Indonesian is multicultural country

Indonesia There are more than 700 living languages spoken in Indonesia[63] and although predominantly Muslim the country also has large Christian and Hindu populations. Indonesia's national motto, "Bhinneka tunggal ika" ("Unity in Diversity" lit. "many, yet one"), articulates the diversity that shapes the country. Due to

migration within Indonesia (as part of government transmigration programs or otherwise), there are significant populations of ethnic groups who reside outside of their traditional regions. Soon after the fourth Indonesian President, Abdurrahman Wahid came into power in 1999, he quickly abolished some of the discriminatory laws in efforts to improve race relationships. Chinese Indonesians are now in the era of rediscovery. Many younger generations, who cannot speak Mandarin due to the ban decades earlier, choose to learn Mandarin, as many learning centers open throughout the country. The Ambon, Maluku was the site of some of the worst violence between Christian and Muslim groups that gripped the Maluku Islands between 1999 and 2002.

Kopiah So Indonesian Identity

Indonesian pilgrims identity seems not only uniform and a badge, but also cap. Hat was very distinctive headgear Indonesia. Black cap also becomes the identity of the man Indonesian pilgrims. No wonder the pilgrims from other countries are also easy to recognize Indonesian pilgrims.


Media Centre Haji Ministry of Religious Affairs in Jakarta, Tuesday (18/11),

mentions, a number of pilgrims from other countries recognize if Indonesian pilgrims are easily recognized through the cap will apply.
"I have one room with the people of Indonesia, he brought cap, so I know if he's from Indonesia," said the officer from Mala ysia Hajj Ali in Medina.
What is disclosed Ali also shared by pilgrims from Thailand Ghazali Abd. "I know many friends of Indonesia, and they generally use the cap," he said.
In fact, Ghazali who also have the guidance of the pilgrimage in the country that claimed to get a souvenir cap from a friend from Indonesia. "I still keep that cap, though I also often use it for prayer, including the Medina and Mecca," he said.
Turkish pilgrims are often greeted pilgrims Indonesia with a view kopiahnya. They often greet pilgrims Indones it with the phrase, "Indonesia?", Pointing to a cap that is used which addressed the congregation.
According Mawardi pilgrims from Jakarta, he was impressed with the Turkish pilgrims who discipline in using the uniform color of light brown suits. "Ja maah Turkish pilgrims were seen a lot, because they wear a uniform discipline, while Indonesia is only 2-3 days, pilgrims have come while wearing a uniform the first time, so the numbers still seem a little," he said.
However, these conditions were helped out of habit Indonesian pilgrims wearing cap, so that could be used as identity.

Angklung, Traditional Music

Angklung is a musical instrument multitonal (dual pitched), which is traditionally grown in the Sundanese-speaking community in the western part of Java Island. This musical instrument made of bamboo, sounded shaken by (the sound caused by the clash of bodies bamboo pipes) so as to produce a sound that vibrates in the arrangement of tones 2, 3, and 4 tones in every size, large or small. Barrel (tone) musical instrument Angklung as Sundanese traditional music is mostly salendro and pelog.

Angklung is listed as Masterpieces of Oral Heritage and Human Nonbendawi of UNESCO since November 2010.

Beginning

There is no indication since when angklung used, but the alleged primitive forms have been used in Neolithic culture that flourished in the archipelago until the beginning of the modern calendar, so angklung is part of the relics of pre-culture of Hinduism in the archipelago.

Notes on the emerging angklung refers to the Kingdom of Sunda (the 12th century until the 16th century). The origin of the creation of bamboo music, such as angklung based view of the agrarian life of Sundanese people with a source of life of paddy (pare) as a staple food. This gave rise to the myth of trust in Nyai Sri Pohaci as a symbol of Goddess of Rice giver of life (breathe-Hurip). Bedouin society, regarded as the remnants of native Sundanese people, applying the angklung as part of the ritual began planting rice. Games angklung gubrag in Jasinga, Bogor, is one that is still alive since more than 400 years ago. Appearance originated from rice rites. Angklung created and played to lure Dewi Sri down to earth for the people of the rice plant thrives.

