Various Dayak Dance

1. Dance GantarDance depicting the movement of people to plant rice. Sticks depict pounder wood while bamboo and grains inside depict rice seed and its container.This dance is quite popular and are often served in welcoming guests and events lainnya.Tari is not only known by the Dayak tribe Tunjung but also known by the Dayak tribe Benuaq. This dance can be divided into three versions of the dance Gantar Rayatn, Gantar Busai and Gantar oppressed / Gantar Kusak.
2. Kancet Papatai Dance / Dance WarThis dance tells about a Dayak Kenyah hero fighting against the enemy. The movement of this dance is very lively, agile, energetic and sometimes followed by the shrieks of the dancers.In Kancet Pepatay dance, the dancer uses the traditional clothing of Dayak Kenyah equipped with armaments such as saber, shield and armor. This dance is accompanied by Sak Paku song and just use the instrument Sampe.
3. Kancet Ledo Dance / Gong DanceIf Dance Kancet Pepatay describe masculinity and virility Dayak Kenyah, conversely Dance Kancet Ledo depict the gentleness of a girl like a rice snaking gently blown by wind.This dance is performed by a woman wearing traditional clothing of Dayak Kenyah and on both hands holding a series of tail feathers hornbills. This dance is usually danced on a gong, so Kancet Ledo also called Gong Dance.

4. Dance Kancet LasanDescribes the daily life of hornbills, birds are venerated by the Dayak Kenyah being perceived as a sign of greatness and heroism. Lasan Kancet dance is a dance single woman Dayak Kenyah the same motion and its position as Kancet Ledo Dance, but the dancers do not use the gong and hornbill feathers and also use the position of the dancer many humble and squat or sit with your knees touching the floor. This dance is more emphasis on hornbill motions when flying and perched perched on a branch.

5.Tari LelengThis dance tells a girl named Utan Along which will forcibly married by her parents with a young man who did not love. Utan Along finally escaped into the forest. Girl dance Dayak Kenyah is danced to the accompaniment of singing songs Leleng.

6. Dance HudoqThis dance is performed by using a wooden mask that resembles a wild animal as well as using banana leaves or coconut leaves as cover the dancer's body. This dance is closely connected with religious ceremonies of the Dayak ethnic group and Modang Bahau. Dance Hudoq intended to gain strength in overcoming the destructive pests of plants and expects to be given fertility yields a lot.

7. Hudoq We Dance 'Dance of Dayak Kenyah in principle the same as the dance of the Dayak tribe Hudoq Bahau and Modang, namely for the ceremony to welcome the year of planting and to convey his gratitude to the gods who have given good harvests. A striking difference anatara Hudoq We Dance 'and Dance Hudoq on costumes, masks, dance movements and musical accompaniment. Costume dancers Hudoq We 'use the long sleeves of plain cloth and wearing cloth gloves, face-shaped mask while the man that had many decorated with carvings typical Dayak Kenyah. There are two types of masks in Hudoq We Dance ', which is made of wood and is a veil made of beads with Dayak Kenyah ornaments.

8. Dance SerumpaiBenuaq tribal dance is done to resist disease and treat people who are bitten by a rabid dog. Called Serumpai dance because dance accompanied by musical instruments Serumpai (a type of bamboo flute).

9. Dance Belian BawoCeremony Belian Bawo aims to resist disease, treating the sick, be fulfilled and so forth. Once converted into a dance, dance is often served on special occasions the receptionist and other art events. This dance is the dance of the Dayak tribe Benuaq.

10. Dance KuyangA dance Belian from tribe Benuaq to expel the ghosts that keep large trees and tall so as not to disturb people or people who cut down the tree.

11. Dance Pecuk KinaThis dance illustrates Dayak Kenyah displacement that moves from the Apo Kayan (Kab. Bulungan) to the Long Segar (Kab. West Kutai) that takes many years.

