Indonesian Dance: Balinese Dance

Wikipedia's Photo: Legong Dance

Balinese dances are a very ancient dance tradition that is a part of the religious and artistic expression among the Balinese people.

In Bali there are various categories of dance, including epic performances such as the omnipresent Mahabharata and Ramayana. Certain ceremonies at village temples feature a special performance of a dance-drama, a battle between the mythical characters Rangda, the witch representing evil, and Barong, the lion or dragon, representing good.

Among the dance traditions in Bali, the following deserve special mention:

• Barong
• Legong
• Kecak

Bali dancers learn the craft as children from their mothers as soon as they are born, in the womb they are played the Balinese music and are taught to dance with their hands before they can walk. Official training as a Bali dancer starts as young as 7 . In Balinese dance the movement is closely associated with the rhythms produced by the gamelan, a musical ensemble specific to Java and Bali. Multiple levels of articulations in the face, eyes, hands, arms, hips, and feet are coordinated to reflect layers of percussive sounds.

The number of codified hand positions and gestures, the mudras, is higher in India than in Java or Bali. It has been speculated that they have been forgotten as the dance was transmitted from India to Java. Hand positions and gestures are nonetheless as important in Javanese and Balinese dance as in India. Whether in India, Indonesia or Cambodia, hands have a typically ornamental role and emphasize the dance's delicate intricacy.

Barong Dance

Legong Dance

Kecak Dance

A Glances Of Baduy Culture

ENGLISH - INDONESIA)

Photo: Harry Setianto

Indonesian Culture – indonesiaculture.net. The eccentricity of the Baduy people remains intact to this day where only very few local traditions are capable of withstanding assaults of modern civilizations. A maxim “Not knowing elicits indifference,” perhaps may encourage us to preserve Baduy’s culture. An Indonesia Culture team was fortunate to directly visit and interact closely with the Baduy community and possibly, you may be privileged to possess this experience.

Baduy tetap eksentrik hingga kini, hanya sedikit tradisi lokal yang mampu bertahan dari serangan kebudayaan modern. Ungkapan Pepatah “Siapa yang tak kenal maka tak sayang”, mungkin dapat merangsang kita untuk melestarikan kebudayaan Suku Baduy. Kali ini Tim IndonesianCulture.net beruntung dapat mengunjungi langsung dan berinteraksi secara intim dengan masyarakat Suku Baduy, dan mungkin suatu kali anda pun berkesempatan mengujunginya .

The Jakarta sun had reached its height when the Indonesia Culture Team departed from the Indonesia capital towards the villages of the Badui Tribe, by means of backpacker routes via an economy electric train from Tanah Abang, Jakarta en route for Rangkas Bitung Train Station. The train trip only cost two thousand rupiahs and more or less two hours of journey.

Matahari Jakarta sudah tinggi ketika Tim IndonesiaCulture.net meninggalkan Jakarta untuk wisata budaya ke perkampungan Suku Baduy. kami menggunakan rute yang kerap di tempuh para backpacker, yakni menggunakan kereta KRL ekonomi dari Jakarta, tepatnya Tanah Abang menuju Stasiun Rangkas Bitung. Dengan kereta ini biaya yang dikeluarkan cukup murah hanya dua ribu rupiah, dan waktu perjalanan pun kurang lebih dua jam.

Arriving in Rangkas, we stopped by a market for a quick lunch and bought sugar, coffee and fish to be later given to our guide. It has become a custom for visitors to bring presents to the Badui community. After filling our stomachs and purchasing goods for gifts, we continued our journey.

Sesampainya di Rangkas kami mampir ke pasar untuk makan siang dan membeli sedikit buah tangan berupa; gula, kopi dan ikan yang akan kami berikan kepada pemandu perjalanan nanti. Sudah menjadi kebiasaan bagi para pelancong yang akan bertamu untuk memberikan sesuatu bagi masyarakat Baduy. Setelah perut kami terisi, dan barang-barang kebutuhan sudah dibeli kami melanjutkan perjalanan kembali.

From Rangkas, we rode a red mikrolet 07 public transportation towards Terminal Cirende. The journey took thirty minutes and two thousand rupiahs.

Dari Rangkas kami naik mobil angkutan sejenis mikrolet 07 berwarna merah dengan tujuan Terminal Cirende. Waktu tempuhnya hanya tiga puluh menit dengan biaya dua ribu lima ratus rupiah.

A diesel engine vehicle locally called ‘elp’ became our means of transportation towards Ciboleger Village. This village is the last modern age village upon entrance into the Badui region. Costs towards Ciboleger were 12.500 IDR and about two and a half hour of travel.

Angkutan bermesin disel yang kerap disebut elp menjadi angkutan yang kami tumpangi menuju Desa Ciboleger. Desa ini menjadi desa modern terluar sebelum kita memasuki wilayah baduy. Tarif menuju Ciboleger sebesar Rp. 12.500, biaya ini sesuai mengingat jaraknya yang cukup jauh dengan waktu tempuh menuju desa terluar ini sekitar dua jam tiga puluh menit.

Nature’s beauty began to reveal itself more clearly in the trip to Ciboleger village but due to the elp’s speed and bumps in the roads, the sceneries quickly faded into the background. We later began to really take pleasure in nature’s splendor during the walk up the beaten path towards the Badui village.

Keindahan alam sudah mulai terasa dalam perjalanan mobil menuju Desa Ciboleger. Tapi belum dapat kami tangkap secara baik, sebab dalam perjalan mobil kali ini, keindahan alam melintas cepat seirama dengan goncangan mobil dari aspal yang berlubang dan georafis jalan yang naik-turun serta berliku. Keindahan alam baru benar-benar dapat kita nikmati nanti saat menempuh jalan setapak menuju perkampungan Baduy.

