, they were assimilated by the upper-class citizens. Paul Fisher writes,
The small kroncong guitar, also the name of a music, is derived from the Portuguese braguinha, sharing its root with the Hawaiian ukulele. Kroncong music is believed to have originated in the communities of freed Portuguese slaves in the 16th century. European influence from this time can also be heard in the music of the Batak people of North Sumatra, and from the end of the 19th century, the beginnings of guitar accompaniment incorporated within a distinctly Indonesian idiom in music from Sumatra, South Sulawesi and elsewhere.[1]
Kroncong (currently spelled Keroncong in Indonesian) is now considered old-fashioned folk music by most Indonesian youth, although efforts have been made since the 1960s to modernise the genre by adding electric guitars, keyboards and drums, notably in so-called Pop Keroncong sung by Hetty Koes Endang. The melancholic spirit of traditional, acoustic Kroncong (so similar to Portuguese Fado music) has been recorded by Samuel Quiko and the members of his Jakartan Krontjong Tugu Orchestra, who have performed at the well-known Pasar Malam in The Hague.
Background
Yogyakarta is a special region in Indonesia. It’s not too wide but has a big name. in historical process for Independent of Republic Indonesia, when Yogyakarta is under Sultan Hamengku Buwana IX, he took an important role, though Yogyakarta had been a capital of RI. Yogyakarta is the center city of education, on where there are an oldest and big state owned university since independent day (UGM), and has many private universities. Meanwhile, the city has a fine art institute which its own characteristic as the culture of Yogyakarta. By this city also, born some maestros of art, so that it’s called as artists city. In the term of tourism, Yogyakarta is one of tourist destination except Bali.
More than that predicates, actually Yogyakarta is a city of culture. Even before reformation era than an autonomy era, Yogyakarta become national barometer culture. It’s deserve if Yogyakarta is called culture city, because Yogyakarta is the center of Javanese culture except Surakarta. Previously, the city named Nagari Ngayogyakarta Hadiningrat. It was born as the result from Giyanti Treaty, 1755, in which Mataram is divided into Kasunanan Surakarta Hadiningrat and Kasultanan Ngayogyakarta Hadiningrat. Based on the long history background, Yogyakarta is still exist as a principality which has a kingdom and its king, supported by Kadipaten , a princedom. thus Yogyakarta become center of Javanese culture. Beside, Yogyakarta surrounded by archaeological sites in the Classic Era, such Prambanan and Borobudue temple which is one of the wonder world.
As the capital of province, Yogyakarta probably is smaller city then others, ex: Semarang, Bandung, Surabaya that have many infrastructure and buildings heritage in Dutch colonial era. But based on the region, Yogyakarta is not too wide than its grandeur name, yet the condition of Yogyakarta is consideration in national scale because of its culture and history
As a culture city, the atmosphere of Yogyakarta representatives the heritage of Javanese culture, that can be seen in daily lifes of its people. Yet, the heritage culture is intangible that tendency susceptible to fade and rare. Which kraton as the center of culture has rules that become constrain for common to participate in culture preservation, because some culture heritage were not allowed to be performed in to another place of kraton, and it’s closed behind the kraton’s wall. Though its really need their participation to continue civilization both in daily life and saved in central of cultures city. Neither the heritage which is tangible, for examples: central of culture, kraton and some maintenance artifacts which are pressured by the modernity of city.
By the archeology, the artifacts in Mataram Islam era is not more glorious and wealth than archeological sites in Classic era. The glory of Mataram Islam only left behind the artifacts of buildings, such as kraton, mosque, or royal cemetery that were built based on Javanese philosophy. The civilization in early Mataram Islam era still be influenced by the civilization in the Classic era. But when the colonialism has came, the civilization’s began to be influenced by western. It can be seen by the things from Europe, like household furnishings, dishes, etc.
Together with Islamic influence that more stronger in which the civilization has not reflected on something for worship equipment. Thus civilization works in Islamic era was more dominated by works that has intangible character for example: ethic, life philosophy, music, literature, morals, or batik.
Therefore, it’s absolutely needed an institution which is able to present culture heritage in intangible character, exactly, or tangible character without any border. It’s customary if the institution is represented by a museum which is appropriate as its function. Hoped that the museum presented a history heritage, art, and, culture. By his complexity, Yogyakarta really need that institution. Thus, Ullen Sentalu Museum has came with some concepts which has been planned to realize the culture heritage “tangible” through the rules of its museum.