12. Tari DatunThis dance is a dance with her Dayak Kenyah with an uncertain amount, may be 10 to 20 people. According to history, along with dance was created by a tribal chief in the Apo Kayan Dayak Kenyah named Nyik Selung, as a sign of gratitude and joy at the birth of a grandson. Then the dance is evolving into all areas of Dayak Kenyah.

13. Dance NgerangkauDance Ngerangkau is customary in the case of the death dance of the Dayak tribe Tunjung and Benuaq. This dance is to use the tools that dibentur rice pestle-crush on a regular basis in a horizontal position, giving rise to a certain rhythm.

14. Baraga Dance 'BagantarInitially Baraga 'is a ceremony Bagantar purchases to keep the baby with the help of Nayun Gantar pleading. Now the ceremony has been composed into a dance by Dayak tribe Benuaq.

http://www.kutaikartanegara.com/senibudaya/tari.html

Wayang Golek and Wayang Kulit

WAYANG GOLEK (Puppet Show)

Puppet show is one of the typical soil Sundanese arts. In general, puppet show is traditionally made by the inhabitants of certain villages in West Java.

Puppet show is currently more dominant as performing folk arts, which have functions that are relevant to the environmental community's needs, both spiritual and material needs. This way we can see from some of the activities in communities, for example when there is celebration, a good celebration (party festivity) in order circumcisions, weddings and other diriingi sometimes with a puppet show.

In addition, because the puppet show khasanya also often functioned as sufenir / keepsake typical Sunda land.

Prices are relatively cheap puppet show, kisaranya largely determined by the accuracy of the engraving / degree of difficulty in pembuatanya also the raw material. Mang declined Iin one of Wayang puppet craftsmen from the area Rancakalong, Sumedang, to puppet with details that are not too complicated, he could finish 3-4 puppets fruit a day, while for the puppet with the detail / high quality it can take 3-4 days to complete a puppet.

In general, puppets made ​​of wood Albasia marketed with a price range of Rp. 15,000 / unit complete with clothing and accessories. While the puppet is better quality by using mahogany wood etc.. marketed at a price of Rp. 40,000 s / d Rp. 150,000 / unit.

http://www.indotravelers.com/bandung/wayang_bdg.html

WAYANG KULIT (shadow play)

Puppet one of the nation's top arts and culture of  Indonesia's most prominent among the many works of other cultures. Role of puppet culture including art, sound art, music, speech arts, literary arts, painting, sculpture, and art is also symbolic. Puppet culture, which continues to grow from age to age, is also a medium lighting, propaganda, education, entertainment, philosophical understanding, as well as entertainment.
According to research by historians of culture, culture is a culture puppet native to Indonesia, particularly in Java.

 The existence of wayang already centuries before the Hindus entered the island of Java. Although a popular puppet story in today's society is an adaptation of the works of Indian literature, namely Ramayana and Mahabharata. The second story in the puppet master undergone many changes and additions to adapt them to the original philosophy of Indonesia.
Adjustment of the concept of philosophy is also concerned at the Java community philosophical views on the status of the gods in the puppet. The gods in the puppet is no longer something that is free from wrong, but like the other God's creatures, sometimes act wrong, and could be a blunder. The presence of puppet characters panakawan dalam_ deliberately created the humanists In ¬ Indonesians (Javanese cultural exact) for the mem ¬ strengthen the concept of philosophy that in this world there is no creature that is really good, and truly evil. Every creature has always bears the elements of good and evil.

In his dissertation entitled Bijdrage tot de Kennis van het Javaansche Tooneel (1897), Dutch cultural historian Dr. GA.J. Hazeau demonstrate his belief that the puppet show is a native of Java. Understanding the puppet in the dissertation of Dr.. Hazeau it is walulang inukir (carved leather) and seen its shadow on the screen. Thus, the puppet in question of course is a Shadow Puppet as we know it today.

OriginRegarding the origin of this puppet, in the world there are two opinions. First, the opinion that the puppet originated and was first born on the island of Java, precisely in East Java. This opinion is in addition to adopted and raised by researchers and experts in the nation of Indonesia, also the result of research of Western scholars. Among Western scholars belonging to this group, is Hazeau, Brandes, Kats, Rentse, and Kruyt.

