Bharata Wayang: Human Culture

Text: Hari Setianto/ Raphael Mamora
Photo: Hari Setianto

In pace with the intricate dance, enthralled by Arjuna and Dewi Sukesi’s fluid charm in protracted movements attended by Javanese gamelan music, in a rapid moment transforms into fast throbbing battle episodes amongst giants, thus was a fraction of Mahabrata and Ramayana’s epic saga portrayed dynamically by a Bharata Human Wayang theatre. Dialogues, theatrical  character roles, costumes, face painting and artistic traditional theatres makes this worthy of a world class theatrical arena.

Selaras gerak tari yang kompleks, sejenak terpana keluwesan sang Arjuna dan Dewi Sukesi dalam tempo tari yang sangat lamban diiringi gending gamelan jawa. Sesaat kemudian, berubah ke tempo tinggi dan adegan menjadi arena pertempuran para buto (raksasa). Sepenggal alur adegan yang dinamis dari pentas Wayang Orang Bharata melakonkan kembali kekuatan cerita-cerita Mahabharata dan Ramayana. Dialog dan peran berkarakter ala teater. busana dan lukisan diwajah serta tata panggung tradisional yang artistik. Menjadikan pentas Wayang Orang Bharata sebagai sebuah pentas teatrikal kelas dunia.

The performance was scheduled to start at 8.00 PM, local time. Show performers were beginning to prep up after sunset and with Indonesiaculture.net given full access to scenes behind the stage, more than 60 wayang performers began painting their faces, giving life to legendary wayang characters that would later gild the theatrical stage.

Pagelaran baru akan dimulai sekitar pukul 20.00WIB. Para pendukung acara sudah mulai bersiap diri selepas maghrib. Indonesiaculture.net mendapatkan kesempatan (all acsess) untuk berada ditengah-tengah menyaksikan semua kegiatan Wayang Orang Bharata. Berada dibelakang panggung, lebih dari 60 orang pelakon wayang sedang asyik melukis wajahnya. Berbagai peran tokoh pewayangan mulai terlihat dari goresan warna yang melekat di wajah.

Several senior actors were ahead in their prep sessions while young new performers without hesitancy asked for assistance in tricky parts of the face painting. Creative typical Javanese jokes and gags were hurled around and quickly enlivened the already crowded room. One by one began to stand beside the stage while doing individual warming up exercises, where a Gatotkaca character could be seen memorizing his lines with his masculine body poise held up by a robust horse stance.

Beberapa pelakon senior lebih dulu selesai bersiap diri. Para pelakon baru yang masih sangat muda usia tak segan meminta bantuan untuk membuat goresan-goresan yang dianggap sulit. Sahut-sahutan guyonan yang kreatif khas jawa terlontar begitu saja dengan cepatnya meramaikan suasana ruangan yang memang sudah padat. Satu persatu mereka bersiap diri disamping panggung melakukan pemanasan dengan gayanya masing-masing. Terlihat tokoh Gatotkaca yang terus melafalkan dialog bersamaan bahasa tubuhnya yang gagah, ditopang posisi kuda-kuda tegap.

Rapid gamelan chimes resonated out, signaling the commencement of the event. A Sripi dancer wearing a wooden mask danced charmingly while beside the stage, many of the waiting performers intently observed this opening phase. Laudable as an example was this never ending learning process of every wayang performer behind stage.

Gending gamelan dalam tempo cepat terlantun, pertanda pagelaran wayang orang dimulai. Seorang penari Sripi dengan memakai topeng kayu diwajahnya menari begitu atraktif. Dari samping panggung sebagian besar pelakon lainnya serius memperhatikan aksi panggung pembuka ini. Pantas dijadikan panutan. Proses belajar yang tak pernah berhenti dari masing-masing pelakon wayang orang terlihat dari belakang panggung.

That night, the Bharata Human Wayang show took on a theme ‘Makutoromo,’ a revelation from the gods to Abimanyu in his meditation in deciding the ruler of the Astina kingdom. Story plots staged by Bharata Human Wayang shows are always from India’s version of Mahabrata and Ramayana. The story of Mahabrata was adopted and furthered by Nusantara poets to become Bharatayuda.

Malam itu, pagelaran Wayang Orang Bharata mengambil tema Makutoromo, sebuah wejangan atau wahyu yang diturunkan oleh Dewa kepada Abimanyu dari pertapaannya untuk menentukan  titisan ratu di kerajaan Astina. Lakon cerita dari pewayangan yang selalu dipentaskan oleh Kelompok Wayang Orang Bharata tetap sesuai dengan sumbernya yaitu dari cerita Mahabarata dan Ramayana yang berasal India. Cerita mahabarata, ketika diadopsi ceritanya dikembangkan oleh para pujanga Nusantara menjadi Bharatayuda. 

During that age, Jayabaya assigned Empu Sedah to write and develop the story of Bharatayuda but Empu Sedah died before its completion and the task was continued by Empu Panuluh which conceived the completion of Bharatayuda. Later other poets further developed the story of Bhjaratayuda with other stories still based on the Bharatayuda holy book.