Based on the ICOM definition that a museum is suppose to be a permanent institution without profit which conserves and displays for purposes of study , education, and pleasure collections of objects of cultural or scientific significance.
Ullen Sentalu Museum is planned as a museum which present the cultures heritage which is intangible or hidden behind the kraton’s wall because of the prevailing laws. Even some culture heritage has came fade and threatened with extinct. Those are came by the “fine art” works. It means, an arts that realize free and display the culture heritage that is tangible to be communicated. The museum choose fine arts to realize and reconstruct the culture heritage by the reason that this arts can realize the documented works which didn’t be documented yet, except literature, especially in Mataram Islam era. The excess of fine arts that are began from Renaissance era in Europe is able to present the reality in accordance with the appreciation of arts right now. Thus it’s easy to communicate the subject matter of Museum’s object .
By those concept and supported by the elder of culture’s doers, the Museum is more free to realize fine art. These aren’t only represent Javanese culture in Yogyakarta but include the entire of Mataram culture heritage. Though through its Museum’s fine arts has realized culture and history of Mataram from 4 kraton (Kasultanan Ngayogyakarta-Kasunanan Surakarta- Puro Pakualaman-Istana Mangkunegaran), beside that, the museum has “window” concept that express civilization process. By those opuses which are displayed, has opened a space to enter civilization process, than can explore time and space from Mataram Islam era. Even can flashed back through Classic era.
So that the Javanese art and culture of Ullen Sentalu Museum has point of view as the window of art heritage wealth, culture and history from the civilization. It is represented by Mataram dynasty and to legacy the beauty of that culture heritage to the next generation.
The mission of its museum is to realize and communicate the art heritage and Javanese culture that threatened extinct thus rise the pride of people about its culture’s identity.
Based on the property, Ullen Sentalu Museum is a private museum which the Haryono as the initiator. The museum is under an Ulating Blencong foundation, as the advisors are The King of Kasunanan Surakarta Hadiningrat: I.S.K.S Paku Buwana XII, the king of Pakualaman:KGPAA. Paku Alam VIII, the brother of Sultan HB IX : GPBH Poeger, the daughter of queen Mangkunegara VII: GRAy. Siti Nurul Kmaaril Ngasarati Kusumawardhani, the former President’s wife : Mrs. Hartini Sukarno, and KP. DR. Samuel Wedyadiningrat, DSB.Konk.
Ocean Word Conference (WOC)
Manado declaration adopted; ocean states eye Copenhagen Representatives from 76 countries convening at the inaugural World Ocean Conference (WOC) agreed Thursday to push ocean issues as an agenda at the United Nations climate talks in Copenhagen in December.
We reiterate the importance of achieving an effective outcome at the COP 15 (Conference of Parties) of the UNFCCC (United Nations Framework Convention on Climate Change) in Copenhagen, and invite parties to consider how the coastal and ocean dimension could be appropriately reflected in their decisions, the Manado Ocean Declaration (MOD) read.
Despite criticism the MOD was not strong enough to push the international community to help developing nations deal with the impacts of climate change, Indonesian Maritime Affairs and Fisheries Minister Freddy Numberi, chairman of the conference, said the WOC had put oceans center stage in world attention and raised awareness of the importance of oceans in climate change.
The declaration is a good start to putting oceans as a key agenda at the UN climate talks in Copenhagen, he said.
Negotiations to reach a consensus have seen the softening of the language of the final declaration to allow a compromise between developed and developing countries, with provisions for adaptation funds and transfer of technology scaled back noticeably.
But representatives from both developed and developing countries expressed satisfaction with the MOD, with most countries acknowledging the United States positive approach toward the problems during the conference had helped produce a quick compromise on the key articles.
US delegation head Mary M. Glackin said her country was pleased the WOC had adopted the declaration, adding she hoped the UNFCCC would take note of ocean issues at its conference in Copenhagen.
Earlier, US Secretary of State Hillary Clinton also expressed support for the outcome of the conference, saying it could help focus the world attention on the link between oceans and climate change, and advance global efforts to find science based solutions to the problems we face.
