tag:blogger.com,1999:blog-56929477879220687272024-03-14T06:53:31.517-07:00JAGAD NUSANTARAbeautiful your beautiful as beautiful as the sunMUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.comBlogger24125tag:blogger.com,1999:blog-5692947787922068727.post-3093277311029689192008-01-24T20:31:00.001-08:002008-11-18T18:29:19.157-08:00THE VARIATION OF WEST PAPUA<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJtaNQL5i2UuvNc0LYEEbrvL4EkN7xMwJaw-UZ45LulWwXatlL7-RftjrSmvGSo30pn42AOMI3rikOOMICPp2iICj8Bs53RWa2Ek1SNhAaeZ9U-FkCzJ7p2ZvsCEAHIGNfXEMoOpSggzY0/s1600-h/3_Dani_men%5B1%5D.JPG"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJtaNQL5i2UuvNc0LYEEbrvL4EkN7xMwJaw-UZ45LulWwXatlL7-RftjrSmvGSo30pn42AOMI3rikOOMICPp2iICj8Bs53RWa2Ek1SNhAaeZ9U-FkCzJ7p2ZvsCEAHIGNfXEMoOpSggzY0/s320/3_Dani_men%5B1%5D.JPG" alt="" id="BLOGGER_PHOTO_ID_5159275495498665490" border="0" /></a><br /><p style="font-style: italic;" align="center"><span style=";font-family:Verdana;font-size:100%;" ><b>THE VARIATION OF WEST PAPUA</b></span></p> <div style="text-align: justify;"><span style=";font-family:Verdana;font-size:85%;" > Speaking about West Papua Culture is a very difficult job, since they almost have no culture, every group, or every clique has their own specific behavior or customs that is not related, even between house to house. There are a great variation, of culture from those having slight relation from one to an other up to those having definitely no observable relation. Their relation is basically based on genealogy relation which is mostly also disordered. This is added again by the dozens of different languages spoken by each clique or group, as a real big stone block to understand the whole situation.</span><br /><span style=";font-family:Verdana;font-size:85%;" > Among those there are some simple cultures already well known such as Baliem tribe, Dani tribe, Yali tribe, and Agat tribe. But almost all of them physically have the same characteristics. In the past most of them were living deep in inner land and on foot of mountain, some of them build their nest on the trees. With the unity of West Papua into Republic Indonesia, government have tried to persuade them to live a more settled manner with cultivated land, so some of them went down to the open areas and more cultivated areas, and adjust themselves to the new life which is pioneered by the migrant from other parts of Indonesia, such as around North coast, cities and centers of local governments.</span><br /><span style=";font-family:Verdana;font-size:85%;" > The main factors of their low mentality which is not conducive for their development are their extreme primitive life and social system. But their primitive life is the main attraction for experts as well as tourists to visit West Papua. It is famous just because they are primitive, with their housing is also very simple in great harmony with the nature, as they still not wear cloth, as their chieftain corps is kept for years at home as a mummy, and their pig feast.</span><br /><span style=";font-family:Verdana;font-size:85%;" > The people of West Papua shows a great variety of culture and languages, although physically the whole ethnics that live today look the same, that they show Melanosoid Characteristics. Seen from the variety of their culture the whole people of west Papua can be grouped very roughly based on the area such as ; Cendrawasih area, Cendrawasih beach and it's islands resident of North mangrove area, resident around Jaya Wijaya high land, people live on Savannah of South area. Among them some ethnic have been given the name and known well such as the Dani, The Agat and the Yali. The variation of their culture can be seen from their living or economy, art, and social system besides there are a great variation of language. In General the variation of language shows the group of Melanesian family and there are specific of West Papua languages which among West Papuan language itself showing a further great variation. The Melanesian language is part of a widely spoken language called Austronesian. This group of language is spoken on area from Madagascar to Paas island on Pacific ocean and to the north in bordered by Taiwan. An inventory of West Papua languages which are not grouped as Melanesian languages has been reported by faculty of Anthropology, University of Indonesia in 1963, edited by Prof. Koentjaraningrat and Harsja W. Bachtiar. The area of Cendrawasih Bay and along the northern shore of West Papua are known as the areas having various languages groups with small number of speakers, the member of a certain language group can be 100 persons or even less. This extreme variation can be traced back into prehistory when their time of migration from one place to their current resident. Since then a condition of isolated life among each others continues until the independence of Indonesia . Linguistic theory of isolation has been explaining about similarity of main words and development to further variation of most of the words. Even an Indian and linguist used a theory of geometry to estimate the time of a language start to break into different group by analyzing the basic 200 vocabulary. Along the northern coast of West Papua flow some rivers such as Woska, Tor, Bier, Biri, Wirowai, Toarim, and Semowai. The rivers originate from goutier mountain, Karamour, and Bonggo. Multi various ethnic groups now living along the shore of West Papua originated from highland deep at the river sources. The started to migrated around 300 years ago, and some started 2 generations ago. The phenomena of moving from highland to the beach is still continuing. They built their settlements behind the sand beach on the marshy area. In 1920 there were around 24 settlements and relocated by force by the Dutch to settle on the beach with the health reason and control facility. For 24 settlements by language can be grouped into 7 languages which were belong to Melanesian group. During the period of observation between 1940 to 1963 the birth rate was very low with the migration of people to the town, the number of population on north shore had been decreasing their houses are built on wooden poles with total height around 4.5 meters, and 4x5 meters wide. A house consist of 2 or 1 rooms for sleeping, and another standing house for cooking the material for making house are wooden lodges, tied with rattan, wall mode of palm leaves, floor is made of mangrove skin, and roof is from palm leaves and branches of mangrove which is filed beautifully. In the phrases of constructing a house a big feast is needed, and exchange gifts for those who assist in the building is still a hard part of the process. The main subsistence of the people on the north coast of West Papua is the Sagu (the essence of palm trees). Their sagu farm is the natural sagu forest located 4 to 5 kms deep inland. Each family do not have clear border of the farm where they have their own area or where is belong to others. Sagu tree with the age between 8 to 12 years is ready to be harvested. On the northern coast the work of harvesting sagu is both for men and women, while at the area of the river's source this is exclusively the work of women, while men are hunters and land cultivators. They hunt various animal such as mouse, pigs, casuary birds, kangaroo, snake, and lizards. Very small wish from them to cultivate land in more systematic way. They just plant in no good treatment among forest area, then leave the area untreated to open other places, the neglected land will not be taken over by other people although after long time the land get back it's fertility. This is probably the choice is still to big, and for them cultivating land is not interesting on not important. Coconut meal or copra is one product of Northern shore which was started in 1920 when Dutch government took the resident of Masimasi island as volunteer of growing coconut which resulted thousands of coconut trees decorated the shore. In the course of time this big plantation continuously degraded until 1962 it has been really in trouble and disappeared their kinship system is almost the same as other Indonesian society, with the smallest unit is family and their children an average of 4 person per family. Some family is a big family where the grandparents are living also in the same house. Their naming tradition got the influence of Dutch Christian so they used convert name beside family name which is taken from his/her father's name. Before the conversion into Christian the original kinship must had been exist proved by the terminology of "Auwet", within an auwet there were names showing the similarity. Most probable that this auwet kinship system was a patrilineal system. Marriage even also has introduced exchange gift as other Indonesian traditional ethnics, especially the family of the youth must give an exchange to the girl family. Feasts during social events are also known just like many traditional area of Indonesia. These auwets are said to have specialization such as the auwet of Bagre and Maban have members who were skilful in warfare. Auwet Kibuan and Abowei who lived on high dry land were skill in cultivating land. Each auwet had their big house on poles where the important and relic of the family were preserved such as flutes. During relocation in 1920 from the marshy area to the beach all their houses were burnt, and the tradition of auwet and their heritages become disappeared during registration by the teachers from Ambon, it was found that certain group bearing the similarity of name and this group was called "fam". The preparation of a youth to merry a girl is the collection of shell arranged into a decor of big shell called "krae" a necklace arranged from dog teeth, belt made of jewelry, and rope made of wood skin. In the present of imported goods which are sold by Chinese, they also collect plates, kitchen tools, foods, especially canned and others. All these material will be used in exchange to the girl. It is a big and hard thing to do, that is why a youth got aid from the brother of his mother in collecting this gift and often need a long time. This wealth is given to the family of the girl after the marriage ceremony is completed and followed by special feast. After this traditional feast there is one ceremony again in the church. According to the tradition a new wedding couple should build a new house, but this something that too hard, beside the cost of building also the feast that is needed is a hell. So in the fact to many new couple live verilocally (stay with husband family), yet some are living uxorilocally (with wife family) which actually uncommon among the society. Social life on the whole villages of Northern coast is really very weak a nd like there is big aphatism among members. Government instruction for the maintenance of village environment, economic life and social are considered already completed when it have been announced. No further self initiative of better life. There is no leader arising among them. Most leaders that could mobilize them are ambonese, Chinese, and other people from central Indonesia who work there. This is indeed a great barrier to develop the society. They do not respond to the modernization planned by the government. This is indeed they will be very easy to be provocated by countries that is like Australia to insert their interest to southern hemisphere. united state congress members that do not know about what development in West Papua used this situation of their resident as goodwill to Australian, as if they are savages of the provocated West Papua resident. It is very contradictory when east Nusa Tenggara or other part of Indonesian fishermen dragged by sea current to have reach Australian water, the government of Australia will soon departed them to Indonesia. </span><br /></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-69772449084265948072008-01-24T20:30:00.001-08:002008-11-18T18:29:19.250-08:00THE SUNDANESE OF WEST JAVA<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ29SBBelH68RIxnnciEMqQzEpKgHQ9y9xhHW5oFwRq7PsOqfELjR5Yt9bAVLWciKLYpIa3uPPRLywX263jdKpG3J68sdD3wlBpQrAYCabtI8T7-daH52KV7F1HkQwb4mF9EMaWXCVI9IG/s1600-h/g8.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ29SBBelH68RIxnnciEMqQzEpKgHQ9y9xhHW5oFwRq7PsOqfELjR5Yt9bAVLWciKLYpIa3uPPRLywX263jdKpG3J68sdD3wlBpQrAYCabtI8T7-daH52KV7F1HkQwb4mF9EMaWXCVI9IG/s320/g8.jpg" alt="" id="BLOGGER_PHOTO_ID_5159275186261020162" border="0" /></a><br /><p style="font-style: italic;" align="center"><span style=";font-family:Verdana;font-size:100%;" ><b>THE SUNDANESE OF WEST JAVA</b></span></p> <div style="text-align: justify;"><span style=";font-family:Verdana;font-size:85%;" > Sundanese is the resident of West Java, known to Pasundan or Priangan land, covers an area around 4.500.000 hectares. One of the area with most densely populated region after Java. Sundanese is differentiate from Javanese based on their dialect which is different from Javanese. In Pasundan area have been developping a big and modern cities such as Jakarta, Bandung, and Cirebon. The area at the east is bordered from Java by Cilosari and Citanduy rivers. </span><br /><span style=";font-family:Verdana;font-size:85%;" > In the past there was a famous kingdom ever flourishing, named Pajajaran Hindu kingdom. When Moslem influence was arriving, the people around the shores of Java must have been very interested due to the traders at the moment from West India usually rich men. So local people were interested to imitate them, or at least they got inspiration from them. So now the resident of the Pasundan are almost 98% Moslem.</span><br /><span style=";font-family:Verdana;font-size:85%;" > As mentioned above that one indicator of the Sundanese is their different dialect from Javanese, while physically they are the same as Javanese, where mongoloid character is stronger than Malay characteristics. Sundanese dialect introduces 3 levels of speak, those are the refine one is spoken to older/senior people, normal speak is spoken among the colleges, and the low speak is addressed to the servants, children, students or similar level.</span><br /><span style=";font-family:Verdana;font-size:85%;" > West Java also introduces social organization called Desa to cover the social affairs. The type of this Desa is almost the same for the whole Pasundan. The affinity among members of the Desa is not as strong as those in Bali, since the affairs they covers within the Desa is much smaller and is limited to those programs prepared by government.</span><br /><span style=";font-family:Verdana;font-size:85%;" > Development of economy in West Java has been very complex from rural farming, big scale or estate, and industries with the centers of cities such as Jakarta, Bandung, and Cirebon. It is estimated around 500.000 hectares are cultivated land for agriculture, while the rest are only dry land farming and forests.</span><br /><span style=";font-family:Verdana;font-size:85%;" > Number of population in West Java is one of the biggest social problem, where industry and government are are unable to create job opportunities, beside some mental problem of the society which is required by modern economic tendencies. In the growing weakness of Indonesian economy some areas were really suffering. </span><br /><span style=";font-family:Verdana;font-size:85%;" > Some tourism object in West Java are the Ujung Kulon Nature Reserve, Baduy traditional village, Bogor Botanical garden, Ciater Hotspring, Mang Ujo Angklung bamboo music, and places of interest in Jakarta as National Capital and industry in Bandung. </span><br /></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-72374882049039906222008-01-24T20:29:00.000-08:002008-11-18T18:29:19.346-08:00THE PEOPLE OF NIAS<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNkrRCkwzCWQLlB6cyJvtbYL95mllO1i6OG2lr6O91XmT0l-j3_mBTudOSi8eSJcJWMeVi-ADdyGmsrsKJXYlN94Yh41oJjWuYvRt37GHjJeYKn5dNMP88IfRTNWurz50rTynOMUvbQ7z/s1600-h/186544-Nias-Stone-Jumping-0.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNkrRCkwzCWQLlB6cyJvtbYL95mllO1i6OG2lr6O91XmT0l-j3_mBTudOSi8eSJcJWMeVi-ADdyGmsrsKJXYlN94Yh41oJjWuYvRt37GHjJeYKn5dNMP88IfRTNWurz50rTynOMUvbQ7z/s320/186544-Nias-Stone-Jumping-0.jpg" alt="" id="BLOGGER_PHOTO_ID_5159274967217688050" border="0" /></a><br /><p style="font-style: italic;" align="center"><span style=";font-family:Verdana;font-size:100%;" ><b>THE PEOPLE OF NIAS</b></span></p> <div style="text-align: justify;"><span style=";font-family:Verdana;font-size:85%;" > This group is consist of 11 islands along the coast with biggest are Nias and Siberut islands. Nias People has of Mongoloid physical characters, with bright yellow accented skin and straight hairs. They live in a simple way, and just currently they got the influence from Sumatra mainland. Their megalithic culture is still strong, which is become the main attraction for tourists beside their fine beaches and clear water. Most people lives on farming and fishing.</span><br /><span style=";font-family:Verdana;font-size:85%;" > The famous tourist's attraction is the ceremony of initiation or war training. A high wall is installed on the front of the house. During the initiation ceremony a youth is required to be able to jump over the wall. When he is able to pass this ceremony than he is considered as entering the full right in the society. The ceremony is called "zawozawo" Not less interesting is their housing architecture and pattern. Traditional villages such as Bawomataluwo and Hilisimaetano are not unfamiliar among world adventures, and anthropological researchers.</span><br /><span style=";font-family:Verdana;font-size:85%;" > Their language is Malay-Polynesian with 3 dialects, but they understand each other. Since they do not introduce writing, their words' vocabulary might changes throughout the decades have passed. On the west coast of Sumatra island there are many small islands inhabited by local people from unknown time such as Simalubek, Banyak, Nias, Batu, Siberut, Sipora, Pagai and Enggano. The group of Nias island is the biggest among them and record was started that Nias people has been in trade relation with Aceh in 1669 which gave them an influence of Islam, While Christian just reached the island much later since 1874 especially in the town of gunung Sitoli, the Catholic came later in 1914 reached on the southern area of Nias islands. The development of population on Nias has been very fast, a record for 1914 was 130.000, in 1967 has been doubled to 300.000. According to the research by E.E.W.Gs Schroeder that before the arrival of Dutch trader in 1669 the Nias has been doing trade relation with Aceh, Chinese, Malay and the Bugis. The color of Nias people is more yellower then other people of Indonesia which origin is still not yet clear. In general the language spoken by Nias people can be grouped as Malay-Polynesian stem, but the level of morphemic it is different from other Indonesian dialects. Their words do not introduce in the middle or at the end, which is called vocalist dialect. Also the use of O phoneme makes different from other dialects. Within the area of Nias itself there 2 dialects, one is used on northern area, and the other is on southern area. Nias island is the main island enclosed by other small islands such as Hinako, Senau, Safau and Batu islands. West beach of the islands is faced with strong wave of Indian Ocean and in the middle is mountainous with the highest peak of 886 m above sea level. Most villages are in the difficult inner part of the island which is a clear technique for them in resistencing of the invader. The shape of it's village mostly u-shape and the house of the head on the bottom of U. While on the west area the pattern of the village parallel house rows. The original house of they are 2 Nias is made on stilt with oval outline or quadrangular shape of basement. This is the traditional house of Nias which size is bigger then other families houses. The traditional house is divided into 2 part, the front functioned as place for receiving guest including guest for overnight, and inner part for the family and owner. At the front of the houses are menhirs, a megalithic construction made of stone in anthropomorphic and huge penis. Also stone altar at the front of the house which was used to organized a big feast in the past from the status increase their social status. In southern Nias villages stone jump altars still can be seen today, especially at Teluk Dalam village. This high jump was a training to the villages to jump over enemi's wall or any high barriers during war. Visitor see this tradition at the village called Bawomataluo and Hilisimaetano a village in Nias normally facilitated with water fountain which is used as public bathing place, while for water closed they built on their pig house. In the past they have many animistic constructions which have been change into churches and they still call it Osali. The main subsistence of Nias people is farmer both at highland and lowland. They use simple tools such as long knife, like sword, hues and stick. They don not know the use of plough sagged by cow or buffaloes as other parts of Indonesia. The Nias people use round knife like fingering to harvest by bare hands. They grow rice, tapioca, yam, beans, chili, corn, banana and other minor horticulture when go for hunting to protect their cultivation from wild animal such as wild pigs, squires, deer, fruit bats and others. They use net to trap the animal by driving them to their net using dogs. Other also sail to the sea for fishing or capture the fish using nets. Their most popular domesticated animal is pig, goats, and cow. Nias was ever known as pig exporter in the recent decade, yet today their production has been really going down. Beside animal growing they also able to make tools in metal such as sword and long knife for arm with beautiful shape. Genealogy system of Nias is a big family called Sangambato which is consist of Senior family with families of their children. This Sangambato is a unit of economic life and based on patrilineal lineage. Bato is called Mado or Gana. Within a Mado or Gana member can not merry each other unless each of the couple can be proved that they genealogically already at least 10th generation, so Nias people has the marriage tradition of exogamy between Mado. The process of marriage in Nias tradition consist of many steps. First the parent of the youth will come to the family of the girl advising the intention of their son to marry their daughter, while bring girls' family 3 pao gold (1 pao around 10 gram). As a change the family of the girl gives a bag of boiled pig meat. Three week after the family of the youth return the bag with boiled pig meat second step is the discussion to set us the date of marriage ceremony and the amount of payment in gold to girl's parent. Third step is marriage ceremony, when a big number of pig are slaughtered for the invitees and big feast, which mean show up of wealthy. After finishing this ceremony then the bridge is brought to her husband house. The parent of the girl will 4 give this new couple one female pig and a sword as the first capital for them to build the family. When the couple has a child whom given a name for example "Hilo" then their relatives or neighbor will address they wife as Ama Hilo for the husband, and Ina Hilo for the wife. Death ceremony is very important in Nias society, the same as Tiwah and Ngaben in Bali. This ceremony take a big vast. It can be a slaughating of 200-300 pigs during ceremony. But today, only certain person or family that still conduct this type of ceremony to show their Velethyness. In the past the people of Nias introduced social strata especially South Nias. Siulu or Nable, Ere or religious leaders, Ono Mbanera or Common people, and Sawuyu or Slave. Slaves that were capture of war or abduction were said to have been sacrificed during ancient ceremony. The Nias before they know foreign religion such as Christianity, Moslem and Buddhist they already have their original belief called Pelebegu. The Pelebegu is basically a worship of ancestor's worship, yet there are also myth about time after death, pantheon and the status of human life elements such as they body and the spirit. When one died the body back into dust, and the spirit continue to live in the heaven what they call Teteholi Ana'a. </span><br /></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-12843133045493170982008-01-24T20:28:00.000-08:002008-01-24T20:59:57.387-08:00THE MINANGKABAU WEST SUMATRA<p style="font-style: italic;font-family:arial;" align="center"><span style="font-size:100%;"><b>THE MINANGKABAU WEST SUMATRA</b></span></p> <span style=";font-family:Verdana;font-size:85%;" ><b>The Land</b><br /></span><div style="text-align: justify;"><span style=";font-family:Verdana;font-size:85%;" ><img src="http://www.balitouring.com/culture/minangkabau/map.jpg" align="left" height="318" width="270" /><span style="font-family:arial;">The people of Minangkabau is the Malay who reside current West Sumatra Province with the capital city of Padang. A city with around 300.000 residents located on the west coast of West Sumatra, facing Indian ocean Other big city in West Sumatra is Bukit Tinggi located on highland with nice temperature which is considered the capital city of Minangkabau land. Historical researches revealed that the first kingdom on the country was located around 60 kms away from Bukit Tinggi city, a place called Pagaruyung. Here was found stone inscription in old Malay language and old Javanese writing. The inscription mentioned that king Adityawarman was ruling the country who was assigned by the kingdom of Pajajaran from West Java in 14th century. During the time West Java was under the control of the Great Kingdom of Majapahit.