Upon reaching Ciboleger village, we encountered numerous people offering motorbike taxi and guide services. Tourists are advised to contact their own guides before starting the trip where for reliability sake’s, its best to have the guide’s company beginning at Ciboleger village. But if one does not already possess a guide, it is also recommended to get in touch with travel agents or nature lover communities that have networks into the Badui society. Ciboleger village guides are experienced and are used to guiding tourists, though.

Sesampainya di Desa Ciboleger, kami melihat banyak jasa ojek dan jasa pemandu. Namun bagi para pelancong, jika telah memiliki kontak, sebaiknya menghubungi pemandunya lebih dahulu, sebelum memulai perjalanan. Untuk lebih aman pemandu mulai mendampingi dari desa Ciboleger. Tapi jika tidak memiliki kontak, sebaiknya coba dulu menghubungi jasa travel atau komunitas pencinta alam yang memiliki jaringan ke masyarkat Baduy. Namun jika ternyata kontak juga belum didapat, anda tidak perlu ragu untuk berangkat ke Suku Baduy, sebab pemandu jasa setempat sudah terbiasa memandu para pelancong yang datang ke Baduy.

The Indonesia Culture Team was guided by Mr. Sadiman, an Outer Badui that lived not far from Ciboleger. One of our team had already been to the inner Badui and has been acquainted with Mr. Sadiman. Owing to that we immediately set out by foot towards his house that was located at the outer Badui village.

Tim IndonesiaCulture.net sendiri akan dipandu Bapak Sadiman, seorang Baduy Luar yang tinggal tidak jauh dari Ciboleger. Seorang dari kami, sebelumnya sudah pernah mengunjungi Baduy Dalam, dan juga sudah mengenal Pak Sadiman. Sehingga senja itu kami langsung berangkat berjalan kaki menuju rumahnya yang berlokasi di perkampungan baduy luar.

Introduction by Flashlight

Berkenalan Menggunakan Senter

It was pitch dark when we traversed the path towards the outer Badui village guided by distant glimmering lamps from inside the village homes. The outer and inner Badui societies to this moment do not use electricity which left us in bleak darkness upon arrival at Mr. Sadiman’s house.

Suasana malam pekat ketika kami menelusuri jalan menuju perkampungan baduy luar, hanya ada sinaran lampu kecil dari lentera yang bersinar redup dari dalam rumah penduduk. Perlu diketahui masyarakat Baduy Luar hingga kini tidak menggunakan listrik, begitupun Baduy Dalam. Sehingga ketika kami sampai ke rumah bapak Sadiman, rumah dalam kondisi gelap.

Not long after, Mr. Sadiman opened the door and invited us into his home. Because of the darkness Mr. Sadiman and the rest of us had to shine our flashlights onto each other’s faces to remember and recognized each other. Light conversation followed vw where we later spent the night at our guide’s home as scheduled.

Tak lama kami menunggu Pak Sadiman pun membuka pintu dan mempersilahkan masuk kedalam rumahnya. Karena kondisi gelap, kami dan Pak Sadiman saling menyerterkan wajah satu sama lain untuk mengingat dan mengenali wajah satu sama lain, dan obrolan ringan pun berlanjut. Sesuai rencana awal, kami akan menginap di rumah pemandu.

The morning sun shone brightly and the Badui people started carrying out their activities, passing by through the foot paths beside our abode, hauling farm yields to Ciboleger and its surrounding vicinity. After the sun shifted higher in the sky, we were guided by Mr. Sadiman towards the Gazebo area.

Matahari pagi bersinar cerah, masyarakat Baduy memulai aktivitasnya sejak pagi hari. Mereka berlalu lalang melintasi jalan setapak rumah yang kami tinggali membawa hasil buminya ke daerah Ciboleger dan sekitarnya. Setelah matahari agak tinggi kami dipandu Pak Sadiman melanjutkan perjalanan ke Daerah Gajebo.

Nature in the Badui region was unscathed, there were no illicit logging, no excessive natural resource exploration and no scorching of grass. Nature sang out a lovelier tune in the Badui village.

Alam di wilayah baduy seolah belum terjamah dan masih asri. tidak ada penebangan pohon sembarangan, tiada eksplorasi kekayaan alam berlebihan, tidak ada pembakaran rumput. Alam bersenandung lebih merdu di perkampungan Baduy.

Badui Local Wisdom

Kearifan Lokal Suku Baduy

The Badui society retains a comprehensive view of life, that between the Creator, people and the universe, all are related one to another in accordance to their belief, which must be adhered firmly. Therefore, to obtain happiness, one may not choose one from another where its teachings become statutes and  forbiddances, well observed by the whole Badui society.

Masyarakat Suku Baduy memiliki sudut pandang komprehensif tentang kehidupan, yakni antara Sang Pencipta, masyarakat dan alam semesta. Kesemuanya menurut keyakinan mereka saling terkait, dan harus di pegang teguh. Maka Untuk mendapatkan kebahagiaan, tidak bisa memilih satu diantara yang lainnya. Penjabarannya adalah adanya perintah dan  larangan yang hingga kini masih di pegang oleh seluruh masyarakat suku baduy.

The Badui comunity is seperated into two communities of outer Badui that have absorbed modern civilization to a certain degree and inner Badui that totally rejects modernity. Between the two societies, we may be able to distinguish one from the other from the dark blue head bands worn by the inner Badui and white head bands and barefoots by the outer Badui.