This type of bamboo used as a musical instrument is the black bamboo (AWI wulung) and white bamboo (AWI friends). Each tone (barrel) is produced from the sound of tube-shaped bamboo bar (wilahan) every segment of bamboo from small to large.

Known by the Sundanese community since the time of the Sunda kingdom, of which as penggugah spirit in battle. Angklung function as pumping continues to feel the spirit of the people still come to the colonial period, that's why the Dutch East Indies government had banned the use angklung, the ban could make angklung popularity declined and only played by children at that time. [Citation needed]

Furthermore, the songs offerings to Dewi Sri is accompanied by the sound of percussion accompaniment made from bamboo poles that simple packed structures which then was born the bamboo musical instrument we know today named angklung. Similarly, when the harvest festival dedicated to the game and seren taun angklung. Especially at the presentation ceremony Angklung related to rice, it becomes a performance art that are the parade or helaran, even in some places into the convoy Rengkong and Dongdang and Jampana (stretcher food) and so forth.

In its development, angklung grow and spread all over Java, then to Kalimantan and Sumatra. In 1908 recorded a cultural mission from Indonesia to Thailand, among others, marked the transfer angklung and bamboo music of this game also had spread there.

In fact, since 1966, Udjo Ngalagena angklung figures who developed the technique based on barrel-barrel game pelog, salendro, and madenda-start teaching how to play angklung to many people from various communities.

Empu Djeno Harumbrodjo the Master of Kris in Java

The expert and kris's fans admitted that there's only one empu who has great creation in Java: Empu Djeno Harumbrodjo. He lived in the Gratak village, Sleman regency, (15 km westward of Yogyakarta, Indonesia. He is a descendant fifteen in a master of kris in Java; empu Supo in Majapahit era (13th century).

Empu Djeno Harumbrodjo had tried to preserve traditional kris and high art. Actually, in his youth, empu Djeno Harumbrodjo didnt continue his father empu Supowinangun to make kris. Empu Supowinangun was a kris maker who lived in Ngento-ento Sumberagung, Moyudan, Sleman. Empu Djeno Harumbrodjo dreamt twice about his father. His father whispered him to make kris, but empu Djeno Harumbrodjo ignored. But at the third time he finally followed.

Making a classical kris took a long time and high concentration while 'nglakoni' (doing) mutih and fasting. First step to make kris ; kris must be heated, forged, folded up to hundreds time. This process took 50 bags ofcharcoal from teak wood, 12 kg metal, 0,5 kg steel and pamor 100 gram. But the weight of kris as a product only 1 kg.

Day by day without sleep, without eating, empu Djeno Harumbrojo accompanied by klembak aroma and completed with the color of offering. Those were one of ritual preparation must to do to make a traditional kris. Empu Djeno Harumbrodjo has to intervene directly because all steps needed precision, if not, pamor will be gone.

In 1970, accompanied by his brothers, Yoso Pangarso and Genyadiharjo, empu Djeno Harumbrodjo started to realize his passion and desire to preserve ancestral culture in Jitar, Sumberagung, Moyudan, Sleman, Yogyakarta. They started to make a kris by try and error because his father didn't teach the technique how to make a kris.

And then, in 1977, empu Djeno Harumbrodjo moved to Gatak, Sumberagung, Moyudan, Sleman, Yogyakarta. In this place he built besalen and made tools himself, which it still there in the back of his house. And now, that house is occupied by his son, empu Sungkowo Harumbrodjo who continues his father to make kris.

The shape kris of empu Djeno Harumbrodjo took Mataram pattern but slimmer, simple but looks strong. Tangguh he made more alike kris tangguh Majapahit. He known many technique how to make pamor (demescene). Empu Djeno Harumbrodjo has created kind of krises through his hands. Those are Jalak, Jangkuna, Pendowo, Luk, Penimbal Luk Songo, Sabuk Inten Luk Sewelas, and Parung Sari Luk Telulas.

