Wednesday, February 27, 2013

International Snow Sculpture Contest Sapporo

Indonesian Team won third place at the 40th International Snow Sculpture Contest held in Sapporo from 5 to 8 February 2013. Sculpture artists Mr. Nyoman Sungada, Mr. Ketut Kaler and Mr. Sapto Hudoyo of Bali and Jakarta presented “Balinese Dancers” as their piece of artworks at the festival.

Eleven international participants competed at this year contest, with Thailand and Finland got the first and second prize respectively. The international contest is part of the annual “Sapporo Snow Festival” that has been held by the City of Sapporo since 1950. In the last four years, the seven-day event attracted more than 2 million foreign and domestic visitors.

The team faced quite a challenge before sending their artists to Sapporo, shared Agustono Gentari, the team manager, who did not come to Sapporo with the team.

"We always wanted to give our best in Sapporo. Finding the fund (to come to Japan) is quite difficult, because we had to compete in Harbin-China first, then Sapporo, but our team gave our best despite the circumstances," he said in his electronic mail to the Embassy. In Sapporo, the three sculptors had to brave the cold and even snow blizzard, like on the last day of the contest.

On that day, the team met with Ambassador Muhammad Lutfi, who greeted them at the site and extended his supports. He also hoped that Indonesia could increase its presence in Sapporo Snow Festival next year through cultural, culinary and tourism promotion, considering a great number of visitors in Sapporo during the festival.

Before meeting the team, Ambassador Lutfi also met with the Honorary Consul in Sapporo, Mr Masatsugu Sasaki, who also expressed his awe in this year's design of Indonesian team to the Ambassador.

"I am also confident that Indonesia will win this year. It's a beautiful sculpture," he praised. In 2011, Indonesia team got 5th place with Bimasena sculpture, whilst last year they created a snow sculpture of a woman weaving a 'Cual' textile which earned them 6th place. (KBRI Tokyo/pen)

Sebanyak 70 orang pemuda yang berasal dari sejumlah negara akan menetap di Indonesia untuk mempelajari seni dan budaya Indonesia.
 
Kementerian Luar Negeri RI pada tahun 2013 kembali memberikan Beasiswa Seni dan Budaya Indonesia (Indonesian Arts and Culture Scholarship/IACS). Beasiswa tersebut merupakan salah satu bentuk soft-power diplomacy yang dilakukan oleh Pemerintah RI dalam menciptakan citra positif Indonesia di kalangan masyarakat internasional yang dilakukan oleh Kemlu RI melalui pendekatan people-to-people contact, jelas Plh. Direktur Diplomasi Publik Kementerian Luar negeri RI, Diah W. M. Rubianto.
 
Untuk Beasiswa Seni dan Budaya Indonesia (BSBI) tahun 2013, Kemlu RI akan mengadakan dua program yakni BSBI Reguler dan BSBI Kekhususan yang diselenggarakan mulai akhir Mei hingga awal September 2013. BSBI Reguler merupakan program beasiswa yang akan diberikan kepada 60 pemuda warga negara asing dari sejumlah negara untuk mempelajari seni pertunjukan tradisional Indonesia. “Peserta BSBI akan belajar seni tradisional Indonesia di salah satu sanggar seni di Bandung, Solo, Surabaya, Bali, dan Makassar. Disamping belajar kesenian, para peserta juga akan diperkenalkan dengan kehidupan bermasyarakat di Indonesia termasuk local wisdom masyarakat setempat,” lanjut Diah.
 
Program BSBI Kekhususan merupakan sebuah tailor-made program yang diberikan kepada sepuluh pemuda asing yang memiliki garis keturunan darah Indonesia. Pada 2013, program BSBI Kekhususan bertemakanIndonesian Studies for Indonesian Diaspora. Para peserta BSBI Kekhususan akan mempelajari Bahasa Indonesia serta mengenal perkembangan ekonomi dan sosial politik di Indonesia, termasuk mengenai kerukunan umat beragama, pemberantasan korupsi, pengembangan demokrasi serta penegakan hak asasi manusia di Indonesia. “Rencananya BSBI Kekhususan akan diselenggarakan bekerjasama dengan salah satu universitas di Yogyakarta,” ujar Diah.
 
Sebagai acara puncak sekaligus penutupan program BSBI 2013, seluruh peserta BSBI rencananya akan mempresentasikan pengetahuan serta keahlian yang telah mereka pelajari selama mengikuti program BSBI dalam sebuah pagelaran seni akbar bertajuk ‘Indonesian Channel’ yang akan diselenggarakan bekerjasama dengan Pemerintah Kota Surabaya pada tanggal 7 September 2013 di Surabaya.
 