Masyarakat Suku baduy sendiri juga terbagi menjadi dua, yakni masyarakat Baduy luar yang sudah sedikit-banyak menerima peradaban modern. Serta masyarakat Baduy Dalam yang tidak menerima sama sekali peradaban modern. Antara kedua masyarakat tersebut kita tetap dapat membedakannya. Masyarakat Baduy Dalam mengenakan Ikat kepala berwarna Biru tua, sedangkan masyarakat Baduy Dalam mengenakan ikat kepala putih serta tidak mengenakan alas kaki.

The following is a portion of  the badui’s beliefs in preserving their environment:

Berikut kami nukil salah satu keyakinan masyarakat Baduy terkait menjaga kelestarian lingkungan serta ajaran yang mereka yakini, yaitu:

Mountains may not be dissolved

Valleys may not be dispersed

Forbiddances may not be altered

Gunung tak diperkenankan dilebur

Lembah tak diperkenankan di rusak

Larangan tak boleh diubah

Length may not be curtailed

Shortness may not be lengthened

Panjang tak boleh dipotong

Pendek tak boleh disambung

What’s wrong must be rejected

Prohibitions must be forbidded

Virtue must be upheld

Yang bukan harus ditolak

Yang jangan harus dilarang

Yang benar haruslah dibenarkan

Intelligent and upright

Humans supposed to be

Pintar dan benar

Itulah seharusnya manusia.

Their dedication to society principles may be reflected upon their home architecture of accomodating the uneven ground structure and not leveling it, as most modern day builders do.

Keteguhan atas prinsip masyarakat ini terlihat juga dari bentuk arsitektur rumah mereka. Jika mereka ingin mendirikan bangunan diatas tanah yang tidak rata/ miring, mereka tidak mencangkul dan meratakan tanahnya, melainkan dengan membangun struktur rumah sesuai dengan kemiringan tanah.

These tradition also requires all visitors entering the Badui region to respect the values of the Badui people  such as by not taking pictures, not bringing soap or toothpaste that may pollute the river waters, among others.

Tradisi ini juga mensyaratkan setiap pendatang yang memasuki wilayah Baduy dalam, untuk menghormati tradisi masyarakat Baduy. Seperti halnya tidak mengambil foto, tidak membawa sabun dan pasta yang dapat mencemari air sungai dan sebagainya.

To fulfill daily needs, the Badui people plant and raise crops, make handycrafts and clothing. Badui traditions forbid farm practices of plowing, hoeing or digging the ground where instead they practice a shifting pattern, relocating from one location to another at certain time cycles allowing farm spots to grow fertile again for its next planting cycle.

Sedangkan untuk memenuhi kebutuhan hidupnya, sebagian Masyarakat Baduy ada yang bercocok tanam, membuat kerajinan tangan dan menenun. Untuk bertani tradisi masyarakat Baduy menharamkan membalik bumi (mencangkul, menggali dll), untuk itu masyarakat menggunakan pola cocok tanam berpindah-pindah lahan dengan siklus waktu tertentu. Hal ini dimaksudkan agar lahan yang telah di pakai bercocok tanam dapat kembali subur pada siklus berikutnya

Handycraft like hand bags from tree skin and others are not hand made by the local women alone but also by Badui men, in between their farm work. Weaving clothe are mostly done by women where almost every Badui home has these weaving tools.

Kerajinan tangan, seperti membuat tas dari kulit pohon dan lainnya, di lakukan tidak hanya oleh kaum hawa, kaum adam dari suku baduy pun turut membuat, tentunya disela-sela aktifitas berkebunya. Sedangkan untuk menenun sebagian besar dilakukan oleh kaum hawa, dan hampir setiap rumah masyarakat baduy memiliki alat untuk menenun. Hasil kerajinan tangan dan tenunan ini biasanya di perjual-belikan kepada pelancong yang datang, tentunya dengan harga yang tidak terlampau mahal

The Badui people draws from nature only for life consumption purposes and not more. Consequently throughout the trip, we were brought to admiration upon the dynamic interaction between the lives of Badui people and nature.

Masyarakat Baduy mengambil sesuatu dari alam sebatas untuk konsumsi kebutuhan hidupnya, tidak lebih. Alhasil selama perjalanan ini, dengan kagum kami menyaksikan langsung kehidupan dinamis antara masyarakat Baduy dan alam.

Javanese Traditional Dance:

The Javanese dance performance is really extravagant and beautiful art show of high class quality. The beautiful dance, the elegant performers, the colorful dresses, the magical gamelan music, the pendopo stage create a perfect combination of uncomparable art performance. The dance movements of Mataram Kingdom I in the 8^th to 10^th century, might be the same as the ones carved on the Borobudur and Prambanan temples.
For those who understand the philosophical meaning of the dance, it should easily feel the boundary of mystical Javanese life

As told in the article of Wayang Wong or Orang, the Javanese traditional dance or Wayang Wong has been flourished during the reign of King Airlangga & King Hayam Wuruk of Majapahit Kingdom. The topic was about the Jenggala Kingdom. The traditional dance which actually has been introduced in the seven or eight century of Mataram Kingdom I, was mainly purposed for ritual ceremonies. Latter on, it developed also as a dance for a show and entertainment.
 