Pada jaman itu, Jayabaya memberikan tugas kepada empu Sedah untuk mengembangkan dan menulis cerita Bhatarayuda, kemudian sebelum selesai, empu sedah meninggal dan dilanjutkan oleh empu Panuluh dan melahirkan cerita Bharatayuda. Kemudian oleh para pujangga lain cerita Bharatayuda dikembangkan cerita-cerita lain yang berdasar pada kitab Bhatarayuda.

Stories in human wayang cannot be aligned in simplicity with modern stories like ketoprak art because accounts in wayang are comprehensive and possess among others, social & political aspects, such as stories of coup d’états, country invasions and other hundreds of further others.

Lakon dalam wayang orang tidak dapat disesuaikan dengan cerita modern seperti kesenian ketoprak, karena cerita dalam pewayangan sudah sangat lengkap. Misalkan dari segi sosial politik, dalam wayang orang terdapat itu cerita tentang kudeta, perebutan wilayah dan jika dibandingkan dengan kondisi sekarang semua sudah termaktup dalam cerita pewayangan. Jenis cerita pewayangan terdapat ratusan jenis cerita.

Included are daily life ethic philosophies such as upon how a child should behave and communicate with elders, relations between a king and his people and other ethical values. Therefore, it is not puzzling to find parents bringing along their children where they usually prefer the balcony for better deciphering of Javanese philosophies. Upon witnessing this form of interaction, it seems that another social cultural preservation has been accomplished by Bharata Human Wayang.

Termasuk falsafah-falsafah tentang tata krama dalam kehidupan sehari-hari, seperti bagaimana seorang anak bersikap dan berbicara dengan orang tua, bagaimana hubungan antara rakyat jelata dengan rajanya dan masih banyak sekali nilai-nilai budi pekerti yang dapat dipelajari dari sebuah cerita pewayangan. Tak heran pada setiap pertunjukan Wayang Orang Bharata, para orang tua membawa serta anak-anaknya. Biasanya mereka memilih balkon atas agar lebih leluasa menterjemahkan filosofi-filosofi jawa. Melihat interaksi tersebut, rasanya satu lagi misi pelestarian sosial budaya tersampaikan oleh kelompok Wayang Orang Bharata.

Bharata Human Wayang group is a foundation of human wayang that still survives the onslaught of the modern age. Currently, only three Human Wayang foundations still survives with locations in Jogjakarta, Solo and Jakarta, the latter as the performance benchmark of this traditional art.

Kelompok Wayang Orang Bharata, adalah sebuah paguyuban kesenian Wayang Orang yang masih bertahan menjadi pejuang budaya dalam gerusan moderenisasi jaman. Saat ini, tinggal tiga paguyuban Wayang Orang yang masih bertahan. Dua diantaranya berada di kota Yogyakarta dan Solo. Wayang Orang Bharata yang berbasis di Jakarta sebagai sentra negara Indonesia, menjadi tolak ukur keberlangsungan tradisi kesenian Wayang Orang

According to Marsam Mulyo Atmojo, Heaad of the Bharata Human Wayang Foundation, the establishment of Bharata Human Wayang Art Group cannot be estranged from Panca Murti Human Wayang Art Group that had been around since 1963 at Realto Theatre, which change name to Bharata Human Wayang Building at Senen, Central Jakarta.

Menurut Marsam Mulyo Atmojo, Pimpinan Paguyuban Wayang Orang Bharata, Berdirinya Kelompok Kesenian Wayang Orang Bharata tak dapat dilepaskan dari keberadaan kelompok Kesenian wayang orang Panca Murti yang telah ada sejak tahun 1963 dan berpusat di gedung realto theather, kawasan senen, Jakarta Pusat-yang saat ini telah berubah nama menjadi gedung Wayang Orang Bharata.

Though experiencing separation in 1972, the Bharata Human Wayang Art Group consistently carried out regular performances until 1999, where from 2000 to 2004 there were no staged shows due to ongoing building renovations.

Meski sempat pecah di tahun 1972,  kelompok kesenian Wayang Orang Bharata sejak pertama kali didirikan sampai dengan tahun 1999 konsisten menggelar pertunjukan wayang orang. Namun sejak tahun 2000 hingga 2004, Bharata mengalami vakum dari kegiatan pementasan wayang orang di gedung Bharata akibat dilakukannya renovasi gedung.

After completion of the building renovation, shows were regularly done every Saturday night. It is not difficult to find the Bharata building owing to its strategic location amongst stores beside a Senen Market Bus Station in Central Jakarta. By its management, a human wayang preservation activity for the youth has been set up where the majority is children of Bharata senior performers. At the moment, the total number of people involved in this cultural art is 120 people.