BSBI telah diberikan setiap tahun oleh Pemerintah Indonesia sejak tahun 2003, dan hingga tahun 2012 telah diikuti oleh 449 peserta dari 47 negara. “Seluruh warga negara asing yang pernah mengikuti program BSBI di Indonesia telah menjadi ‘friend of Indonesia’ yang hingga kini terus aktif membantu Perwakilan RI mempromosikan seni dan budaya Indonesia di masing-masing negara asal peserta. Bagi mahasiswa indonesia yang berminat dapat melamar dan mengunduh aplikasinya di website kemlu www.kemlu.go.id," ungkap Diah menutup penjelasannya. (sumber: Dit. Diplomasi Publik Kementerian Luar Negeri RI)


Monday, February 25, 2013

Indonesian Night Fair Fesstival 2013, Holland

Pendaftaran Stand Cafe Pasar Malam Indonesia 2013



1. Panitia Pasar Malam Indonesia (PMI) 2013 untuk pertama kalinya membuka kesempatan kepada para pengusaha restoran makanan dan minuman yang berada di seluruh wilayah BeIanda untuk ikut berpartisipasi mempromosikan kuliner minuman pada Pasar Malam Indonesia 2013.
2. Jumlah area stand Cafe PMI yang ditawarkan Panitia sebanyak 3 area stand, dengan ukuran 9 x 3 m2, hak penjualan minuman secara penuh (minuman ringan dan minuman panas bukan yang beralkohol) berlokasi di area foodcourt Pasar Malam Indonesia. Harga penawaran dibuka mulai dari € 8000,- (tidak termasuk pajak).
3. Fasilitas yang diberikan antara lain berupa:
  » Listrik 3 x 220V sampai dengan kapasitas max 9000 watt
  » Sampah, air dan tempat cuci di dapur umum
  » Area makan bersama dengan kapasitas 432 tempat duduk
  » 12 GRATIS tanda masuk untuk petugas
  » 75 GRATIS tiket untuk dibagikan kepada relasi
4. Pelaksanaan Pasar Malam Indonesia kali ini akan berlangsung pada tanggal 20 - 24 Maret 2013 mulai pukul 10.00 s/d 22.00 di lapangan Malieveld Den Haag. Prospek pengunjung diperkirakan lebih dari 30.000 orang.
5. Pendaftaran mulai dibuka dari tanggal 25 Pebruari 2013 pukul 16.00 dan ditutup pada tanggal 7 Maret 2013 pukul 17.00.
6. Setiap pendaftar dilarang menggunakan beberapa nama. Pelanggaran terhadap hal ini akan di-diskualifikasikan.
7. Panitia PMI 2013 akan menayangkan nama pemenang dan seluruh daftar restaurant yang memasukan formulir serta diumumkan melalui website Pasar Malam Indonesia
2013 (www.pasarmalam.indonesia.nl) pada tanggal 8 Maret 2013 pukul10.00.
8. Formulir pendaftaran dapat dikirimkan kepada :
    Eurabindo, Osloweg 8, 2548 VJ Den Haag, info@eurabindo.nl fax +31 70 2620028.
    Silahkan untuk mendownload formulir ini
  Dit formulier volledig ingevuld, getekend opsturen, e-mailen of fax naar:
  Eurabindo, Osloweg 8, 2548 VJ Den Haag- info@eurabindo.nl - Fax. +31 070 2620028

Saturday, February 23, 2013

Angklung: Indonesian's Melodic Bamboo

The Angklung is a musical instrument made of two bamboo tubes attached to a bamboo frame. The tubes are carved to have a resonant pitch when struck and are tuned to octaves. The base of the frame is held in one hand, whilst the other hand strikes the instrument. This causes a repeating note to sound. Each of three or more performers in an angklung ensemble play just one note or more, but altogether complete melodies are produced. The Angklung is popular throughout Southeast Asia, but it originated in today's Indonesia and has been played by the Sundanese for many centuries.