Since this early period the dance had been devided to be: court and people’s dance. A traditional dance was performed among other to mark the transfer of a certain area by a King to certain influential man, as a gift by the king to appreciate his good services. As a result thereof, this area became "Daerah Perdikan" was freed from tax payment. It could be traced that the dancers or the dance group received some pieces of gold as their reward. There were also professional dancers, men and women alike to entertain the public.
The traditional dance which later on adapted the stories of Ramayana and Mahabaratha visualized the character of human beings, reflected in the movement, gamelan accompaniment, dresses, accessories, make up, the stage etc.
Classical Court Dance

The famous court dances which are available up to present date are Bedoyo and Srimpi.

Bedoyo is sacred court dance performed by nine girls-dancers. All the performers must be in the holy state, physically and souly, this is a mythological dance depicting the meeting between Panembahan Senopati, the first ruler of the Mataram Kingdom II with Kanjeng Ratu Kidul, the powerful and beautiful goddess-the Queen of South Sea. The gamelan accompaniment reflecting the voices of sea wind and other natural voices.

For those who has learned in depth mysticism, during the dance performance, a tenth "invisible" dancer appears. It is said that she is a very beautiful princess, dancing impressively elegant. Some said that Bedoyo dance is sacred, as it is symbolizing a meditator’s highest achievement during samedi (medititation) by closing 9 human orifices & deflating all bad desires. 

Srimpi

This dance is also a sacred dance performed by four girls-dancers. Sri means a king or queen, Impi means desire, wish. The wish to live in honor and peace. The Srimpi dance originally performed in the Pendopo (open hall) of Javanese mansion with four main pillars in the middle. It is believed when Srimpi dance is performed correctly, it should give magical power. The dance has a very soft movement depicting a good moral behavior. The dancers have the same dresses and make up, wish that people not to be jealous one to another. The life of mankind should be in accordance with the nature consisting of fire, water, wind and soil. 

Petilan
This dance describing a part of a story e.g the fight between two warriors e.g Srikandi against Larasati. In the Petilan dance it could describe a fight between two warriors or movements of adoration between two lovers. In fact the movements are almost the same, only the topic is different. Probably the movement in love or in a fight, sometimes is slow and the other times flares up. (source: Joglosemar)

Bedhaya

The bedhaya (also written as bedoyo, beḍaya, and various other transliterations) is a sacred ritualized dance of Java, Indonesia, associated with the royal palaces of Yogyakarta and Surakarta. Along with the serimpi, the bedhaya epitomized the elegant (alus) character of the royal court, and the dance became an important symbol of the ruler's power.

The bedhaya has different forms in the two court cities, the bedhaya Ketawang in Surakarta (Solo), and the bedhaya Semang in Yogyakarta, the latter of which is no longer performed. The Solonese dance continues to be performed once per year, on the second day of the Javanese month of Ruwah (during May in the Gregorian calendar), to commemorate the ascension of the current Susuhunan (prince) of Surakarta. Nine females, relatives or wives of the Susuhunan, perform the dance before a private audience. An invitation to anyone outside of the inner circle of the court is a considerable honor.

 

Bedhaya History

 

Some kind of female dance known as bedhaya existed on Java at least as early as the Majapahit Empire. Indeed, some of the steps of the modern dance are said to be as old as the third century. However, the modern form is traditionally dated to the court of Sultan Agung of Mataram (reigned 1613–1645). Unfortunately there is almost no historical evidence to back up the claims made about the advances in the arts in Sultan Agung's courts, and the existence of the dance is not clearly documented until the late 18th century.


There are many myths which explain the origin of the dance, which generally have either an account of a meeting with an Indic deity (Shiva, Brahma, Vishnu, Indra, or the Buddha), or the meeting of Kangjeng Ratu Kidul, the Goddess of the South Sea, meeting with a founder of the Mataram dynasty, either Sultan Ageng or his grandfather, Senapati. In the former, the nine dancers were the creation of a deity, who were brought to life, and offered the dance to their maker in gratitude. In the latter, the dance was created when Kangjeng Ratu Kidul fell in love with the sultan, and danced the bedhaya for him; the nine dancers in the modern dance represent the spirit of the goddess.

 

Since the decline in the power of the royal courts, other, more accessible forms of bedhaya have become popular, not as religious ritual, but as artistic performance. These do not require the royal presence, and may be performed on stage for an admission fee. They frequently recount stories used in wayang. (Wikipedia)

 

 

Indonesian Culture and Dance

Dance in Indonesia (Indonesian: Tarian Indonesia) reflects the country's diversity of ethnicities and cultures. There are more than 700 ethnic groups in Indonesia: Austronesian roots and Melanesian tribal forms are visible, and influences ranging from neighboring Asian and even western styles through colonization. Each ethnic group has their own dances; makes total dances in Indonesia are more than 3000 Indonesian original dances. The old traditions of dance and drama are being preserved in the many dance schools which flourish not only in the courts but also in the modern, government-run or supervised art academies.^[1]

For classification purpose, the dances of Indonesia can be divided according to several aspects. In historical aspect it can be divided into three eras; the prehistoric-tribal era, the Hindu-Buddhist era and the era of Islam. According to its patrons, it can be divided into two genres; court dance and folk dance. In its tradition, Indonesian dances can be divided into two types; traditional dance and contemporary dance.

In Bali on November 19, 2011 UNESCO announced the traditional Saman dance from Aceh province as a world intangible cultural heritage. Saman dance is unique due to there are no music instrument accompany the dance and just only sing and clap their hands together to create harmony in movement and sound.

Indonesian dance reflects the diversity of culture from ethnic groups that composed the nation of Indonesia. Austronesian roots and Melanesian tribal dance forms are visible, and influences ranging from neighboring Asian countries; such as India, China, and Middle East to European western styles through colonization. Each ethnic group has their own distinct dances; makes total dances in Indonesia are more than 3000 Indonesian original dances. However, the dances of Indonesia can be divided into three eras; the Prehistoric Era, the Hindu/Buddhist Era and the Era of Islam, and into two genres; court dance and folk dance.