</span></span><br /><span style=";font-family:Verdana;font-size:85%;" > The country has a unique traditional organization called Nagari which is comparable to the meaning of a village. Within the Nagari organization system it is introduced 2 basic systems. Firstly is Body-Caniago, a democratic system, and Koto-Piliang system, an autocratic system. Today these 2 systems have become more and more disappeared due to the application of national system. Almost all people of Minangkabau is Moslem. In the past many rituals that had relation with religion now already discarded or simply forgotten. Some people are still believe in invisible being or holy spirits that could effect human life. Today West Sumatra is modern provice with the population estimated to have reached a number of around 4.000.000</span><br /><br /><span style=";font-family:Verdana;font-size:85%;" > To reach the country one can fly directly to Padang from any big cities in Indonesia. Fly from Jakarta need only 2 hours, and from Medan the capital city of North Sumatra is only 1 hour. Yet one who wish to travel with visit to some great places along the land of North and West Sumatra will take car from Medan to Padang, a distance of 800 kms and can be completed within 7 days with overnight stop at some places such as Mountain resort of Berastagi, 2 night at Lake Toba and Samosir Island the land of Batak Tribe, the city of Padang Sidempuan the border between the land of Batak and Minangkabau, then continue to Bukit Tinggi and Padang by crossing the equator line at the town of Bonjol, between Bukit Tinggi and Padang. One thing that is well known from West Sumatra is the cuisine called "Masakan Padang". The people of Minangkabau used to leave their country and live at other areas of Indonesia, even in Malaysia. If you see a restaurant named "Ruman Makan Padang" it is a Minangkabau restaurant, and sometimes in short called "Rumah Makan Minang". Many experts say that matrilineal system of their society that force Minangkabau men to leave their land to other parts of Indonesia, and even to Malacca, which is now known as Malaysia. Too many families of West Sumatra has the relatives in Malaysia. And the name of Padang Restaurant is known by the whole Indonesia. Wherever you go within the Indonesia you can find the restaurant named Minang or Rumah Makan Minang. The famous tourist resort and places of interests are located in the area of Bukit Tinggi. The famous tourist's object in West Sumatera such as the Canyon ( Sihanok Canyon ), just on the west border of Bukit Tinggi city, Japanese Militery Defense Cave on the west corner of Bukit Tinggi city, Rumah Gadang at Pagaruyug, Songket weaving at Pande Sikat village, and natural sceneries for lakes and mountains and Anai waterfall</span><br /><br /><span style=";font-family:Verdana;font-size:85%;" > <b>Kinship Tradition</b></span><br /><span style=";font-family:Verdana;font-size:85%;" > The only ethnic of Indonesia using mother line or mother genealogy as the main lineage of family heir in Indonesia. In relation to the family genealogy and heritages the Minangkabau has typical tradition called matrilineal or matriarchart system. Children are considered belong to the mother and her sister(s), not belong to father and his sister(s) or brother(s). A father seems to be out of the family, out of his wife and his children. He has no right to claim the heritage(s) of the family and acts as the guard only for the whole heritages and heirlooms of the family to be safe, or just like a security for a company. The concept of a family in Minangkabau society is different from the rest of Indonesian ethnic group, the core family ( father, mother and their children ) is not a family, but is only part of a of a family. The understanding of a family in Minangkabau society is a unit consist of mother's sister(s), mother's brother(s), son(s) and daughter(s) of mother's sister(s). While father and his son(s) are belong to other family that is father's sister(s). The core family has no right to the whole management of family heritages and heirlooms and in the society structure of obligation and rights. Yet the growth and education of the children sons or daughters is the full responsibility of father and mother apart. A father or son is not the heir of a family, but it is the daughter(s) of mother and her sister(s) of mother. Husband has the duty to guard the family heritages, managing, and distributing to the heirs safely, not for the sake of himself. Wife or wife's sister(s) will not allow him to rent or sell the heritages. Heritages in the Minangkabau language is called "Pusako", compared to Indonesian "Pusaka" which has almost the same meaning. Pusako is divided into 2 groups, the high pusako including land of rice field or dry land, estate or plantations, while low pusako is heirlooms, or gift. All these heritages are owned by the line of mother from generation to generation. All these heritages will go to mother's daughter(s), and in case the heir is absent, then based on consensus will be taken the girl from mother's line to be the family heir. That is the main reason that a man from Minangkabau prefers to leave their land and go to other country. The original house of Minangkabau is a high house to reflect the structure of their family sistem, built on poles with roofs shaped as horn, almost similar with that of Torajan in south Sulawesi. Thie house is called "Rumah Gadang"</span><br /></div><span style=";font-family:Verdana;font-size:85%;" ><br /></span><div style="text-align: justify;"><span style=";font-family:Verdana;font-size:85%;" ><b>Core Family</b></span><br /><div style="text-align: justify;"><span style=";font-family:Verdana;font-size:85%;" ><span style="font-family:arial;"> A unit of family in Minangkabau society as mentioned above is consist of big family which is called pariuk or perut, kampueng or suku, depending on the area, weather they are on lowland or on the mountain area. But it shows the smallest unit of a family, reflected in the architecture of their house</span> <span style="font-family:arial;">called " Rumah Gadang" </span><img style="font-family: arial;" src="http://www.balitouring.com/culture/minangkabau/dress.jpg" align="left" height="196" width="243" /><span style="font-family:arial;">Kampueng or Suku was formed by Datuk Parpatih Nan Sebatang based on his visit to China. The way the Chinese identify their family by using family names amazed him and inspired him to manage the people of Minangkabau with this system. At the beginning it is said only 3 groups were exist those were the group of Suku Koto, Suku Piliang, Suku Bodi, and Suku Caniago. As the number and area of West Sumatra was to wide, each of these Suku again divided into smaller units. At some places a Suku had far bigger number of residents, while the Suku of their neighbors had much fewer members. Since the marriage is regulated between Suku, so it was not enough for one Suku that had bigger members to merry the Suku with fewer member. Based on this condition, again the bigger Suku was divided into smaller unit of Sukus called Paruik or Perut. Here Perut became the smaller unit of administration. A Suku or Perut is headed by 4 elders: The Penghulu, the Malim, the Manti and the Dubalang.</span></span><br /></div></div><div style="text-align: justify;"><br /><span style=";font-family:Verdana;font-size:85%;" > Who was Datuk Parpatih? Researches so far disclose that from the turn of Christian era the latest of 14th century West Sumatra was under the control of Hindu and Buddhist kingdom. Sriwijaya kingdom believed to have ruled Sumatra from the beginning of Christian era up to 10th century, then taken over by the great kingdom of Majapahit. The terminology " Parpatih" makes no doubt that it is " Patih ", the prime minister of the minister of Hindu king, weather Sriwijaya or Majapahit who trusted to rule the country. The relation between the country with China as mentioned above gives the indication that the person was a Hindu or Buddhist, not Islam. Other interesting question is why only West Sumatra that use the tradition of Matriarchart, while the rest of Indonesian ethnic using patriarchart? This is still un-answered until today.</span><br /></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-32600760623406957342008-01-24T20:27:00.002-08:002008-11-18T18:29:19.453-08:00THE MINAHASA NORTH SULAWESI<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWNMLxJv4YfVqfUgOFZmj5fgukl7f_VlqpGi2cHgRr1PPanifjKIByk_ejFB5Dk681mdiNH-f8YYnyhk450B_MWL95B9SIYppo-1CAvyn2Gsh4YubYg3sewKim0fhfr-5JAEdl7dkNfT_C/s1600-h/collage.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWNMLxJv4YfVqfUgOFZmj5fgukl7f_VlqpGi2cHgRr1PPanifjKIByk_ejFB5Dk681mdiNH-f8YYnyhk450B_MWL95B9SIYppo-1CAvyn2Gsh4YubYg3sewKim0fhfr-5JAEdl7dkNfT_C/s320/collage.jpg" alt="" id="BLOGGER_PHOTO_ID_5159274176943705570" border="0" /></a><br /><p style="font-style: italic;" align="center"><span style=";font-family:Verdana;font-size:100%;" ><b>THE MINAHASA NORTH SULAWESI</b></span></p> <div style="text-align: justify;"><span style=";font-family:Verdana;font-size:85%;" > The area covers 5.273 square kilometers, with total resident of 1.718.000 people based on cencus in 1971. There are also residents coming from other part of Indonesia such as Chinese, Makasar, European, Arabian, and from islands near Ambon. </span><br /><span style=";font-family:Verdana;font-size:85%;" > Based on their dialect they are consist of 4 groups, but each other still understand in communication, except dialect of Tonsawang, it changes to far from it's parent language. Their basic living are farmers with still big numbers depending on seasonal planting. Only during rainy season they cultivate the land and plant corn, vegetables, spices, bean, cassava, yam, etc. Some good soil especially in Minahasa regency with it's capital Manado can be cultivated all year round. So here the farmer more established.</span><br /><span style=";font-family:Verdana;font-size:85%;" > The Minahasan mostly Christian, but there are also small part Moslem, Buddha and others. Local believe is still alive, especially those traditional rituals to the ancestor's spirits. </span><br /><span style=";font-family:Verdana;font-size:85%;" > Manado has excellent underwater life which is already famous among world's divers. Diving spots are around the islands of Bunaken, and Manado Tua. Karl Muller the author of the Periplus Addition of Indonesia Under Water said that Bunaken diving site is world class walls and outstanding fish life.</span><br /><span style=";font-family:Verdana;font-size:85%;" > The Minahasan is also have Mongoloid characters and speak Malayu - Polinesian variation of the language. There are many people also coming from Ambon ( Maluku ) area where people have more melanesoid characters, beside also European, during the colonization of Indonesia. So, in Manado the people are mixed between them. </span><br /></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-40125454173105449292008-01-24T20:27:00.001-08:002008-11-18T18:29:19.585-08:00THE PEOPLE OF MENTAWAI<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWC4q09nH4zYy_LYumLeFf4eI_zJ6SpsP8rFtufLVrlCZ9NhxBlHaTTovgi5-DOfUz0nDNvnGjxy3ZOxUcZKlEHClTB-Kh3gXhov-4fghyphenhyphen8Vg2nJu7FD28S9XX0U1nV2TTUVPo5bdYIai-/s1600-h/ticket_mentawai6_p2.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWC4q09nH4zYy_LYumLeFf4eI_zJ6SpsP8rFtufLVrlCZ9NhxBlHaTTovgi5-DOfUz0nDNvnGjxy3ZOxUcZKlEHClTB-Kh3gXhov-4fghyphenhyphen8Vg2nJu7FD28S9XX0U1nV2TTUVPo5bdYIai-/s320/ticket_mentawai6_p2.jpg" alt="" id="BLOGGER_PHOTO_ID_5159273824756387282" border="0" /></a><br /><p style="font-style: italic;" align="center"><span style=";font-family:Verdana;font-size:100%;" ><b>THE PEOPLE OF MENTAWAI</b></span></p> <div style="text-align: justify;"><span style=";font-family:Verdana;font-size:85%;" > Mentawai island is one line with Nias and located further South, near West Sumatra, and reside Pagai, Sipora, and Siberut islands. Physically they are the same as Nias people, and speak a variation of Melayu-Polinesian language. Since the location of the islands is aside from the sea traffic, actually until today the development is not significant yet. They have already learnt Christian by missionaries since 18th centuries, so until now almost 98% of them are Christian and Catholic. This culture is interesting for anthropologist to explore the simple life where nature still regulate their every day life.</span><br /><span style=";font-family:Verdana;font-size:85%;" > </span><br /><span style=";font-family:Verdana;font-size:85%;" > The oldest record about Mentawai population was made in 1796 recorded 11.090, in 1930 recorded 17.900 and 1966 recorded 20.000. The Mentawai consist of 4 main islands, the Siberut, Sipora, Pagai Utara and Pagai Selatan. Mentawai islands are covered by dense forest with mountain in the middle of the islands stretches from north to south as it all islands are connected. Record until 1980 still found all island had premier forest even up to the beach. All beaches covered by dense coconut trees, and no one of the village was visible from the sea or from the air. All villages are located near the river's estuary, yet still 5kms deep in;and from the beach. Each village has an average of 150 people, while at Pagai Utara and Siberut islands can be found a village with 500 residents. In the past a village was consist of one big house built on stilt and enclosed by small houses as the house of families which were also on stilt. On the surrounding of the village was cultivated their fruits trees. They also cultivated land under big trees in the forest. The big house called Uma with the size 25 x 10 meters on strong poles 1,5m high including in all house total height can reach 10m. To reach the room is used wooden steps directly contact to from and side terrace. The terrace enclosed all Uma. The door from front area bring one to wide room with gallery to the back on which sides are smaller rooms for sleeping. Front room is considered a holy place. The function of Uma as until today still can be found is the place for organizing traditional ritual for the numbers whom still have blood relation, and at the front room are preserved various valuable traditional heirs, in anthropology known as fetish. Some materials are considered as charms beside also arms and human skeletons. This front room is also used by guest who need to overnight during their trip. According to the record this type of house with it's original function has started to disappeared during 1920, especially in Pagai Selatan island, yet the Uma can still be seen in some villages, and functioned only as meeting places, school, and also ever as church. The former smaller stilt houses also become more and more disappeared or only used as meeting places. It is lucky that some of these houses can still be seen until today. The main subsistence of the Mentawai is simple farming be clearing the land from small and medium trees, burn the cut plantation for fertilizer. The main cultivation is yam (Colocasea esculenta), Taro (dioscoren Alata), rice, banana, papaya, sugar cane, vegetable, and medicaments. The Mentawai introduces rice since around 1930s, quiet in contrary with the rest of Asian ethnics who have been cultivating rice since farming revolution. Clearing the land is the assignment of men, while for the treatment of growing is taken over by women. The exclusive work dome by men is hunting of pigs, deer, birds, monkey and others using bows. It is know that before Christian religious reaching the island, youths and girls of 16-20 years among members of Uma, this ritual called Rimata. Rimata was also the 4 persons who was respected as the leader who take care of family heirs, and various social activities of an Uma. When a Mentawai is dead all his heritages were divided among his children, but if her did not have child it will be distributed for his brothers and sisters. For the women when she got married with a man and bring her children from her previous marriage, these children would not got the heritage, as they would be given by their father or mother which during the marriage was separated from husband's wealth. Record in 1966 mentioned that 55% Christian, 34% Catholic and 11% Moslem. Although foreign religions have been accepted in Mentawai, yet original concept of ritual is continued, until now. The Mentawai has the concept of life and after here. The spirit that bring human to alife is called "Simagere". When human being is dead his/her spirit left the body and live around human place. This spirit is called "Sabulungan", The spirit that make human being to be strong and powerful is called "Kere", while the spirit that protect houses called "Kira", Evil spirits that can trouble human being is called "Sanitu". The Mentawai also know the magician who was consulted for medicament called "Sikeree". The basic concept of Sikerei is almost the same as other ethnics of the world, that using the stranger's soul as the cause of the diseas or assumption that the patient has offensed their fasting had been intimate relation, beside also girls had been intimate relation with her youth in her village. Some times a girl give birth a child without formal marriage, which then the child will be cared by her parents. A formal marriage would then be reached if the couple advised their wish to their parents. Also friends, and neighbor will be informed of the marriage. It was not recorded, that following a marriage if was a special ritual or traditional ceremony such as in Nias. When a couple has reached their 40s, usually the husband build a new house to upgrade his status in the society. With his new status he then become a busy man to fulfill traditional activities in the village, doing very strict fasting season which is called "Punen". The fasting limited man in meals, economic activities and intimate relation. With his new status he would also add more burden to take care of his sons, daughters and even grand children. His new house would be completed with charms, relics, and other family heirs. In Mentawai word this new status of a family was called to have been reaching "Lalep". Where a husband was respected by their society. When Christianity reached the island changes happened and the meaning of "Penen" become holiday. On Siberut island until today can still be seen a ritual of initiation for children or members between 12-15 years to become full member of the Uma. This will bring the equal right and obligation for the members that got initiation ceremony. Normally the feast is big followed by skin tattoo age the leader of. </span><br /></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-30180572833289094442008-01-24T20:26:00.001-08:002008-11-18T18:29:19.664-08:00JAVANESE PEOPLE AND PLACES<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIMkTRot_bSHFt8zNqavu9ntAN4A8df6W4vP2uLqirH71Wh4OlrLe-QHy-8kUrhi0UeeTbUp1r_lZlKM0pESskpL63k7qYMLvzsMHYrm7sjGNMjeBB__bQ237J5UkUVYIqT__sN6sa4-mo/s1600-h/javanese_wedding++.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIMkTRot_bSHFt8zNqavu9ntAN4A8df6W4vP2uLqirH71Wh4OlrLe-QHy-8kUrhi0UeeTbUp1r_lZlKM0pESskpL63k7qYMLvzsMHYrm7sjGNMjeBB__bQ237J5UkUVYIqT__sN6sa4-mo/s320/javanese_wedding++.jpg" alt="" id="BLOGGER_PHOTO_ID_5159273541288545730" border="0" /></a><br /><p style="font-style: italic;" align="center"><span style=";font-family:Verdana;font-size:100%;" ><b>JAVANESE PEOPLE AND PLACES</b></span></p> <p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"> The area of Java is very vast covering central and east Java island. In ancient time Mataram kingdom which are now the the special district of Yogyakarta and Solo in Central Java were the center of their culture. In 1755 the kingdom was splited into 2, one is the Sultanate of Yogyakarta, and one other is Kasunanan of Surakarta ( both are Islamic kingdoms ). Javanese speak complex dialect which introduces social status. In general the dialect is divided into two levels that are "Ngoko" dialect which is spoken among known partners, and "Krama" dialect which is spoken among those who are not known each other and for those whose social status is considered higher. Both Ngoko and Krama have more further variations, when it was spoken for palace member, higher status level, or more senior people, or for lower level, etc.<br /><br />Java land is the most densely populated in Indonesia. Many big cities are still developing such as Yogyakarta, Semarang, Solo, Surabaya, Blitar, and Malang. While dozens of medium to small cities still heavy with population. So the welfare of the people is still a tremendous big works. Still a large part of the population working on the land cultivating rice, cassava ( marlihot utilissima Phl), corn (zea mays L), yam (ipomea batatas poir ), Kacang ( vigna sinencis), gude (cjamis cajan), soya ( glycine soya Bth ), bean (arachis hypogen L), etc.<br /><br />Some people work in government offices, private companies, trades and especially near the beaches as fishermen. Personal ownership of land in Java is the same as other areas in Indonesia. The ownership is transferred down from generation to generation, divided among the heirs. That is why in Java most family has a small land for farming.<br /><br />Kinship system in Java is almost the same as in Bali, that is forbidden to marry between brother and sister, nephew, and children among brothers and sisters, and marry older woman. There are many ways a man and a woman come to their marriage status. First the family of the man come to the family of the woman to request their daughter, and this is the normal procedure. Second is when a man after dedicated himself to the parent of the woman, than is given as a present to marry their daughter. Third is the present from royal family. Fourth is the family of the woman come to the family of man to request. Fifth is when a marriage is arranged by both parents, in this case the marriage will be an imperative and forced by both parents. This way is become very rare and might be disappear in the future. Divorce in some reasons is accepted due to the absence of child, inability of husband to give welfare to the wife, and other reasonable causes.<br /><br />In Javanese society there is class considered high status such as "bandara-bandara" consist of royal family lineage, and the "priyayi" the government workers and learnt persons. In contrast to above 2 groups is a class called "wong cilik" means small people, those are the common people which is mostly poor. Based on religious characteristics there are "Santri" and "Kejawen" Santri is Moslem that is very obedience with Islamic rules, while Kejawen is Moslem but they are not praying nor have the idea to go for a haj to Mecca.<br /><br />Organizationally, the smaller unit of administration is called Desa or Kelurahan with head called "Lurah" Once again the understanding of Desa in Java contains much different affairs compared those a Desa in Bali. A Desa in Java is an administrative area as a bridge between Indonesian government with local organization.<br /><br />Islam has been is the majority religion in Java, not question about that as at every corner of the land we can see mosques. Not all Javanese practice religious rituals according to the Islamic doctrines. As already mentioned there are "Kejawen", and also many people are Christian, Hindu, Buddhist, and others. The Moslem-Kejawen believe that there is an omni-power incomparable wherever and whenever it does.. This supreme power is called "Kesakten" Below kesakten there are ancestor's spirits, good and evil spirits which can affect human life. In conjunction with this power and spirits they make an offering and a feast for the blessing ceremony. Those rituals such as:</span></p><div style="text-align: justify; font-family: arial;"> </div><ol style="text-align: justify;font-family:arial;"><span style="font-size:85%;"> <li>Life circle rites including many ritual after death. Basically there are ritual from Pregnancy - Birth - Life - Death - After Death.</li> <li>Various ritual for the Desa, Rice field, and Land cultivation,</li> <li>Various ritual for the Moslem holidays,</li> <li>Ritual for special event such as opening new house, diseases, long journey etc.</li> </span></ol><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"> During the ritual they make an offering and is dedicated to supreme power and the lower invisible beings. Even, after death they have ceremonies after 3, 7, 40, 100, and 1000 days.<br /><br />In their ritualistic tradition it is very clear that influence of Hindu is still very strong observing from the names they use, and some specific beliefs which arises such as (1) a belief of good and evil spirits, (2) a belief mixed between Moslem and Hindu, (3) a belief showing Hindu characters, (4) a belief in mystic. They are all in search of human welfare.<br /><br />Various tourism interests are spreaded over Java from western tip to eastern tip of the island. Lately the security concern is arises due to the economic crisis of the country which is not last yet.</span></p><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><strong><span style="font-size:85%;">Yogyakarta Special Province</span></strong></p><div style="text-align: justify; font-family: arial;"> </div><ol style="text-align: justify;font-family:arial;"><span style="font-size:85%;"> <li>Borobudur Buddhist temple and many smaller temples,</li> <li>Prambanan Hindu temple,</li> <li>Sultan Palace,</li> <li>Gold and Silversmiths</li> <li>Ambarawa Train Museum,</li> <li>Wayang carving,</li> <li>Handicrafts</li> </span></ol><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><strong><span style="font-size:85%;">Solo/Surakarta</span></strong></p><div style="text-align: justify; font-family: arial;"> </div><ol style="text-align: justify;font-family:arial;"><span style="font-size:85%;"> <li>Sunan Palace</li> <li>Ancient anthropormorphic bed in Sangiran</li> </span></ol><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><strong><span style="font-size:85%;">Malang</span></strong></p><div style="text-align: justify; font-family: arial;"> </div><ol style="text-align: justify;font-family:arial;"><span style="font-size:85%;"> <li>Singasari temple,</li> <li>Penataran temple,</li> <li>Sukuh temple</li> </span></ol><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><strong><span style="font-size:85%;">Surabaya</span></strong></p><div style="text-align: justify; font-family: arial;"> </div><ul style="text-align: justify;font-family:arial;"><span style="font-size:85%;"> <li>Old port</li> </span></ul><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><strong><span style="font-size:85%;">Bondowoso</span></strong></p><div style="text-align: justify; font-family: arial;"> </div><ol style="text-align: justify;font-family:arial;"><span style="font-size:85%;"> <li>Bromo Montain</li> <li>Ijen Crater</li> </span></ol><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><strong><span style="font-size:85%;">Banyuwangi</span></strong> </p><div style="text-align: justify;"><span style=";font-family:Verdana;font-size:85%;" > <li style="font-family: arial;">Kali Klatak coffee estate,</li> <li><span style="font-family:arial;">Baluran and Meru Betiri nature reserve</span> </li></span></div><ol><span style=";font-family:Verdana;font-size:85%;" > </span></ol>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-84625642396787904772008-01-24T20:25:00.000-08:002008-11-18T18:29:19.713-08:00THE FLORESIAN PEOPLE<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXUqgPEKoATZ_9OJuYY1L6Ux8BlNGwRvGcfSIjMQ6a1BPzuqPPybI_PVhJkzZf291XLEOm6hTHgE4RSPOFIjWmDWw96394tIf9Z69ONBkOwTrjOBpsEybxQufvjQxzpD46TVHwr88k2RsL/s1600-h/flores_20rumah_20adat%5B1%5D(1).jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXUqgPEKoATZ_9OJuYY1L6Ux8BlNGwRvGcfSIjMQ6a1BPzuqPPybI_PVhJkzZf291XLEOm6hTHgE4RSPOFIjWmDWw96394tIf9Z69ONBkOwTrjOBpsEybxQufvjQxzpD46TVHwr88k2RsL/s320/flores_20rumah_20adat%5B1%5D(1).jpg" alt="" id="BLOGGER_PHOTO_ID_5159273116086783410" border="0" /></a><br /><p style="font-style: italic;" align="center"><span style=";font-family:Verdana;font-size:100%;" ><b>THE FLORESIAN PEOPLE</b></span></p> <div style="text-align: justify;"><span style=";font-family:Verdana;font-size:85%;" ><span style="font-family:arial;"> Flores is one of the main islands of east Nusa Tenggara which are consist of Flores, Sumba, Komodo, Solor Alor, Roti and west Timor. There are many small islands on the water of flores such as Rinca, Ende, Adonare, Tomblem, Pador, Besar, Pomana, Babi, Pamana, and Palu. At the beach of West Flores, north sea of Komodo there are group of small islands consist of Sebayur Besar, Sebayur Kecil, Tataba, Siaba Besar, Mapean, Papagaram Besar, Papagaram Kecil, Panakia, Pimpe, Boasala, Kaaba, Kalong, Kelor, Bangko, and many specs of Atols Administratively Flores is under East Nusa Tenggara Province separated from Bali around 1950s, and now has the center of administration at Kupang city on West Timor island. There are 8 sub-ethnic group live on the island including it's small island ; (1) The Manggarai, (2) The Riung, (3) Ngada, (4) Nage-Keo, (5) The Ende, (6) The Lio, (7) The Sikka, (8) Larantuka. Sub no 2,3,4 and 5 culturally shows slight difference, yet compare to Manggaraian shows significant difference including physical traits. The Manggarai people has the market physical characteristic of Mongoloid-Malay, but some small characteristic showing the other group above. The skin color of the Manggaraian is brighter like other Western Indonesian people with more people have straight hairs. The other ethnic groups shows great similarity of Malanesian people, although their skin color is not as dark as the people of West Papua. At the east tip of Flores there is a sub-ethnic living at Larantuka town showing great mix of people. this probably has been caused by the fact that Larantuka has become the center of Christian missionary from 17th century. So inter marriage have been taking place. The number of people recorded in 1930 around 250.000 people, and more better census in 1964 recorded 1.582.200 people. With this figure Flores and it's island showing small density of population which is 41 person per square km. Their village for Manggaraian are constructed on the highland or foot of mountain, and each village formed circular, divided into 3, front, center and back. In the past at each part of this settlement had special holy place which was considered the place of the guardian of the village. This holy places are assemblages of natural stones with stepped pyramid with flat on top. At the front is banyan tree and the village meeting hall. In the past this meeting hall also place to preserve a drum, a music instrument which is considered a holy tool. This type of stone altar also known by people of Ngada at central Flores. In the past the villages were fenced with strong bamboo, and the outer part still protected by plants having sharp stings, yet today this type of villages are left already, but traces can still be seen at some places. The people of Ngada has started to cultivated the land with irrigation system since 60 years ago where they could manage more stable life. But some people are still moving from one place to another clearing and burn forest. The main crops they grow are corn and rice. Besides cultivating land for crops the Floresian also grow buffaloes, but it is not for their economic value, only for feast, religion, status symbols, gift of marriage is also important beside horses. Horse also use for transporting people and goods. Marriage tradition of Floresian, especially among Manggarai, happened naturally as a result of the relation between youth and girl, but this type of marriage required big amount of gift to be given to girl's parent. So the ideal marriage to avoid this high requirement is marriage between a youth with the daughter of his mother's brother, and also marriage by fledging from home with the approval of both sides. Like other ethnics of Indonesia the procedure of marriage is almost the same, initiated by youth's parents and relatives will come to girl's parent to request their girl for their son. It is often that a man has married a woman but still can not give the gift to woman's parents, so he has to work for some days or months to pay this at wife's parents. Other type of marriage in Manggarai or Floresian is general is monogamy very rare of case polygamy like in Java, furthermore Floresian are already Christian observer. Kinship system of the Manggarai and Ngada is a big family base on patrilineal leanage, living virilocally, called a "Kilo" some kilo form a small clan or minimal leanage called "Panga" which traces their generation up to 5 to 6 generations. Today the relation within the Panga is not clear anymore except for the name tradition. In the past the unit of Panga will be bound by the traditional ceremony such as death ceremony, building public places and others. The bigger group of Panga is called "wa'u" who has a complex of same traditional elements, folklore, totem, and common ancestors, and ceremonies which all have been forgotten today. In 1761 the kingdom of Bima in Sumbawa took over the central of Makassar on Manggarai, but this was not long, as Bima was shocked by great explosion of Mt. Tambora in 1815. From the report of Bima kingdom staff at Manggarai it is known that the center of Manggarai kindom wasat Cibal. The original structure of Manggarai kingdom can still be seen until today. The kingdom was consist of units called "Dalu". It were 39 Dalu, each Dalu consist of some Glarang, and each Glarang consist of some villages or "beo". Every Dalu usually controlled by a clan or by a wa'u. The head of a Dalu is called a "Kraeng Adak", while the most important Dalus such as Todo and Bayo, their head is called "Sangaji". Important offices in Manggarai are "tu'a tana" a person who expert in land ownership, and "raja bicara" a diplomat. These officers were present at head level of kingdom, Dalu and Glarang. 