The word "angklung" was originated from Sundanese "angkleung-angkleungan", that means the movement of angklung player and the sound "klung" that comes from the instrument.[1]
Another theory suggested that the word "angklung" was formed from two Balinese words - angka and lung. Angka means "tone", and lung means "broken" or "lost". Angklung thus means an "incomplete tone"

According to Dr.Groneman, angklung had already been a favorite musical instrument of the entire archipelago even before the Hindu era. According to Jaap Kunst in Music in Java, besides West Java, angklung also exists in South Sumatra and Kalimantan. Lampung, East Java and Central Java are also familiar with the instrument.[1]
In the Hindu period and the time of the Kingdom of Sunda, the angklung played an important role in ceremonies. The angklung was played to honor Dewi Sri, the goddess of fertility, so she would bless their land and lives.[2] The angklung also signaled the time for prayers, and was said to have been played since the 7th century in Kingdom of Sunda. In the Kingdom of Sunda, it provided martial music during the Battle of Bubat, as told in the Kidung Sunda.
The oldest surviving angklung is 400 years old Angklung Gubrag. It was made in the 17th century in Jasinga, Bogor. Other antique angklung are stored in the Sri Baduga Museum, Bandung. The oldest angklung tradition is called "Angklung Buhun" (Sundanese: "Ancient Angklung") from Lebak Regency, Banten  Angklung buhun is an ancient type of angklung played by Baduy people of inland Banten province during Seren Taun harvest ceremony.

In 1938, Daeng Soetigna, from Bandung, created an angklung that is based on the diatonic scale instead of the traditional pélog or sléndro scales. Since then, the angklung has returned to popularity and is used for education and entertainment, and may even accompany western instruments in an orchestra. One of the first performances of angklung in an orchestra was in 1955 during the Bandung Conference. In 1966 Udjo Ngalagena, a student of Daeng Soetigna, opened his "Saung Angklung" (House of Angklung) as a centre for its preservation and development.
UNESCO designated the angklung a Masterpiece of Oral and Intangible Heritage of Humanity on November 18, 2010.


Friday, February 15, 2013

History of Jaipong Dance: West Java Popular Traditional Dance

The Jaipong or Jaipongan an is a genre of dance that was born from the creativity of an artist from Bandung, Gugum Gumbira. His attention to folk art that one of them is making Tilu (Tilu means Three) Tap right to know and recognize motion patterns perbendaharan dance traditions that existed at Kliningan / Bajidoran or Tap Tilu. Opening gestures, pencugan, nibakeun and several kinds of motion of several arts mincid above have enough inspiration to develop the dance or the arts that is now known by the name Jaipongan.
Prior to this performing art forms emerged, there was some influence behind the dance form this association. In West Java, for example, is the influence of social dance Ball Room, which is usually in a dance-dance association could not be separated from existence and pamogoran ronggeng. Ronggeng in social dance is no longer functioning for ceremonial events, but for entertainment or a way of hanging out. Ronggeng existence in the performing arts attraction that invites sympathy for the pamogoran. For example on Tilu Tap dance is so well known by the Sundanese people, it is estimated this art popular around the year 1916. As the folk performing arts, this art is only supported by simple elements, such as waditra that includes fiddle, drums, two kulanter, three percussion, and gongs. Similarly tarinya motions that do not have a standard pattern of motion, simple costumes dancer as a reflection of democracy.



Along with the waning of the above art forms, the former pamogoran (audience who actively participate in the performing arts Tap Tilu / Doger / Tayub) switched his attention on the performing arts Kliningan, which in the North Coast region of West Java (Karawang, Bekasi, Purwakarta, Indramayu, and Subang ) known as Kliningan Bajidoran tarinya patterns or events that the show has some similarities with the previous art (Tap Tilu / Doger / Tayub). In the meantime, the existence of mask dances in Banjet quite popular, particularly in Donegal, where several motion patterns Bajidoran taken from the dance in this Banjet Mask. In koreografis dance is still reveals patterns tradition (Tap Tilu) which contain elements of the opening gestures, pencugan, and several kinds of motion nibakeun mincid which in turn become the basis Jaipongan dance creation. Some basic motions other than Tap dance Jaipongan Tilu, Ibing Bajidor and Mask Banjet is Tayuban and Pencak Silat.



The emergence of dance works Gumbira Gugum initially called Tap Tilu developments, which are due to basic dance was developed from Tilu Tap. The first work Gugum Gumbira still very thick with color ibing Tilu Tap, both in terms of choreography and iringannya, who later became a popular dance called Jaipongan.
Jaipongan works first began to be known by the public is dance "Leaves Pulus Keser Bojong" and "Rendeng Bojong" both of which are types of dance and dance partner's daughter (son and daughter). From it emerged a few dance dancer Jaipongan a reliable name like Tati Saleh, Yeti Mamat, Eli Somali, and Pepen Dedi Kurniadi. Early emergence of these dances could be discussion, the central issue is the erotic and vulgar movements. But from the few print media exposure, starting Gumbira Gugum known to the public, especially after the dance Jaipongan in 1980 staged at the central station TVRI Jakarta. The impact of the popularity of the more increase the frequency of performances, either on television, the celebration and feasts were held by the private sector and government.