There is a continuum in the traditional dances depicting episodes from the Ramayana and Mahabharata from India, ranging through Thailand, all the way to Bali. There is a marked difference, though, between the highly stylized dances of the courts of Yogyakarta and Surakarta and their popular variations. While the court dances are promoted and even performed internationally, the popular forms of dance art and drama must largely be discovered locally.

During the last few years, Saman from Nanggroe Aceh Darussalam has become rather popular and is often portrayed on TV. Reog Ponorogo is also a dance that originated from the district Ponorogo, East Java, which is a visualization of the legendary story Wengker kingdom and the kingdom of Kediri.

A popular line dance called Poco-poco was originated in Indonesia and also popular in Malaysia, but at early April 2011 Malaysian Islamic clerics ban poco-poco dance for Muslims due to they believe it is traditionally a Christian dance and that its steps make the sign of the cross.

Indonesian Dance

Indonesian Culture: Arts and Tradition

Indonesia is culturally rich. Indonesian art and culture are intertwined with religion and age-old traditions from the time of early migrants with Western thoughts brought by Portuguese traders and Dutch colonists. The basic principles which guide life include the concepts of mutual assistance or “gotong royong” and consultations or “musyawarah” to arrive at a consensus or “mufakat” Derived from rural life, this system is still very much in use in community life throughout the country.

Though the legal system is based on the old Dutch penal code, social life as well as the rites of passage are founded on customary or “adat” law which differs from area to area. “Adat” law has a binding impact on Indonesian life and it may be concluded that this law has been instrumental in maintaining equal rights for women in the community. Religious influences on the community are variously evident from island to island.

Intertwined with religion and age-old traditions from the time of early migrants the art and culture of Indonesia is rich in itself with Western thoughts brought by Portuguese traders and Dutch colonists. The art and culture of Indonesia has been shaped around its hundreds of ethnic groups, each with cultural differences that have shifted over the centuries. Modern-day Indonesian culture is a fusion of cultural aspects from Arabic, Chinese, Malay and European sources. Indonesian art and culture has also been influenced from the ancient trading routes between the Far East and the Middle East leading to many cultural practices being strongly influenced by a multitude of religions, including Hinduism, Buddhism, Confucianism and Islam.

Language

The official language of Indonesia is ‘Indonesian’ or ‘Bahasa Indonesia’. It’s universally taught in schools and is spoken by nearly every Indonesian in business, politics, national media, education and academia. The Indonesians also speak several hundreds of local languages like ‘bahasa daerah’ as their first language. Javanese is also widely used besides other Papuan or Austronesian languages in a region of just 2.7 million people.

Religion

The government of Indonesia officially recognizes only six religions, viz Islam, Hinduism, Buddhism, Protestantism, Catholicism, and Confucianism. The largest religious group in Indonesia is Islam with almost 86% of Indonesians being Muslims. Indonesia is also the most populous Muslim-majority nation in the world.


Literature

Indonesia has created many internationally famous celebrated authors. There has also been a long tradition, particularly among ethnically Malay populations, of impromptu, interactive, verbal composition of poetry referred to as the ‘pantun’. Pramoedya Ananta Toer, a well-known author won the Magsaysay Award and was considered for the Nobel Prize in Literature. Chairil Anwar was also an important figure in the literature world and a member of the Generation 45 group of authors who were active in the Indonesian independence movement.


Music

Home to hundreds of forms of music, it plays an important role in Indonesia’s art and culture. Traces of its origin can be made to the islands of Java, Sumatra and Bali. ‘Gamelan’ is the traditional music from Central- and East Java and Bali. Another very popular style of music is ‘Dangdut’ which is accompanied with free dance style. This style first came up in the 1970s and is quite useful in political campaigns. Other forms of music include the Keroncong with its roots in Portugal, the soft Sasando music from West Timor and Degung and Angklung from West Java, which is played with bamboo instruments.


Dance
The traditional dances depict episodes from the Ramayana and Mahabharata from India. Traditional Javanese and Balinese tinge is also seen in the dance forms of Indonesian art and culture. The highly stylized dances of the courts of Yogyakarta and Surakarta are some of the popular variations. Mythological events of Indonesia are also depicted.


Drama and Theatre

The Javanese and Balinese shadow puppet theatre shows ‘wayang kulit’ displaying several mythological events. A traditional folk theatre, Randai of the Minangkabau people of West Sumatra, is performed during ceremonies and festivals. Music, singing, dance, drama and the silat martial art are all incorporated together and are based on the stories of the legend.


Architecture
Indonesian culture, especially its architecture has been to a great extent dominated and influenced by the Indian, although European influences have also been particularly strong since the nineteenth century. Traditional buildings in Indonesia are built on stilts with oversized saddle roofs which have been the home of the Batak and the Toraja. The Torajan use the buffalo horns, stacked one above another in front of the house as an indication of status. Scenes from the Ramayana adorn the outer walls in different colors. However, Chinese, Arab, and European architectural influences have also been quite significant in Indonesian architecture.

Cuisine
Indonesians distinctive cuisine has been derived from centuries with the influence of the Chinese, European, Middle Eastern and the Indians. The staple food of most Indonesian dishes is rice served with meat and vegetables. Flavors of Vietnamese and Thai food can also be got from the cuisine of Indonesia. Spices, notably chili, and coconut milk are fundamental ingredients in most of the dishes, especially fish and chicken.