The reason they are strong enough. Among other things, that the art of puppet is still very closely related to sociocultural and religious nation state of Indonesia, especially the Javanese. Panakawan, the most significant figures in the puppet, which Semar, Gareng, Petruk, Bagong, there are only puppets in Indonesia, and not in another country. In addition, names and technical terms puppet shows, it all comes from the Javanese (Kuna), and not other languages.

Estimated to have been born puppet culture in the Indo ¬ nesia at least during the reign of King Airlangga, king Kahuripan (976 -1012), ie when the kingdom in East Java that was prosperous, its wealthy ¬. Literary works are the subject of puppet story was written by the poets Indonesia, since the century X. Among other things, the script-language literature Kakawin Book of Old Javanese Ramayana written in the reign of Dyah Balitung (989-910), which is a recomposition of the Book of the Ramayana written by poet In ¬ he, Valmiki. Furthermore, the poets of Java is no longer just translate the Ramayana and the Mahabharata into Old Javanese language, but compose and retell by incorporating into it the philosophy of Java.

 For example, the work of the professor Kanwa Arjunawiwaha Kakawin, which is composed by a berinduk on the Book of Mahabharata. Composition different from other, more tangible version of the original story derigan In ¬ he is Baratayuda Kakawin work professor and professor Panuluh Sedah. This great work done during the reign of King Jayabaya, king of Kadiri (1130-1160).Puppet as a performance and spectacle had already started there since the reign of King Airlangga. Some inscriptions are made in those days, among others already mentioned the words "mawa ¬ a 'and` aringgit' which means that the per ¬ puppet show.
Regarding the birth of cultural puppets, Ir. Sri Mulyono in his book Symbolism and Mysticism in the Puppet (1979), estimate the puppet has existed since the time of Neolithikum, ie approximately 1,500 years before Christ. His opinion was based on the writings Robert von Heine-Geldern Ph. D, ¬ toric Prehis Research in the Netherland Indies (1945) and Prof. writing. K.A.H. Hidding in the Encyclopedia of Indone ¬ 987 pages worth.

The word `puppet 'probably derived from the word` wewa ¬ shadow', which means shadow. This assumption is consistent with the fact the Shadow Puppet performances that uses color, a piece of cloth, as a barrier between the puppeteer who plays the puppet, and the audience behind the curtain. Viewers simply watch the puppet movements through the shadows fall on the screen. At that time the wayang accompanied only by a simple set of gamelan consist of saron, Todung (a type of flute), and kemanak. Other types of gamelan and singer at that time allegedly does not exist.
For more menjawakan puppet culture, since the early era of the Majapahit Kingdom introduced another puppet story that is not berinduk on the Book of the Ramayana and the Mahabharata. Since then the story ¬ Panji story; the story about the ancestor of the kings of Majapahit, was introduced as one form of another puppet. Bannerman story is then used more for show Wayang Beber. The tradition of wayang menjawakan also forwarded by some Islamic scholars, among them by the Wali Sanga. They began mewayangkan story of the king of Majapahit, including Damarwulan story.
Introduction of Islam to Indonesia since the 15th century also gave a major influence on the culture of puppets, especially the religious concept of the puppet's philosophy. At the beginning of the 15th century, namely the time of the Kingdom of Demak, began to use specially shaped oil lamps called blencong on Wayang performances.
Since the days of Kartasura, composing a puppet story in the Ramayana and Mahabharata berinduk farther away from the original. Since the days of the community's fans know the genealogy of wayang puppet characters, including the figure his god, which originated from the Prophet Adam. Sisilah it continued to arrive at the kings on the island of Java. And furthermore, also known as the story began to grip puppet. the appropriate standard of stories, puppets and stories carangan beyond the standard line. Also there's more drama called splinter, which was too far out of the story grip.