Setelah renovasi gedung selesai dan Bharata kembali melakuan pertunjukan, rutin satu kali dalam seminggu dihari sabtu malam. Tak sulit menemukan gedung wayang orang Bharata lokasinya sangat strategis berada dideretan toko-toko disamping terminal besar bis PASAR SENEN Jakarta Pusat. Oleh pengelola dikembangkan juga sebuah kegiatan pelestarian wayang orang-dengan mendidik para anak muda yang diharapkan akan meneruskan dan melestarikan budaya ini. Sebagian besar anak muda ini adalah anak-anak dari para pemain senior Bharata. Sampai saat ini jumlah seluruh anggota yang terlibat dalam kegitan Wayang Orang Bharata 120 orang.

As a valiant attempt to preserve the culture and awareness of human wayang art, often times, Bharata Human Wayang performers had to draw money from their own pockets to cover the costs of performances, practice sessions, costume rents, transportations, decorations and others, reaching millions of rupiah.

Sebagai sebuah upaya pelestarian sebuah budaya dan kesadaran yang sangat tinggi akan arti seni wayang orang. Sering kali para anggota Wayang Orang Bharata harus mengeluarkan biaya dari kantong mereka sendiri untuk membiayai sebuah pementasan termasuk dalam proses latihannya dan tidak sedikit biaya yang mereka keluarkan. Biaya yang dikeluarkan hingga jutaan rupiah untuk menyewa kostum, transportasi, dekorasi dan sebagainya.

Amidst the difficulty in preserving human wayang culture, hope endures due to the continual interest shown by foreigners coming from abroad, searching for this human wayang art to be performed in their countries. But Marsam regrets that due to unfavorable practices, often times, they were not brought directly to Bharata Human Wayang. Culture department officials never brought these foreigners to the Bharata theatre, instead shows were conducted elsewhere with only a few Bharata performers involved.

Ditengah beratnya upaya melestarikan budaya wayang orang, tetap terpercik harapan karena sampai saat inipun masih banyak pihak luar negeri yang datang ke Indonesia  mencari kelompok kesenian wayang orang untuk diundang dan melakukan pertunjukan di negaranya. Namun Marsam menyesalkan, karena adanya kecurangan dari pihak terkait, sering kali mereka tidak datang langsung ke Wayang Orang Bharata. Oleh orang-orang dinas kebudayaan para tamu luar negeri itu tidak pernah dibawa dan ditunjukkan keberadaan kelompok wayang orang bharata, tetapi mereka terima sendiri undangan tersebut dan hanya melibatkan beberapa orang bharata saja. 

Appreciation is needed upon the fact that cultural preservation is a high cost activity where countries like Japan provide guaranteed governmental lifelong support to kabuki performers, securing their undivided focus upon kabuki art performance excellence. In Indonesia, though government concern exists, it appears half hearted and art performers have to struggle to survive living, having yet to provide livelihood to their immediate families aside themselves.

Harus disadari bahwa sebuah pelestarian budaya adalah sebuah pekerjaan dengan biaya mahal. Sebagai contoh kesenian kabuki di jepang, di sana pelaku kesenian kabuki dijamin kehidupannya oleh negara, sehingga mereka dapat fokus menampilkan kesenian kabuki dan baik. Berbeda dengan di Indonesia, meski sudah ada perhatian dari pemerintah tapi tetap saja masih setengah hati, para pelaku seni tetap harus berjuang untuk bertahan hidup dan menghidupi diri sendiri dan keluarganya.

Distinguishing the great potential of human wayang art as an Indonesia’s trademark traditional theatre on a global scale, necessitates all elements of support upon its preservation. Come and witness its show, where last performance a while ago was attended by expatriates filling the double front VIP rows. These particular expatriates happen to regularly attend these performances and at the shows end, several represented the others and came over to the backstage and exclaimed in Indonesian “teramat istimewa .. teramat istimewa” which meant ‘extraordinary.’

Melihat besarnya potensi kesenian wayang orang sebagai citra teatrikal tradisional Indonesia berskala dunia, semua elemen harus membantu melestarikannya. Datang dan nikmati pertunjukannya. Seperti saat pagelaran beberapa waktu lalu, dua baris terdepan kelas VIP dipenuhi expatriates yang mempunyai agenda rutin menyaksikan pagelaran Wayang Orang Bharata. Ketika pertunjukkan berakhir beberapa orang perwakilan dari mereka datang menghampiri para pelakon dibelakang panggung dan berujar dalam bahasa Indonesia “ teramat istimewa..teramat istimewa,”

(Source: Indonesia Culture)

Aceh (Nangroe Aceh Darussalam)

Aceh (/ˈɑːtʃeɪ/; [ʔaˈtɕɛh]) is a special region of Indonesia. Aceh is located at the northern end of Sumatra. Its capital is Banda Aceh and its population is approximately 4,500,000. It is close to the Andaman and Nicobar Islands of India and separated from them by the Andaman Sea.

Aceh is thought to have been the place where the Spread of Islam in Indonesia started, and was a key part of the Spread of Islam in Southeast Asia. In the early seventeenth century the Sultanate of Aceh was the most wealthy, powerful and cultivated state in the Malacca Straits region. Aceh has a history of political independence and fierce resistance to control by outsiders, including the former Dutch colonists and the Indonesian government.