Attendance Jaipongan substantial contribution to the activist art of dance for more active types of folk dances that explore previously less attention. With the emergence of dance Jaipongan, used by activists to hold a dance art dance classes Jaipongan, also used by employers as pubs, night-killer invited guests, where the further development of this kind of business opportunities created by actuators business of dance as an economic empowerment Dance Studio's name or groups in some areas of West Java, for example in Subang with Jaipongan style "kaleran" (north).

Jaipongan characteristic style kaleran, namely the fun, erotic, humorous, excitement, spontaneity, and simplicity (naturally, whatever they are). This is reflected in the pattern of presentation of dance on the show, there is a given pattern (Pattern Ibing) as in art Jaipongan in Bandung, also there are also dances that are not cut is (Ibing Saka), for example in art Jaipongan Subang and Karawang. This term can be found in Jaipongan kaleran style, especially in the area of Subang. In its presentation, this kaleran Jaipongan style, as follows: 1) Tatalu; 2) Flower Bluebird; 3) Fruit kawung Gopar; 4) Dance Opening (Ibing Pattern), usually sung by a single dancer or Sinden Tatandakan (sinden attack but can not sing but dance songs sinden / interpreter kawih) 5) Jeblokan and Jabanan, when the show is part of the audience (bajidor) sawer money (jabanan) while greeting stickers. Jeblokan term is defined as couples who settled between sinden and the audience (bajidor).

A further development occurred in taahun dance Jaipongan 1980-1990's, where Gugum Gumbira create other dances such as Toka-toka, Setra Sari, Sonteng, Pencug, Egret dazed, convoy, procession Codiaeum variegatum Leaves, Rawayan, and Dance kawung Anten. From these dances appeared several dancers Jaipongan reliable among others Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepy, Agah, Aa Suryabrata, and Asep.

This adult dance Jaipongan quotable as one identity keseniaan West Java, this is apparent on several important events relating to visitors from foreign countries who came to West Java, it was greeted with a dance performance Jaipongan. Similarly, art missions to foreign countries, always equipped with Jaipongan dance. Dance Jaipongan many other art-influenced art in the West Java communities, both in the performing arts, puppets, gamelan, Genjring / flying, Kacapi jaipongan, and almost all public performances as well as on modern dangdut music which is collaborated with the art Jaipong Pong-Dut. Jaipongan has created by Mr. Nur & Leni

Reference: Ganjar Kurnia. 2003. Description of the West Javanese art. Department of Culture & Tourism in West Java, Bandung.

Tuesday, February 12, 2013

Bali Spirit Dance Festival

Bali is a province in the country of Indonesia. The province covers a few small neighbouring islands as well as the isle of Bali. The main island is located in the westernmost end of the Lesser Sunda Islands, lying between Java to the west and Lombok to the east. It is one of the country's 34 provinces with the provincial capital at Denpasar towards the south of the island.
With a population recorded as 3,891,428 in the 2010 census, and currently 4.22 million, the island is home to most of Indonesia's Hindu minority. In the 2000 census about 92.29% of Bali's population adhered to Balinese Hinduism while most of the remainder follow Islam. It is also the largest tourist destination in the country and is renowned for its highly developed arts, including traditional and modern dance, sculpture, painting, leather, metalworking, and music. A tourist haven for decades, Bali has seen a further surge in tourist numbers in recent years.

Culture
Creamation in Ubud
Bali is renowned for its diverse and sophisticated art forms, such as painting, sculpture, woodcarving, handcrafts, and performing arts. Balinese percussion orchestra music, known as gamelan, is highly developed and varied. Balinese performing arts often portray stories from Hindu epics such as the Ramayana but with heavy Balinese influence. Famous Balinese dances include pendet, legong, baris, topeng, barong, gong keybar, and kecak (the monkey dance). Bali boasts one of the most diverse and innovative performing arts cultures in the world, with paid performances at thousands of temple festivals, private ceremonies, or public shows.
The Hindu New Year, Nyepi, is celebrated in the spring by a day of silence. On this day everyone stays at home and tourists are encouraged to remain in their hotels. On the day before New Year, large and colourful sculptures of ogoh-ogoh monsters are paraded and finally burned in the evening to drive away evil spirits. Other festivals throughout the year are specified by the Balinese pawukon calendrical system.