Dozens of magical krises has created by empu Djeno Harumbrodjo. His masterpice spreaded in the world. It's not surprised, tourist adored his work. A kris could be valued about ten millions or $ 1,000. But there are some certain conditions to possesse a kris. There is kris for farmer, for young man, for king relative, and a king. According to empu Djeno Harumbrodjo, a king could possesse all krises.

After empu Djeno Harumbrodjo successful made a kris, his name became famous in the world after he visited by Dietrich Drescher, a captain from Germany. Dietrich Drescher had been waited empu until he finished his kris.

Beauty, perfection of work and determination to make kris was a good point of empu Djeno Harumbrojo. He accepted order from court palace Sri Sultan Hamengkubuwono X, kris Dapur Jangkung Mangkunegoro with pamor Udan Mas, from some ministers, from customer oversea : Dutch, Japan, Germany, USA, Switzerland, England and others. Beside making traditional krises, empu Djeno Harumbrodjo also make souvenir of kris and it take short time to make.

In his life, empu Djeno Harumbrodjo followed many exhibitions in Sumberagung, 1977, Gajah Mada University, 1980, Institut Teknologi Bandung, 1999. And he also active followed exibition in Yogyakarta court palace during 1984 - 1988. Besides that, empu Djeno Harumbrodjo gave skil courses how to make kris for young generation in his house. He passed away in 2006 May 25nd, two days before earthquake in Yogyakarta and since that time, his skill derived to his son empu sungkowo harumbrodjo.

source : shvoong.com

Beauty of Batik Pekalongan

It's very long batik art developed in nearly all the world, to the extent that the land of China there is a museum whose contents of a collection of batik art ancestral heritage in almost all over the world. 

Batik in Pekalongan have long known to the public as the archipelago from the traditional to the use of modern equipment. but did you know that batik in Pekalongan batik art is different from all that is in the archipelago and also in foreign countries? 

Yes ... answer because the ancestors have bequeathed Pekalongan batik art is not like in general but with a special ritual to create works of art that has become a trend in Indonesia was also in overseas.

the origin of puppets

PUPPET one of the nation's top arts and culture of Indonesia's most prominent among the many works of other cultures. Culture puppets include acting, singing, music, speech arts, literary arts, painting, sculpture, and art is also symbolic. Culture of puppets, which continues to grow over time, also a lighting media, propaganda, education, entertainment, philosophical understanding, and entertainment. 

According to the research of historians of culture, culture is a culture of wayang native to Indonesia, particularly in Java. The existence of puppets was many centuries before the Hindus go to the island of Java. Although a popular puppet story in today's society is an adaptation of the works of Indian literature, the Ramayana and the Mahabharata. Both the main story in the puppet undergone many changes and additions to adapt them to the original philosophy of Indonesia. 

Adjustment of the concept of this philosophy is also about the philosophical position of the Javanese people against the gods in the puppet. The gods in the puppet is no longer something that is free from wrong, but like any other God's creatures, sometimes acting wrong, and could be a blunder. The presence of puppet characters dalam_ panakawan deliberately created the culture In Indonesia (Javanese cultural exact) to strengthen the concept of her philosophy that the world is not a creature was really good, and that is really bad. Each creature is always bearing the elements of good and evil. 

In his dissertation titled Bijdrage tot de Kennis van het Javaansche Tooneel (1897), the Dutch cultural historian Dr. GA.J. Hazeau indicated his belief that the puppet is the original performance of Java. Understanding puppet in the dissertation Dr. Hazeau it is walulang inukir (a carved leather) and seen his shadow on the screen. Thus, the puppet in question certainly is a shadow play as we know it today. 