Aceh has substantial natural resources, including oil and natural gas—some estimates put Aceh gas reserves as being the largest in the world. Relative to most of Indonesia, it is a religiously conservative area.^[4] It has the highest proportion of Muslims in Indonesia, mainly living according to Sharia customs and laws.^[5]

Aceh was the closest point of land to the epicenter of the massive 2004 Indian Ocean earthquake, and tsunami, which devastated much of the western coast of the province. Approximately 170,000 Indonesians were killed or went missing in the disaster.^[6] The disaster helped reach the peace agreement between the government of Indonesia and the Free Aceh Movement (GAM).

Aceh was first known as Aceh Darussalam (1511–1959) and then later as the Daerah Istimewa Aceh (1959–2001), Nanggroë Aceh Darussalam (2001–2009) and Aceh (2009–present). Past spellings of Aceh include Acheh, Atjeh and Achin.

Aceh is rich of events, attraction and unique cultures that it will fascinate anyone. Aceh is also rich in natural beauty, waves and sea garden, which is suitable for diving. Some of most beautiful Aceh tourism and historical sites and beaches have been damaged by the massive earthquake and Dec '04 Tsunami. The name of Aceh Darussalam is come from Aceh language means the welfare and peace Aceh country.

Geographically

Aceh is surrounded by:
North side: Malacca Strait
East Side: North Sumatra Province
South and the west Side: Indian Ocean.
The capital of Aceh is Banda Aceh. The Special Province of Aceh with its area of 57, 365.57 square kilometers covering 1.17 per cent of Indonesia is situated at the northern tip of Sumatra Island, between latitudes 2

In the central part of this province runs Bukit Barisan Mountain ranges with Tangse, Gayo, and Alas uplands. Also, there are several mountains found in the region such as Pasee Mountain with its peak, Geureudong" (2,595 m), and Peut Sagoe (2,708 m), Gayo Mountain range with its peak Burni Telong (2,566 m), and Ucap Malu Mountain range (3,187 m). Other mountains include: Alas mountain with its peak Abong-abong (3,015 m) Leuser (3,466 m), Aceh" Raya Mountain range with its peak Seulawah Agam, (1,762 m) and Seulawah Inong Mountain (868 m).

The area also has several lakes such as Laut Tawar Lake in Central Aceh with an area of 60 square kilometers and a height of 1,225 meters above sea level, and also lake Aneuk Laot in Sabang (Weh Island).

Besides the mountains and lakes, there are also several major and lesser rivers, which run into both of Malacca Strait or into the Indonesian Ocean. Among the rivers running into Malacca Straits are: Krueng Aceh (Aceh River) in the Greater Aceh Regency, Krueng Peusangan and Krueng Jambo Aye in North Aceh Regency, Krueng Baro in Pidie Regency, and Krueng Peureulak and Krueng Tamiang in East Aceh Regency; The rivers running to the Indonesian Qcean are Krueng Teunom and Krueng Meureubo in West Aceh Regency, Krueng Kluet, Krueng Simpang Kiri and Krueng Simpang Kanan in South Aceh Regency.

On the west and south coasts, there are both large and small islands, some of which are inhabited and others, which are uninhabited. These islands are Weh Island, Breuh Island, Nasi Island, Simeulue Island and Tuangke Island (Banyak Island).

Weather & Climate

The dry season in Aceh usually lasts from March through August. The rainy season starts in September to last until February. The average annual rainfall ranges from 2,000 mm to 3,000 mm, with temperatures ranging from 25 to 30° Celsius. In the highlands, the average temperature is 200 Celsius. The amount of rainfall varies between all parts of Aceh. The western and southern coasts have more rainfall than the other parts. The weather along the coastal areas is usually warm. In the mountains tend to be cooler. The humidity varies from 65 to 75 percent. The wind from the west begins in June through November while the wind from the east begins in December through May.

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Indonesian Folk 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.

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.

The Indonesian Folk Dance

 
Like most of the performing arts of the Orient dance in Indonesia is believed by many scholars to have had its beginning in religious worship. Even today, many dances are considered sacred or can be traced back to their early spiritual associations. Among these are not only the temple dances of Bali, but also such seemingly profane dances, such as the Bedoyo Ketawang of Solo, performed only on such rare occasions that they are in peril of becoming lost for the lack of younger generation dancers able to perform them.

Dance traditions today are as widely diverse as the various ethnic cultures of which they are part. Nurtured to refined perfection in the royal Javanese courts and princely homes the classical dances of Central Java are highly stylized expressions which have probably already attained their basic movements during the height of the Hindu-Javanese culture from the 8th to the 13th century. From the courts, those dances eventually reached the broad strata of the common people who gave them a more spontaneous form of expression.

In the hands of the people, these dances provided a rich source not only for popular dance dramas, but also for social dances which often display clear erotic overtones, such as Tayuban or Ngibing.The bumbung dance of Bali which incidentally evolved into the beautiful "bumblebee dance" and Tamulilingan, a creation of Bali's late famed maestro of the dance, I Mario.
Other popular folk dances still display strong magic associations, as for instance the "kuda lumping horse dance". Whereas rigid discipline and artistry mark the dance of Java and Bali, those of Sumatra, Maluku and most of the other islands (one exception is the Gending Sriwijaya of South Sumatra) are characterized by their gracefulness and charm, a distinction which is further accentuated by the entirely different, non- gamelan, musical accompaniment.
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 where at the same time the search is continually being conducted for new expressions better adapted to modern times though based on the old traditions.