5 social layers is also introduces based on originality of their place on the society or in more clear tense is seniority. The Kraeng in Manggarai, and Gae Meze in Ngada are the borjouise, while "Ata Leke" in Manggarai and "Gae Kisa" in Ngada is common people, and the group of slaves which is not exist anymore. The traditional belief of Floresian is general by concept is the same as other ethnic groups of Indonesia, basically they respect the ancestors, plus holy souls of nature. In Manggarai and Ngada they have highest god called "Mori Karaeng", while Ngada called "Deva".</span> </span></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-31265543052485389542008-01-24T20:24:00.002-08:002008-11-18T18:29:19.921-08:00INDONESIA CHINESE<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4n9HhZ7ZyE8tekkhMgzWBRjPoGYMF-wSakszIjwe_FJk5pzDpnjWZpu8PntykPOt622AzIRtNCWbUr8tDkkFM3vVkKcSc_bts4LBLiHSvBwerS9BQYIAnMLByxN7m-AQzh2Vv5Upou2T8/s1600-h/darsono.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4n9HhZ7ZyE8tekkhMgzWBRjPoGYMF-wSakszIjwe_FJk5pzDpnjWZpu8PntykPOt622AzIRtNCWbUr8tDkkFM3vVkKcSc_bts4LBLiHSvBwerS9BQYIAnMLByxN7m-AQzh2Vv5Upou2T8/s320/darsono.jpg" alt="" id="BLOGGER_PHOTO_ID_5159272695179988386" border="0" /></a><br /><p style="font-style: italic;" align="center"><span style=";font-family:Verdana;font-size:100%;" ><b>INDONESIA CHINESE</b></span></p> <p style="text-align: justify; font-family: arial;font-family:arial;"><span style="font-size:85%;"> In every part of Indonesia especially in cities always presence the Chinese. But most Indonesian do not know them well. There are actually 4 groups of Chinese who have settled in Indonesia. These 4 groups are based on their language and origin in China. Chinese migration into Indonesia was happened between 16th to 19th century.</span></p><div face="arial" style="text-align: justify; font-family: arial;"> </div><ol style="text-align: justify; font-family: arial;font-family:arial;"><span style="font-size:85%;"> <li>Hokkien people, was coming from Fukien Province as area very important for the history of Chinese trade in the south. They have a character that they are very diligent, patient, and delicate. They are very good in trading. So most of them are economically success. Their migration into Indonesia reached a wide area in east Indonesia, central Java, East Java, and west Sumatra.</li> <li>Teo-Chiu and Hakka (Khek) people from southern part of China in hinterland of Swatow of eastern Kwantung Province. The Teo-Chiu and Hakka people was emplyed in the minings, such as East Sumatera, Bangka island, and Biliton.</li> <li> Kanton people ( Kwong Fu ), was the resident of southern part of Kwantung province. At the beginning they were interested by Indonesian mining industry, and they come with skill. They are the people who own shops, and blacksmiths. They are not as many as Hakka and Teo-Chiu.</li> </span></ol><div style="text-align: justify; font-family: arial;"> <span style="font-size:85%;">For Indonesian the 4 groups are not important, as they are much more known as:</span> </div><ol style="text-align: justify; font-family: arial;font-family:arial;"><span style="font-size:85%;"> <li>Indonesian - Chinese or " Peranakan"</li> <li>Original Chinese or "Totok"</li> </span></ol><div style="text-align: justify;"> <span style="font-family: arial;font-family:Verdana;font-size:85%;" >This classification is much based on the degree of their assimilation and acculturation with the local people and culture. Most Hokkien who migrated first to Indonesia has experienced deep assimilation and acculturation, even their physical characters are almost the same as local people due to the marriage exchange. They mostly forget their language, and speak local language and Indonesian.</span><br /><span style="font-family: arial;font-family:Verdana;font-size:85%;" > </span><br /><span style="font-family: arial;font-family:Verdana;font-size:85%;" > Group of migration that live in west Java, Sumatea West Kalimantan there are still Totok with Chinese villages, speak their own language and continiue their culture in Indonesia.</span><br /><span style="font-family: arial;font-family:Verdana;font-size:85%;" > </span><br /><span style="font-family: arial;font-family:Verdana;font-size:85%;" > During Dutch colonization with the different treatment in social status and affairs, they did not want to be classified as the local. This is again grown by the China Nationalist propaganda arises during 20th century. This propadanda of re-orientating their nation. This is given an advantage again with China system of nationality of father's blood lineage or nationality based on blood relation called ius sanguinis. This policy before 1955 had caused double nationality. The most important from this impact is the growing awareness of the Great China family or in simple a process of totonized.</span><br /><span style="font-family: arial;font-family:Verdana;font-size:85%;" > </span><br /><span style="font-family: arial;font-family:Verdana;font-size:85%;" > In general most Chinese in Indonesia work in trade, especially the Hokkien. In West Java and West Sumatera they are farmers. In Bagan Siapi-api ( Riau ) the Hokkien are fishermen. The Hakka in Sumatera work as labor in minings, while in West Kalimantan they are farmers. The Teo-Chiu work as farmers but many also labor in farm estates in East Sumatera.</span><br /><span style="font-family: arial;font-family:Verdana;font-size:85%;" > </span><br /><span style="font-family: arial;font-family:Verdana;font-size:85%;" > The trade of Chinese in Indonesia is based on family's ownership and management. Mostly small size and do not need worker from outside. If their business growing, they open new branch which is given to their brother, child or any family member to manage, except if they build limited corporation do they works with other Chinese clan or even other ethnic that they consider profitable.</span><br /><span style="font-family: arial;font-family:Verdana;font-size:85%;" > </span><br /><span style="font-family: arial;font-family:Verdana;font-size:85%;" > It was a paradigm that the Totok consider the Peranakan is lower in class due to their mixed blood, while the Peranakan consider the Totok is lower in class as they are all coming to Indonesia as labor. During Dutch colonization the Chinese as if they were an autonomous society and was permitted to rebuild their own culture in Indonesia, and just after the ethnic getting strong the Dutch realized the situation and closed all education belong the the exclusive Chinese and their organization. During Japan control on Dutch East India, all western schools were closed, and again Chinese school rebuilt. After the independence of Indonesia all educational facility and system were reorganized and adjusted under the basic constitution of Indonesia, that the Educational Facility is for all, and no special treatment be exist. Starting from 1957 all Indonesian must follow the rules no exception of any ethnic.</span><br /><span style="font-family: arial;font-family:Verdana;font-size:85%;" > </span><br /><span style="font-family: arial;font-family:Verdana;font-size:85%;" > Kinship system of Chinese in Indonesia is almost the same as main ethnic cultures in Indonesia such as marriage suggestion and interdiction. The only different is their family unit is much bigger ( big virilocal ). The status of women in the past was low and become the subject of her husband, brothers, and their parent in law. A man pursue to have boy, and as long as the boy has not yet born, the husband can take more women.</span><br /><span style=";font-family:Verdana;font-size:85%;" > </span><br /><span style="font-family: arial;font-family:Verdana;font-size:85%;" > In Indonesia the Chinese follow Buddhist, Kung Fu-tse, Christian and Islam, although in Great Chine the population are Buddhist. The strong belief of Chinese is their love to the ancestors, although they are already passed this world, their body is cremated, and the ash is kept at home, in a ceramic vas. They also celebrate the Chinese New Year called " Imlek" in Indonesia, while in Great China it is called " Summer Feast ", and in Bali is called " Chinese Galungan" </span><br /></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-46800867456561747982008-01-24T20:24:00.001-08:002008-11-18T18:29:20.038-08:00THE BUGIS OF SOUTH SULAWESI<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhznUgML6a8joXxzFF9wPTzDxEFYRDtEMhb26thb6sXrVwuoWQ7ZJVfQedjfxOAEEuUcmPX6DjdSxsrgHbT3A3Zt53c_8ySKfMjiMHZjaxEdY0a7jTbJeSGMtp0LYEgkDOyONhc1F7djHuy/s1600-h/pakaian.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhznUgML6a8joXxzFF9wPTzDxEFYRDtEMhb26thb6sXrVwuoWQ7ZJVfQedjfxOAEEuUcmPX6DjdSxsrgHbT3A3Zt53c_8ySKfMjiMHZjaxEdY0a7jTbJeSGMtp0LYEgkDOyONhc1F7djHuy/s320/pakaian.jpg" alt="" id="BLOGGER_PHOTO_ID_5159272115359403410" border="0" /></a><br /><p style="font-style: italic;" align="center"><span style=";font-family:Verdana;font-size:100%;" ><b>THE BUGIS OF SOUTH SULAWESI</b></span></p> <div style="text-align: justify;"><span style=";font-family:Verdana;font-size:85%;" > The people of Bugis-Makassar is the residents of South Sulawesi ( Celebes ) covers an area around 100.457 square kilo meters, with total population around 5.600.000. This people is famous for their expert in sailing on the deep ocean. As a sailor they have spreaded over many areas of Indonesia such as North Sumatera, Malaysia, Kalimantan, Java, Bali, Maluku, Sumbawa, and West Flores.</span><br /><span style=";font-family:Verdana;font-size:85%;" > </span><br /><span style=";font-family:Verdana;font-size:85%;" > Their house is built on wooden poles so it is a high house. Basically there are 2 types: a type of feudal house and the other is common people house. Although they are Moslem but during house construction theymake some ceremonies according to the local belief.</span><br /><span style=";font-family:Verdana;font-size:85%;" > </span><br /><span style=";font-family:Verdana;font-size:85%;" > Basic economic activity in South Sulawesi is farming such as rice and corn. In the past during 19th century south Sulawesi was surplus on farming products and sea products, so it can be exported to other part of Indonesia, even China for their Holothurioidea ( sea stars fish ). People of South Sulawesi is famous for their sea exploration as a sailors to catch fish and transport products by sea with sailing boat up to Philippine, West Papua New Guinea, and even Australia. Until today most of traditional cargo boats in Indonesia re navigated by people from South Sulawesi.</span><br /><span style=";font-family:Verdana;font-size:85%;" > </span><br /><span style=";font-family:Verdana;font-size:85%;" > Ninety percent of the population is Moslem, and 10% Christian and others. Moslem was started in 17th century. However local tradition before was still alive such as concept of organization and life ethic wich all now incorporated into Moslem. Other tradition is relected in a book written in the past such as the ar of La Galigo story.</span><br /><span style=";font-family:Verdana;font-size:85%;" > </span><br /><span style=";font-family:Verdana;font-size:85%;" > In South Sulawesi there is one a famous tourism object located on Northern area of the province. But this area is belong to Toraja Culture, with the residents of Central Sulawesi. The Torajan speak different dialect from Bugis-Makassar. The area is 325 kilo meters away from the capital city of Bugis-Makassar that is Makassar city, and with driving takes around 7 to 8 hours. The tradition of Toraja is very deeply ritualistic and a an excessive co-operation among their members due to their heavy burden of rituals, although most of them are already Christian and Moslem </span><br /></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-57454123365344715382008-01-24T20:22:00.000-08:002008-11-18T18:29:20.236-08:00THE BATAK TRIBE<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO2u1f0bReqnVjYFPHfr836C-WmlbrM-jZG5qAvuBXVq2sHyGrC_oaO8Qdx-qExcMg1Z0eat3miDerCpMcVaJcmABggBvf_yTdZMItApy8Tdj9iJQDWRUZqLyfYAnXAVGmzIMo2N1apgUE/s1600-h/b5f.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO2u1f0bReqnVjYFPHfr836C-WmlbrM-jZG5qAvuBXVq2sHyGrC_oaO8Qdx-qExcMg1Z0eat3miDerCpMcVaJcmABggBvf_yTdZMItApy8Tdj9iJQDWRUZqLyfYAnXAVGmzIMo2N1apgUE/s320/b5f.JPG" alt="" id="BLOGGER_PHOTO_ID_5159271432459603330" border="0" /></a><br /><p style="font-style: italic;" align="center"><span style=";font-family:Verdana;font-size:100%;" ><b>THE BATAK TRIBE</b></span></p> <p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"> The term "<strong>Batak</strong>" is used to refer the original resident of North Sumatra. The areas referred to as their country is stretching from Medan up to the areas around lake Toba and further South in Mandailing regency, the border of West and North Sumatra.<br />Four sub-group is known for this Batak tribe those are Batak Karo, Batak Toba, Batak Mandailing, and Batak Simalungun. There is no physical and social differences, just a slight different in not visible behavior and dialect. Their different names refers the area where they live. Most of them are a Christian or Catholic, since around 18th century many Christian missionaries live in North Sumatra.<br />They also have Mongoloid characters, and speak Malayu- Polinesian language as the other part of Sumatra. Among them Toba was the latest area to open with other part of Sumatra, but soon getting so famous due to their natural beauty around Lake Toba with Samosir island on it. Historical remains of the Batak Toba in the past is still preserved well such as ancient king burial, slaughting altar, and the Tor Tor dance. These are all on the beach of Samosir island.<br />Now on the beach of Samosir island and across the lake called city of Parapat have been developing very fast as a tourists resort area with dozens of hotel small and big, nice roofed boats to cross the lake or sight seeing between island and places on the bank of the lake. The people of Batak is the resident of North Sumatra highland such as the present district of Tanah Karo, Simalungun, Tapanuli utara, Tapanuli Tengah, Tapanuli Selatan, Dairi and Ashan. That is also the ethnic of Batak is further grouped according to their district into sub ethnic of Karo, Simalungun, Pakpak, Toba, Angkola, and Mandailing. According to the record in 1930, the Karo were 120.000 persons, the Simalungun were 50.000, the Toba were 400.000, the Mandailing were 160.000 persons. Batak language also has the variation which are spoken by sub ethnics such Karo dialect, Pakpak dialect, Simalungun dialect, and Toba dialect spoken by the Toba, angkola and Mandailing. Figure in 1930 for the whole North Sumatra in 1930 was 2.500.000 and only 30 years later had double the number into 5.000.000 Compared to the size of North Sumatra which is 70.787 square kms, the density is only 70 person per square meter. As other ethnic of Indonesia the Batak also has house and village certain pattern which is specific for them. Terminologies such as huta at Batak Toba refers a territory of one clan, The Karo use the name kesain, while kreta for the Karo is bigger then huta in Toba, which consist of various clans. In the past both kuta and huta were enclosed by tight woods as a wall of resistence against the attack of other huta or kuta. Within a kuta or a huta there are some rows of houses among which is open place as a yard for the place of ceremony of marriage, death and others. Some hutas had deep canal around, or high wall for their resistance. In it's court yard also built the farming rice granary which was also used as sleeping place by younger generations. Every villages of Karo, Simalungun and Mandailing have public hall for meeting, while for Batak Toba they have a spot of land near the main gate of huta. A typical mark of huta is a banyan tree at the front, which is considered as the symbol of nature. This idea reminds about villages in Bali. The pattern has now experienced much changes especially those resistance aspects as the war among kuta and huta has been in exist anymore. Lumban refers to an area settled by part of clan, and only exist in Toba. Sasor is a new small settlement, built because the huta has been full. The sasor after years can be developed into a huta if physical and spiritual characters have been fulfilled, and is given the approval by the bius. The terms of bius, partahian, urung and partumpukan each is used by the Batak of Toba, Angkola, Karo, Simalungun and Pakpak refers a unit of some hutas or kutas. In this case clannish border is neglected. The establishment of a huta must be followed by a ritual and paid the debt to the main huta. The ritual is started with the offering to the god of the earth called Boraspati ni tano. The offering consist of Batak land product, and conducted by a shaman called "datu". This ceremony reminds about the same process of building a house in Bali which is called "Ngeruak" which is addressed to the god of rice "Dewi Sri", or the mother earth "Pertiwi". The son of Pertiwi is often referred as "Banaspati". So is should have been relation between the Batak and Balinese in some aspect of life under the Hindu influence.Batak house is called "Uma" or "Jabu" Toba, which shows they have same root with Balinese and other Indonesian ethnics. The Uma or Jabu is built on many wooden poles, but do not as high as those house on stilt on the islands. Their wooden board wall is made sloping, with roof made of palm black fibres. The size around 10 to 10 meters elongated east-west orientation. Doors are constructed on the west and east sides at Karo and Simalungun, while at Toba entrance is from the roof, and on the west and east side of the house have high caps the place to put buffalo horns. The peak of the house is made half circle. At Karo there is an ayo beside on Uma. An ayo is decorated with geometric ornamentations with colors red, white, yellow and black. On the right and left are put sculptures, human head or lion's head sculptures. The wall is tied with rope made of black palm fibre to look like lizard. A typical aspect of Karo house which can not be found at other Batak houses is the bamboo terrace constructed at the front of the house as the place of the girl to meet with youth for a visit. A Batak house in general is a home for more than one families connected on genealogy, only in Toba that a house is for big families, as they live in virilocal system. In general the Batak live as farmer, grow rice with irrigation system, except at Karo and Simalungun there are still working at dry land by clearing and burn forest. At the dry land the owner of the land is the Kuta or huta, they have the right on the land, but there also land owned individually, for example what is called panjaean land, which is given to their son after his marriage as the capital for their life while pauseang land is the land given to a daughter after her marriage with same purpose as Panjaean. In general the Batak still cultivate the land by simple way, only once a year s harvest can be yielded. Women do not involve in process of cultivation. Other short live horticultures are not grown except on the shore of lake Toba. Their tools of cultivating land is still simple such as ; hue, plough, poles, and knife to harvest. The plough in Batak language is called "tenggala" exactly the same name as Balinese used in Batak, the tenggala is drown by buffalowm while in Bali by 2 cows. Other subsistence for most of Batak society is growing pigs, cows, and chicken, for , meat supply to big city like Medan as well as the need of ceremony. The land of Batak Toba has the most beautiful scenery such as the view of Lake Toba with it's Samosir island. On the northern wall of Toba crater is a magnificent water fall called Sipiso-piso. This natural setting combined with tradition of the Batak on the island of Samosir has been one of the most visited destination is Indonesia. Combined with specific fauna of Orangutans at Mount Leuser national park, north Sumatra has become very famous destination. An example of tour program to this natural beauty can be visited here </span><span style="font-size:85%;">Bohorok tour</span><span style="font-size:85%;"><a href="http://www.balitouring.com/tour/sumatra/bohorok/index.html"></a>. Marriage tradition in Batak society in the past born kinship system at the same level of understanding between sub-ethnic of the Batak with some different terminologies for certain kinship aspects. The ideal marriage according to Batak old tradition is merry the daughter of mother's broder's daughter. A youth was not free to choose his partner, he must follow the family tradition. Today this tradition is not followed by a large part of the society anymore. The initiative of delivering a plan of marriage was taken by the family of the youth by sending a formal messengers to the family of the girl. If the plan has been accepted by the family of the girl, then a discussion will take place between the family of the youth and the girl. This is concerning the amount of gift to be given to girl family, which were consist of sum of money, accessories, buffaloes, and pigs. The amount of gift that will be given to the brother of girl's mother, the amount of gift that will be given to the brother of girl's grand mother. The amount of gift to be given to the sisters of girl's mother, the amount of gift to be given to the brother of girl's mother. Besides the family of the girl there are also gift for brothers of girl's father. During the feast of marriage, usually the buffaloes and pigs were cooked for the members of Kuta or Huta that participated the feast. During the feast that the gift is given according to the tradition. Living tradition after marriage normally with the family of husband or virilocal, while there were some live with wife family or uxorilocal when the family of husband was poor. A large part of Batak society are monogamy, while polygamy is not practiced, although customary low does not prohibit this practice. In case a window with her children then married a second husband, she and her children have no right on the wealth of the family. If the husband is dead, the widow must merry the brother her husband or one of husband relative. If she doesn't want to, she ask divorce, and only the son can decide the divorce, or the grandchild. Procedure of normal divorce is that, the husband present his problem to the head of the customs who will call an elders to call the family of both sides. In this meeting will be decided who has been wrong. If the wife has been wrong she has to return double of the amount of gift received during marriage ceremony. If the husband is wrong, all his lost as a result of giving gifts and other will not be returned. The clan of Batak people. Batak people introduces clan before western tradition influenced them which is shown by their naming tradition. </span></p><div style="text-align: justify; font-family: arial;"> </div><table style="text-align: left; margin-left: 0px; margin-right: 0px; color: rgb(255, 255, 255);font-family:arial;" border="1" cellpadding="0" cellspacing="0" width="95%"> <tbody><tr border="" bg="" style="color: rgb(255, 244, 255);"> <th style="color: rgb(0, 0, 0);" height="22" width="158"><div align="center"><span style="font-size:85%;">Sub-ethnic</span></div></th> <th style="color: rgb(0, 0, 0);" width="143"><div align="center"><span style="font-size:85%;">Family group</span></div></th> <th style="color: rgb(0, 0, 0);" width="182"><div align="center"><span style="font-size:85%;">Family</span></div></th> <th style="color: rgb(0, 0, 0);" width="207"><div align="center"><span style="font-size:85%;">Sub-family</span></div></th> </tr> <tr border="" bg="" style="color: rgb(255, 244, 255);"> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Batak Karo</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">-</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Makaro-Karo</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Sitepu<br />Barus<br />Sinulingga<br />etc</span></div></td> </tr> <tr border="" bg="" style="color: rgb(255, 244, 255);"> <td style="color: rgb(0, 0, 0);" rowspan="4"><div align="center"><span style="font-size:85%;"> </span></div><br /></td> <td style="color: rgb(0, 0, 0);" rowspan="4"><div align="center"><span style="font-size:85%;"> </span></div><br /></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Ginting</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Suka<br />Munte<br />Manik<br />etc</span></div></td> </tr> <tr border="" bg="" style="color: rgb(255, 244, 255);"> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Sembiring</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Keloko<br />Muhan<br />Pandea<br />Etc</span></div></td> </tr> <tr border="" bg="" style="color: rgb(255, 244, 255);"> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Parangin-angin</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Kutabuluh<br />Sebayang<br />Bangun<br />Singarimbun<br />Etc</span></div></td> </tr> <tr border="" bg="" style="color: rgb(255, 244, 255);"> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Tarigan</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Tambun<br />Silangit<br />Etc</span></div></td> </tr> <tr border="" bg="" style="color: rgb(255, 244, 255);"> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Batak Toba </span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Lontung</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Situmorang<br />Sinaga<br />Pandiangan<br />Nainggolan<br />Simatupang<br />Aritonang<br />Siregar</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Lumban Pande<br />Bonar<br />Pandiangan<br />Lumban Raja<br />Togatorup<br />Ompu Sunggu<br />Silo</span></div></td> </tr> <tr border="" bg="" style="color: rgb(255, 244, 255);"> <td style="color: rgb(0, 0, 0);" rowspan="2"><div align="center"><span style="font-size:85%;"> </span></div><br /></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Suruba</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Nai Ambaton<br />Nai Rasaon</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Simbolon<br />Manurung<br />Sibagot Nipohan</span></div></td> </tr> <tr border="" bg="" style="color: rgb(255, 244, 255);"> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Borbor</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Lubis<br />Pulungan<br />Tanjung<br />Harahap<br />Sipahutar<br />Batubara</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;"> </span></div><br /></td> </tr> <tr border="" bg="" style="color: rgb(255, 244, 255);"> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Simalungun</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;"> </span></div><br /></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Purba<br />Saragih<br />Damanik<br />Sinaga<br />Sipajung</span></div></td> <td style="color: rgb(0, 0, 0);"><div align="center"><span style="font-size:85%;">Girsang<br />Simarmata<br />Manik</span></div></td> </tr> </tbody></table><div style="text-align: justify;"> <span style=";font-family:Verdana;font-size:85%;" >Batak society also introduces social layers, which is not noticeable as Bali. Their social layers based on : age, title, original resident of an area, marriage status. The older the person more privilege the have in society. There are some profession considered more respectable then others, and those who built the Kuta considered have more privilege compared to those coming later. Although the people of Batak have been following Christianity and Islam, the original ideas on belief which is written on a wood skin is still alive. This concept is called "Tarombo", Tarombo explain about the creation of man kind, genealogical lineages, and the concept of universe creation, and the spirit who control nature's phenomena. Concept about psyche are two types, one is the spirit got from the women of the mother called "Tondi" which make human being alive, and spirit got at the same time as Tondi, but it makes human being respected by others called "Sahala". Sahala can decreasing or increasing which shows by the full and increase of human grace. If Tondi left the body temporary will cause sickness, and leaving forever means death. When human being is dead his/her Tondi become "Begu". The Bagu can act as human being, only it acts in the night. Ancient Batak knew many kind of Begu or holy spirit from dead person and also Begus that reside the mountain, dense forest big trees and others </span><br /></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-35979176903646553772008-01-24T20:19:00.001-08:002008-11-18T18:29:20.434-08:00BALINESE CULTURE AND PLACES<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv-9OEpeEIRJW9CB7_CvuChERotwUv1j0ZSO0PzAyQhSc2F6wwulKGDjLHs0oRDYPAHzKmhiDKNKIjD7dg8xqnXtbxJVoqAz-gM5NLogAtDyb5b7TRTEsMnBTrWhWLZmQ-fAayRMfGVLVz/s1600-h/bali-festival.