Indeed, so strong as puppet art is rooted in the culture of Indonesia, so there was some confusion between the wayang stories, legends, and history. If the Indians thought that the story of Mahabharata and Ramayana actually occurred in his country, regarded Javanese wayang story actually happened on the island of Java.
And in the region Kulonprogo own puppet is still very interested by all circles. Not just by parents alone, but also teenagers and even young children have also been used to seeing puppet show. Besides ordinary puppet also in use in certain events in the area Kulonprogo, both in urban areas or in rural areas Wates in Kulonprogo.

http://budayawayangkulit.blogspot.com/2009/01/wayang-kulit-wayang-salah-satu-puncak.html

Ramayana Ballet

Ramayana Ballet (Prambanan)
 

Ramayana Rama tells the journey of life. While ballet is shown only a small part of Rama's life journey. This story Derived from the stream / Hindu religion which came from India, then in India too the story is well known. Prambanan Temple was chosen as the place of execution of ballet because the temple is a temple of Hindu religious heritage and the story of Ramayana is also a homage to the Hindu story. Prambanan Temple serves to pay homage to Lord Shiva, Lord Vishnu, and God of Grace. This temple also serves to preserve cultural and historical introduction to the tourists.

The language used in the Ramayana ballet is the Java language. All this was never presented in the other language versions, but is explained in narrative form (text translator English and Indonesian language). The work done by the executor to retain the ballet is to form the Ramayana in the form of stories, and by publishing books, and make shadow puppets. This story is themed story of Rama and Ravana fight to marry a beautiful princess named Dewi Shinta. This story beramanat that to get what belongs to us, we must try harder, trust, and ask God for help. Besides greed and evil will surely lose. There are many figures - figures in this story. Among others:

1. Rama is kind and always trying to get her back what was lost.
2. Shinta Dewi is meek
3. Leksmana who are loyal to Rama
4. Ravana is evil and greedy
5. Marica (Golden Deer)
6. Jatayu
7. Hanuman
8. Sugriva
9. Subali
10. Iriyata
11. Kumbakarna
12. Tara

This story has a setting time of old and set in place in the State Mantili, Kingdom of Alengka, Dandaka Forest, Cave Kiskendo, Garden Argasoka. This story has a plot forward. Synopsis of the story is as follows:
Rama Wijaya, Shinta, and are venturing into the woods Leksmana Dandaka. Rawana see Dewi Shinta and want memperistrinya. So Rawana Marica told to turn himself into a golden deer. Shinta who was fascinated by the golden deer golden deer caught telling Rama. Then Rama goes chasing deer. After a long menumggu, Shinta was worried and told Leksman to follow Rama. Before leaving Shinta, Leksmana create a protective circle around Shinta. When Ravana realized that Shinta alone, he lelu disguised as an old beggar and then abducting Shinta and brought him to the royal Alengka.  

 

On the way to meet Jatayu and Ravana Alengka they fought, and lost Jatyu. When Rama and Sinta Leksmana realize that has been lost, Rama negira Jatayu was killed, but detained Leksmana. Jatayu explains everything and he died. Then dating Hanuman told that grabs Tara Subali of Sugriva. Rama then willing to help Sugriva. Subali then defeated by Rama helped Sugriva. Finally decided mebantu Sugriva Rama Sinta save. Then Hanuman was sent to the royal Alenka.

 

Meanwhile Ravana Shinta who refused applications for memperistrinya arrived - arrived to hear the song sung by Hanuman. Hanuman then destroyed and set fire to the Palace Garden Argasoka Alengka. Then Hanuman reports to Rama's forces opposing force to attack the building jembatam Alengka. After the war going on and defeated Ravana. Then Rama Shinta meet again but doubted the purity Shinta Rama. With the help of the Fire God Shinta managed to prove her purity. And finally accept Rama Shinta again.

 

http://id.shvoong.com/books/1873151-sendratari-ramayana/

Erau Tenggarong

Erau first implemented on the ground and bathing ceremony tijak to the bank when the Supreme Deity Aji Batara Sakti was 5 years old. Having grown up and became the first King Kukar (1300-1325), also held a ceremony Erau.  