Material Art
The arts of Indonesia are many, especially Indonesian paintings which are unique works of art. The intricate and expressive Balinese paintings are quite famous and often express natural scenes and themes from the traditional dances. A long-standing tradition of sculpture can also be seen in the art and culture of Indonesia, some dating back to the Bronze and Iron Ages. Examples of sculpture illustrating the story of the life of Buddha can be seen in the temples of the 8th and the 10th century. Indonesia’s art and culture is also famous for their unique batik, ikat and songket cloth which is even popular today.

Unlike some countries art forms in Indonesia are not only based on folklore, as many were developed in the courts of former kingdoms such as in Bali, where they are part of religious ceremonies. The famous dance dramas of Java and Bali are derived from Hindu mythology and often feature fragments from the Ramayana and Mahabharata Hindu epics.

Highly stylized in movement and costume, dances and the “wayang” drama are accompanied by a full “gamelan” orchestra comprising xylophones, drums, gongs, and in some cases string instruments and flutes. Bamboo xylophones are used in North Sulawesi and the bamboo “angklung” instruments of West Java are well- known for their unique tinkling notes which can be adapted to any melody.

The “Wayang kulit” (leather puppets) of Java is performed with leather puppets held by the puppeteer, who narates the story of one of the famous episodes of the Hindu epics, the Mahabharata or the Ramayana. It is performed against a white screen while a lantern in the background casts the shadows of the characters on the screen, visible from the other side where the spectators are seated.

The “Wayang Golek” (wooden puppets) of West Java is based on the same concept. The crafts of Indonesia vary in both medium and art form. As a whole the people are artistic by nature and express themselves on canvas, wood, metals, clay and stone. The batik process of waxing and dyeing originated in Java centuries ago and classic designs have been modified with modern trends in both pattern and technology. There are several centres of Batik in Java, the major ones being Yogyakarta, Surakarta, Pekalongan and Cirebon.

Batik is also being produced in some other areas as in Bali where local designs are incorporated. Other provinces produce hand-woven cloths of gold and silver threads, silks or cottons with intricate designs. Painting are numerous all over the country, both traditional and contemporary, woodcarvings for ornamentation and furniture, silverwork and engraving form Yogyakarta and Sumatra, filgree from South Sulawesi and Bali with different styles of clay, sandstone and wood sculptures. These are but a few of the handicrafts found in Indonesia.
(Courtesy of : Indonesian Embassy of Greek)

Bedhaya Dance: The Perfection of Javanese Dance

Indonesian culture (Kebudayaan Indonesia) cared, quiet and magical covered Bangsal Kencono. When the gamelan hitter playing slowly “Gending Ladrang Prabu Anom”, where accompanied the nine princes dancer who walked into the Bangsal Kencono wings no less then slow.  In the swaying of the dancers began to crouch into position to worship, respect the human symbol of God as Creator and make jengkeng worship to Sultan as the palace ruler.

Bedhaya Dance

Sakral, hening serta magis mendadak menyelimuti Bangsal Kencono. Sesaat para pengetuk gamelan perlahan memainkan gending Ladrang Prabu Anom dalam mengiringi sembilan penari putri yang melangkah tak kalah lambannya memasuki sayap Bangsal Kencono. Dalam gemulai para penari mulai merunduk mengambil posisi sembahan, perlambang manusia menghormati Tuhan sebagai Sang Pencipta dan melakukan sembahan jengkeng kepada Sultan sebagai penguasa Keraton.

Lowering the shoulder motion, chin is pulled, bending the wrist snaps while occasionally waving scarves – created tension in the power expression of dancer’s body becomes The Bedhaya Dance characteristics. The female classical Javanese dance which is fine, noble – talk about a legend, chronicle, or history.

Gerak merendahkan bahu, dagu ditarik, pergelangan tangan gemulai sambil sesekali menghentak mengibaskan selendang – menciptakan tegangan daya ekspresi dalam tubuh penari menjadi karakteristik Tari Bedhaya. Tarian putri Jawa klasik yang adiluhung, halus, luhur – bercerita tentang legenda, babad ataupun sejarah. 

Like Angels, the faces of the nine dancer almost the same. Beautiful, elegant and shine – in her dressing and make up typical Javanese bride. Paes Ageng makeup composition groove begins on the forehead of a given paesan black colour. Prada (gold) lines layer clarify surround the outside paesan. Not miss wajikan (diamond) in the middle of forehead, make menjangan ranggah (deer) eyebrow  shape,and  Hair rolled up a series of jasmine flowers.

Bagai bidadari, paras sembilan penari hampir serupa. Ayu, anggun dan bersinar – dalam balutan dan Goresan wajah khas mempelai putri pengantin Jawa. Alur komposisi rias paes ageng dimulai pada dahi yang diberi paesan berwarna hitam. lapisan garis prada (emas) mengelilingi mempertegas garis  luar paesan. Tak luput Wajikan ditengah dahi, bentukan alis menjangan ranggah, hingga rambut tergulung kembang melati rangkai.

Dodot Dressing, the form of batik cloth patterned Cinde and kampuh with cement colour combined with a necklace of light and the plates are piled on the shoulders add a touch of the upper arm. Wearing subang and sumping ron in the ears. Dodot tight clothing does not restrict the movement of dance for an hour without stopping. Curved movements are still flowing into formations that make change an interesting story.