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv-9OEpeEIRJW9CB7_CvuChERotwUv1j0ZSO0PzAyQhSc2F6wwulKGDjLHs0oRDYPAHzKmhiDKNKIjD7dg8xqnXtbxJVoqAz-gM5NLogAtDyb5b7TRTEsMnBTrWhWLZmQ-fAayRMfGVLVz/s320/bali-festival.jpg" alt="" id="BLOGGER_PHOTO_ID_5159270826869214578" border="0" /></a><br /><p style="font-style: italic;font-family:arial;" align="center"><span style="font-size:100%;"><b>BALINESE CULTURE AND PLACES</b></span></p> <p align="justify" style="font-family:arial;"><span style="font-size:85%;"> The island of Bali with smaller islands such as Nusa Penida, Lembongan, Ceningan, and Menjangan covers an area of 5.808,8 square kilometers, with number of population around 3 millions. Almost 98% of the population are Hindu devotees with markedly local traditional rituals. The island is classified one of the densely populated areas of Indonesia.<br /><br />Balinese physically is not different from other people of west Indonesia where Mongoloid character is predominant over Malay characters, only a few people bring the characters of true Malay with small body size and brown skin. In general skin color are ranging from bright to brown, but dark brown is very rare, and very few with curling hairs, mostly straight hairs, with the average height of the body in the past 160 cm, and now around 170 cm. Especially younger generation tend to grow higher by slim body.<br /><br />Balinese speak Balinese, a dialect of Malay. Due to cast system Balinese dialect itself underwent further variation, as each cast claimed to have their own idiolect which is higher in conjunction with their own cast status. Balinese and Yogyakarta have much in common words only they used the words in different meaning or sometimes in contradictory meaning.<br /><br />Beside Javanese Balinese is one society which has introduced writing since 998 AD. This writing scripts which are supposed to undergone evolution and have now become variations of writing such as in Myanmar, Thailand, Java and Bali. So the art of writing has developed very early both in Java and Bali. Currently Balinese writing is learnt in school and there is an effort to preserve the heritage, since Bali is rich with writing heritages in the form of ethics, stories, myths, songs, chronicles and historical documents written in various style of Bali nese scripts. Historic monuments are also various in Bali, some are originated from 10th century, and these sites are still preserved by local people, and associated to their religious rituals.<br /><br />With the economic advancement reached by Bali for the last 2 decades it has invited many people from other parts of Indonesia and from the 5 continents to try their luck in Bali. This is now the biggest social problem that can arise in the future due to the limited land. With this situation, Bali has become part of Global world and put Balinese in a dilemmatic position between developing lifestyle as an impact of outside world and their original customary life style has become an object of unending exploitation, as it's very nature giving chance to such a behavior.<br /><br />Balinese introduce social organization based on area and obligations to preserve and maintain temples and it's rituals. This fact has been able to keep the integrity and security in Bali, but on other space has dragged this organization into unnecessary ritualistic nature. This organization is called " Banjar " This Banjar is the center of power currently when kingdoms and hegemony of traditional ruling class has been changed by the role of economic and expertise groups.<br /><br />In a wider group, Balinese is tied again by genealogical lineage to maintain clen's temples and as Bali wide they also feel obliged to maintain and preserve temples built by the king in the past such as Besakih, Uluwatu, Tanah Lot, Ulun Danu, Sila Yukti, Gelgel, and many others.<br /><br />Basic economic activities in Bali is growing rice, coffee, cacao, juices, corn, cassava, and various cereals and vegetables. Home industry is developed very fast such as garment, irons, furniture, ceramics, terracotta, and carving, beside ethnic handicrafts. Balinese art-skill got a place when Bali developed tourism. Tourism development has given multi-flier effect on industries and farming in Bali.<br /><br />Specially in agriculture Balinese has developed a systematic organization to regulate the irrigation system. This organization has been successful in maintaining the continuity and equality of water supplier for every member, beside maintain the water flowing facilities.<br /><br />Cattle breeding and poultry growing are already developed for local consumption as well as export to other countries such as pigs and cows. Also fishery development especially shrimps and fish has just been able to fulfill the local demand. Still a great space to develop this products specially fisheries.<br /><br />Bali has the most varied places of interest for tourists, from western tip to the eastern tip of the island, both in the form of cultural and natural attractions.</span></p> <span style=";font-family:Verdana;font-size:85%;" >Jembrana Regency</span> <ol style="font-family:arial;"><span style="font-size:85%;"> <li>Museum of Ancient men in Gilimanuk Port City,</li> <li>Palasari Irrigation dam,</li> <li>Belimbingsari Christian Missionary,</li> <li>West Bali National Park with it's Bali White Bird ( Bali Starling )</li> <li>Purancak Beach View</li> </span></ol> <span style=";font-family:Verdana;font-size:85%;" >Tabanan Regency</span><span style="font-size:85%;"><br /></span> <ol style="font-family:arial;"><span style="font-size:85%;"> <li>Soka Beach view and week end place,</li> <li>Tanah Lot temple</li> <li>Batukaru mountain temple,</li> <li>Pejaten Roof Tiles industry</li> <li>Blayu Songket Weaving Cloth</li> <li>Jatiluwih vast rice terrace</li> <li>Bedugul mountain resort and Botanical garden,</li> <li>Butterfly park,</li> <li>Marga battle field commemorial tomb,</li> <li>Kedaton Monkey forest</li> <li>Agronomic museum</li> <li>Penatahan natural hot spring.</li> </span></ol> <span style=";font-family:Verdana;font-size:85%;" >Singaraja Regency</span> <ol style="font-family:arial;"><span style="font-size:85%;"> <li>Lovina Beach resort</li> <li>Menjangan island diving site</li> <li>Banjar natural hot spring and Buddhist monatery</li> <li>Gitgit waterfall,</li> <li>Bali Handara Kosaido Country Club</li> </span></ol> <span style=";font-family:Verdana;font-size:85%;" >Badung Regency</span> <ol style="font-family:arial;"><span style="font-size:85%;"> <li>Sangeh Monkey Forest</li> <li>Kuta Beach resorts with dozen of hotels, and various entertaiments,</li> <li>Nusa Dua Tourism enclave, an elite areas</li> <li><a href="http://www.balitouring.com/bali_articles/taman_ayun.htm">Taman Ayun temple</a></li> </span></ol> <span style=";font-family:Verdana;font-size:85%;" >Denpasar Municipality</span> <ol style="font-family:arial;"><span style="font-size:85%;"> <li>Denpasar Ethnographical Museum</li> <li>Denpasar Traditional market</li> <li>Art Center,</li> <li>Traditional dances of Kecak and Barong,</li> <li>Sanur tourism resort with many hotels and restaurants, and nice beaches.</li> </span></ol> <span style=";font-family:Verdana;font-size:85%;" >Gianyar Regency</span> <ol style="font-family:arial;"><span style="font-size:85%;"> <li>Regular Barong dance</li> <li>Regular Kecak dance</li> <li>Mas, woodcarving artist colony,</li> <li>Celuk, gold and silversmiths artists colony,</li> <li>Ubud, painting artist colony,</li> <li>Handicraft villages such as Tegalalang, Sumampan, Kemenuh, Tengkulak, and many others,</li> <li>Monkey forest in Ubud</li> <li>Ubud resorts with various museums, hotels, restaurants, arts galleries, and studios of painting maestros,</li> <li>Goa Gajah Buddhist Monastery</li> <li>Pejeng areas with various antiquities and Archaeological Museum,</li> <li>Gunung Kawi Rocktemple,</li> <li>Yeh Pulu rock carvings</li> <li>Singapadu Balinese Traditional house</li> </span></ol> <span style=";font-family:Verdana;font-size:85%;" >Bangli Regency</span> <ol style="font-family:arial;"><span style="font-size:85%;"> <li>Kintamani mountain resort,</li> <li>Kehen temple,</li> <li>Trunyan traditional village,</li> <li>Panglipuran traditional village,</li> <li>Sebatu water temple,</li> <li>Tampak Siring historical water temple,</li> <li>Panulisan temple,</li> </span></ol> <span style=";font-family:Verdana;font-size:85%;" >Klungkung Regency</span> <ol style="font-family:arial;"><span style="font-size:85%;"> <li>Kerta Gosha, ancient court house of justice,</li> <li>Besakih mother temple,</li> <li>Kamasan village with oldest Balinese canvas painting,</li> <li>Tiyingan village, the blacksmith of Balinese traditional music instruments</li> <li>Goa Lawah</li> </span></ol> <span style=";font-family:Verdana;font-size:85%;" >Karangasem</span> <ol style="font-family:arial;"><span style="font-size:85%;"> <li>Candidasa resort with many hotel and restaurants,</li> <li>Karangasem Palace architecture,</li> <li>Tulamben beach resort with various hotels and restaurant, a beach famous for diving sites</li> <li>Tirta Gangga, a king bathing pool,</li> <li>Putung Hill, a natural nice view</li> <li>Perang Pandan</li> </span></ol>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-43964876111894699132008-01-24T20:18:00.001-08:002008-11-18T18:29:20.566-08:00AMBON OF MALUKU ARCHIPELAGO<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKFQyOwqOpahX4Ffya8fmZ7dL0vfkn7OkfcSZHaLuSex5bCVbr2SFtporpXSjZYUaMRObeMHo1zqmWmot0u3pJgsvYqSxIAC4OKqB_KdURifVHX49Gz_KXojFQ7HIXiKla9I3RHmr4c7_0/s1600-h/Maluku_Gbr.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKFQyOwqOpahX4Ffya8fmZ7dL0vfkn7OkfcSZHaLuSex5bCVbr2SFtporpXSjZYUaMRObeMHo1zqmWmot0u3pJgsvYqSxIAC4OKqB_KdURifVHX49Gz_KXojFQ7HIXiKla9I3RHmr4c7_0/s320/Maluku_Gbr.jpg" alt="" id="BLOGGER_PHOTO_ID_5159270345832877410" border="0" /></a><br /><p style="font-style: italic;" align="center"><span style=";font-family:Verdana;font-size:100%;" ><b>AMBON OF MALUKU ARCHIPELAGO</b></span></p> <div style="text-align: justify;font-family:arial;"><span style="font-size:85%;"> Ambon is on of the islands which is now a province of Indonesia called "The Province of Maluku". The main island of Maluku are Buru, Ambelau, Boano, Ambon, Saparua, Seram, Gorong group, Watubela group, Banda group, Kai group, Aru group, Tanimbar group, Babar group and other small group of islands spreaded on the ocean between Sulawesi and West Papua. Maluku is the province having the biggest number of islands which area is the sea as the biggest percentage. In this writing the current province of North Maluku can not be separated such as Halmahera, Ternate and Tidore islands. Historically Ternate and Tidore were once had important role in the history of Maluku archipelago. The location of each island or each group of islands is far and the means of transportation among islands is limited within a long period. This situation has caused much of the island were in isolated status until just recent years when motorized boat reaches the islands. The population of Maluku is a typical beach settlers living as fishermen, and small number as farmers. Census in 1971 recorded the number of population was 1.088.945. In this writing not all islands of Maluku will be presented, as in detail the difference are great, while in general the island of Ambon as one of the most developed area. Maluku can represent the diversity of the region. Traditional villages on the island of Ambon was built along main road closed each other, or in a group of houses separated by land. This small group of houses is called "Soa". The original houses of Ambon, the same as Nias, Mentawai, Bugis, Torajan, and other ethnic of Indonesia, is built on high wooden poles. Many soa which are located close each others from a village called "Aman". A complex of aman called "Desa" which is also called "Negari" headed by a "raja". The center of the negari will be seen with the existence of meeting hall, house of raja, church, mosque, house of the clergy, shops and various stalls. The people of Ambon most of them are traditional an very simple farmer, reminds use about the Nias, Mentawai and Dayak. They clear and burn forest plant the crops' seeds only using wooden stick. The main subsistence of Ambonese, as well as other people of Maluku is Sago, the same as the people in West Papua. Although rice is now used but not totally change the sago. The traditional process of them to make sago is exactly the same as simple way on northern shore of West Papua other crops they grow in small scale are rice, coffee, potato, tobacco, banana, mango, durian and cloves. Cloves, Ambon has been known by European as the source of spice. The cultivation of spice is not complicated, just planted an clearing the land around the plant regularly. Hunting wild animal such as pigs, deer and casuary birds using traditional trap which will hang the animal when the trap is stepped. Kinship system of the Ambonese is based on minimum leanage called mata-rumah, where a group of relatives of patrilineal relation. This unit is called fam. Bigger unit of fam is famili. Fam give the traditional rules on marriage, and use of land among patrilineal relation, while famili also has the same function. The Ambonese introduces 3 ways of marriage, fled, a couple left their house, so the family of youth and girl will lost and realized that their son or daughter has left from house to marry. For the couple this way is preferable to avoid procedures, but is not convenient for girl's family. When a couple left their house for marriage, the youth family that will actively tracing and discussing with relatives, the parents of girls and other families to solve and completing the process. A youth when he plans to marry by taking the girl away, usually has been known by girl's family. The youth with the help of his friends or his relative will take the girl in her room and bring all her clothing away. An envelope with letter will be put on the bed of the girl. After the girl is taken away she will be under protection of youth family. In this case a girl is lost or taken by a youth for marriage, and left marriage gift on her bed, it means girl's parents do not know who is the youth. Second way is normal marriage request which will be organized by youth parent, the same as other ethnics of Indonesia with big marriage gift, why this system is not preferable, especially for poorer people. Beside marriage gift which is to much, also the feast makes the family over burden, Third tradition is a marriage, that the youth move from his family to the girl's family. This is caused by inability to give marriage gift, or the youth family do not approve the girl due to different social status. Polygamy is allowed among moslem, but forbidden in Christian society. Although among Ambonese Moslem polygamy is allowed but not practiced like in Java and Lombok. Social organization in Ambonese society, as mentioned above consist of the head of "Soa", and many soas become a "Negari" headed by a "Raja". The position as raja is based on geneology, although tradition rules to appoint based on election. Other traditional positions are 'tuan tanah" an official expert in land and it's people, Kapitan a war expert, Kewang a forest watcher, Marinyo news pronouncer. All above traditional officers as a body of traditional government is called "Sanitri". The actual daily administration of the villages is actually done by the head of soa both traditional affairs and the government of Indonesia.The striking social character of people in Maluku is the big number of social organization or association. The existence of Patasiwa and Patalima for example. Pata means part, undoubtedly a word of Sanskrit "patu" and "siwa" means nine, lima means five. So in short there are an organization of "9 parts" and "5 part". The organization of Patalima is belong to the people living around Mala river and Teluk Putih on Seram island. This organization is divided into 2 groups, the patasiwa hitam and the patasiwa putih. No one of the people can explain the origin or concept of this organization anymore. See from the history where Ambon or Maluku was under the influence of Ternate and Tidore kingdoms for years since 1500s, it was assumed that this division was to give a mark to each of above kingdom colony. That is patasiwa hitam must give her skin certain tato, so this assumption bring to a conclusion that the tradition of patasiwa and patalima was originated from Ternate or Tidore. In the past it was said that patasiwa hitam who give the face tatuage, was member of secret organization who often beheaded their enemy. Other organization are girl's association or Jajaro and youth organization or Ngungare. When a girl married outside her soa the Ngurare can block her way out if the white cloth gift is not yet delivered to the parent of the girl. While on west Seram there is more freedom to a girl to host guests, picnic, and wear beautiful dressing during ritual of the tradition. Other organization in Ambon is called pela, which members are between soas or villages. This pela can be divided into pela keras, pela minum darah, and pela tempat makan sirih. Pela keras involves the co-operation in urgent need such reciprocal assistance in hard work, war and others. It is forbidden to marry between member of pela keras. While pela minum darah is almost the same organization with oath of mixing their drop of blood from their finger then the drink together. Pela makan sirih was formed to get reciprocal assistance in constructing Church, Mosque, and School. The formation of pela was believed as a result of the continues pressures from kingdoms of Tidore, Ternate, Dutch, and Portugais. Other organization is muhabet, an organization to organize all the need of death ceremony.</span></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-1448007960767595262008-01-24T20:14:00.003-08:002008-11-18T18:29:20.685-08:00THE PEOPLE OF ACEH<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc2kCzyeGMWodnd5xdG7xH5o44hZLwhoiVizBaQEpxfgKJcKeNqJpJMzX7DTY8TWpy_U9kpRRrzMbQiW4CEz1TbLANTuTrdMQr7BqL__sng3cFrdLqcIelyLJYFDPrc-G_MdIC0wsoQxPi/s1600-h/Aceh_Gbr.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc2kCzyeGMWodnd5xdG7xH5o44hZLwhoiVizBaQEpxfgKJcKeNqJpJMzX7DTY8TWpy_U9kpRRrzMbQiW4CEz1TbLANTuTrdMQr7BqL__sng3cFrdLqcIelyLJYFDPrc-G_MdIC0wsoQxPi/s320/Aceh_Gbr.jpg" alt="" id="BLOGGER_PHOTO_ID_5159269263501118802" border="0" /></a><br /><p align="center"><span style=";font-family:Verdana;font-size:100%;" ><b>THE PEOPLE OF ACEH</b></span></p> <p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"> The special district of Aceh is located on the northern most top of Sumatera island, covers an area of 55.390 square kilo meters, include 3 mains islands on the north shore. Actually there are many small islands still not mentioned here. Aceh is one of the areas in Indonesia that already introduce writing. Their writing is called Arab-Malay and was used by older generations, while younger generations do not know this writing anymore since in school they study Latin alphabets.<br />The nature anger that devastated Aceh in 2004 has been living a great missery to the people of Aceh, which religious piety has been the most strongest in the world. We belive that the people of Aceh are really obeyed the religion from the deepest heart, not like other coutries that hold Muslim as only the outer mark to get the sympathy of the illitrate. The strong obedience of Aceh to Muslim do not bear terrorists like other countries or areas. Yet we as a human being do not understand why such a religious ethic must be punished by mother nature not limited to the Aceh provice only but Yogyakrta and South Kalimantan, South Sulawesi, Central Lombok where Muslim are planted soo deep. In Aceh, based on language that exists, can be grouped into 4 dialects from the same great parent of Autronesian. Those 4 dialects have been developed so far, so each other do not understand by their own language.</span> </p><div style="text-align: justify;"> </div><ol style="text-align: justify;font-family:arial;"><span style="font-size:85%;"> <li>Gayo - Alas dialect; is spoken by Gayo land people in central Aceh,</li> <li>Aneuk Jamee dialect; spoken by group in South and West Aceh,</li> <li>Tamiang dialect; spoken by people scattered along the border of Aceh and North Sumatera at the east side,</li> <li>Aceh dialect; spoken by 70% of the total Special District of Aceh, those are living in East, North, Pidie, and part of West Aceh.</li> </span></ol><div style="text-align: justify;"> <span style=";font-family:Verdana;font-size:85%;" ><span style="font-family:arial;"> The shape of their houses is called high house, as it is built on a wooden poles to avoid animal attack and flooding. Their basic subsistence are rice, but their irrigation system is still not yet developed and largely depend on season which is only once a year. They also grow catles such as cows and buffaloes. They know also trading intra provinces such as with North Sumatera with Medan as the center of the economic activities. Other farming products such as coffee and rubber are all exported to Medan. In the past Aceh is also famous for their spice, but with the monopoly of Dutch East Company, their prices were always valueless and the farming was neglected by the people.</span></span><br /><span style=";font-family:Verdana;font-size:85%;" ><span style="font-family:arial;"> See from their traditional organization Aceh showing a democratic organization which is manifested in an organization called </span><span style="font-family:arial;">Gampong. </span><span style="font-family:arial;">Beside the head of Gampong and his assistants there is a people representative elected from senior peoples who have vast experiences to sit in the element of Gampong organization and involve in the society's affairs. Aceh is the first Indonesian region to receive the influence of Islam and has been developing into loyal Moslem devotees, and take every efforts to establish Islam in all life's aspects. That is why Aceh is often called " the gate of Mecca ". But Acehnese is not a religious extremists, nor a terrorists, they are Malay people sharing common virtues and wickedness with all of Indonesian. Due to the bad management of Indonesian government in the past they are now requesting an independency</span></span></div><span style=";font-family:Verdana;font-size:85%;" > </span>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-8411989191153589232008-01-24T20:09:00.000-08:002008-11-18T18:29:20.832-08:00THE DAYAK OF KALIMANTAN<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGGyLo6zEyZp9lkzd6qJ48gtozO527xwOmqRdmmOJgchpY5ONWhHx-ZL1c_p10yuPKs1-9-iedO56FtbpkUUWA4W8htSjvWmI_lL6lSTxxVVsA3HYVviBcfg5OnuFgTitC3_a2MvnQYgfh/s1600-h/awg3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGGyLo6zEyZp9lkzd6qJ48gtozO527xwOmqRdmmOJgchpY5ONWhHx-ZL1c_p10yuPKs1-9-iedO56FtbpkUUWA4W8htSjvWmI_lL6lSTxxVVsA3HYVviBcfg5OnuFgTitC3_a2MvnQYgfh/s320/awg3.jpg" alt="" id="BLOGGER_PHOTO_ID_5159261794552991042" border="0" /></a><br /><p style="font-style: italic;" align="center"><span style="font-family:Verdana;font-size:100%;"><b>THE DAYAK OF KALIMANTAN</b></span></p> <div style="text-align: justify;"><span style="font-family: arial;font-family:Verdana;font-size:85%;" > The area covers 152.600 square kilometers with residents settling along the river banks of Barito, Kapuas, Kahayan, Katingan, Mentoya, Seuyan, Kurnai, Arut, Jelai, and others. On such a vast area have population number only around 750.000 according to the census in 1971. </span><span style="font-size:85%;"> </span><span style="font-family: arial;font-family:Verdana;font-size:85%;" > Organizationally, central Kalimantan is an administrative unit of a Province with the Governor is the head of the local government. The lowest administrative unit is a pembekal, the head of a Desa ( a unit of settlement ). Within this level of government there is also a customary organization. Most of them work on the dry farming and move from one place to an other within their area ( not like nomad ). Local government has the policy of opening the area for transmigration they expect from Java, Bali to develop their area.