Indonesia: Ultimate in Diversity

Indonesia as an archipelago

The Republic of Indonesia is the largest archipelago in the world comprising 17,504 large and small tropical islands fringed with white sandy beaches, many still uninhabited and a number even still unnamed. Straddling the equator, situated between the continents of Asia and Australia and between the Pacific and the Indian Oceans, it is as wide as the United States from San Francisco to New York, equaling the distance between London and Moscow.  Indonesia has a total population of more than 215 million people from more than 200 ethnic groups. The national language is Bahasa Indonesia.

Among the most well known islands are Sumatra, Java, Bali, Kalimantan (formerly Borneo), Sulawesi (formerly Celebes), the Maluku Islands (or better known as Moluccas, the original Spice Islands) and Papua. Then, there is Bali “the world’s best island resort” with its enchanting culture, beaches, dynamic dances and music. But Indonesia still has many unexplored islands with grand mountain views, green rainforests to trek through, rolling waves to surf and deep blue pristine seas to dive in where one can swim with dugongs, dolphins and large mantarays. 

Because of her location, and geology, Indonesia is blessed with the most diverse landscape, from fertile ricelands on Java and Bali to the luxuriant rainforests of Sumatra, Kalimantan and Sulawesi, to the savannah grasslands of the Nusatenggara islands to snow-capped peaks of West Papua.

Her wildlife ranges from the prehistoric giant Komodo lizard to the Orang Utan and the Java rhino, to the Sulawesi anoa dwarf buffalos, to birds with exquisite plumage like the cockatoo and the bird of paradise. This is also the habitat of the Rafflesia the world’s largest flower, wild orchids, an amazing variety of spices, and aromatic hardwood and a large variety of fruit trees. Underwater, scientists have found in North Sulawesi the prehistoric coelacanth fish, a “living fossil” fish, predating the dinosaurs living some 400 million years ago, while whales migrate yearly through these waters from the South Pole. Here are hundreds of species of colorful coral and tropical fish to admire.

Culturally, Indonesia fascinates with her rich diversity of ancient temples, music, ranging from the traditional to modern pop, dances, rituals and ways of life, changing from island to island, from region to region. Yet everywhere the visitor feels welcomed with that warm, gracious innate friendliness of the Indonesian people that is not easily forgotten.   

Facilities-wise Indonesia’s hotels are second to none. In fact, many of our luxurious and unique hotels have constantly been listed as some of the best in the world, located on white sandy beaches, overlooking green river valleys, or situated in the heart of busy capital Jakarta. While Indonesia’s cities like Jakarta, Bandung, Surabaya, or Makasar are a hive of activities for business and leisure and a paradise for shoppers, offering upscale boutiques selling top brand names, to local goods at road-side stalls. Here gourmets can treat themselves to the many regions’ delectable spicy cuisine or dine sumptuously at international restaurants. And for sheer relaxation, Indonesia Spas are second to none to reinvigorate both body and mind.  

Convention centers are equipped with state-of-the-art facilities, as many top international conferences and exhibitions are held in Jakarta, Bali to Manado, ranging from the Global Climate Change Conference in Bali to the World Ocean Conference in Manado , to trade and investment exhibitions and tourism trade shows in many provincial capital cities.

Jakarta, Bali, Medan, Padang, Bandung, Solo, Yogyakarta, Surabaya, Makassar are connected by direct international flights, and many regular and low cost carriers fly passengers to Indonesia’s towns or remote locations.

Indonesian Culture And The People

Living on more than 17,000 islands, the Indonesian nation today counts some 200 million population comprising more than 200 ethnic groups. After Independence in 1945 inter-marriages among people of different ethnic groups have welded the population into a more cohesive Indonesian nation.

 

The majority of the population embraces Islam, while in Bali the Hindu religion is predominant. Whereas in areas like the Minahasa in North Sulawesi, the Toraja highlands in South Sulawesi, in the East Nusatenggara islands and in large parts of Papua, in the Batak highlands as well as on Nias island in North Sumatra, the majority are either Catholics or Protestants. On the whole the Indonesian people are religious in nature.

And, true to the Pancasila, the five principles of nationhood, - namely Belief in the One and Only God, a Just and Civilized Humanity, the Unity of Indonesia, Democracy through unanimous deliberations, and Social Justice for all - Indonesian societies are open and remain tolerant towards one another’s religion, customs and traditions, all the while faithfully adhering to their own. The Indonesian coat of arms moreover bears the motto: Bhinneka Tunggal Ika – Unity in Diversity.