Since then Erau always held each there is a change or coronation of the Kings Kukar.During its development, in addition Erau ceremony as a coronation ceremony of King, also for giving the title of King of the leaders or community leaders who are considered deserving of the kingdom.
Implementation of the ceremonies performed by relatives Erau Palace / Castle with figures invite all community leaders who serve the kingdom. They come from all corners of the empire by bringing supplies of food, livestock, fruits, and also the artists. In this Erau ceremony, Sultan Palace and other relatives gave banquets to the people by providing the best possible service as a sign of devotion thank the Sultan for his people.

After the end of the reign of Kutai Kingdom in 1960, the region became an autonomous region which Kutai regency. Erau tradition maintained and preserved as a festival of folk and cultural festivals that became routine agenda Kutai regency government in order to mark the anniversary of the city Tenggarong, Kukar Kingdom government center since 1782.

Implementation ErauImplementation Erau latter according to the procedure Kutai Sultanate implemented in 1965, when the ceremony was held Kutai Sultanate Crown Prince, Prince Aji Duke Praboe Anoem Soerya Adiningrat.While the ceremonial Erau as Kutai in cultural preservation efforts of the new Kutai District Government held in 1971 on the initiative of Kutai Regent then, Drs.H. Achmad Dahlan. Erau ceremony held once in two year anniversary commemoration Tenggarong city that was founded 29 September 1782.

At the direction of the last Sultan of Kutai, Sultan AM Parikshit, then it can be implemented Erau Kutai government with the obligation to do some particular ceremonies, should not be doing the ceremony Tijak Giving Head and degree, and some activities are allowed as other ceremonies of the Dayak tribe, the arts and sport / agility.

http://www.kutaikartanegara.com/erau/pelaksanaan.html

ondel-ondel betawi

JAKARTA did have a tremendous charm. Position as the capital of Indonesia has spurred perkernbangannya as its administrative, commercial centers, industrial centers, and cultural center. Jakarta into the estuary flow of newcomers from all over the archipelago, and also from abroad.

Unlike the art palace that is the work of artists at the court with full devotion to the arts, arts and berkernbang Betawi actually grow spontaneously among the people with all its simplicity. Therefore Betawi art can be classified as folk art. One of the forms show the Betawi people are often shown dalarn parties people are ondel-ondel. It seems ondel-ondel portray ancestors or ancestors who always keep their grandchildren or a resident of a village.

Ondel-ondel is a form of folk performances Batavia (Jakarta) are often displayed in the party of the people, seem to portray ondel-ondel ancestor or ancestors that preserves their grandchildren or a resident of a village.Originally ondel-ondel function as repellent reinforcements or disorder that haunts Subtle Spirit, which is always a village or an individual.Today ondel-ondel is usually used to add vibrant folk festivals or to welcome an honored guest and or able to bridal procession circumcision as well as in special occasions such as anniversary of Jakarta. Betapun swift currents of modernization ondel-ondel fact still survive and become trimmer face of the city of Jakarta.However, unfortunately, the Betawi people who rarely use the ondel-ondel for events or party activities in the township / neighborhood in Jakarta. Ondel-ondel so rarely seen on the show Betawi (Jakarta) itself.

Ondel-ondel the form of a large doll that is about less than 2.5 meters with a diameter of approximately 80 inches, made of woven bamboo, which is prepared in such a way. So easily borne from it. Form part of the face mask or a mask, with hair made of palm fiber head, the face-ondel ondel men painted in red, while for women in the paint with white. This form shows many similarities to those found in several other areas, ondel-ondel was formerly named Barongan, now many people call it Betawi ondel-ondel for not knowing its origin.

Hopefully the next generation be able to preserve the cultures that exist in the country so as not to get run over by the times.

http://ondelondeljakarta.com/2011/09/riwayat-ondel-ondel/