</span><span style="font-size:85%;"> </span><span style="font-family:Verdana;font-size:85%;"><span style="font-family:arial;"> Physically they have mongoloid characters, and also speak Malayu-Polinesian language. Their color is rather bright with yellow tone, and straight hairs. The villages of Dayak in central Kalimantan are separated far between one to another. The settlements are constructed on the bank of big and small rivers which houses are standing parallel with the flow of river or road, and an average of 100 to 500 people in a village. Transportation between villages are still using water, very rare facilities of land connection. The shape of their houses showing the same concept as beach houses of Mentawai, Nias Sulawesi and other ethnics of Indonesia, especially the technique of high house. The house is built on 1.5 high wooden poles almost like stilt houses. In the past the house was made in big size with 50 small rooms called Betang-betang, known as Dayak Long House. Today this houses are very rare, and can only found at Northern area, near the source of the river and at the area of Ot Danum Dayak Villages. Today the houses are more smaller which is home for on senior family plus their junior families which some times consist to 5 families. The main source of life of the Dayak is traditional farming on dry land. They clear and burn the forest and plant their main farming. Clearing a forest in traditional way indeed a hard job. To overcome this heavy job the Dayak develops Co-operation among neighbors or relative member who got assistance, naturally assist their neighbor who have assisted them before. During the month of May, June and July they cut the trees of the forest, and burn it on September. October the plant rice. The way and technique is still very simple. The men will form a row at the front walking ahead while making holes by their single wooden pole, and women with seeds at behind putting the seed in every hole. Starting from plantation until harvest they stay at the farm to watch the rice and prevent the wild animals such as monkeys, pigs, and deer to damage the plant. During the growing the responsibility will be at every family, although during preparation of land until planting is the work of co-operation. To protect the farming from wild animal they also put trap made of bamboo with very sharp pole. The pole is connected with a long rope, and if the rope is stepped the sharp pole will glite like a bow to the direction of rope. It is often that the sharp bamboo is given a poisson, so it is actually very dangerous to human being also. They have 3 types of rice, a type that yield after 6 months, 4 month and rice called "Ketan" for ceremony. Beside rice they also grow cassava, yam, taro, chili, durian, melon and areca. When the land is not fertile any more it is planted with rubber tree before it is lef to open a new forest. It is interesting to find that to open a new spot of land the people will see a good indication from bird and other nature's omens. If this procedure is not followed they believed that famine would unavoidable. As the source of protein they catch fish and some times catching wild pig or deer, as their hunting tool is not develop. During ceremony or hosting important guests they cut pigs, buffalo or chicken. So these kind of meat only made available during ceremony. Side income for them is collecting rattan, taping rubber, and resine in the forest. The Dayak is very skillful in weaving by rattan, they make hats, mat, basket, and others which is the work of women. The villages of Dayak in the inner part of Kalimanatn do not yet have market, so they sell their products to the merchants that come to their villages, or some bring themselves to the cities such as Kuala Kapuas or even Banjarmasin, the capital city of South Kalimantan. Kinship system of Dayak is based on big family which in the past reside the long house both based on Patrilineal or matrilineal. This unit of big family also as the base of working co-operation for planting rice, opening new forest and other big and heavy job. For marriage the most ideal is those generation having the same grand father or grand mother. Considered tabou is marriage between brothers, child to parents, and if their fathers are brothers (pa tri-parallel-cousin). Intimate relation between different generations such as child parent is a big offence and will be punishes by eating like pig, while walking like pig on the front of the village members. According to them this action is a "Tulah" exactly the meaning like Balinese word means offence, while can cause a big catastrophe not only for those did, but for the society. That is why the people will fine the guilty to conduct a ceremony to neutralize the danger arised from this offensive deed. Relation between youth and girls is watched by the elders, they only free to communicate at the places such as feast or ceremonies. A youth and girl can only walk together if it is watched or escorted by third person. That is also happened for a married women and married man can talk each other at the present of third person. If this is done in contradictory with above tradition it will be punishment accordingly to their traditional law. In the past parent had full authority to find their son a partner. The parent would come to the family of the girl explaining their purpose and gave what is called "hakumbang auch" literally means money for request the girl to be married with their son. The parent of the girl did not directly answer the request, yet delay it until some days, The girl's parent with their relatives then look for information about the youth, lest he is son of slave or "hantuen" (devil manifestation), or he is a descendant of good family and having good character. If the finding say that they youth is what is not expected the request will be refused and the money will be returned. When they request is accepted a ceremony of engagement will be conducted which cost will be born by girl's family. They youth family gives gifts of cloth golden ring, fabric for shirt and others. During this ceremony, pig is the main meat, while chicken is considered not having value or undervalued. Marriage ceremony take places after 2 or 3 months. Since engagement ceremony. In case the girl has older sister still single, a gift of gong (music instrument) or chinese ceramic must be given to her to prevent danger. This thought also exist in Bali, that a younger sister or brother is not expected to merry first before his/her older brother or sister as this can caused disharmony of the married couple. There is also a marriage called "Ijari" means "run". This type of marriage come from the couple who have decided to merry the go together to the head of the village, or to an elders whose position in the village is considered influential. The head of the village or the elders then contact the related families explaining the situation. From this start the process as above. In the Dayak society both Christian and the Hindu of Kaharingan is monogamy, although their tradition does not limited a man to merry more then once, but it almost never happened, not like in Java and Lombok where a man can merry many times and having children as they wish. Divorce are normal which causes by disharmony or one of either husband or wife has another love affair</span> </span></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-76671881224596597622008-01-23T21:44:00.000-08:002008-11-18T18:29:20.958-08:00TRADITIONAL VERNACULAR ARCHITECTURE<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr8Bs-f4uEk1GQkM3yuRDPTexo0mWNJgzKbUh8piUd8HHpoAtGeTj67NhQLKOJzbxCddG62WUyPjcWT0BDWM7A1Z4jibzzOYnZoNBBxBuJJeYTn0QAgsB3SCn1Ke3qnZiliVzPl6SEcO6A/s1600-h/Tana_Toraja.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr8Bs-f4uEk1GQkM3yuRDPTexo0mWNJgzKbUh8piUd8HHpoAtGeTj67NhQLKOJzbxCddG62WUyPjcWT0BDWM7A1Z4jibzzOYnZoNBBxBuJJeYTn0QAgsB3SCn1Ke3qnZiliVzPl6SEcO6A/s320/Tana_Toraja.jpg" alt="" id="BLOGGER_PHOTO_ID_5158915456980176178" border="0" /></a><br /><div style="text-align: justify;font-family:arial;"><span style="font-size:85%;"><i><br /></i></span><h2 style="font-style: italic;font-family:arial;"><span style="font-size:100%;"><span class="mw-headline">Traditional vernacular architecture</span></span></h2><br /><span style="font-size:85%;"><i><br />Rumah adat</i> are the distinctive style of traditional housing unique to each <a href="http://en.wikipedia.org/wiki/Demographics_of_Indonesia#Ethnic_groups" title="Demographics of Indonesia"></a></span>ethnic group in <span style="font-size:85%;">Indonesia. Despite this the diversity of styles, built by peoples with a common <a href="http://en.wikipedia.org/wiki/Austronesian" title="Austronesian"></a>Austronesian</span><span style="font-size:85%;"> ancestry, traditional homes of Indonesia share a number of characteristics such as timber construction, varied and elaborate roof structures, and pile and beam construction that take the load straight to the ground. These houses are at the centre of a web of customs, social relations, traditional laws, taboos, myths and religions that bind the villagers together. The house provides the main focus for the family and its community, and is the point of departure for many activities of its residents. Traditional Indonesian homes are not architect designed, rather villagers build their own homes, or a community will pool their resources for a structure built under the direction of a master builder and/or a carpenter.<br /></span><p style="text-align: justify;"><span style="font-size:85%;">The norm is for a post, <a href="http://en.wikipedia.org/wiki/Beam_%28structure%29" title="Beam (structure)"></a>beam and lintel</span><span style="font-size:85%;"> structural system with either wooden or bamboo</span><span style="font-size:85%;"><a href="http://en.wikipedia.org/wiki/Bamboo" title="Bamboo"></a> walls that are non-load bearing. Traditionally, rather than nails, mortis and tenon joints and wooden pegs are used. <a href="http://en.wikipedia.org/wiki/Natural_material" title="Natural material"></a>Natural materials - timber, bamboo, thatch and fibre - make up rumah adat. Hardwood is generally used for piles and a combination of soft and hard wood is used for the house's upper non-load bearing walls, and are often made of lighter wood or thatch. The thatch material can be coconut and sugar palm leaves, alang alang grass and</span><span style="font-size:85%;"> rice straw.</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-size:85%;">Traditional dwellings have developed to respond to natural environmental conditions, particularly Indonesia's hot and wet monsoonal climate. As is common throughout South East Asia and the South West Pacific, Indonesian traditional vernacular homes are built on stilts (with the notable exceptions of Java and Bali). A raised floor serves a number of purposes: it allows breeze to moderate the hot tropical temperatures; it elevates the dwelling above stormwater runoff and mud; allows houses to be built on rivers and wetland margins; keeps people, goods and food from dampness and moisture; lifts living quarters above malaria-carrying mosquitos; and the house is much less affected by dry rot and termites.</span></p><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">Many forms of rumah adat have walls that are dwarfed in size by large roofāoften of saddle shapeāwhich are supported independently by sturdy piles. Over all traditional styles, sharply inclined allowing tropical rain downpours to quickly sheet off, and large overhanging eaves keep water out of the house and provide shade in the heat. The houses of the Batak people in Sumatra and the Toraja people in Sulawesi (tongkonan houses) are noted for their stilted boat-shapes with great upsweeping ridge ends. In hot and humid low-lying coastal regions, homes can have many windows providing good cross-ventilation, whereas in cooler mountainous interior areas, homes often have a vast roof and few windows.</span></p><div style="font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">Some of the more significant and distinctive <i>rumah adat</i> include:</span></p><div style="text-align: justify; font-family: arial;"> </div><ul style="text-align: justify;font-family:arial;"><li><span style="font-size:85%;"><b><a href="http://en.wikipedia.org/wiki/Batak_%28Indonesia%29" title="Batak (Indonesia)"></a></b></span></li><span style="font-size:85%;">Batak architecture (North Sumatra) includes the boat-shaped jabu homes of the Toba Batak people, with dominating carved gables and dramatic oversized roof, and are based on an ancient Dong-Son model.The Minangkabau of West Sumatra build the rumah gadang, distinctive for their multiple gables with dramatically upsweeping ridge ends.The homes of Nias peoples include the omo sebua chiefs' houses built on massive ironwood pillars with towering roofs. Not only are they almost impregnable to attack in former tribal warfare, but flexible nail-less construction provide proven earthquake durability.The Riau region is characterised by villages built on stilts over waterways.Unlike most South East Asian vernacular homes, Javanese rumah adat are not built on piles, and have become the Indonesian vernacular style most influenced by European architectural elements.The Bubungan Tinggi, with their steeply pitched roofs, are the large homes of BanjareseSouth Kalimantan. royalty and aristocrats in Traditional Balinese homes are a collection of individual, largely open structures (including separate structures for the kitchen, sleeping areas, bathing areas and shrine) within a high-walled garden compound.</span><li><span style="font-size:85%;"></span></li><li><span style="font-size:85%;"></span></li></ul><span style="font-size:85%;"><span><span>The Sasak people of Lombok build lumbung, pile-built bonnet-roofed rice barns, that are often more distinctive and elaborate than their houses.Dayak people traditionally live in communal longhouses that are built on piles. The houses can exceed 300m in length, in some cases forming a whole village.The Toraja of the Sulawesi highlands are renowned for their tongkonan, houses built on piles and dwarfed by massive exaggerated-pitch saddle roofs.Rumah adat on Sumba have distinctive thatched "high hat" roofs and are wrapped with sheltered verandahs.The Dani of Papua live in small family compounds comprised of several circular huts known as honay with thatched dome roofs</span></span></span><br /></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-67865129510247831532008-01-23T21:30:00.000-08:002008-11-18T18:29:21.090-08:00RELIGIOUS ARCHITECTURE<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvp-A89Zxi-A5n9J_7UIooL9AoGppleseRM66VmxqkczaXW6k3UzPyRG5hMwkUQoHngXxzCXaseljpWI-JvVnlvWWDkYb0NOtw5DmLUuhYUyZimtgegkzf4IWu60TROJvmKOOkNpsUinIQ/s1600-h/Hindu_Temple_in_Java_,_Indonesia.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvp-A89Zxi-A5n9J_7UIooL9AoGppleseRM66VmxqkczaXW6k3UzPyRG5hMwkUQoHngXxzCXaseljpWI-JvVnlvWWDkYb0NOtw5DmLUuhYUyZimtgegkzf4IWu60TROJvmKOOkNpsUinIQ/s320/Hindu_Temple_in_Java_,_Indonesia.jpg" alt="" id="BLOGGER_PHOTO_ID_5158911767603268866" border="0" /></a><br /><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"><span style="font-weight: bold; font-style: italic;font-size:100%;" >Religious Achitecture</span><br /></span></p><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"><br /></span></p><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">Although religious architecture has been widespread in Indonesia, the most significant was developed in Java. The island's long tradition of religious syncretism extended to architecture, which fostered uniquely Javanese styles of Hindu, Buddhist, Islamic, and to a lesser extent, Christian architecture.</span></p><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">A number of often large and sophisticated religious structures (known as candi in Indonesian) were built in Java during the peak of Indonesia's great Hindu-Buddhist kingdoms between the 8th and 14th centuries. The earliest surviving Hindu temples in Java are at the Dieng Plateau. Thought to have originally numbered as many as 400, only 8 remain today. The Dieng structures were small and relatively plain, but architecture developed substantially and just 100 years later the second Kingdom of Mataram built the Prambanan complex near Yogyakarta; considered the largest and finest example of Hindu architecture in Java. The World Heritage-listed Buddhist monument Borobudur was built by the Sailendra Dynasty between 750 and 850 AD, but it was abandoned shortly after its completion as a result of the decline of Buddhism and a shift of power to eastern Java. The monument contains a vast number of intricate carvings that tell a story as one moves through to the upper levels, metaphorically reaching enlightenment. With the decline of the Mataram Kingdom, eastern Java became the focus of religious architecture with an exuberant style reflecting Shaivist, Buddhist and Javanese influences; a fusion that was characteristic of religion throughout Java.</span></p><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">Although brick was used to some extent during Indonesia's classical era, it was the Majapahitmortar of vine sap and palm sugar. The temples of Majaphit have a strong geometrical quality with a sense of verticality achieved through the use of numerous horizontal lines often with an almost art-deco sense of streamlining and proportion. Majapahit influencess can be seen today in the enormous number of Hindu temples of varying sizes spread throughout Bali. Several significant temples can be found in every village, and shrines, even small temples found in most family homes. Although they have elements in common with global Hindu styles, they are of a style largely unique to Bali and owe much to the Majapahit era.</span><br /></p><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"></span></p><span style="font-size:85%;">By the fifteenth century, Islam had become the dominant religion in Java and Sumatra, Indonesia's two most populous islands. As with Hinduism and Buddhism before it, the new religion, and the foreign influences that accompanied it, were absorbed and reinterpreted, with mosques given a unique Indonesian/Javanese interpretation. At the time, Javanese mosques took many design cues from Hindu, Buddhist, and even Chinese architectural influences. They lacked, for example, the ubiquitous Islamic dome which did not appear in Indonesia until the 19th century, but had tall timber, multi-level roofs not that dissimilar to the pagodas of Balinese Hindu temples still common today. A number of significant early mosques survive, particularly along the north coast of Java. These include the Mesjid Agung in Demak, built in 1474, and the Al-Manar Mosque in Kudus (1549) whose menara ("minaret") is thought to be the watch tower of an earlier Hindu temple. Particularly during the decades since Indonesian independence, mosques have tended to be built in styles more consistent with global Islamic styles, which mirrors the trend in Indonesia towards more orthodox practice of Islam.<br /></span><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"><br /></span></p>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-67728127722493266482008-01-23T21:21:00.000-08:002008-01-24T19:59:12.229-08:00BATIK<h1 style="font-weight: bold; text-align: center; color: rgb(0, 0, 0); font-style: italic;font-family:trebuchet ms;" class="firstHeading"><span style="font-size:85%;">Batik</span></h1><!-- start content --> <div style="font-family: arial;" class="dablink"><br /></div> <div style="font-family: arial;" class="thumb tright"> <div class="thumbinner" style="width: 202px;"><a href="http://en.wikipedia.org/wiki/Image:Batik_Indonesia.jpg" class="image" title="Indonesian batik fabric"><img alt="Indonesian batik fabric" src="http://upload.wikimedia.org/wikipedia/commons/thumb/e/e7/Batik_Indonesia.jpg/200px-Batik_Indonesia.jpg" class="thumbimage" border="0" height="300" width="200" /></a> <div class="thumbcaption"> <div class="magnify" style="float: right;"><a href="http://en.wikipedia.org/wiki/Image:Batik_Indonesia.jpg" class="internal" title="Enlarge"><br /></a></div> I<span style="font-size:85%;">ndonesian batik fabric</span></div> </div> </div> <p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"><b></b>Batik (pronunciation: [Ėba.teŹ], but often, in English, is [ĖbƦtÉŖk] or [bÉĖtiĖk]) is an Indonesian and Malay word and refers to a generic wax-resist dyeing technique used on textile. The word originates from Javanese word "amba", meaning āto writeā and the Javanese word for dot or point, "titik."[citation needed]</span><span style="font-size:85%;"><sup class="noprint Template-Fact"><span title="This claim needs references to reliable sources since December 2007" style="white-space: nowrap;"></span></sup></span></p><div face="arial" style="text-align: justify;"> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">It is known to be more than a millennium old, probably originating in ancient Egypt or Sumeria. There is evidence that cloth decorated through some form of resist technique was in use in the early centuries AD.[citation needed] It is found in several countries later in West Africa such as Nigeria, Cameroon and Mali, or in Asia, such as India, Sri Lanka, Bangladesh , Iran, Thailand, and Malaysia, but the most popular are in Indonesia.</span></p><div style="text-align: justify; font-family: arial;"><script type="text/javascript">//<![CDATA[ if (window.showTocToggle) { var tocShowText = "show"; var tocHideText = "hide"; showTocToggle(); } //]]> </script> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"><a name="Culture" id="Culture"></a></span></p><div style="text-align: justify; font-family: arial;"> </div><h2 style="text-align: justify;font-family:arial;"> <span style="font-weight: normal;font-size:85%;" ><span class="mw-headline">Culture</span></span></h2><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">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.</span></p><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">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.</span></p><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">Batik is historically the most expressive and subtle of the resist methods. The ever widening range of techniques available offers the artist the opportunity to explore a unique process in a flexible and exciting way..</span></p><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"><a name="Procedure" id="Procedure"></a></span></p><div style="text-align: justify; font-family: arial;"> </div><h2 style="text-align: justify;font-family:arial;"><span style="font-size:85%;"><span class="editsection"></span></span><span style="font-weight: normal;font-size:85%;" ><span class="mw-headline">Procedure</span></span></h2> <div style="font-family: arial;" class="thumb tright"> <div class="thumbinner" style="width: 302px;"><a href="http://en.wikipedia.org/wiki/Image:Batik_Tulis.jpg" class="image" title="A Batik Tulis maker applying melted wax following pattern on fabric using canting, Yogyakarta, Indonesia."><img alt="A Batik Tulis maker applying melted wax following pattern on fabric using canting, Yogyakarta, Indonesia." src="http://upload.wikimedia.org/wikipedia/en/thumb/d/d1/Batik_Tulis.jpg/300px-Batik_Tulis.jpg" class="thumbimage" border="0" height="266" width="300" /></a> <div class="thumbcaption"> <div class="magnify" style="float: right;"><a href="http://en.wikipedia.org/wiki/Image:Batik_Tulis.jpg" class="internal" title="Enlarge"><br /></a></div><span style="font-size:85%;"> A Batik Tulis maker applying melted wax following pattern on fabric using <i>canting</i>, <a href="http://en.wikipedia.org/wiki/Yogyakarta" title="Yogyakarta"></a>Yogyakarta, Indonesia.</span></div> </div> </div> <p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">Melted wax (Javanese: malam) is applied to cloth before being dipped in dye. It is common for people to use a mixture of bees wax and paraffin wax. The bee's wax 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 colors are used, with a series of dyeing, drying and waxing steps.</span></p><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"></span></p><span style="font-size:85%;">Thin wax lines are made with a canting needle, 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 precarved wooden or metal wire block and stamping the fabric.<br /><br /></span> <div style="font-family: arial;" class="thumb tleft"><div class="thumbinner" style="width: 182px;"><a href="http://en.wikipedia.org/wiki/Image:Batik_processing.jpg" class="image" title="Dipping a cloth in a dye."></a> <div class="thumbcaption"> <div class="magnify" style="float: right;"><a href="http://en.wikipedia.org/wiki/Image:Batik_processing.jpg" class="internal" title="Enlarge"><br /></a></div><span style="font-size:85%;"> Dipping a cloth in a dye.</span></div> </div> </div> <div style="font-family: arial;" class="thumb tright"> <div class="thumbinner" style="width: 142px;"><a href="http://en.wikipedia.org/wiki/Image:Batik_painting.jpg" class="image" title="A batik painting depicting two Indian women."><img alt="A batik painting depicting two Indian women." src="http://upload.wikimedia.org/wikipedia/commons/thumb/a/a1/Batik_painting.jpg/140px-Batik_painting.jpg" class="thumbimage" border="0" height="205" width="140" /></a> <div class="thumbcaption"> <div class="magnify" style="float: right;"><a href="http://en.wikipedia.org/wiki/Image:Batik_painting.jpg" class="internal" title="Enlarge"><br /></a></div><span style="font-size:85%;"> A batik painting depicting two Indian</span><span style="font-size:85%;"><a href="http://en.wikipedia.org/wiki/India" title="India"></a></span> women.</div> </div> </div> <p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">After the last dyeing, the fabric is hung up to dry. Then it is dipped in a solvent </span><span style="font-size:85%;">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 <i>Batik Tulis</i> (lit: Written Batik).</span></p><div style="font-family: arial;"> </div><div style="text-align: justify; font-family: arial;"><span style="font-size:85%;">The invention of the <span><span>copper block or cap developed by the Javanese in the 20th century</span></span><i>Batik Cap</i>.</span> revolutionised <span style="font-size:85%;">batik production. 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 patern is called</span></div><p style="font-family:arial;"> </p> <p face="arial"><span style="font-size:85%;">Indonesian batik used for clothing normally has an intricate pattern. The traditional ones carry natural colors while the contemporary ones have more variety of color. Some batik may be <span><span>mystic</span></span><a href="http://en.wikipedia.org/wiki/Mysticism" title="Mysticism"></a>-influenced, but very rarely used for clothing. Some may carry illustrations of animals and people.</span></p> <p style="font-family: arial;"><a name="Further_reading" id="Further_reading"></a></p> <h2 style="text-align: justify;font-family:arial;"><span class="editsection"></span> <span style="font-weight: normal;font-family:arial;font-size:85%;" ><span class="mw-headline">Further reading</span></span></h2><div style="text-align: justify; font-family: arial;"> </div><ul style="text-align: justify;font-family:arial;"><li><span style="font-size:85%;"></span></li><span style="font-size:85%;"><span><span>Elliott, Inger McCabe. (1984) Batik : fabled cloth of Java photographs, Brian Brake ; contributions, Paramita Abdurachman, Susan Blum, Iwan Tirta ; design, Kiyoshi Kanai. New York : Clarkson N. Potter Inc., ISBN 0517551551Fraser-Lu, Sylvia.(1986) Indonesian batik : processes, patterns, and places Singapore : Oxford University Press. ISBN 0195826612Doellah, H.Santosa. (2003). Batik : The Impact of Time and Environment, Solo : Danar Hadi. ISBN 9799717310</span></span></span><li><span style="font-size:85%;"><a href="http://en.wikipedia.org/w/index.php?title=Special:Booksources&isbn=9799717310" class="internal"></a></span></li></ul>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-65330667979186048542008-01-23T21:16:00.000-08:002008-11-18T18:29:21.329-08:00WAYANG TOPENG<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWp78lmCgYBU8JS1Du6YkIKv2P0Hc_gwRJOFSlCUgeL9TOW0cwdk0Ap95eEAmHa3grDf7qXLljqENzU5zHi3fb9Lvn33qFFQIXC-39gtNF3nXfwWaZ5mA3bOUh13ys0DS6prqJ2uQljytE/s1600-h/800px-Wayang_topeng.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWp78lmCgYBU8JS1Du6YkIKv2P0Hc_gwRJOFSlCUgeL9TOW0cwdk0Ap95eEAmHa3grDf7qXLljqENzU5zHi3fb9Lvn33qFFQIXC-39gtNF3nXfwWaZ5mA3bOUh13ys0DS6prqJ2uQljytE/s320/800px-Wayang_topeng.jpg" alt="" id="BLOGGER_PHOTO_ID_5158908202780413170" border="0" /></a><span style="font-weight: bold;font-size:100%;" ><span class="mw-headline"><i>Wayang topeng</i> or <i>wayang gedog</i> or <i>wayang wong</i></span></span></div><p style="text-align: justify;"><i><br /></i></p><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"><i></i>Wayang wong 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""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 RatihKamajaya (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. comes from (goddess of love) and Panji was an incarnation of</span> </p><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;"><i>Wayang wong</i> has fixed patterns of movement and costume:</span></p><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">For male performers:</span></p><div style="text-align: justify; font-family: arial;"> </div><ul style="text-align: justify;font-family:arial;"><li><span style="font-size:85%;"><i>Alus</i>: very slow, elegant and smooth movement. For example, the dance of Arjuna, Puntadewa </span><span style="font-size:85%;">and all other slimly built Kshatriyas.</span><span style="font-size:85%;"> There are two types of movement, <i>lanyap</i><i>luruh</i>.</span> and </li></ul><div style="text-align: justify; font-family: arial;"> </div><ul style="text-align: justify;font-family:arial;"><li><span style="font-size:85%;"><i>Gagah</i>: </span><ul><li><span style="font-size:85%;"><i>Kambeng</i>: a more athletic dance, used for the roles of Bima, Antareja, and Ghatotkacha</span><span style="font-size:85%;">.</span></li><li><span style="font-size:85%;"><i>Bapang</i>: <i>gagah</i> and <i>kasar</i> for the warriors of Kaurawa.</span></li><li><span style="font-size:85%;"><i>Kalang kinantang</i>: falls somewhere between <i>alus</i> and <i>gagah</i>, danced by tall, slim dancers in the roles of <a href="http://en.wikipedia.org/w/index.php?title=Kresno&action=edit" class="new" title="Kresno"></a>Kresno or Suteja.</span></li></ul> </li></ul><div style="text-align: justify; font-family: arial;"> </div><ul style="text-align: justify;font-family:arial;"><li><span style="font-size:85%;"><i>Kasar</i>: a coarse style, used in portraying <a href="http://en.wikipedia.org/wiki/Ogre" title="Ogre"></a>ogres and demons.</span></li></ul><div style="text-align: justify; font-family: arial;"> </div><ul style="text-align: justify;font-family:arial;"><li><span style="font-size:85%;"><i>Gecul</i>: <i>ponokawan</i> and <i>cantrik</i></span> <ul><li><span style="font-size:85%;"><i>Kambeng dengklik</i>: for ape warriors, such as Hanuman.</span></li><li><span style="font-size:85%;"><i>Kalang kinantang dengklik</i>: for <a href="http://en.wikipedia.org/wiki/Ape" title="Ape"></a>ape warriors, such as Sugriwa and Subali.</span></li></ul> </li></ul><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">For female performers: Kshatriya noblemen. Costumes and props distinguish kings, Kshatriyas, monks, princesses, The movements known as <i>nggruda</i> or <i>ngenceng encot</i> in the classical high style of dance consist of nine basic movements (<i>joged pokok</i>) and twelve other movements (<i>joged gubahan</i> and <i>joged wirogo</i>) and are used in portraying <a href="http://en.wikipedia.org/wiki/Bedoyo" title="Bedoyo"></a>Bedoyo and Srimpi.</span></p><div style="text-align: justify; font-family: arial;"> </div><p style="text-align: justify;font-family:arial;"><span style="font-size:85%;">Today, the <i>wayang wong</i>, following the <i>Gagrak</i> style of Surakarta, is danced by women. They follow the <i>alus</i> movements associated with a Kshatriya, resembling Arjuna. Following the <i>Gagkra</i> style from Yogyakarta a male dancer uses these same <i>Alus</i> movements to depict princes and generals. There are about 45 distinct character types.