In his opening speech, Indonesian President Susilo Bambang Yudhoyono urged the world to ensure ocean-sensitive policies were incorporated into the new regime so that humankind approach to the challenge of climate change would be comprehensive and holistic.
If the climate convention in Copenhagen adopts that approach, and the international community and all stakeholders carry it out faithfully, humankind will have a much brighter outlook, he said.
British Ambassador to Indonesia Martin Hatfull, representing his country at the conference, said the fact both developing and developed nations could come to an agreement showed the world had now recognized the importance of oceans and the need to include the issue at the UN climate talks.
Desima Williams of Grenada, a small island state vulnerable to climate change impacts, agreed the declaration had accommodated the interests of small island state.
The Copenhagen talks are expected to result in a new agreement on reducing carbon emissions by a set target for all developed nations by 2012, when the Kyoto Protocol expires.
Through the MOD, the ocean can play a greater role in a new agreement after the Kyoto Protocol, said Eddy Pratomo, chairman of the conference senior official meeting
KERIS
The kris or keris is a distinctive, asymmetrical dagger indigenous to Indonesia, Malaysia, Brunei, Southern Thailand and the southern Philippines. Both a weapon and spiritual object, krisses are often considered to have an essence or presence, with some blades possessing good luck and others possessing bad.
In 2005, UNESCO gave the title Masterpiece of the Oral and Intangible Heritage of Humanity to Kris of Indonesia
Etymology
The term keris had a Javanese origin, although the etymology is uncertain. The term "keris" may have originated from the old Javanese word ngiris which means "to slab", "to wedge" or "to sliver." Kris is a European rendering of this Javanese term.
As noted by Frey (2003), kris is the more frequently used term in the Western world. The term "keris" is more popular in the native lands of the dagger, as exemplified by the title of a popular Javanese keris book entitled the "Ensiklopedi Keris" (Keris Encyclopedia), written by the late Bambang Harsrinuksmo. Some collectors prefer keris, others kris. Other spellings used by European colonists include "cryse," "crise," "criss," and "creese."
The Kris is also loosely used to differentiate between the Moro kris swords found in Southern Philippines and the kris daggers found everywhere else in the archipelago.
Origins
A display of various kris.
Frey (2003) concludes from Raffles' (1817) study of the Candi Sukuh that the kris recognized today came into existence around AD 1361. Scholars, collectors and others have formed myriad theories about the origins of the kris. Some believe its earliest credited form, the keris majapahit, was inspired by the daggers of the Dong-Son in Vietnam (circa 300 BC). Frey (2003) dismisses the Dong-Son origin of the Majapahit. Unverifiable claims of another form predating the Majapahit exist. Kris history is traced through study of carvings and bas relief panels found in Southeast Asia. Some of the most famous renderings of a kris appear on the Borobudur temple (825 CE) and Prambanan temple (850CE)
Batik (pronunciation: [ba.te], but often, in English, is [bæ.tik] or [bətik]) is a wax-resist dyeing technique used on textile. Due to modern advances in the textile industry the term has also been used for fabrics which incorporates the traditional batik patterns although not necessarily produced using the batik techniques. Silk batik is especially popular.
Javanese traditional batik, especially from Jogjakarta, has special meanings which is rooted to the Javanese idea of the universe. Traditional colours include indigo, dark brown ,white and violet, which represents the four major Hindu Gods, and certain patterns can only be worn by royals. Other regions of Indonesia have their own unique patterns. Patterns similar to Indonesian batik are also found in several countries of West Africa, such as Nigeria, Ghana, Cameroon, Uganda and Mali, and in Asia, such as India, Sri Lanka, Bangladesh, Iran, Philippines, Malaysia, Thailand and Burma, which displays the influence of the Indonesian batik internationally.
Culture
Batik has been both an art and a craft for centuries. In Java, Indonesia, batik is part of an ancient tradition, and some of the finest batik cloth in the world is still made there.
Contemporary batik, while owing much to the past, is markedly different from the more traditional and formal styles. For example, the artist may use etching, discharge dyeing, stencils, different tools for waxing and dyeing, wax recipes with different resist values and work with silk, cotton, wool, leather, paper or even wood and ceramics.