Celebrations are held for many occasions such as a tooth-filing (coming-of-age ritual), cremation or odalan (temple festival). One of the most important concepts that Balinese ceremonies have in common is that of désa kala patra, which refers to how ritual performances must be appropriate in both the specific and general social context. Many of the ceremonial art forms such as wayang kulit and topeng are highly improvisatory, providing flexibility for the performer to adapt the performance to the current situation.Many celebrations call for a loud, boisterous atmosphere with lots of activity and the resulting aesthetic, ramé, is distinctively Balinese. Often two or more gamelan ensembles will be performing well within earshot, and sometimes compete with each other in order to be heard. Likewise, the audience members talk amongst themselves, get up and walk around, or even cheer on the performance, which adds to the many layers of activity and the liveliness typical of ramé.
Kaja and kelod are the Balinese equivalents of North and South, which refer to ones orientation between the island’s largest mountain Gunung Agung (kaja), and the sea (kelod). In addition to spatial orientation, kaja and kelod have the connotation of good and evil; gods and ancestors are believed to live on the mountain whereas demons live in the sea. Buildings such as temples and residential homes are spatially oriented by having the most sacred spaces closest to the mountain and the unclean places nearest to the sea.

Most temples have an inner courtyard and an outer courtyard which are arranged with the inner courtyard furthest kaja. These spaces serve as performance venues since most Balinese rituals are accompanied by any combination of music, dance and drama. The performances that take place in the inner courtyard are classified as wali, the most sacred rituals which are offerings exclusively for the gods, while the outer courtyard is where bebali ceremonies are held, which are intended for gods and people. Lastly, performances meant solely for the entertainment of humans take place outside the walls of the temple and are called bali-balihan. This three-tiered system of classification was standardized in 1971 by a committee of Balinese officials and artists in order to better protect the sanctity of the oldest and most sacred Balinese rituals from being performed for a paying audience.

Tourism, Bali’s chief industry, has provided the island with a foreign audience that is eager to pay for entertainment, thus creating new performance opportunities and more demand for performers. The impact of tourism is controversial since before it became integrated into the economy, the Balinese performing arts did not exist as a capitalist venture, and were not performed for entertainment outside of their respective ritual context. Since the 1930s sacred rituals such as the barong dance have been performed both in their original contexts, as well as exclusively for paying tourists. This has led to new versions of many of these performances which have developed according to the preferences of foreign audiences; some villages have a barong mask specifically for non-ritual performances as well as an older mask which is only used for sacred performances.
Balinese society continues to revolve around each family's ancestral village, to which the cycle of life and religion is closely tied. Coercive aspects of traditional society, such as customary law sanctions imposed by traditional authorities such as village councils (including "kasepekang", or shunning) have risen in importance as a consequence of the democratization and decentralization of Indonesia since 1998.

The Bali Spirit Festival is a spiritually charged event that celebrates the synergy of global cultural collaboration through wellness and the arts, with a passionate and enthusiastic global audience. In addition to providing an inspiring space for personal transformation and sacred celebration, the Festival emphasizes giving back to the local community through creative, educational, and environmental outreach initiatives.

  Entering its sixth year, and attracting top yoga and dance instructors, healers, musicians and several thousand guests over five days and four nights, the event is set in two spectacular venues in Ubud: Bali's cultural and arts capital. The high quality and diversity of daytime workshops, world music concerts, holistic healing sessions, and eco-friendly vendors combine to create this one-of-a-kind event in Asia.

The radius of BaliSpirit extends much farther than just 5 days! See the details below:

  • Tuesday March 12, 2013 – Nyepi Celebration
  • Sunday March 17th – Pre Festival YogaThon at Desa Seni, Canggu/Kerobokan (Beachside Bali)
  • Monday March 18th – Pre-Festival Launch Party in Ubud
  • Tuesday March 20th – Official Opening Reception and Ticketed Opening Night Concert ke Wednesday March 20th – Official Opening Reception (invitation only) and Opening Night Concert (public)
  • March 20-24th – FESTIVAL!!
  • March 25th through April 6th – Post Festival events/retreats/concerts all over the island

 

Sunday, February 3, 2013

Pasar Malam Indonesia

The Embassy of the Republic of Indonesia in The Hague will hold Pasar Malam Indonesia 2013 at Malieveld, Den Haag on 20 -  24 March 2013. For further information, Secretariat Team can be reached at +31 (070)3108 146 / 147 email: pasarmalam2013@indonesia.nl or go to Pasar Malam's site click here!





 Pasar Malam Indonesian: Cultural Session