</span></p>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-86574607613168516372008-01-23T21:13:00.000-08:002008-11-18T18:29:21.436-08:00WAYANG KULIT<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZCZIi63p9Np5i48-91VAJu9Xrbsh2ufFNJ1iYhF_u91-7-9chw3W37VIFEBWOTOJKVLiTchDLgpI2xdg9OrvHWPzhgmxw7-Sn6qlYQXbSklA4sT9T0QqwVoBuIQb9q7WemfIno8U100CD/s1600-h/WayangKulit_Scene_Zoom.JPG"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZCZIi63p9Np5i48-91VAJu9Xrbsh2ufFNJ1iYhF_u91-7-9chw3W37VIFEBWOTOJKVLiTchDLgpI2xdg9OrvHWPzhgmxw7-Sn6qlYQXbSklA4sT9T0QqwVoBuIQb9q7WemfIno8U100CD/s320/WayangKulit_Scene_Zoom.JPG" alt="" id="BLOGGER_PHOTO_ID_5158907386736626914" border="0" /></a><span style="font-size:100%;"><i><b>Wayang kulit</b></i></span><p style="text-align: justify;"><br /><span style="font-size:85%;"><i><b>Wayang kulit</b></i>, shadow puppets prevalent in Java and Bali in Indonesia, and Kelantan and Terengganu in Malaysia are without a doubt the best known of the</span><span style="font-size:85%;"> Indonesian <i>wayang</i>. 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.</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-size:85%;">The stories are usually drawn from the Ramayana, the Mahabharata or the Serat Menak. The island of Lombok</span><span style="font-size:85%;"><a href="http://en.wikipedia.org/wiki/Lombok" title="Lombok"></a> has developed its own style of Serat Menak called <i>Wayang Sasak.</i></span></p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-size:85%;">There is a family of characters in Javanese wayang called <i><a href="http://en.wikipedia.org/wiki/Punakawan" title="Punakawan"></a></i>Punakawan</span><span style="font-size:85%;">; sometimes referred to as "clown-servants" because they usually are associated with the story's hero and also provide humorous and philosophical interludes. Semar is the father of Gareng</span><span style="font-size:85%;"><a href="http://en.wikipedia.org/w/index.php?title=Gareng&action=edit" class="new" title="Gareng"></a> (oldest son), <a href="http://en.wikipedia.org/w/index.php?title=Petruk&action=edit" class="new" title="Petruk"></a>Petruk, and Bagong</span><span style="font-size:85%;"><a href="http://en.wikipedia.org/w/index.php?title=Bagong&action=edit" class="new" title="Bagong"></a> (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 <a href="http://en.wikipedia.org/wiki/Cabaret" title="Cabaret"></a>cabaret,</span><span style="font-size:85%;"> dealing with gossip and contemporary affairs.</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-size:85%;">The puppets figures themselves vary from place to place. In <a href="http://en.wikipedia.org/wiki/Central_Java" title="Central Java"></a>Central Java the city of SurakartaWest Java,</span><span style="font-size:85%;"> <a href="http://en.wikipedia.org/wiki/Banyumas" title="Banyumas"></a>Banyumas, Cirebon, Semarang, and East Java.</span><span style="font-size:85%;"> 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.</span> (Solo) is most famous and is the most commonly imitated syle of puppets. Regional styles of shadow puppets can also be found in </p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-size:85%;">Historically, the performance consisted of shadows cast on a cotton screen and an <a href="http://en.wikipedia.org/wiki/Oil_lamp" title="Oil lamp"></a>oil lamp</span><span style="font-size:85%;">. 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.</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-size:85%;">The handwork involved in making a <i>wayang kulit</i> 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 <i>kulit</i> (skin or parchment</span><span style="font-size:85%;">), 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.</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-size:85%;">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.</span></p>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-28849023521315559512008-01-23T21:07:00.001-08:002008-11-18T18:29:21.721-08:00HISTORY OF WAYANG<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEQvIXy75wba_3bc5Tyv5DNgleMRMq7acXyzj3VVoGHDlVdqV4AA0nbPyszqQhPt6B53oHWYn_UBz814ZkdwH1_2zdj-sl2p3OI_QD6ytdhvixBOIvk5isMZbnQDw8oQVNGYxaQ-zJfpys/s1600-h/444px-Wayang_Bali.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEQvIXy75wba_3bc5Tyv5DNgleMRMq7acXyzj3VVoGHDlVdqV4AA0nbPyszqQhPt6B53oHWYn_UBz814ZkdwH1_2zdj-sl2p3OI_QD6ytdhvixBOIvk5isMZbnQDw8oQVNGYxaQ-zJfpys/s320/444px-Wayang_Bali.jpg" alt="" id="BLOGGER_PHOTO_ID_5158906111131339986" border="0" /></a><br /><h2><span style="font-size:100%;"><span class="mw-headline">History of Wayang</span></span></h2> <div class="thumb tright"><div style="text-align: justify;"> </div><div class="thumbinner" style="width: 142px;"><div style="text-align: justify;"><a href="http://en.wikipedia.org/wiki/Image:Wayang_Bali.jpg" class="image" title="Wayang shadow-puppet (Bali, early 20th century)"><br /></a></div> <div class="thumbcaption"> <div class="magnify" style="float: right;"><a href="http://en.wikipedia.org/wiki/Image:Wayang_Bali.jpg" class="internal" title="Enlarge"><br /></a></div><br /></div> </div> </div> <p style="text-align: justify;"><span style="font-size:85%;">Wayang is a generic term denoting traditional theatre in Indonesia. There is no evidence that wayang existed before HinduismSoutheast Asia sometime in the first century CE. However, there very</span> came to <span style="font-size:85%;"> well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre. The first record of a wayang performance is from an inscription dated 930 CE which says <i>"si Galigi mawayang,"</i> or "Sir Galigi played wayang". From that time till today it seems certain features of traditional puppet theatre have remained. Galigi was an itinerant performer who was requested to perform for a special royal occasion. At that event he performed a story about the hero Bima from the Mahabharata.</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-size:85%;">Hinduism arrived in Indonesia from I</span><span style="font-size:85%;"><a href="http://en.wikipedia.org/wiki/India" title="India"></a>ndia even before the Christian era, and was slowly adopted as the local belief system. Sanskrit became the literary and court language of Java and later of Bali. The Hindus changed the Wayang (as did the Muslims, later) to spread their religion, mostly by stories from the Mahabharata or the Ramayana. Later this mixture of religion and wayangSumatra and some smaller islands traditionalists</span><span style="font-size:85%;"> continued to play the old stories for some time, but the influence of Hinduism prevailed and the traditional stories either fell into oblivion or were integrated into the Hinduistic plays.</span> play was praised as harmony between Hinduism and traditional Indonesian culture. On Java, the western part of </p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-size:85%;">The figures of the <i>wayang</i> are also present in the paintings of that time, for example, the roof murals of the courtroom in Klungkung, </span><span style="font-size:85%;">Bali. They are still present in traditional Balinese painting today.</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-size:85%;">When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of painting and shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from the Muslim religious leaders. As an alternative, the religious leaders converted the wayang golek into wayang purwa made from leather, </span><span style="font-size:85%;">and displayed only the shadow instead of the figures itself. Instead of the forbidden figures only their shadow picture was displayed, the birth of the <i>wayang kulit</i>.</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-size:85%;">The <i>wayang klitik</i> figures are painted, flat woodcarvings (a maximum of 5 to 15 mm thick -- barely half an inch) with movable arms. The head is solidly attached to the body. With these, it is possible to do puppet plays either by day or by night. This type of <i>wayang</i> is relatively rare.</span></p><div style="text-align: justify;"> </div><p style="text-align: justify;"><span style="font-size:85%;">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.</span></p>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-15194154693143712472008-01-23T20:51:00.000-08:002008-01-24T20:09:42.061-08:00REOG PONOROGO (EAST JAVA)<div style="text-align: center; font-weight: bold;"><span style="font-weight: bold;font-family:arial,helvetica;font-size:130%;" ><i>Reog</i> Ponorogo Spirituality, Sexuality, and Power in a Javanese Performance Tradition</span><br /></div><ol style="font-weight: bold; text-align: justify;"><span style=";font-family:arial,helvetica;font-size:85%;" ><br /></span></ol><span style="font-family:Arial,Helvetica;"><li><div style="text-align: justify;"> The East Javanese town of Ponorogo, nestled in a remote valley between two extinct volcanoes, has long had a reputation throughout the island for the magical powers and sexual potency of its inhabitants. It has a long history of violent and radical politics, with a well-established tradition of rebellion. Two figures central to this image are the <i>warok</i> and <i>gemblak</i>. The term warok is said to originate from the Javanese words <i>uwal</i> and <i>rokan</i> meaning to be free from forced labour.<a name="t1"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n1">[1]</a> Due to their martial and magical abilities, the warok were often advisers and strong men for the local ruler, and hence free from the obligations of ordinary villagers. Another popular interpretation suggests that the term originates from the Arabic word <i>waro'a</i>, meaning an ascetic, or one who practises mysticism. Onghokham draws attention to the influence of warok and <i>jago</i> (men of prowess] as leaders in village political life.<a name="t2"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n2">[2]</a> The warok was rarely part of the official government, and thus played a somewhat ambiguous role, residing in the margins of social and political life. On the one hand his standing amongst villagers made his support crucial for any aspiring ruler and he often acted as an agent for higher authorities. At the same time, however, his unofficial status also made him a potentially dangerous adversary and troublemaker. The warok was a power broker, an intermediary between higher and lower powers, in the concrete and cosmological sense. His authority was intensely personal, depending on mastery of invulnerability, <i>silat</i> [martial arts], magic, and religious knowledge, as well as the fear and admiration with which villagers regarded him.<br /></div><br /><br /><center><table border="0"> <tbody><tr> <td> <img src="http://wwwsshe.murdoch.edu.au/intersections/issue2/images/Atassinga.jpg" /> </td> </tr> </tbody></table></center> <span style="font-family:Arial,Helvetica;"><span style=""> <center>Figure 3. Jatilan Dancer sits astride the Singobarong<br />(courtesy of Charlie Jebb)</center></span><br /><br /></span></li></span><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><li><div style="text-align: justify;"> The warok tradition finds its roots in a mythology of rebellion. According to one popular historical account, the warok tradition began with Ki Ageng Kutu, the court poet of the last king of the Majapahit kingdom, Bra Kertabumi, in the fifteenth century.<a name="t3"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n3">[3]</a> Angered at the political influence of Kertabumi's Chinese consort, and the king's endemic corruption, which he saw as a sign that the kingdom would soon come to an end, Ki Ageng Kutu deserted him, establishing a <i>parguron</i> [school for the study of esoteric knowledge] where he taught local young men invulnerability magic, martial arts, and <i>ilmu kasampurnaan</i> ['science of perfection'] in the hope that it would form the basis for a revival of the Majapahit kingdom. Students of Ki Ageng Kutu were known as warok. As a devoted adherent of Tantrayana Buddhism Ageng Kutu believed that spiritual strength could only be achieved through the negation of physical desires. Warok were said to follow a strict regime of ascetic discipline, one of the parguron's rules being that they were forbidden to have sexual intercourse with women. This prohibition was predicated on the belief that the resulting loss of sperm would deplete their supernatural powers. To aid them in their endeavour, each warok enlisted the aid of a young boy known as a gemblak who acted as a 'substitute' woman. Realising, however, that his small band of warok could never defeat the forces of Kertabumi in an armed struggle, Ki Ageng Kutu used performing arts to propagate his political message amongst the local population and thus build a movement of popular resistance. The dance drama that he created, known as <i>reog</i>, satirised king Bra Kertabumi and his court. A spectacular tiger mask known as a <i>singabarong</i>, the lord of the jungle, symbolised Kertabumi, whilst the fan-like peacock perched on its head represented his Chinese consort and the influence that she wielded over him. The effeminate <i>jatilan</i> [hobby-horse] dancers known as gemblak satirised the weakness of Majapahit's army, which contrasted dramatically with the very real strength of the warok who wielded the singobarong mask, weighing over 50kg, by a wooden strut held between his teeth. The hideous red faced clown <i>Bujannganong</i> represented Ki Ageng Kutu himself, his sexually provocative and acrobatic dance movements making a mockery of the affected refinement of royalty.<br /></div><br /><center><table border="0"> <tbody><tr> <td width="250"><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/images/video1.ram"><img src="http://wwwsshe.murdoch.edu.au/intersections/issue2/images/0890a.jpg" height="289" width="190" /></a><br /></td><td width="300"><span style="font-family:Arial,Helvetica;"><span style="">VIDEO CLIP: Figure 4. A singabarong dancer plays 'cat and mouse' with a jatilan hobby-horse dancer. In traditional performances the jatilan dancer was an attractive young boy known as gemblak. Government pressure has resulted in the gemblak dancers being replaced by young girls.<br />(Courtesy Josko Petkovic)<br /><br />(To enable your computer to display a moving version of the video clips in this paper, you need RealVideo version 5 plug-in, or an alternative, for your browser.) </span> </span></td> </tr> </tbody></table> </center><br /><br /></li></span></span><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><li style="text-align: justify;"> Troubled by the growing popularity of Ki Ageng Kutu's reog, Kertabumi's forces mounted a series of attacks on his parguron, quickly defeating the warok rebels. The parguron were disbanded and warok practices outlawed. However, several of Ki Ageng Kutu's students continued their esoteric studies in secrecy. Ki Ageng Kutu himself is believed to have performed <i>moksa</i>. Due to its popularity amongst villagers, reog performances were still permitted, but the satire and political critique were replaced by legends from the Panji cycle of myths with the addition of several new characters taken from Ponorogo folklore: <i>Kelono Sewondono, Dewi Songgolangit</i>, and <i>Sri Genthayu</i>.<a name="t4"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n4">[4]</a> The Ki Ageng Kutu story can in many ways be read as a prototype for the warok's relationship with the state and the image of the warok as an idealistic rebel. From its beginnings through the colonial era and into the present day warok culture has regularly experienced intermittent periods of prosperity, suppression, and recuperation at the hands of colonial and indigenous authorities.<br /><br /></li><li style="text-align: justify;"> In contemporary Ponorogo there are two contrasting sets of discourse which are seen to characterise warok: as a forceful, spiritually enlightened, charismatic leader and inspired artist, or as a ruthless predator, sexual deviant and criminal. It is commonly held that there are two types of warok: the <i>warok sejati</i>, or true warok, and the <i>warokan</i>, or pseudo warok, also a euphemism for a thief or bandit. Indeed, aside from informal leadership and esoteric learning, warok culture has frequently served as a pose for marginal and criminal elements within traditional Ponorogo society. According to the contemporary warok Kasni Gunopati, the ideal 'authentic' warok has the soul of a <i>satriya</i> [noble warrior] and acts without self interest [<i>pamrih</i>] whilst the warokan uses his supernatural powers for his own personal gain.<a name="t5"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n5">[5]</a> Yet both are endpoint examples of an ideal-type continuum. It is in the ambiguous space between these two representations that warok culture draws derives its power. The axis around which these two contrasting discourses of the warok revolve is the idea of <i>kesaktian</i>, supernatural power and potency.<a name="t6"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n6">[6]</a> Kesaktian in itself is 'beyond good and evil,' its possession not indicative of any particular code of ethics or morality. It has no intrinsic properties, only situational ones. The warok, as a potent individual, resides in an interzone of ambiguous potentiality. For some, he is a 'criminal' or 'revolutionary,' to others a leader and activist. The negative image, which the indigenous elite and colonial officials associated with the warok, was in part an effect of the increasingly bureaucratic and conservative political structures that began to develop after the political upheavals of the 1920s.<a name="t7"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n7">[7]</a> The warok's indiscipline, questioning of hierarchy, shallow loyalties and volatile sense of honour all impeded the formation of the colonial state. Due to its association with the troublesome warok, the Dutch colonial government prohibited reog performances from 1912 until 1932. As one Dutch administrator stated 'reog attracts large numbers of people seeking supernatural power, which undoubtedly poses a threat to security.'<a name="t8"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n8">[8]</a> As far as rural society was concerned, indeed, the warok came to be considered as semi-sacred figures. The warok's spiritual quest involved a dissemination of the esoteric knowledge associated with the political-spiritual elite to popular culture. The concept of <i>kekebalan</i> [invulnerability] attributed to warok was especially stressed within rural leadership, and in that sense it constituted a counter-elite value, contrasting with the quality of <i>wahyu</i> [divine providence] that was so important to aristocratic leadership as well as to the post-independence Indonesian government. The warok was <i>kebal</i> to the oppressive powers of the state, and it was because of this invulnerability that he could get away with so much.<br /><br /></li><li><div style="text-align: justify;"> The 'rebellious' behaviour attributed to warok and their reog troupes by the newly formed Indonesian state, an attitude inherited from the former colonial government, was confirmed on 18 September 1948 when troops loyal to the Indonesian Communist Party took over strategic points in the Madiun area to the north of Ponorogo, declaring a new revolutionary government. Warok and reog troupes aligned with the communist Barisan Reog Ponorogo [Ponorogo Reog Front: BRP] swelled the ranks of the Madiun rebels. The crushing of the attempted coup two weeks later by the Republican army was followed by an eruption of violence between Muslim and communist villagers which resulted in the virtual elimination of village based reog troupes. In the 1950s the communist and nationalist parties used warok and reog extensively as part of their recruiting campaigns. The Communist Party's populist rhetoric and opposition to orthodox Islam appealed to many warok, and their focus on the recruitment of local strongmen meant that the warok found a ready place in party hierarchy. The reog's ability to attract large numbers of people made it the perfect campaigning tool. The discipline and secrecy demanded of party members also exerted a powerful appeal to warok and jago, having strong similarities to the structure of parguron and <i>pesantren</i> [religious boarding schools].<a name="t9"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n9">[9]</a> Under the New Order, communist affiliated troupes came under immediate suspicion, and many of those that weren't eliminated during the massacres of 1965 went into hiding.<a name="t10"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n10">[10]</a> Informants in Ponorogo recounted how troops loyal to Suharto were unable to kill several warok affiliated with the Communist Party due to their mastery of invulnerability.<a name="t11"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n11">[11]</a> It wasn't until the elections of 1971 that reog was performed publicly again. However, performances were from the traditionalist Islamic organisation <i>Nahdatul Ulama</i>, as part of official election celebrations and village chiefs now directly coordinated Reog groups. In 1977 the INTI [Insan Taqwa Illah: Loyal Followers of God] was formed by several Ponorogo reog troupes associated with the traditionalist Muslim organisation Nahdatul Ulama to 'clean up' reog, especially warok practices. Since this time, the New Order government has sought actively to eliminate warok as a political force, both through the marginalisation of reog as a 'traditional' or 'folk' performance, and more direct means. Several prominent warok and <i>gambuh</i> [troupe leaders of the <i>jaranan</i> trance dance] were targeted victims of the 1983 <i>Petrus</i> 'mysterious shootings'.<a name="t12"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n12">[12]</a><br /></div><br /><br /><center><table border="0"> <tbody><tr> <td width="250"><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/images/video2.ram"><img src="http://wwwsshe.murdoch.edu.au/intersections/issue2/images/0170ab.jpg" height="306" width="200" /></a><br /><center><span style="font-family:arial,helvetica;"><span style=""> VIDEO CLIP: Figure 5. Interview with Pak Sobrani, a contemporary warok, and his gemblak.<br />(Courtesy Josko Petkovic)</span></span></center> </td><td width="300"><span style="font-family:Arial,Helvetica;"> </span><ol><span style="font-family:Arial,Helvetica;">Pak Sobrani: <i>In the past a warok was an outstanding person, a person who studied esoteric knowledge in its totality, achieving spiritual and physical invulnerability. They had much knowledge. They were invulnerable, you could do anything to them without effect. They could create anything. </i><br /><br />Question: <i>Can they have wives</i>?<br /><br />Pak Sobrani: <i>In the old days waroks liked young boys, like these ones ... they are called gemblak. Warok and gemblak go hand in hand, they can't be separated.</i> </span></ol></td> </tr> </tbody></table> </center><br /><br /></li></span></span><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><li style="text-align: justify;"> As mentioned above, warok forfeit sexual relations with women in order to accumulate spiritual power. According to Benedict Anderson, sexuality and power are inextricably linked in Javanese thought.<a name="t13"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n13">[13]</a> As is common in the Tantrayana Buddhist tradition from which warok/gemblak practices evolved, sperm is considered a concentration of power, as well as a means of its transmission, which can be transmuted into superior forms of energy/consciousness. Through sexual abstinence the warok accumulates this power within himself. Ascetic practice strives to deliberately transform sexual desire into spiritual attainment. The seeming contradiction between the emphasis on sexuality as a sign of potency and power and the sexual abstinence required to achieve it is reconciled in the warok tradition through the figure of the gemblak. As a 'substitute' for a wife the warok chose a beautiful young boy, who acted as his companion as well as a jatilan dancer in his reog troupe. The beauty of the gemblak, in the eyes of the warok, came from their androgynous like features, grace, and poise. The boy was chosen from a neighbouring area and usually aged between eight and sixteen years. The warok would send a delegation to the home of the boy's parents to 'propose,' the patterns of ritualised speech employed being very similar to that used in proposals for heterosexual weddings. Traditionally the boy's parents would be paid in the form of a cow, one for every year that he was with the warok. In addition, the warok took responsibility for feeding, clothing and schooling him. The economic benefits that arose from this agreement made it a desirable option for many poor farmers, who also gained considerable social prestige, as well as the protection of the feared warok. Not all parents however approved of their sons becoming gemblak, and many boys are afraid of warok. In Ponorogo a common threat used against children is that if they don't behave, a warok will come and get them. Warok are reputed to use magical powers obtained through extended periods of fasting to 'seduce' [<i>merayu</i>] reluctant gemblak. One method used was to recite special mantra over a cigarette, which would then be surreptitiously placed in the boy's clothing. On smoking the cigarette the boy would be rendered powerless to resist the warok's advances. Warok were fiercely possessive of their gemblak. Rivalry between warok over gemblak was intense and was a common cause of violent conflicts that often ended in fatalities. If in public, they would often carry them on their backs out of fear that they would be kidnapped by a rival. The gemblak performed domestic chores for the warok such as washing and cooking, accompanying him where ever he went. The physical appearance of the gemblak was a matter of immense pride for the warok and they dressed them in finest of clothes and powdered their faces so that they would maintain a pale complexion. Events such as wedding ceremonies or reog performances provided an opportunity for the warok to display his retinue of anything upward of ten gemblak. For many young boys, being a gemblak was accepted as a certain stage in the journey to manhood and the majority of gemblak stayed with their warok until their late teens. The warok played an active role in choosing the gemblak's wife and in many cases performed the religious rites at the wedding. On marriage, the gemblak's attractiveness to men is said to disappear.<br /><br /></li><li><div style="text-align: justify;"> As a cultural practice, the warok/gemblak relationship could be seen as helping to preserve heterosexual relationships by providing an acceptable outlet for sexual desires. At the age of around forty, warok, whose powers at this time were thought to be fully developed, would often marry in order to produce offspring. Within Ponorogo society there is another similar social institution known as <i>sinoman</i> whereby a group of young village men choose a young boy to act as their mascot. In order to facilitate good relations with neighbouring communities sinoman groups would exchange their mascots for short periods of time. It was well known that the boy was expected to sleep with the sinoman members. Contemporary warok however, for the most part, stridently deny that they have sexual relations with their gemblak. On one level this denial could be regarded as an act of self-defence against accusations of immorality. It also suggests, however, that their conception of the relationship is radically different to that of outsiders. The logic behind their argument is simple: loss of sperm leads to a depletion of spiritual power. It is for this reason that warok keep gemblak, to help them in their endeavour to free themselves from all worldly desires. As Pak Sobrani, a contemporary warok, put it, 'with gemblak the most that can happen is a bit of harmless kissing and cuddling. But close association with women will definitely lead to sexual intercourse which will result in the warok losing his powers.'<a name="t14"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n14">[14]</a> Consequently, if a warok was to have sexual relations with his gemblak it would in affect defeat the very purpose of the relationship. By the same logic if a warok did succumb to his desires, he would by definition no longer be a warok but rather a warokan or 'pseudo-warok.' Even if we accept the warok's explanation we are still left wondering as to the emphasis placed on the boys' feminine beauty.<a name="t15"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n15">[15]</a> It could perhaps be merely an issue of artistic judgement, remembering the gemblak's role as a dancer in reog performances.<br /></div><br /></li></span></span><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><li style="text-align: justify;"> The official view adopted by local government regarding the warok/gemblak relationship is that it is morally offensive and in conflict with the 'national personality' [<i>kepribadian bangsa</i>]. The relationship is deemed to be unacceptable because it is considered to be nothing more than 'socialised homosexuality,' and a potential threat to public order.