Procedure
Melted wax (Javanese: malam) is applied to cloth before being dipped in dye. It is common for people to use a mixture of beeswax and paraffin wax. The beeswax will hold to the fabric and the paraffin wax will allow cracking, which is a characteristic of batik. Wherever the wax has seeped through the fabric, the dye will not penetrate. Sometimes several colours are used, with a series of dyeing, drying and waxing steps.
Thin wax lines are made with a canting (also spelled tjanting or tjunting; [tʃantɪŋ]), a wooden handled tool with a tiny metal cup with a tiny spout, out of which the wax seeps. Other methods of applying the wax onto the fabric include pouring the liquid wax, painting the wax on with a brush, and applying the hot wax to pre-carved wooden or metal wire block (called a cap or tjap; [tʃap]) and stamping the fabric.
a solvent to dissolve the wax, or ironed between paper towels or newspapers to absorb the wax and reveal the deep rich colors and the fine crinkle lines that give batik its character. This traditional method of batik making is called Batik Tulis (lit: 'Written Batik').
The invention of the copper block or cap developed by the Javanese in the 20th century revolutionized batik production. By block printing the wax onto the fabric, it became possible to make high quality designs and intricate patterns much faster than one could possibly do by hand-painting. This method of using copper block to applied melted wax pattern is called Batik Cap (pronounced like "chop").
Indonesian batik used for clothing normally has an intricate pattern. Traditionally, wider curves were reserved for batik produced for nobles. The traditional cloth has natural colors (tones of indigo and brown) while contemporary pieces have more variety of color.
Javanese batik typically includes symbols. Some decorative pieces may be mystically-influenced, and this type is very rarely used for clothing. Some may carry illustrations of animals or other intricate designs.
The Worldwide Gudeg Jogja
Gudeg is one of some special foods from Jogja. It is just like Sate (roasted beef in stick) from Madura and Pempek from Palembang, Gudeg Jogja has been well known in Indonesia, even in other countries. In Jogja, Gudeg has been widespread in almost every area, from the Gudeg center on Wijilan Street to other places.
A lot of cafes or small restaurants serve Gudeg with various tastes, surely the prices follows, especially at Wijilan Street. Besides tasting the Gudeg, we can find many kinds of special traditional handicraft.
Vendors of Gudeg usually attract the customers’ attention by making an attractive packaging named kendhil (a clay-made package). It does not only make the serving become more attractive but also makes the taste become more delicious. We can find the Gudeg Kendhil in almost every place which serves gudeg.
Gudeg is made from unripe jackfruit boiled with special spices and coconut milk (santan). The top and the bottom parts of the pan used to boil the spices and the coconut milk (santan) is covered with unripe Jati leaves. To get a perfect and delicious taste and color of the Gudeg, those ingredients are boiled all night. The Jati leaves are used to get an attractive color. The areh or sauce is made from coconut milk (santan), spices, and turmeric as the artificial color. It is poured on the ready-to-serve Gudeg. The Gudeg itself has a sweet taste.
Gudeg is usually served with warm rice, egg, chicken, ceker, tofu, tempe, chip, fried onion, etc. We can also serve a glass of tea, ice tea, orange juice, fresh water, etc for the beverages. It is not complete if we come to Jogja without tasting Gudeg.
INDONESIAN LEADER
Two days before the election that propelled him into the presidency of the world's fourth-most-populous nation, Susilo Bambang Yudhoyono traveled to the campus of the Bogor Agricultural University for a very serious meeting. Leaving a group of aides waiting outside, the 55-year-old former four-star general strode into one of the institute's classrooms, a laptop tucked under one arm, to face six university professors. For the next three hours, he parried questions about his recently completed Ph.D. thesis: Agrarian and Rural Development as a Strategy to Eradicate Poverty and Unemployment. "We thought it was just going to be a few token questions," says Yudhoyono adviser Rachmat Witoelar. "He was, after all, probably going to be elected President in a few days. But they really grilled him."
The story illustrates much about the man Indonesians overwhelmingly chose to lead them: his undoubted intellectual heft Yudhoyono's personal library contains 13,000 volumes and a discipline that allowed him to finish and defend a doctoral thesis in the middle of a presidential campaign. Those were qualities Yudhoyono downplayed on the stump, where he touted a decisiveness honed through a 29-year military career. Unlike the incumbent President Megawati Sukarnoputri, Yudhoyono told voters, he wouldn't shy from tough decisions to tackle the country's social and economic woes.
