Sunday, December 30, 2012

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 8th to 10th 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)
 
 

Friday, December 28, 2012

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

Thursday, December 27, 2012

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)

Thursday, December 20, 2012

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)


Tuesday, December 18, 2012

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)


 
 
 

Tuesday, December 4, 2012

Indonesian's Culture Heritage in Havana

28 November 2012
The "José White" Angklung Orchestra , made up of young and talented students, and directed by Professor Eugenio Silva, has  performed at the Church of San Lazaro and the Church of Christ (both in Camaguey) last November 18th and 24th, respectively, delighting the audience with Indonesian traditional songs and some others from the international repertoire.

“José White” Conservatory is located in the old colonial style building which was once the Hospital (leper colony) of San Lazaro, being a cultural heritage of the people of Camaguey. It is interesting to mention that the place where the first concert took place, (on November 18th), it’s still working as a church, inside the school.

In 2006, the Embassy of Indonesia in Havana donated these instruments to three Cuban elementary schools and “José White” Conservatory, to promote Indonesian culture in Cuba. Since then, these schools and especially the "José White" Angklung Orchestra have performed in various places of Cuba with a great public acceptance.

Angklung is an Indonesian musical instrument, which is closely related to traditional customs, arts and cultural identity in Indonesia, and promotes cooperation and mutual respect among the players, along with discipline, responsibility, concentration, development of imagination and memory, as well as artistic and musical feelings.
(Source: Indonesia Embassy in Havana)

Monday, 22 October 2012
The Indonesian Embassy in Havana took part at the 17th International Cultural Festival (17th ICF) held at the Botanical Garden in Nassau, the Bahamas on 20 and 21 October 2012. the ICF is an annual cultural festival that is carried out as coordinated directly by the Ministry of Foreign Affairs of the Bahamas and involves related institutions such as the Ministry of Tourism and the Office of the UNESCO in the Bahamas. The Festival has the participation of approximately 25 countries including China, Indonesia, the Philippines, India and also Sri Lanka that have presented the cultural arts of the respective countries. On this occasion Indonesia exhibited items of the Batik art (for example shawls, shirts, fans, purses and masks) as well as several traditional dishes such as special pastries, fried noodles, meat brochettes, cheese sticks and fried shrimp flour chips (“kerupuk”).

There was much enthusiasm among the visitors. Although it rained heavily on the first day this fact did not prevent the visitors, inhabitants of the Bahamas and foreign tourists, to come to the festival. Those visiting the Indonesian stand, in addition to enjoying the Indonesian dishes also expressed their admiration as to the colors and motifs of the Indonesian Batik products. Several visitors to the Indonesian stand expressed their interest in importing Batik products from Indonesia. At the Festival, Indonesia obtained the second place in the category of Asian countries, after the Philippines. The host party appreciated the presence of Indonesia and recalled that the last occasion Indonesia took part in the Festival was in 2009.

Indonesia’s participation at the 17th International Cultural Festival of the Bahamas has made it possible to make the country known to the local and foreign population of the cultural world in the Bahamas through Batik and Indonesian traditional food. In addition, the Festival also allowed for an estimation to be made as to the potential of the Indonesian Batik products in the market of the Bahamas that could be observed by the will of the local businessmen to import Batik from Indonesia. In accordance with the requests of the businessmen from the Bahamas, the Indonesian Embassy in Havana has supplied information regarding the list of Batik enterprises in Indonesia.