<a name="t16"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n16">[16]</a> Up until recently, in Ponorogo, intimate same-sex relationships were generally considered to be both normal and acceptable for unmarried men in contrast to heterosexual relations outside of marriage which were seen as both morally and spiritually debilitating. As one warok explained, 'association with women will cause brittle bones, a soft stomach and a loss of spiritual strength,' adding 'that's why I've grown to be a man who harbours a hatred of women.'<a name="t17"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n17">[17]</a> The emphasis in traditional Ponorogo society on same-sex relationships evolved from a social system which segregated on the basis of gender. This quite naturally led to intense, but not necessarily sexual, relationships between men and between women. Within the context of closed all male communities such as parguron, this type of relationships were actively encouraged. In earlier times warok never received any moral condemnation on sexual grounds, only on grounds of black magic and other forms of violence.<a name="t18"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n18">[18]</a> Whilst one might assume that the practice of taking gemblak would find opponents in traditionalist Islamic circles, the religious boarding schools [pesantren] in the area have long been renowned for their homosexuality.<a name="t19"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n19">[19]</a> According to Dede Oetomo, homosexual relations between pesantren pupils, known as <i>amrot-amrotan</i> ['to play woman'], are condoned and even institutionalised as a part of the learning process.<a name="t20"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n20">[20]</a> Vocal opposition has emerged however from modern reformist groups such as <i>Muhammadiyah</i>. Several prominent <i>kyai</i> [religious teachers] from the famous pesantren Pondok Modern Darussalam have actively pressured local government to bring reog culture more into line with their own particular version of religious orthodoxy.<a name="t21"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n21">[21]</a> Whilst religious activists can be held partly responsible for the official condemnation of gemblak practices, the stance taken by the government also reflects a more general shift in moral standards brought about by the perceived demands of 'modernisation' [<i> modernisasi</i>] and 'development' [<i>pembangunan</i>] in rural Indonesia. As early as the late 1950s and 60s some reog troupes aligned with the PNI and PKI had abandoned gemblak participation in performances on the grounds that they considered it to be at odds with their respective programs of modernisation and social reform.<a name="t22"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n22">[22]</a> The state run education system has played a substantial role in socialising the perspective that <i>gemblakan</i> is a negative and outdated cultural phenomenon alongside family planning programs that sanctify the nuclear family unit as the foundation of the nation. Fewer and fewer young men are now interested in becoming gemblak. Pak Kasni Gunopati notes that those who do become gemblak now are largely motivated by the promise of material gain. 'In earlier times the gemblak faithfully and selflessly served their warok. Now they aren't afraid to ask for money or new clothes.'<a name="t23"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n23">[23]</a><br /><br /></li><li><div style="text-align: justify;"> The government's moral condemnation of the warok/gemblak relationship is further clarified when situated within a historical context in which reog and warok culture are still closely associated with criminality, rural radicalism, and the outlawed Indonesian Communist Party, the bogey man of New Order political discourse. All of this was radically at odds with the New Order's characterisation of 'traditional Javanese peasant culture' as being emotionally self-restrained, regulated and orderly. One of the most distinctive features of New Order rule was the extent to which rhetoric of culture enframed political will. Culture, especially 'traditional culture,' came to epitomise order in contrast to 'politics,' which was considered synonymous with disorder. If it was to classify as an example of 'traditional culture' reog and the warok tradition had to be reinvented. Since the early 70s the New Order has undertaken an ambitious project in social and cultural engineering.<a name="t24"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n24">[24]</a> Their intention was twofold: to ensure that regional identities did not threaten national unity, and to 'create and maintain the socio-cultural conditions which can accelerate the progress of development.'<a name="t25"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n25">[25]</a> Performing arts were of central importance to this exercise because, as one Department of Education and Culture document states 'art constitutes the most visible aspect of culture, to the extent that culture is often considered to refer only to art.'<a name="t26"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n26">[26]</a> In 1985, as part of a nation wide program to establish regional identities, reog was chosen by the East Javanese Department of Education and Culture as the official art form for the Ponorogo regency. Working closely with the Nahdatul Ulama's aligned reog organisation Insan Takwa Illahi, the government actively sought to eliminate reog of elements deemed either politically or sexually subversive. Department officials 'upgraded' [<i>meningkatkan</i>] the 'artistic quality' of reog performance, creating a standardised and sanitised version that has become the benchmark for gauging 'authenticity.'<a name="t27"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n27">[27]</a> Based upon a dichotomy between what are considered to be two separate Javanese artistic traditions, the <i>kesenian leluhur</i> [high art] of the royal courts and the <i>kesenian rakyat</i> [people's art] of the rural and urban poor, local Department officials act as the appointed representatives of the state, the purveyors of 'high art' by comparison with the 'crude' [<i>kasar</i>] arts that local communities are assumed to practice.<a name="t28"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n28">[28]</a> Aside from discouraging practices involving communication with ancestor spirits, the government outlawed the taking of gemblak in 1983, encouraging reog troupes to replace gemblak dancers with young girls. The eroticism and sexual tension of the performance still remains, but does not challenge dominant state discourses regarding sexuality.<br /></div><br /><br /><center><table border="0"> <tbody><tr> <td> <img src="http://wwwsshe.murdoch.edu.au/intersections/issue2/images/Wilson6.jpg" /> </td> </tr> </tbody></table></center> <span style="font-family:Arial,Helvetica;"> </span><center><span style="font-family:Arial,Helvetica;"><span style="">Figure 6. Advertising 'Traditional Culture':<br />Roadside billboard promoting the 1996 Grebeg Suro celebrations.<br /></span></span></center><span style="font-family:Arial,Helvetica;"><br /><br /></span></li></span></span><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><li><div style="text-align: justify;">The warok tradition is not considered to be commensurate with modern day official concepts of law and order, hence 'official' documentation produced by the Department of Education and Culture promotes legends such as <i>Kelono Sewondono/Songgolangit</i> and <i>Wijaya/Kilisuci</i>, both of which link warok to 'legitimate' political structures. Archaeological findings in the late 1980s suggesting that Ponorogo was the site of one of the first royal courts in East Java [<i>kerajaan Wengker</i>] has led to a mini-renaissance of 'aristocratic' culture headed by the Regent of Ponorogo, who has used his new found status as a moral platform from which to implement far reaching reforms of warok and reog culture. Indeed it is common practice in Java that political leaders try to associate themselves through court legends and lines of descent (be they invented or otherwise) to previous dynasties. A performance as part of the official celebrations for <i>Grebeg Suro</i> [Javanese new year ] in 1991 involved an elaborate re-enactment of the <i>Kelono Sewondono-Songgolangit</i> legend, performed in the <i>wayang wong</i> style, a form of <i>halus</i> ['refined'] theatre associated with the royal courts of central Java.<a name="t29"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n29">[29]</a><br /></div><br /><br /><center><table border="0"> <tbody><tr> <td> <img src="http://wwwsshe.murdoch.edu.au/intersections/issue2/images/Wilson7.jpg" /> </td> </tr> </tbody></table></center> <span style="font-family:Arial,Helvetica;"> </span><center><span style="font-family:Arial,Helvetica;"><span style="">Figure 7. A Kelono Sewondono performer:<br />1992, Grebeg Suro celebrations.<br />(courtesy of Josko Petkovic) </span></span></center><span style="font-family:Arial,Helvetica;"><br /><br /></span></li></span></span></span><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><li><div style="text-align: justify;"> In a speech preceding the performance, the Bupati, dressed in a warok costume, complete with a <i>kolor</i>, the thick white waist cord used by the warok as a weapon as well as being a symbol of his supernatural strength, stressed the importance of 'developing' reog as a tourist attraction as well as using it as 'tool' [<i>alat</i>] for ensuring 'order' [<i>ketertiban</i>] and 'stability' [<i>keamanan</i>].<a name="t30"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n30">[30]</a><br /></div><br /><br /><center><table border="0"> <tbody><tr> <td> <img src="http://wwwsshe.murdoch.edu.au/intersections/issue2/images/Wilson2.jpg" /> </td> </tr> </tbody></table></center> <span style="font-family:Arial,Helvetica;"><span style=""><center>Figure 8. Procession led by members of civilian defence units<br />as part of the 1992 Grebeg Suro celebrations.<br />The banner reads,<br />'With Grebeg Suro let us preserve the art of Reyog Ponorogo.'<br />(courtesy of Josko Petkovic) </center></span><br /><br /></span></li></span></span></span></span><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><li><div style="text-align: justify;"> Such 'rites of hegemonisation,' along with other contemporary dance creations such as the 'reog ballet' <i>Warok Suromenggolo</i>, seek to recuperate the image of the warok in accord with the demands of 'tradition' as constructed by the New Order. Both portray the warok not as a 'rebel' or charismatic spiritual leader, but as a loyal functionary of the state. In <i>Warok Suromenggolo</i> a highly exaggerated, stylised battle is enacted between two 'waroks' complete with fake beards, and chest hair.<a name="t31"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n31">[31]</a> The spiritual powers [or presence] of the real warok is replaced with dance movements that simulate and subsequently trivialise the magical power [and consequent political power] that the warok sejati once had. The warok tradition is recuperated, then cast off as a historical curiosity. Yampolsky notes that one way used by the New Order to disown unacceptable elements of a traditional art form, aside from openly suppressing them, has been to parody them.<a name="t32"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n32">[32]</a> During demonstrations in the build up to the resignation of Suharto in May 1998, the Regent of Ponorogo employed thugs dressed in traditional warok costumes to intimidate student protesters.<br /></div><br /><br /><center><table border="0"> <tbody><tr> <td> <img src="http://wwwsshe.murdoch.edu.au/intersections/issue2/images/Wilson3.jpg" /> </td> </tr> </tbody></table></center> <span style="font-family:Arial,Helvetica;"><span style=""> </span></span><center><span style="font-family:Arial,Helvetica;"><span style="">Figure 9. A masked Bujangga Anom performer flanked by<br />two female jatilan dancers on stage at the 1992 Grebeg Suro celebrations.<br />(courtesy of Josko Petkovic)</span></span></center> <span style="font-family:Arial,Helvetica;"><br /><br /></span></li></span></span></span></span></span><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><li><div style="text-align: justify;"> Traditional warok costumes can be bought in local markets and clothing stores along with other warok regalia such as <i>akar bahar</i> [a bracelet made from black coral] and walking sticks. Festivals such as Grebeg Suro see many young Ponorogo men become 'a warok for a day.' According to one renowned warok the authentic warok tradition of Ki Ageng Kutu still survives but is now 'invisible,' in the sense that warok are no longer socially identifiable. As he put it, 'those who go around now calling themselves "warok" are in reality warokan.'<a name="t33"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n33">[33]</a> Perhaps what he is suggesting is that as soon as the warok is named, represented or mediated, he is no longer a 'genuine warok,' a warok sejati. The integrity of the tradition is maintained through a kind of occultation, by refusing to engage in the spectacle of 'traditional culture.' This tactic of 'invulnerability' finds precedent with the followers of Ki Ageng Kutu who, faced with the outlawing of their parguron and the recuperation of reog by the state, retreated into the realms of esotericism and secrecy. The state, through its invention of an 'authentic' warok tradition seeks to 'recover the horizons of its power by containing that which would appear otherwise.'<a name="t34"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n34">[34]</a><br /></div><br /><br /><table border="0"> <tbody><tr> <td width="300"><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/images/video4.ram"><img src="http://wwwsshe.murdoch.edu.au/intersections/issue2/images/Wilson9.jpg" height="195" width="300" /></a> <center><span style="font-family:arial,helvetica;"><span style="">VIDEO CLIP: Figure 10. A reog troupe leader with his gemblak<br />(Courtesy of Josko Petkovic)</span></span></center> </td><td width="350"><span style="font-family:Arial,Helvetica;"> </span><ol><span style="font-family:Arial,Helvetica;">Warok: <i>This is my boy ... this is the gemblak who I have cared for since he was in grade 4 of primary school. I put him through primary school, then I put him through high school, then to technical school. I got him a job in a craft factory. They make products that are sent to Germany and America, things like rattan chairs. I've let him go now as he's working. He used to be my jaranan dancer. I chose a good one. His nose is like an Australian's! He has a pointy nose. Basically he has a Western type face. Why did I choose him, because if my jaranan isn't as good as the village headman's I would be embarrassed. I must have a handsome boy. He's also always on the lookout for handsome boys.</i></span></ol> </td> </tr> </tbody></table><br /><br /></li></span></span></span></span></span></span><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><li><div style="text-align: justify;"> However the emphasis placed on the 'spirituality' of the relationship by the warok suggests that for them and their gemblak at least, there is also a metaphysical explanation. The 'beautiful face' is for the warok a sign of the perfection of created things. It is a sign of good fortune, and its contemplation a jealously guarded privilege. The late Mbah Mardi, a renowned warok, commented that the beauty of a gemblak could unite the community since 'everybody loves a handsome face.' Margaret Kartomi in her article on reog notes that the transvestite is a frequently occurring figure in Javanese dance, drama, and ritual, suggesting that the gemblak personifies the philosophical unity of male and female.<a name="t35"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n35">[35]</a> The juxtaposition of male and female elements within a single entity expresses the complementarity of opposites, which in turn reflects the unity of the cosmos. Errington also suggests that in the traditionally 'Indicized' states of island Southeast Asia, transvestites were considered to be embodiments of cosmic unity and ancestoral power.<a name="t36"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n36">[36]</a> In Ponorogo it was widely believed that gemblak possessed fertility powers, so they were often asked to share a bride and bridegroom's bed on the night of their sexual consummation in the belief that the bride would quickly fall pregnant. Reog involving gemblak dancers is still performed at weddings and circumcision celebrations in the belief that it will channel ancestoral blessings. However unlike the cross-dressing performers in the Javanese theatre <i>ludruk</i>, gemblak are not specifically identified as transgendered males or <i>waria</i> ['women-men'], an officially recognised 'third gender' in Indonesia. In everyday life, and within the context of reog performance, gemblak generally do not adopt distinctly female dress or persona, though there are exceptions (as can be seen in video1). Oetomo notes that within Indonesian society the category waria or <i>banci</i> is more generally used as a label for nonconformist gender behaviour and identity. They are tolerated, as it is commonly believed that they are asexual and hence not constitute a threat to heterosexual relations. While gemblak would appear to fit into this broad category, I have never heard the terms applied to them either by themselves, warok or ordinary residents of Ponorogo.<a name="t37"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n37">[37]</a> Hence we must resist the temptation to impose what to the warok and gemblak are alien categories.<br /></div><br /></li></span></span></span></span></span></span><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><li><div style="text-align: justify;"> Pak Kasni Gunopati suggests that the gemblak 'contains a secret' [<i>minyimpan rahasia</i>] for the warok.<a name="t38"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n38">[38]</a> The gemblak is not merely an aide to the warok's asceticism, but is himself an object of ascetic contemplation. The attraction that the gemblak holds for the warok may refer to 'purely human' attraction or to 'spiritual attraction,' to the warok's desire to unite with the primordial essence as manifested in the <i>gemblak</i>, or both. Situating warok ascetic practices in the context of an essentially monistic spiritual tradition, be it Javanist-Hindu-buddhist or Javanist-Islam, one can begin to speculate, albeit tentatively, as to the 'secret' that may underpin the relationship. It is 'tentative' in the sense that I am abstracting, formulating a theoretical framework from a series of practices, customs, and popular accounts. As a tradition performed and patronised by the lower strata of Javanese society, warok culture is rich in oral tradition yet scarce in textual sources. Warok rarely refer to literary works when talking about their spiritual practices, and, due to the secrecy that surrounds their beliefs and practices, their own explanations are often obscure and indirect. It is also perhaps informative to draw comparisons with similar practices found in other mystical and martial traditions such as <i>shahed bazi</i> ['witnessing of the unbearded'] within certain strains of heterodox Persian sufism, and <i>shudo</i> ['the way of the young man'], the religiously framed pederasty practiced by the Samurai.<a name="t39"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n39">[39]</a> In each case a beautiful youth is transformed by the mystic's gaze into a symbol of the perfection of created form. According to Judith Becker, Tantric teachings in general, including those found in Java, place a particular emphasis on aesthetic appreciation in its original meaning as 'sense perception.'<a name="t40"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n40">[40]</a> The refinement of this perception can lead to a heightened state of consciousness and a dissolving of the boundaries between oneself and the thing perceived.<a name="t41"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n41">[41]</a> The key term for understanding this process is the Sanskrit derived Javanese word <i>rasa</i> which traces a continuum of meaning from 'feeling' in the literal sense, through progressively more subtle levels of perception of the emotions, and ultimately arriving at the experience of <i>rasa sejati</i> 'the absolute or true feeling which is itself mystical awareness of the fundamental vibration or energy within all life.'<a name="t42"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n42">[42]</a> At this level of meaning rasa also indicates <i>rahsa</i> or <i>rahasia</i>, 'secret' or 'essence.' It is possible that the warok's aesthetic contemplation of the androgynous form of a beautiful gemblak, combined with the accumulation of life-force produced by chastity, was intended to provoke in him a radical apprehension of the perfection of created form. As a symbolic embodiment of the incorporation of seemingly opposed elements [male/female] the gemblak functioned as a metaphor for cosmic unity, but through the agency of rasa he also acted as a modality for the warok, a means by which to experience it. This is the rahasia symbolised by, and experienced through, the gemblak.<br /></div><br /></li></span></span></span></span></span></span><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><li><div style="text-align: justify;"> The primary difference between the warok and an ordinary man, or warokan, is that the latter indulges his passions without restraint, whilst the former maintains the disciplined steadfastness and focus necessary for the accumulation of power. Ascetic practice in Java generally requires that one withdraws from interaction, which is always fraught with the danger of desire, need and dependence, in order to gain potency. The warok on the other hand, in his intimate relationship with his gemblak, intentionally places himself in what, to outsiders at least, is perceived as an exceedingly dangerous situation. Through his refusal to succumb to the natural impulses perceived as latent in such a situation, the warok fulfils a cultural ideal of self-control and spiritual power. He resides on a 'plateau of intensity'<a name="t43"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n43">[43]</a> that can only be reached through the denial of sexual climax.<br /></div><br /><br /><table border="0"> <tbody><tr> <td width="300"><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/images/video3.ram"><img src="http://wwwsshe.murdoch.edu.au/intersections/issue2/images/Wilson8.jpg" height="295" width="300" /></a> <center><span style="font-family:arial,helvetica;"><span style="">VIDEO CLIP: Figure 11. Interview with Pak Sobrani, a contemporary warok.<br />(Courtesy of Josko Petkovic)</span></span></center> </td><td width="300"><span style="font-family:Arial,Helvetica;"> </span><ol><span style="font-family:Arial,Helvetica;">Question: <i>Did you have a gemblak?</i><br /><br />Pak Kasni Gunopati: <i>Yes. In the times when I was seeking</i> ilmu <i>[knowledge], as we say in Javanese. The gemblak was my friend. If I was tired and wanted to rest he would accompany me. But it wasn't like it is now were it's always inside the house. Then it could be anywhere quiet. As a gemblak he would assist the warok in carrying out the teachings of his guru.</i> </span></ol> </td> </tr> </tbody></table><br /><br /></li></span></span></span></span></span></span><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><li><div style="text-align: justify;"> Such power is accumulative: the greater the number of gemblak a warok has, the greater his 'potency,' both spiritual and economic. The late Mbah Mardi claimed to have had up to 90 gemblak at the peek of his power.<a name="t44"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n44">[44]</a> This is not to suggest however that the relationship between the warok and his gemblak did not have a physical aspect, for in many cases it undoubtedly did. Ascetic self-denial is, for the warok, a means to an end, not inherently 'good' in itself. Hence if a warok was to succumb to his desire for the gemblak it would not be considered a 'sin,' so much as a set back on his quest for power.<br /></div><br /></li></span></span></span></span></span></span><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><li style="text-align: justify;"> My intention here has been to provide an alternative, albeit 'ideal-type' explanation of the relationship that foregrounds the 'spiritual' dimension emphasised in the discourse of warok's themselves, as well as situating it within the cosmological framework from which it may have emerged. Tantric and 'power orientated' forms of spirituality have been increasingly marginalised in New Order Indonesia in favour of more orthodox forms of religious expression. The suspicion with which such practices are viewed is at least partly due to the tendency of the movements based upon them to transform into political activism.<a name="t45"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n45">[45]</a> From the perspective of both religious modernists and government officials the warok/ gemblak relationship is simply unrecognisable as an example of 'spirituality,' let alone formal religion. Taking this into account the accusations of homosexuality express not simply a moral judgement, but a clash of worldviews. Consequently, if the relationship is to continue it must be redefined in language that is both recognisable and acceptable to local authorities. One response adopted by certain sectors of the reog community has been to frame the warok-gemblak relationship as being an example of a 'foster child' arrangement in which the warok, in his role as a village elder [<i>sesepuh</i>], takes responsibility for a disadvantaged local youth. INTI has long argued that the 'real' meaning of gemblak is in fact that of a foster child, insisting that homosexuality only occurred due to the degenerative influence of the Dutch.<a name="t46"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n46">[46]</a> Yet not everyone has been convinced. In the words of a former Regent of Ponorogo, 'they [warok] claim that their gemblak are really foster children, so what can we do?'<a name="t47"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n47">[47]</a> Whilst the Regent does expresses scepticism towards the warok's explanation he also concedes that he is powerless to act against it. Perhaps ultimately what is important to the government is not whether or not warok really do engage in sexual relations with their gemblak, but that the relationship at least has the appearance of 'respectability.'<br /><br /></li><li><div style="text-align: justify;">With the first multi-party democratic elections in Indonesia in over forty years scheduled for this June it will be interesting to see if reog and warok culture is once more 'politicised' as it was in the campaigns of the 50s and 60s. In the current climate of political and social upheaval and popular backlash against the authoritarian social engineering of the Suharto era, it is possible that the warok tradition may once more become a vital force in the political and cultural life of Ponorogo.<a name="t48"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#n48">[48]</a><br /></div><br /><br /><b>Endnotes</b> </li></span> <span style="font-family:arial,helvetica;"><span style=""><br /><br /></span></span></span></span></span></span></span><div style="text-align: justify;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n1"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t1">[1]</a> Soedjono Hardjomartono, 'Rejog, Warok dan Gemblakan di Ponorogo: Tritunggal jang tak dapat dipisah-pisahkan,' in <i>Brosur Adat Istiadat dan Tjeritera Rakyat</i>, Departmen Pendidikan dan Kebudayaan, 1962, p. 17.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n2"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t2">[2]</a> Onghokham, 'The Residency of Madiun: Prijayi and Peasant in the Nineteenth Century,' Ph.D Thesis, Yale University, 1975, pp. 63-9.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n3"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t3">[3]</a> There are at least five different popular accounts of the origin of warok and reog. I have chosen to focus upon the Ki Ageng Kutu version as in Ponorogo it is believed to represent 'history' rather than being a mere 'legend.' Descriptions of all five versions can be found in <i>Reog di Jawa Timur</i>, Departmen Pendidikan dan Kebudayaan, Jakarta, 1978-9. A more detailed account of the Ki Ageng Kutu story can be found in Herman Joseph Wibowo, 'Drama Tradisional Reog: Suatu Kajian Sistem Pengetahuan Dan Religi,' in <i>Laporan Penelitian JARAHNITRA</i>, Balai Kajian Sejarah Dan Nilai Tradisional Yogyakarta, 1995-6, pp. 1-59, and Tape 24, 14/7/1991, video archive of Josko Petkovic.