Still, Yudhoyono's bookish side could translate into a wonk's caution when he assumes office. "Everything is calculated with S.B.Y.," says Salim Said, a military analyst who has known Yudhoyono for two decades. "He is too careful most of the time." Former colleagues agree that Yudhoyono is given to long, sometimes woolly deliberation before making decisions. He likes words like "comprehensive" and "integrated," says Marsillam Simanjuntak, a fellow Minister in the administration of former President Abdurrahman Wahid: "He is very methodical and orderly, and it's almost as if he feels sinful if he leaves some aspect neglected." Old friends from the military have similar recollections. "He won't rock the boat," concludes retired General Agus Wijoyo, who served with Yudhoyono in East Timor and at military headquarters in Jakarta. "Those who want faster reform will see him as too slow."
There's nothing wrong with caution when it comes to decisions that will affect 240 million people. But the political and economic realities facing the country's first directly elected President are big, and some require urgent action. Indonesia's military needs another big push to bring it under civilian control, and yet Yudhoyono's inner circle is crammed with generals and ex-military men. Marcus Mietzner, an Indonesian military researcher at Australia National University, argues that the core of Yudhoyono's problem is "indecision on policy issues." He points out that cleaning up the military was already needed when Yudhoyono held the powerful position of Coordinating Minister of Politics and Security under Wahid and Megawati. "There was no initiative on military reform from his office during his three years as Security Minister."
The new President will also need to engage with parliament, in which his party controls only 57 seats out of 550. "They could refuse to pass legislation in areas such as judicial reform and corruption," says Damien Kingsbury, a lecturer in Indonesian affairs at Deakin University in Melbourne. "And that would badly affect his economic platform."
Yudhoyono's supporters insist the President-elect can be firm when necessary, citing the government's swift arrest and prosecution of the Bali-bombing gang, which happened on Yudhoyono's watch as security czar. "He is persuasive, not authoritative," says Sudi Silalahi, a retired three-star general and one of Yudhoyono's key advisers. Silalahi points to the success Yudhoyono had in stopping religious fighting in areas such as Poso and Maluku through lengthy negotiations and peace agreements. "He can use both methods," concurs adviser Rachmat, who is widely tipped for a senior Cabinet position. "If the road is straight he will step on the accelerator hard. If it's winding then he'll go a little slower." Indonesians dumped Megawati to hand Yudhoyono the wheel but they're expecting him to get out of first gear pretty fast.
Contemporary events
Tourists in Borobudur.Following the major 1973 renovation funded by UNESCO, Borobudur is once again used as a place of worship and pilgrimage. Once a year, during the full moon in May or June, Buddhists in Indonesia observe Vesak (Indonesian: Waisak) day commemorating the birth, death, and the time when Siddhārtha Gautama attained the highest wisdom to become the Buddha Shakyamuni. Vesak is an official national holiday in Indonesia and the ceremony is centered at the three Buddhist temples by walking from Mendut to Pawon and ending at Borobudur. The monument is the single most visited tourist attraction in Indonesia. In 1974, 260,000 tourists of whom 36,000 were foreigners visited the monument. The figure hiked into 2.5 million visitors annually (80% were domestic tourists) in the mid 1990s, before the country's economy crisis. Tourism development, however, has been criticized for not including the local community on which occasional local conflict has arisen. In 2003, residents and small businesses around Borobudur organized several meetings and poetry protests, objecting to a provincial government plan to build a three-story mall complex, dubbed the 'Java World'.
Borobudur
is a ninth-century Mahayana Buddhist monument in Magelang, Central Java, Indonesia. The monument comprises six square platforms topped by three circular platforms, and is decorated with 2,672 relief panels and 504 Buddha statues. A main dome, located at the center of the top platform, is surrounded by 72 Buddha statues seated inside perforated stupa.
The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path circumambulating the monument while ascending to the top through the three levels of Buddhist cosmology, namely Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). During the journey the monument guides the pilgrims through a system of stairways and corridors with 1,460 narrative relief panels on the wall and the balustrades.