Although today’s youth especially in the large cities is modern and follow international trends, yet when it comes to weddings, couples still adhere to traditions on the side of both the bride’s and bridegroom’s parents. So in a mixed ethnic wedding, the vows and wedding traditions may follow the bride’s family’s, while during the reception elaborate decorations and costumes follow the groom’s ethnic traditions, or vice versa. Weddings and wedding receptions in Indonesia are a great introduction to Indonesia’s many and diverse customs and traditions. Weddings are often also occasions to display one’s social status, wealth and fashion sense. Even in villages, hundreds or even thousands of wedding invitees line up to congratulate the couple and their parents who are seated on stage, and then enjoy the wedding feast and entertainment.

The Arts and Celebrations

The Indonesian archipelago harbours many ancient cultures that are rooted here, while throughout its history through centuries until today the islands have been influenced by Indian, Chinese, Arabic and European cultures, and lately also by the global popular culture, international travel and internet. Foreign cultures and traditions, however, are absorbed and assimilated by the people producing unique “Indonesian” creations found nowhere else in the world.

On 2 October 2009, UNESCO recognized Indonesia’s “Batik” as World Intangible Cultural Heritage, adding to the earlier recognized Indonesia’s “Keris” (the wavy blade dagger), and the “Wayang” shadow puppets. Further being considered as World Heritage is the “Angklung” bamboo musical instrument from West Java, being uniquely “Indonesian”.

Indonesia’s culture is indeed rich in the arts and crafts. In textiles, Sumatra produces some of the best gold and silver-thread woven sarongs, known as songket; South Sulawesi women produce colourful hand-woven silks, while Bali, Flores and Timor produce some of the best textiles from natural fibers using complicated motifs. In wood craft, Bali’s artisans produce beautiful sculptures, as do the Asmat in Papua, both traditional and modern, Central Java’s craftsmen produce finely carved furniture, while Bugis shipbuilders of South Sulawesi continue to build the majestic “phinisi” schooners that ply the Indonesian seas until today.

The large variety of different cultures and traditions throughout the country is also expressed in numerous exciting and interesting events, both religious and popular, that are held throughout the year. (See Calendar of Events).

Among these are the colourful religious Hindu Dharma ceremonies held continuously on Bali, the court processions during Sekaten in Yogyakarta, Java, preceding the birth date of the Prophet Mohammad, as well as the Tabot Festival in Bengkulu, Sumatra, a ceremony commemorating the role of Prophet Muhammad’s grandchildren, Hasan and Husein in spreading the faith. The Buddhist Vaisak Ceremonies are held yearly around Borobudur, as is the Chinese Toa Peh Kong festival in Manado, while the Feasts to the Dead are held in Toraja, both latter on the island of Sulawesi, and the Kasada ceremony is held annually at the end of the year on Mt. Bromo in East Java, the appease the ancestors and the mountain gods.

Then there are the exciting simulated tribal wars in the Wamena valley of Papua, the bull races on the island of Madura held as thanksgiving after the harvest, as well as the “nyale” festival in Lombok, to collect the sea worms that appear here each February only, and many more events on all islands. And to top it off is the event of complete silence called “nyepi” in Bali, the day of meditation for the entire island, when all lights, fires, sounds, including planes and cars are barred for 24 hours! The Balinese have mooted that “nyepi” becomes an international tradition that will greatly reduce pollution and global warming.

Indonesia is also strong in the performing arts. The beautiful Ramayana dance drama is enacted during the dry season at the large open stage at Prambanan near Yogyakarta under a tropical full moon and against the dramatic illuminated background of this 9th.century temple. Indonesia’s dances are colourful, dramatic or entertaining. They vary from the highly synchronized “saman” song and dance from Aceh, to the sedate and sophisticated court dances from Java accompanied by the liquid sounds of the gamelan orchestra, to the war dances of Kalimantan, Papua, and Sulawesi. Chinese influence can be seen along the entire north coast of Java from the batik patterns of Cirebon and Pekalongan, to the finely carved furniture and doors of Kudus in Central Java, as also in the intricate gold embroidered wedding costumes of West Sumatra.

But Indonesia does not live in the past alone. Today, in music, in metropolitan Jakarta, the Java Jazz Festival is the annual meeting highlight for top international and Indonesian jazz musicians. Indonesia also boasts some of the best rock and pop bands and singers. Bands like Nidji, Ungu, Slang, Peter Pan and singing celebrities like Rossa, Agnes Monica, Kris Dayanti, Pasha, Ari Lasso, and many others, never fail to create a sensation wherever they appear in Indonesia as also in Malaysia and Singapore.

(source: Indonesian Travel)

Wonderful Indonesia: Have you visit Indonesia before?

Pasola Jousting Festival 2013 in Sumba

This year, the most thrilling annual traditional war game will yet again highlight Sumba Island, East Nusatenggara, where the breath-taking Pasola Jousting Festival gets underway from 5th to 8th February 2013 and on 7th March 2013.

After a meeting of Rato Pasola or tribe elders and government officials, the dates and the locations of this year’s Pasola festival were designated as follows:

Pasola Homba Kalayo in the village of Kodi Bangedo will be held on 5th February, the Pasola Bondo Kawango in Kodi to be held on 7th February, Pasola Rara Winyo in Kodi on 8th February, and Pasola Wainyapu in Kodi Balaghar on 7th March.