Balutan busana dodot berupa kain bermotif cinde dan kampuh berwarna semen berpadu dengan kilau kalung susun serta plat bahu menambah sentuhan pada lengan bagian atas, sedang pada daun telinga terselip sumping ron dan subang. Seakan rapatnya dodot-an tak membatasi gerak tari selama satu jam tanpa henti, Gerak-gerak lengkung terus mengalir (mbanyu mili) membuat formasi  berubah-ubah menjadikan alur cerita yang apik.

Not always classy, high-tempo battle scenes in the last two dancers with half running trying to push a keris to each other. War is used as a symbol of internal confusion people a choice of good or bad, muffle lust, must be humble, honest in word and action that is realized through Harjuna figures.

Tak melulu gemulai, adegan perang dalam tempo tinggi membuat dua orang penari dengan setengah berlari saling mencoba menghunuskan keris. Perang yang dijadikan  simbol dari pergolakan batin manusia dalam menentukan pilihan kebaikan atau keburukan, meredam hawa nafsu, harus rendah hati, jujur dalam ucapan dan tindakan yang diwujudkan melalui sosok Harjuna.

Harjuna Wijaya” Bedhaya Dance, is the third creation of Sri Sultan Hamengku Buwana X. His debut in 2007 entitled “Arjuna Wiwaha”. In 2004, coincides with the celebration of Sri Sultan Hamengku Buwana IX as the national hero created “Amurwo Bumi” is a form of respect for his father (Sri Sultan Hamengku Buwana IX). Helped by R Riya Kusumaningrat (RAy Sri Kadaryati) as senior stylist dance received orders from Sri Sultan for this Bedaya Dance. Motion search process begins with translating synopsis of the story directly by Sri Sultan.

Tari Bedhaya “Harjuna Wijaya” yang diciptakan oleh Sri Sultan Hamengku Buwana X kali ini menjadi garapannya yang ketiga. Karya Perdana beliau Tahun 1997 berjudul “Arjuna Wiwaha”. Di Tahun 2004 bertepatan dengan peringatan Sri Sultan Hamengku Buwana IX sebagai pahlawan nasional terciptalah “Amurwo Bumi” yang menjadi wujud penghormatan beliau kepada ayahnya (Sri Sultan Hamengku Buwana IX). Dibantu R Riya Kusumaningrat (RAy Sri Kadaryati) selaku penata tari senior yang sekaligus mendapat Dhawuh dari Sri Sultan untuk menggarap tari bedaya ini, proses pencarian gerak diawali dengan menerjemahkan sinopsis cerita yang ditulis langsung oleh Sri Sultan. 

By Sri Sultan “Harjuna Wijaya” Bedhaya Dance, is about Harjuna figures – not a figure who frequently change partners, but he is a  true warrior as well as a real human being that led to the perfect level, a man who know the events that had happened and deserve to be role models for the knights and humans.

Tari Bedhaya “Harjuna Wijaya”  menceritakan tentang tokoh Harjuna yang menurut anggapan Sri Sultan bukanlah tokoh yang sering gonta-ganti pasangan, melainkan ksatria sejati yang berjuluk lananging jagad wujud nyata manusia yang sudah menuju tataran sempurna yang bertugas “memayu hayuning bawana”, ksatria yang waskitha (mengetahui kejadian yang belum terjadi) hingga pantas menjadi teladan bagi para satria dan manusia biasa.

 

Harjuna is a true Warrior, a perfect example of people who live their lives with a focus on three things: Tirta Martini; springs of human life, “banyu  penguripan” became the core of water resources in the human body (sperm). Tirta Kamandanu; Container of the sperm (ovary) human beings, the principle of sperm and ovaries fulfilled at the time of husband and wife make sexual intercourse. The last, Tirta Prawita Sari; when tirta martani and tirta kamandanu blends in wife’s body, will grow the strength charisma radiated light. From the beginning that people always have to remember to know and evaluate each event so that people will get lessons that mankind would become world light.

Harjuna adalah sejatining satriya, contoh manusia sempurna yang dalam menjalani kehidupannya dengan mengedepankan tiga hal: Tirta Martini; sumber air kehidupan manusia “banyu penguripan” menjadi inti  daya air yang berada di tubuh manusia (sperma). Tirta Kamandanu; Banyu wiji tempat/wadah sperma lan madzi (indung telur) manusia, awal mula sperma dan indung telur bertemu pada saat suami istri melakukan persetubuhan. Terakhir, Tirta Prawita Sari; dengan menyatunya tirta martani dan tirta kamandanu didalam tubuh manusia (istri) akan menumbuhkan kekuatan, cahaya wibawa terpancar. Dengan diawali bahwa manusia harus selalu ingat, tahu dan mengkaji setiap peristiwa (kenyataan) maka manusia akan mendapatkan karomah keghoiban, hingga manusia akan menjadi “minyak wewadosing jagad” (terang bagi dunia).

If bedhaya dance embodied in the life of an individual may be interpreted as a symbol of wind direction, the position of planets in the life of the universe, and symbol nine air holes in the human body as the completeness of life. Hole in the both eyes, two nostrils, one mouth, two ears, one male/female sex, and one hole in backside.

Bedhaya bila diwujudkan dalam kehidupan manusia dapat diartikan sebagai lambang arah mata angin, arah kedudukan planet-planet dalam kehidupan alam semesta dan lambang sembilan lubang hawa dalam tubuh manusia sebagai kelengkapan hidup atau dalam bahasa Jawa disebut sebagai babadan hawa sanga yaitu; lubang dikedua mata, dua buah lubang hidung , satu mulut, dua buah kuping, satu lubang kemaluan dan satu lubang pelepasan. 