Evidence suggests Borobudur was abandoned following the fourteenth century decline of Buddhist and Hindu kingdoms in Java, and the Javanese conversion to Islam. Worldwide knowledge of its existence was sparked in 1814 by Sir Thomas Stamford Raffles, the then British ruler of Java, who was advised of its location by native Indonesians. Borobudur has since been preserved through several restorations. The largest restoration project was undertaken between 1975 and 1982 by the Indonesian government and UNESCO, following which the monument was listed as a UNESCO World Heritage Site. Borobudur is still used for pilgrimage; once a year Buddhists in Indonesia celebrate Vesak at the monument, and Borobudur is Indonesia's single most visited tourist attraction.
Prambanan temple
Reputated as the biggest and most beautiful Hindhus Temple in Indonesia, and locally known as Roro Jonggrang. Excursion to Prambanan temple complex-the most beautiful Hindu temple then proceed to Solo visit to the Mangkunegaran's Palace, Triwindhu flea-market. Continued drive on to Sukuh temple located on slope of Mount Lawu and surrounded by beautiful sceneries. Also visit to Cetoh temple.
Yogyakarta is the most popular tourist destination on Java. Famous for its rich heritage, cultural performances such as gamelan music, classical dance, shadow puppet shows, can be enjoyed daily.
It is also a good base for day trips to 2 of the world's most impressive archeological sites - Borobudur & Prambanan Temple complexes. Yogyakarta also has excellent budget food & accommodation options and has been a travelers favorite for many years.
See
The main site of Prambanan contains four temples scattered about a large, landscaped park. The complex is open daily from 6 AM to 6 PM and entry costs a fixed US$10 (US$6 student), try to get there early to beat the heat. Guides can be hired at the ticket office, costs you Rp50.000
• Candi Lara Jonggrang, or simply Candi Prambanan, is the largest and most-visited of the temples just to the left of the entrance. While there were 232 temples originally built, most have long since crumbled and the main remaining attractions are the six temples of the central court, richly decorated with carved reliefs. Three of them, known as the Trisakti ("three sacred places"), are particularly important:
• Candi Siva, dedicated to Shiva the Destroyer, is the largest of the six, rising to a height of 45 meters. There are fine reliefs of the Ramayana in its forecourt and four chambers with statues. The largest chamber, to the east, contains a statue of Shiva himself, while the south has the sage Agastya, the west his son Ganesh (the elephant-headed) and the north his wife Durga. Durga is also known as Lara Jonggrang ("Slender Virgin"), a legendary beautiful princess turned to stone (see box).
• Candi Brahma, to the south, continues the story of the Ramayana and has a statue of Brahma the Creator inside.
• Candi Vishnu, to the north, tells the story of Vishnu's avatar Krishna and has a statue of Vishnu the Preserver inside.
• Opposite the three large temples are three smaller temples originally dedicated to the vehicles of the gods. Only the statue of Nandi, Shiva's bull, has survived.
• North of Lara Jonggrang is a poorly displayed museum laid out in a series of small houses connected by walkways. Explanations are minimal, but entry is free so you might as well take a look.
• Prambanan Audio Visual, inside the museum grounds, is the park's term for screenings of a bizarre movie entitled "Cosmic Harmony", which seems to spend as much time lambasting the "industrial world" in general (and Jakarta in particular) as explaining the Prambanan site. Still, it makes for a fairly entertaining half-hour break and Rp 2,000 is not too bad a price to pay for the air-con. The film is available in several languages.
• Candi Lumbung and Candi Bubrah, two Buddhist temples, are located several hundred meters further north. They lie in ruins and are fenced off.
• Candi Sewu, a large Buddhist temple complex meaning "one thousand temples", is one kilometer north of the entrance gate and contains a large central temple surrounded by a cluster of smaller ones. The sheer size of the recently renovated and intricately decorated central temple is impressive, but the statue niches are all empty. Entrance from the east side only.
There are also several temples and historical sites outside the park.
• Kraton Ratu Boko, 3 km south of Prambanan, is a ruined palace or temple of uncertain origin, located on a hilltop 200 meters above the Prambanan plain (which makes for good pictures if and only if you have a good zoom lens). Only some building foundations remain and it's difficult to make any sense of the site. Now incorporated into the Borobudur Park Authority, entry to Ratu Boko is a separately charged US$10, which seems very steep for what you get.