With the announcement of the Pasola 2013 schedule, visitors can arrange their trip to Sumba Island, so that they can take part in this rare and special mock battle festival. There will also be a cultural festival in several villages held in conjunction with the Pasola festival.

This is a most exciting Jousting Festival where opposing teams run into each other on horseback, saddle-less, throwing blunt spears - called hola - to each other to unseat or hurt their opponents or horses. Fallen men or horses may not be attacked, but any blood flowing is believed to fertilize the soil and benefit the next harvest.

The tournament forms part of the traditional Marapu belief on Sumba, where the Pasola forms an inseparable part of the annual ritual, held in conjunction with the Bau Nyale ritual or the arrival of seaworms on the shores of Sumba and Lombok,  which normally occurs in February and March.

Once better known as the Sandalwood Island, Sumba in the province of East Nusatenggara, - adjoining the islands of Komodo and Flores, - breeds some of Indonesia’s best horses. The Sumba horses are a cross between Arabian and local horses, and are therefore larger than the neighbouring Sumbawa horses.

There are daily flights from Bali to Waingapu in East Sumba and Tambolaka in West Sumba on alternate days. The island can also be reached from Maumere on Flores, on similarly alternating days between the two towns. More information at: www.komodo-tours.travel , www.floresexotictours.com

The Official Tourism Website of East Nusatenggara Province: www.goseentt.com

Bali Spirit Festival 2013:

From 20th to 24th March 2013, the tranquil town of Ubud in the cultural heart of Bali will once again be filled with worldwide spirituality as the Bali Spirit Festival 2013 gets underway. As the event celebrates its sixth year of existence, news of its magic has reached around the world. Not only does the Festival bring together celebrated musicians, yogis and dancers from every continent, but it has also become a magnet for fans, students and followers of every calling.

Set in the spectacular grounds of the Purnati Center for the Arts in Batuan, just 10 minutes south of Ubud, the daytime workshops and Dharma Fair will enjoy a venue unmatched for its tropical beauty and gentle energy. The global music concerts will take place in Ubud, at the Agung Rai Museum of Art's (ARMA) outdoor stage, to allow easy access for visitors and locals.

Featuring top international yoga and dance instructors by day and exciting world musicians after dark, the Bali Spirit Festival is a spiritually charged event that celebrates yoga, dance and music and the merging of East with Western cultures through the arts.

This year’s music and Bhakti music lineup includes:  Nahko&Medicine for the People, Rupa&the April Fishes, Noam Blat, Igor Olivier Ezendam, Dustin Thomas, Filastine, Susu Ibu, Kryasta Guna Gamelan, Dave Stringer, Punnu Wasu, Sacred Earth, and Daphne Tse. For the yoga sessions, the festival will feature some of the world’s prominent names such as Simon Low, Danny Paradise, Les Leventhal, Judy Krupp, John Oglivie, Nadine McNeil, Justin Caruso, Simon Park, Lynn Yeo, Louisa Sear, Prem Carlisi, Michiko Minegishi, Anastasis, Denise Payne, and many others.

Personalities leading meditation, conscious movement, and health &healing are: Yogacharya Ananda, Indra Widjanarko, Satyadharma Saraswati, Vinn Marti, Sarina Jain, Shamir Chadha, Awahoshi Kavan, Ellen Watson, Satya Burger, Hillary Hitt, Daniel Aaron, John Wong, and Jamie Catto. The festival will also feature the Brazilian martial arts of Capoeira by Graduado Nako and Art installations by Indonesia’s own Made Muliana Bayak.

Adhering to the spirit of ancient Balinese wisdom  of Tri Hita Karana, meaning  harmony with God above, harmony with the community, and harmony with nature, the Bali Spirit Festival awakens and nourishes each individual’s potential for positive change within, leading to positive change in homes, in communities, and ultimately in global societies around the world.

The Bali Spirit Festival is indeed a celebration of the richness of culture, the sanctity of the environment and harmony between peoples of all nations. Be there! Take part in this special celebration and in doing so make the world a better place.

More Information at:  http://www.balispiritfestival.com/

Photo Courtesy by http://www.balispiritfestival.com

Nyepi: Bali's new years completely silence

Every culture and religion in the world has its own way to define and celebrate the coming of the new year. While the Chinese have the Imlek celebration, the Muslims celebrate the first of Muharram, and the world in general celebrates the first of January, the Hindus of Bali welcome the New Year based on the traditional Saka Calendar with the ritual of Nyepi.  This year,  Nyepi , the day of complete silence and meditation , takes place on 12th March 2013.

Travellers to Bali around this date please note : On this day, the entire island of Bali will come to a complete standstill. To allow all to follow the prescribed ritual, all traffic all over Bali will be stopped. No planes will land or take off for 24 hours. All shops are closed.  No one is allowed on the beach or on the streets. There will be local watchmen known as pecalang to ascertain that this rule is obeyed. At night, all lights will have to be turned off. Hotels will close all curtains that no ray of light shines to the outside. All sound and music indoors should be held to its lowest volume.