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n4"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t4">[4]</a> Department Pendidikan dan Kebudayaan, 1978/9, p. 95.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n5"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t5">[5]</a> Petkovic, East Java Reog Project (archive), video, Murdoch University, 1991, tape no. 2.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n6"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t6">[6]</a> See Benedict Anderson's essay, 'The Idea of Power in Javanese Culture,' in <i>Language and Power: Exploring Political Cultures in Indonesia</i>, ed. Anderson, Cornell University Press, Ithaca, 1990, pp. 17-77.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n7"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t7">[7]</a> These upheavals included the Communist rebellion of 1927 and the increased political activism of nationalist groups.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n8"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t8">[8]</a> Hardjomartono, 'Rejog, Warok dan Gemblakan di Ponorogo: Tritunggal jang tak dapat dipisah-pisahkan,' p. 22.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n9"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t9">[9]</a> Anderson, 'The Idea of Power in Javanese Culture,' p. 57.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n10"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t10">[10]</a> The devastating effect of the events of 1965 on warok and reog culture is dramatically highlighted by statistics from the Department of Education and Culture. In 1964 there were 385 registered reog troupes in the Ponorogo regency. By 1969 the number had dropped to a mere 90.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n11"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t11">[11]</a> Petkovic, East Java Reog Project, tape no. 2.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n12"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t12">[12]</a> John Pemberton, 'Musical Politics in Central Java (or how not to listen to a Javanese gamelan),' <i>Indonesia</i>, no. 44, October, (1987):21.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n13"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t13">[13]</a> Anderson, 'The Idea of Power in Javanese Culture,' p. 40.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n14"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t14">[14]</a> Petkovic, East Java Reog Project, tape no. 5.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n15"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t15">[15]</a> Petkovic, East Java Reog Project, tape no. 26.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n16"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t16">[16]</a> For an articulation of this view see Herman Joseph Wibowo, 'Drama Tradisional Reyog: Suatu Kajian Sistem Pengetahuan dan Religi,' <i>Laporan Penelitian Jarahnitra</i>, 1995/1996, pp. 1-58, and 'Di Bawah Lindungan Warok: Gemblak dan Tradisi Homoseksual,' <i>Matra</i>, November, 1988, pp. 64-5.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n17"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t17">[17]</a> Interview, 23/3/97, Ponorogo.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n18"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t18">[18]</a> Personal communication with Ben Anderson, 1/10/97.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n19"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t19">[19]</a> Dede Oetomo, 'Gender and Sexual Orientation in Indonesia,' in <i>Fantasizing the Feminine in Indonesia</i>, ed. Laurie Sears, Duke University Press, Durham, 1996, pp. 259-69.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n20"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t20">[20]</a> Oetomo, 'Gender and Sexual Orientation in Indonesia,' <i>Fantasizing the Feminine in Indonesia</i>.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n21"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t21">[21]</a> To which the local government has largely conceded. As recently as last year rites associated with Grebeg Suro celebrations were modified after complaints from several kyai that they involved communication with <i>setan</i>.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n22"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t22">[22]</a> Margaret J. Kartomi, 'Performance, Music and Meaning of Reyog Ponorogo,' <i>Indonesia</i>, no. 22, October, (1976):117.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n23"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t23">[23]</a> Petkovic, East Java Reog Project, tape 1(a).</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n24"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t24">[24]</a> Philip Yampolsky, 'Forces for Change in the Regional Performing Arts of Indonesia,' <i>Bijdragen tot de Taal-Land-en Volkenkunde</i>, 151/4, 1995, pp. 700-25.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n25"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t25">[25]</a> Judistra Garna, <i>The Socio-Cultural Strategy of Development in Indonesia</i>, PT. Gasco, Bandung, 1977, p.5.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n26"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t26">[26]</a> Departmen Pendidikan dan Kebudayaan, <i>Kebudayaan: Naskah Sementara Ke-1</i>, Djakarta, 1972, p. 107.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n27"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t27">[27]</a> Department officials regularly attend the training sessions of local troupes, making suggestions as to how they can 'improve' their performance. Local government is currently proposing to introduce the study of reog as compulsory for all high school students.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n28"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t28">[28]</a> Amrih Widodo, 'The Stages of the State: arts of the people and rites of hegemonisation,' <i>Review of Indonesian and Malay Affairs</i>, vol. 26, nos. 1 and 2, (1995):18.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n29"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t29">[29]</a> Petkovic, East Java Reog Project, tape no. 22.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n30"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t30">[30]</a> Petkovic, East Java Reog Project, tape no. 19.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n31"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t31">[31]</a> See <i>Ensiklopedia Seni Musik dan Seni Tari Daerah: Laporan Penelitian dan Pencatatan Kebudayaan Daerah Jawa Timur</i>, Dinas P dan K Daerah Prop., Daerah Tingkat I Jatim, Surabaya, 1986, p. 112.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n32"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t32">[32]</a> Philip Yampolsky, 'Forces for Change in the Regional Performing Arts of Indonesia,' <i>Bijdragen tot de Taal-Land-en Volkenkunde</i>, 151/4, 1995, pp. 712-13).</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n33"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t33">[33]</a> Petkovic, East Java Reog Project, tape no. 1.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n34"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t34">[34]</a> Pemberton, <i>On the Subject of 'Java,'</i> Cornell University Press, Ithaca, 1994, p.9.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n35"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t35">[35]</a> Kartomi, 'Performance, Music and Meaning of Reyog Ponorogo,' p. 108. </span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n36"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t36">[36]</a> Shelley Errington, 'Recasting Sex, Gender, and Power: A Theoretical and Regional Overview,' in , <i>Power and Difference: Gender in Island Southeast Asia</i>, ed. Jane Monnig Atkinson and Shelley Errington, Stanford University Press, Stanford, 1990, p. 52.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n37"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t37">[37]</a> This is after spending a total period of around six months in Ponorogo and the nearby towns of Tulungagung and Trenggalek as well as viewing numerous recorded interviews from the video archive of Josko Petkovic with warok, gemblak, and other people closely associated with the reog scene.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n38"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t38">[38]</a> Interview with Pak Kasni Gonopati, Tape 1: 'bearded warok,' video archive of Josko Petkovic. </span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n39"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t39">[39]</a> For a fascinating study of shahed baz, see Peter Lamborn Wilson, <i>Scandal: Essays in Islamic Heresy</i>, Autonomedia, Brooklyn, 1988, pp. 93-122. According to Jose Ignacio Cabezon, shudo evolved out of the Japanese Buddhist practice of <i>chigo</i> in which a monk took a young acolyte as a lover whom he identified with a bodhisattva. See his essay in <i>Homosexuality and World Religions</i>, ed. Arlene Swidler, Trinity Press International, Valley Forge, 1993, pp. 81-102.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n40"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t40">[40]</a> Judith Becker, <i>Gamelan Stories: Tantrism, Islam, and Aesthetics in Central Java</i>, Monographs in Southeast Asian Studies, Arizona State University, 1993, p. 6.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n41"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t41">[41]</a> Becker, <i>Gamelan Stories: Tantrism, Islam, and Aesthetics in Central Java</i>, p. 7.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n42"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t42">[42]</a> Paul Stange, 'The Logic of Rasa in Java,' <i>Indonesia</i>, no. 38, p. 119.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n43"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t43">[43]</a> Gilles Deleuze & Felix Guattari, <i>A Thousand Plateaus: Capitalism and Schizophrenia</i>, University of Minnesota Press, Minneapolis, 1987, p. 22. For an exploration of this concept in relation to warok and gemblak see Josko Petkovic's article in this issue.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n44"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t44">[44]</a> Petkovic, East Java Reog Project, 'warok mita' tape 1(a).</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n45"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t45">[45]</a> For a detailed discussion of this process see Stange, '"Legitimate" Mysticism in Indonesia,' <i>Review of Indonesian and Malay Affairs</i>, 20, 2, (1986):76-117.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n46"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t46">[46]</a> Interview with reog performer, Ponorogo, 15/3/96.</span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n47"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t47">[47]</a> Hardjomartono, 'Rejog, Warok dan Gemblakan di Ponorogo: Tritunggal jang tak dapat dipisah-pisahkan,' p. 24. </span></span></span></span></span></span></span><br /><br /><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><span style=""><a name="n48"></a><a href="http://wwwsshe.murdoch.edu.au/intersections/issue2/Warok.html#t48">[48]</a> I wish to express my gratitude to Josko Petkovic for allowing me full access to the extensive video archive of interviews that he conducted with warok, gemblak, and reog experts as part of a documentary project on Reog Ponorogo. The material I drew from them was invaluable in the writing of this article. </span></span></span></span></span></span></span><br /><br /></div><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:Arial,Helvetica;"><span style="font-family:arial,helvetica;"><br /></span></span></span></span></span></span>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-90379667966553824082008-01-23T20:40:00.000-08:002008-11-18T18:29:21.951-08:00JAIPONGAN (WEST JAVA)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEmeTwRwBbSaEcV8St0cAFRyCYX9faMNvNcydnIt10aaD_wexx-iOgWyhuR5g48lhgFLRHYFv1eKjPMys0Tzcjq6ZF0gzde9v5Pgrp63uzlePwh3f1T2i5PqeiJCkOfFNcNfgdr8j9edFa/s1600-h/JAIPONGAN.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEmeTwRwBbSaEcV8St0cAFRyCYX9faMNvNcydnIt10aaD_wexx-iOgWyhuR5g48lhgFLRHYFv1eKjPMys0Tzcjq6ZF0gzde9v5Pgrp63uzlePwh3f1T2i5PqeiJCkOfFNcNfgdr8j9edFa/s320/JAIPONGAN.jpg" alt="" id="BLOGGER_PHOTO_ID_5158900300040588482" border="0" /></a><br /><div style="text-align: center;"><span style="font-size:85%;"><strong><span style="font-size:100%;"><span style="font-family:arial;">Jaipongan is an excellent example of the virility of the Indonesian people and their culture and the way in which cultural change takes place with a natural momentum.</span></span><br /><br /></strong></span><br /><div style="text-align: justify;"><span style="font-size:85%;">The musical arts of Sunda include some of the most beautiful sounds in the world. The gamelan Sunda, the gamelan degung, the Kecapi with either suling (flute) or vocal accompaniment all provide moments of rare musical beauty. The Kecapi, when played as a solo instrument using the sorog scale can emulate the "koto" of Japan and rival it in beauty. </span></div><p style="text-align: justify;"><span style="font-size:85%;"> This is the story of the birth of a dance form. Culture is the way in which people live and interact by mutual agreement. Dance and music are expressions of the emotions of a culture. The performing artist has the role of expressing the artistic and aesthetic elements from within the community. He expresses his creativity through performance and the community accepts this by showing interest and appreciation. Three factors make a performance; the performer - the performance - the appreciation of the audience. The rewards of performance are gained through the design (choreography) and creativity of the performer. </span></p><p style="text-align: justify;"><span style="font-size:85%;">There was a boy who lived in Sunda. His father was a Silat enthusiast, that is to say he specialised in the Indonesian form of the martial arts. Often martial arts performances are presented with a musical accompaniment. The boy's mother played the Kecapi, a zither commonly found in Sunda. As a young child, Gugum was already familiar with both the traditional music of his homeland and the sophisticated control of the body which his father demonstrated. His family environment was one where music and movement combined to influence his outlook for the future. </span></p><p style="text-align: justify;"><span style="font-size:85%;">At school Gugum was introduced to a new world of sound which included the western diatonic scale. He warmed to this and by the time he had entered high school he had joined the band and begun his career as a musician. Then came a directive from above which said that western style music was no longer to be used in schools and that there should be a concentration on the local culture. Gugum became more interested in Sundanese instruments and culture during his last years at high school and continued this interest as he studied accountancy and administration at university. </span></p><p style="text-align: justify;"><span style="font-size:85%;">As he grew older he looked around him at the traditional forms of music and dance in Sunda. He was a young and virile man. He wanted to move. He wanted to express his vigour. Within the range of cultural dances available to he there was nothing which he felt allowed him to express what he wanted to say. The dances were too slow and constrained to allow the movements of the impetuous young man, expression. Dance must be rhythmic and beautiful. A universal element is that it allows individual expression. It is also a social art as the performance must relate to its receiving culture in order to be appreciated. </span></p><p style="text-align: justify;"><span style="font-size:85%;">Between the years 1971 and 1974 Gugum continued his search fro a performance model which would interest his peers. He read many books and talked to many people about the problem. He decided that the answer lay in making his own dance. He worked on a scenario for body movement. He came to the conclusion that there should be room for the dancer to express the feeling of the moment, that is, room for improvisation as part of the dance scenario. A dynamic dance which also reflected the mood of the society. </span></p><p style="text-align: justify;"><span style="font-size:85%;">Jaipongan is a social dance for young people. It differs from other dances of this type in that it demands certain standards from the dancers, in fact, the following of the basic choreography is very important. </span></p><p style="text-align: justify;"><span style="font-size:85%;">First and foremost it is a performance which has its own choreography, musical accompaniment and a style which not all performers will be a able to achieve. It requires the skill gained from courses in dancing this particular dance and therefore demands a higher level of interest than normal. </span></p><p style="text-align: justify;"><span style="font-size:85%;">Having settled on the basic dance form Gugum now had to translate the music from his mind into sound. He looked for a musician. He selected a man, younger than himself, to play a drum accompaniment. The first quality he looked for in his accompanist was the same vigour which he wished to express in the dance. The drummer he chose liked the limelight. He did not use the traditional constraint but flourished his drum strokes in a new way and was able to add the flavor for which Gugum was looking. </span></p><p style="text-align: justify;"><span style="font-size:85%;"><img src="http://www.archipelago-emag.com/pictures/ludruk1s.jpg" align="left" />Gugum experimented with various musical patterns. When he was unable to drum them, he sang the patterns to the drummer and the drummer would then perform them. To build up further musical parts for performance, other drummers were added one by one to represent the gamelan instruments which were not yet available. The already choreographed dance was coming to life with a specific musical accompaniment. A touch of Sundanese tradition was added when his wife began to sing in the traditional Sundnese style to accompany the rehearsals. </span></p><p style="text-align: justify;"><span style="font-size:85%;">Gugum was never quite satisfied. In 1978 the Indonesian department of Education and Culture was looking for a group to send to Hong Kong to represent the country in an International Festival of Folklore. Enoch Atmadibrata, a man who knew the culture of the Sunda area better than most asked Gugum for permission to attend a rehearsal of the new dance for. While complying, Gugum pointed out that the dance was not yet ready for serious performance. Atmadibrata disagreed. </span></p><p style="text-align: justify;"><span style="font-size:85%;">The group was chosen to go to Hong Kong. Help was given to find all the right instruments needed for performance and suddenly the new dance form had come of age. Here was a new dance from Sunda, about to be seen abroad and nationally which had seldom been performed in its homeland. Bandung did not yet know the dance. </span></p><p style="text-align: justify;"><span style="font-size:85%;">The patronage of Enoch Atmadibrata helped to establish the new form quickly in its local area of West Java. In 1979 it had its "coming out" at a Festival of PeopleĀ¹s Dance which was held in the Gedung Merdeka in Bandung. It was overwhelmingly received. It was difficult to get into the performance as many more people wanted to attend than could be accommodated. After this Atmadibrata arranged a seminar where Gugum, as principal dancer and choreographer, explained some of the concepts behind the dance. </span></p><p style="text-align: justify;"><span style="font-size:85%;">Its name, Jaipongan had been derived from the sounds use to teach the drum in the Sunda area. As early as 1974 the word "jai-i-pong" was being used to entertain in performances by Ali Saban in the local Topeng Banjet group from the village of Karawang. It had not been attached to the dance which was being developed independently at that time and was still nameless. The three distinct sounds made on the drum were vocalised as "jai-i-pong" The dance became known as Jaipongan. </span></p><p style="text-align: justify;"><span style="font-size:85%;">The performance of the dance was based upon three stages of skill. Although the style of dancing known in the Priangan as Ketuk Tilu, which was most popular with the people of the area from about the year 1917 until the sixties, was the basis of Jaipongan style it was also influenced by the styles used in Silat and by improvisation. The latter can be added by the performer to express himself and might not conform with either Silat or Ketuk Tilu. </span></p><p style="text-align: justify;"><span style="font-size:85%;">Silat or Topeng Styles </span></p><p style="text-align: justify;"><span style="font-size:85%;">The music was based on the Sundanese gamelan but the styles of drumming were quite different. Indonesian national television featured the group and suddenly the dance was a national sensation. The dance quickly became popular in Bandung and the Sundanese area. The group was in constant demand. Officials were shocked by what they saw as "suggestive" movements in the improvised sections of the dancing. I was maintained that the dance was "too fast" and it was described as "erotic". The tight guidelines of the dance make it difficult to describe as "erotic" as it is strictly seated on the basic choreography. Nevertheless the performance of the dance was banned. Popular demand was already assuring the success of the form and now the ban sent the dance "underground" and made it even more desirable. The ban was local. Outside the area of Sunda, the dance could still be performed. </span></p><p style="text-align: justify;"><span style="font-size:85%;">The ban was in force from 1981 to 1983. Gugum started a school to train performers and teachers of the dance. The course which thoroughly trained people in all three levels had many graduates and they took the dance to many parts of Indonesia where it became one of the set types of performance taught in Dance Academies across the nation. Groups from many parts of Indonesia performed it throughout the world. The school has issued 660 diplomas since it started. The group based in the school have toured to Hong Kong, Japan, Bangkok and the USA and have recently toured in Europe. Performances can accommodate up to 100 dancers at a time but usually consist of about ten. The minimum number is five. </span></p><p style="text-align: justify;"><span style="font-size:85%;">Money has been made by the performing groups and money has been made by the recording stars who have made cassettes to satisfy the need for the music nationwide as the form has become more popular. </span></p><p style="text-align: justify;"><span style="font-size:85%;">While it may be easy to criticize Jaipongan for being "commercial" its success boils down to popular taste. An interesting aspect of its acceptance in the West Java area was a distinct decrease in cultural influences from outside Indonesia. People in this area were much more likely to buy a Jaipongan cassette than one of western music and for a period discos declined in favour of Jaipongan. That the younger generation of today prefer the music of Jaipongan to other traditional music is not a bad thing. It says something about the times in which we live and it is good that they enjoy this music so much. </span></p><p style="text-align: justify;"><span style="font-size:85%;">Looking back at the age of forty nine on his achievements, Gugum sees Jaipongan as a dance which has been born out of the essence of the traditions of West Java. He says "the people receive" because the improvisation which is possible within the form allows them to express both their talent and their culture in a special way. The West Java area has always had a strong tradition of the martial arts (Silat) and the members of these groups also found it easy to join in Jaipongan dancing. There is also a strong tradition of pantomime in the area which makes it very easy for people to see the improvised sections as an outlet for theatre performance. </span></p><p style="text-align: justify;"><span style="font-size:85%;">Like all popular art forms, Jaipongan has adapted to the needs of the community. One of the problems of "traditional" performance ,is that it happens at certain specific times and for certain reasons and often in seclusion. Jaipongan has broken down these barriers. It now exists in the popular dance arena and can be found at the local disco in Bandung. It is more than just a folk dance or a free type of dance without design because the limitations of the improvisation have already been set by the creator of the dance. That it has become also a dance which is used throughout the nation and is therefore now "Indonesian culture" is something very special. Well done Jaipongan! </span></p><br /></div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0tag:blogger.com,1999:blog-5692947787922068727.post-87600965737328717852008-01-23T19:57:00.000-08:002008-11-18T18:29:22.107-08:00WAYANG GOLEK (WEST JAVA)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizlb9DaBc7K8hkVKES6t0rvuV5zwyVw1Jh36ofuIQ2FstBrXpQBeVhcTSEKb2C3A2rHEp_LDWG8lkWGqzZa3HJBenDEoDhv9F4yMIxCBDLBe5AYrtLlut8EzBNoKDn-AufHKyYHjU07f4R/s1600-h/wayanggolek.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizlb9DaBc7K8hkVKES6t0rvuV5zwyVw1Jh36ofuIQ2FstBrXpQBeVhcTSEKb2C3A2rHEp_LDWG8lkWGqzZa3HJBenDEoDhv9F4yMIxCBDLBe5AYrtLlut8EzBNoKDn-AufHKyYHjU07f4R/s320/wayanggolek.jpg" alt="" id="BLOGGER_PHOTO_ID_5158887681426672770" border="0" /></a><br /><div style="text-align: center;"><span style="font-weight: bold;">WAYANG GOLEK</span><br /></div><br /><div style="text-align: justify;">Wayang Golek is a traditional form of puppetry from Sunda, West Java. Unlike the better-known leather shadow puppets (Wayang Kulit) which are found in the rest of Java and Bali, these puppets are made from wood, and being three-dimensional do not use a screen. They simply use a banana palm in which the puppets stand, behind which one puppeteer (or dalang) is accompanied by his gamelan percussion orchestra with (in Indonesia) up to 20 musicians. The drummer guides the musicians. He in turn is guided by signals that the dalang gives whenever there is a change of mood or pace required.<br /><br />Traditionally these shows are performed for at least six hours during the night, attracting an adult audience of all social classes. Originally these shows might be performed, (for example), to appease the gods, to offer thanks or ask protection for a harvest or to exorcise evil spirits. They also continue to be performed at circumcision or wedding parties, or to events such as the anniversaries of large businesses. The wayang golek performance becomes a social event around which there may be many stalls selling refreshments and other small items, and the audience come and go as they please, watching or listening from all sides. They particularly enjoy the clown scenes, when much tomfoolery and satire take place.<br /><br />Some says wayang is Indian's origin. It's not true. Wayang is Indonesian's origin (Java). It stands for "Wa" and "Hyang", meaning anchestor. Some also says it comes from the word "bayang" or shadow. But it's true that wayang's stories based on Hindu's epic, Ramayana and Mahabrata. Even so, Sundanese artists make some changes. So then it fits the Indonesian or local culture (Islam). This changes of course make it different from its origin's story/narration (Ramayana and Mahabrata).<br /><br />The six hour show of Wayang golek does not tell the whole story of these epics. Instead one story might be chosen from a tiny part of the whole epic, and there are many stories within stories. Sometimes new stories are also created, but the history of the characters in the original epic is always respected. After a new story has been performed for some years, this too might become a part of the established fact / storybank (pakem) which other dalang then draw upon. Wayang Golek storytelling is therefore like a tree that continues to grow many new branches from the same long-established trunk.<br /><br />In Indonesia many people are familiar with the different types of character which can be recognised by the size, shape colour and angle of their eyes and nose and the way they walk, talk, sing, dance and fight. It is a highly respected art form, and continues to thrive as a vibrant living tradition, offering a coded philosophy within which there is something for everyone, rich or poor, politician or artist alike. </div>MUGIMUGIworkhttp://www.blogger.com/profile/15039960577095588588noreply@blogger.com0