Ramayana Ballet
Ramayana Ballet is the great a must see show in Jogjakarta. The ballet is conveying the Ramayana epic and is held at the open theater in Prambanan temple. With Prambanan temple as the background of the open theater stage, the show is becoming more dramatic.The Ramayana Ballet is conducted by hundreds of dancer. The dance and the uniform are portraying the Javanese tradition and culture. Not only dancers who are involved but also gamelan (Javanese traditional music instruments) musicians and sinden (Javanese singer with unique voicing).
Please coming in java island, visit "PRAMBANAN TEMPLE"Indonesia
Ponorogo and Reog Festival
Ponorogo is either one of much regency in Indonesia. And it is located in East Java Province. It also called "Reog City". Because it was born in this city. This art was born with so many reasons. This art was born from the mite which has develop in ponorogo until now. Such as this mite below.
“ Once upon a time, the King of Bantar Angin Kingdom named Kelana Swadana was going to propose for marriage to a beautiful girl, the daughter of Kediri King. Unfortunately, Kelana Swadana`s journey to Kediri was stopped because of the cruel blockade done by a group of wild animals namely Singobarong which guarded the area of Lodaya forest, in which Kelana Swadana had to pass it to reach Kediri. A fierce combat between Singobarong and the entourage of Kelana Swadana could not be avoided anymore at the time. Commemorating the story above, a traditional performing art namely namely Reog ponorogo is held.”
Usually this art will be shown 1 muharam or 1 suro (java calendar) every years in grebeg suro festival. Grebeg suro is part of frequent even in ponorogo society that keep until now. And in this even not only shown reog from ponorogo but also shown reog from other region for participant in this festival.
And in this even the player competitive to show their ability. And they perform attractive exercise that makes the spectator amazed. From the player appearance, the jury will appreciate and get a winner. This even held to introduce indonesian culture to foreign country. Eventhought personaly I never step my feet in ponorogo but, the situation can make us imagine all the good think in ponorogo. Bravo Indonesia
Wayang kulit ( Shadow Puppets)
Wayang kulit as seen from the shadow side
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. The island of Lombok has developed its own style of Serat Menak called "kazangiloonga".
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 today is both the most ancient and most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers, dalang, who command extravagant fees and are international celebrities. Some of the most famous dalang in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunarya, Ki Sugino, and Ki Manteb Sudarsono.
CIRI-CIRI DAN GEJALA FLU BABI (SWINE FLU) SERTA PENCEGAHANNYA
Penyebaran flu babi diawali dari Mexico City dan dikhawatirkan banyak pihak akan menjadi pandemic ke seluruh dunia. Saat ini saja, sudah sejumlah negara diduga sudah tercemar flu babi, antara lain Amerika Serikat, Kanada, Perancis, Israel, Australia dan New Zealand. HIngga hari ini (27/04/2009), di Mexico dilaporkan sudah 150 orang tewas, 400 orang dirawat di rumah sakit serta 1.600 lainnya diduga terjangkit virus Flu Babi. Penyebaran Flu Babi berasal dari hewan ternak babi yang terinfeksi virus H1N1, sehingga sejumlah negara sudah menghentikan impor babi terutama yang berasal dari Meksiko.
Virus Flu Babi ini dikhawatirkan akan menyebar ke seluruh dunia, dan untuk mencegahnya Anda dapat melakukan langkah-langkah preventif sebagai berikut,
1. Tutupi hidung dan mulut Anda dengan tisu jika Anda batuk atau bersin. Kemudian buang tisu itu ke kotak sampah.
2. Sering-seringlah mencuci tangan Anda dengan air bersih dan sabun, terutama setelah Anda batuk atau bersin. Pembersih tangan berbasis alkohol juga efektif digunakan.
3. Jangan menyentuh mulut, hidung atau mulut Anda dengan tangan.
4. Hindari kontak atau berdekatan dengan orang yang sakit flu. Sebab influenza umumnya menyebar lewat orang ke orang melalui batuk atau bersin penderita.
5. Jika Anda sakit flu, Anda sebaiknya tidak masuk kerja atau sekolah dan beristirahat di rumah.
Ciri-ciri dan Gejala Flu Babi
1. Demam yang muncul tiba-tiba
2. Batuk
3. Nyeri otot
4. Sakit tenggorokan
5. Kelelahan yang berlebihan
6. Penderita muntah-muntah dan diare
Nah, jika anda memiliki salah dua atau tiga gejala itu setelah dari meksiko, sebaiknya anda segera memeriksakan diri... Oke...^^