The sudden silence comes after the eve of noisy festivities on the beaches of Kuta, Sanur, Nusa Dua, Seminyak and others with parades of giant puppets called “ogoh-ogoh” accompanied by clanging gongs and other percussion instruments. At the end of the festival the ogoh-ogoh are lit and are totally engulfed in flames.

For non-Balinese who happen to be in Bali for the first time on Nyepi day , it is an extraordinary experience indeed to find a whole island completely silent as if deserted , enveloped in an atmosphere of complete tranquility and peace.

For, contrary to other cultures that celebrate New Year with vivacious festivities, the pinnacle of Balinese New Year is a day of complete Silence. Hence the name Nyepi, meaning “to keep silent” in the local language, which falls on the day following the dark moon of the spring equinox.  Nyepi is a day fully dedicated to connect oneself more closely  with God (Hyang Widi Wasa) through prayers and at the same time as a day of self introspection to decide on values, such as humanity, love, patience, kindness, and others, that should  be kept forever.

As a day reserved for self-reflection anything that might interfere with that purpose is strictly prohibited. Nyepi mandates a day of absolute quiet, based on the four precepts of Catur Brata:

•    Amati Geni: Prohibiting the lighting of fires, the use of lighting or satisfying pleasurable human appetites.
•    Amati Karya: Prohibiting all forms of physical work other than those dedicated to spiritual cleansing and renewal.
•    Amati Lelungan: Prohibiting movement or travel; requiring people to stay within their homes.
•    Amati Lelangunan: Prohibiting all forms of entertainment, recreations or general merrymaking.

Although Nyepi is primarily a Hindu holiday, non-Hindu residents of Bali observe the day of silence as well, out of respect for their fellow citizens. Even tourists are not exempt; although free to do as they wish inside their hotels, no one is allowed on the beaches or streets, and the airport remains closed for the entire day. The only exceptions granted are for emergency vehicles carrying those with life-threatening conditions and women about to give birth.

For more information, please click : Nyepi: Bali’s New Year's Day of Cemplete Silence

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List of Indonesian Traditional Dance

*Tari or tarian meaning "Dance"*
Propinsi = Province
 
Traditional dance from Aceh / Nanggro Aceh Darussalam: Tari Seudati, Tari Saman Meuseukat
Traditonal dance from North Sumatera Serampang Dance, Tor tor dance
West Sumatera : Tari Piring (plate dance), Tari payung (umbrella dance)
Riau Province: Tari Tanduk, Tari Joged Lambak
Jambi Province: Tari Sekapur Sirih, Tari Selampit Delapan
South Sumatera : Tari Tanggai, Tari Putri Bekhusek
Lampung: : Tari Jangget, Tari Melinting
Provinsi Bengkulu: Tari Tradisional : Tari Andun, Tari Bidadei Teminang
Provinsi DKI Jakarta: Tari Tradisional : Tari Topeng, Tari Yapong
Provinsi Jawa Barat / Jabar: Tari Tradisional : Tari Topeng Kuncaran, Tari Merak
Provinsi Jawa Tengah / Jateng: Tari Tradisional : Tari Serimpi, Tari bambangan Cakil
Provinsi DI Yogyakarta / Jogja / Jogjakarta: Tari Tradisional : Tari Serimpi Sangupati, Tari Bedaya
Provinsi Jawa Timur / Jatim: Tari Tradisional : Tari Remong, Tari Reog Ponorogo
Provinsi Bali: Tari Tradisional : Tari Legong, Tari Kecak
Provinsi Nusa Tenggara Barat / NTB: Tari Tradisional : Tari Mpaa Lenggo, Tari Batunganga
Provinsi Nusa Tenggara Timur / NTT: Tari Tradisional : Tari Perang, Tari Gareng Lameng
Provinsi Kalimantan Barat : Tari Tradisional : Tari Monong, Tari Zapin Tembung
Provinsi Kalimantan Tengah : Tari Tradisional : Tari Balean Dadas, Tari Tambun & Bungai
Provinsi Kalimantan Selatan Tari Tradisional : Tari Baksa Kembang, Tari Radap Rahayu
Provinsi Kalimantan Timur :  Tari Tradisional : Tari Perang, Tari Gong
Provinsi Sulawesi Utara :  Tari Tradisional : Tari Maengkat, Tari Polo-palo
Provinsi Sulawesi Tengah:  Tari Tradisional : Tari Lumense, Tari Pule Cinde
Provinsi Sulawesi Tenggara: Tari Tradisional : Tari Dinggu, Tari Balumpa
Provinsi Sulawesi Selatan :  Tari Tradisional : Tari Bosara, Tari Kipas
Provinsi Maluku: Tari Tradisional : Tari Lenso, Tari Cakalele
Provinsi Irian Jaya / Papua: Tari Tradisional : Tari Musyoh, Tari Selamat datang
Tari Tradisional : Tari Wira, Tari Suru Boek