According to Javanese society, the nine elements of air holes that have in the control of human life and can cause many problems if not maintained and controlled. Received message, that human beings are expected to surrender, and always doing introspection through reflection, meditation and dialogue with God.

Menurut masyarakat Jawa sembilan unsur lubang hawa inilah yang memegang kendali dalam kehidupan manusia dan bisa mengakibatkan berbagai masalah jika tidak dijaga dan dikendalikan dengan baik. Pesan yang tersampaikan bahwa manusia diharapkan mampu berserah diri, tawakal dan selalu melakukan introspeksi  diri dengan melakukan perenungan, tapa/samadi dan berdialog dengan Yang Maha Kuasa. 

Motion of Bedhaya Dance which is laden with symbolic values and philosophy of krawuh dance Mataram, draw conclusions on the lives of the world will link, and more oriented toward self-understanding, self-reflection among human beings as individual persons with the gods. Life must be seen as a struggle not only done without meaning.

Gerak Tari Bedhaya Harjuna Wijaya yang sarat muatan nilai simbolik dan filosofi kawruh joget Mataram, menarik benang merah akan keterkaitan pada kehidupan didunia dan lebih berorientasi kepada pemahaman diri sendiri, perenungan diri antara manusia sebagai pribadi individual dengan Tuhan Yang Maha Kuasa. Hidup harus dilihat sebagai perjuangan bukan hanya dijalani tanpa arti.

Dance Bedhaya guide us in determining the choice of good or bad, should curb appetite humble, honest in word and action. Toward the human level though not as perfect as perfect Harjuna figures.

Tari Bedhaya memandu kita dalam menentukan pilihan kebaikan atau keburukan, meredam hawa nafsu, harus rendah hati, jujur dalam ucapan dan tindakan. Menuju tataran manusia yang sempurna meski tak sesempurna tokoh Harjuna. (source: Indonesia Culture.Net)

Indonesian Culture

The culture of Indonesia has been shaped by long interaction between original indigenous customs and multiple foreign influences. Indonesia is centrally-located along ancient trading routes between the Far East and the Middle East, resulting in many cultural practices being strongly influenced by a multitude of religions, including Hinduism, Buddhism, Confucianism, Islam and Christianity, all strong in the major trading cities. The result is a complex cultural mixture very different from the original indigenous cultures.

Examples of cultural fusion include the fusion of Islam with Hindu in Javanese Abangan belief, the fusion of Hinduism, Buddhism and animism in Bodha, and the fusion of Hinduism and animism in Kaharingan; others could be cited.

Balinese dances have stories about ancient Buddhist and Hindu kingdoms, while Islamic art forms and architecture are present in Sumatra, especially in the Minangkabau and Aceh regions. Traditional art, music and sport are combined in a martial art form called Pencak Silat.

Western culture has greatly influenced Indonesia in science, technology and modern entertainment such as television shows, film and music, as well as political system and issues. India has notably influenced Indonesian songs and movies. A popular type of song is the Indian-rhythmical dangdut, which is often mixed with Arab and Malay folk music.

Despite the influences of foreign culture, some remote Indonesian regions still preserve uniquely indigenous culture. Indigenous ethnic groups Mentawai, Asmat, Dani, Dayak, Toraja and many others are still practicing their ethnic rituals, customs and wearing traditional clothes.

Traditional performing and arts

Indonesian traditional music.

Indonesia is home to various styles of music, with those from the islands of Java, Sumatra and Bali being frequently recorded. The traditional music of central and East Java and Bali is the gamelan.

Kroncong is a musical genre that uses guitars and ukulele as the main musical instruments. This genre had its roots in Portugal and was introduced by Portuguese traders in the 15th century. There is a traditional Keroncong Tugu music group in North Jakarta and other traditional Keroncong music groups in Maluku, with strong Portuguese influences. This music genre was popular in the first half of the 20th century; a contemporary form of Kroncong is called Pop Kroncong.

Angklung musical orchestra, native of West Java, received international recognition as UNESCO has listed the traditional West Java musical instrument made from bamboo in the list of intangible cultural heritage.

 

Traditional dance.

Balinese topeng dance drama.

Minangkabau Tari Piring (plate dance)

Indonesian dance reflects the diversity of culture from ethnic groups that composed the nation of Indonesia. Austronesian roots and Melanesian tribal dance forms are visible, and influences ranging from neighboring Asian countries; such as India, China, and Middle East to European western styles through colonization. Each ethnic group has their own distinct dances; makes total dances in Indonesia are more than 3000 Indonesian original dances. However, the dances of Indonesia can be divided into three eras; the Prehistoric Era, the Hindu/Buddhist Era and the Era of Islam, and into two genres; court dance and folk dance.
There is a continuum in the traditional dances depicting episodes from the Ramayana and Mahabharata from India, ranging through Thailand, all the way to Bali. There is a marked difference, though, between the highly stylized dances of the courts of Yogyakarta and Surakarta and their popular variations. While the court dances are promoted and even performed internationally, the popular forms of dance art and drama must largely be discovered locally.
During the last few years, Saman from Nanggroe Aceh Darussalam has become rather popular and is often portrayed on TV. Reog Ponorogo is also a dance that originated from the district Ponorogo, East Java, which is a visualization of the legendary story Wengker kingdom and the kingdom of Kediri.
A popular line dance called Poco-poco was originated in Indonesia and also popular in Malaysia, but at early April 2011 Malaysian Islamic clerics ban poco-poco dance for Muslims due to they believe it is traditionally a Christian dance and that its steps make the sign of the cross.
(source: wikipedia)