Origin 

Regarding the origins of this puppet, in the world there are two opinions. First, the notion that puppets 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 was 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 quite strong. Among other things, that the art of puppet is still very closely related to sociocultural and religious state of the Indonesian people, especially the Javanese. Panakawan, the most important figures in a puppet, that Semar, Gareng, Petruk, Bagong, there are only puppets in Indonesia, and not in other countries. In addition, names and technical terms puppet shows, it all comes from the Javanese (Kuna), and no other language. 

Meanwhile, a second opinion suspected puppets from India, which brought together with the Hindu religion to Indonesia. They include Pischel, Hidding, Krom, Poensen, Goslings, and Rassers. Most of this second group is the British scholar, the European country which had colonized India. 

However, since the 1950s, his books puppet as if he had agreed that the puppet is derived from Java, and in no way be imported from other countries. 

Culture puppet estimated it was born in Indo nesia at least during the reign of King Airlangga, king Kahuripan (976 -1012), when the kingdom in East Java that was prosperous, his prosperous. Literary works the subject of puppet stories have been written by the poets of Indonesia, since the X century Among other things, the script-language literature Kakawin Book of Old Javanese Ramayana written during the reign of King Dyah Balitung (989-910), which is a spin-off from the Book of the Ramayana written by poet In him, Valmiki. Furthermore, the Javanese poet no longer just translating the Ramayana and the Mahabharata into Old Javanese language, but compose and retelling by entering into this philosophy of Java. For example, the professor's work Kanwa Arjunawiwaha Kakawin, which is composed of berinduk on the Book of Mahabharata. Composed by other, more tangible difference derigan In her version of the original story, is Baratayuda Kakawin work professor and professor Sedah Panuluh. This great work done in the reign of King Jayabaya, king of Kediri (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 that 'and` aringgit' which means a puppet show. 

About the birth culture of puppets, Ir. Sri Mulyono in his book The symbolism and mysticism in the Puppet (1979), estimate the puppet has existed since the time of neolithikum, ie about 1,500 years before Christ. His opinion was based on the writings Robert von Heine-Geldern Ph. D, Prehis toric Research in the Netherlands Indies (1945) and Prof. writing. K.A.H. Hidding in Encyclopedia of Indo worth 987 pages. 

The word `puppet 'probably derived from the word` wewa shadow', which means shadow. This conjecture is consistent with the fact the Wayang Kulit performances are using a screen, a piece of cloth, as a barrier between the puppeteer who plays the puppet, and the audience behind the curtain. Viewers only saw movement through the shadow-puppet motion that falls on screen. At that time puppet performances 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 was allegedly not yet exist. 

For more menjawakan puppet culture, since the early days of the Majapahit Kingdom introduced another puppet story that does not berinduk on the Book of the Ramayana and Mahabharata. Since then the Panji stories, ie stories about the ancestors of the kings of Majapahit, was introduced as one form of another puppet. Panji stories are then more widely used for Wayang Beber performances. Tradition menjawakan puppet story also forwarded by some Islamic clerics, among them by the Wali Sanga. They began mewayangkan story of the kings of Majapahit, among them the story Damarwulan. 

The entry of Islam into Indonesia since the 15th century also gave a big influence on the culture of puppets, especially on the concept of philosophy of religion that puppet. At the beginning of the 15th century, namely the time of the Kingdom of Demak, began to use specially-shaped oil lamp called blencong on Wayang Kulit performance. 

Since the days Kartasura, composing a story that berinduk puppet in Ramayana and Mahabharata increasingly distant from the original. Since the time that people know the genealogy enthusiasts puppet puppet characters, including gods figure, which originated from the Prophet Adam. Sisilah it continues to arrive at the kings of Java. And then, began to be known also a puppet stories grip. that follow the standard story, and story lines beyond puppet carangan standard. In addition, there was more drama called splinter, which was too far out of the story grip. 

Indeed, because so strong puppet art is rooted in the culture of Indonesia, so there was some confusion between the wayang stories, legends, and history. If the Indians think that the story of Mahabharata and Ramayana actually happened in his country, regarded Javanese wayang story actually happened on the island of Java. 

And in the Kulonprogo own puppet still very interested by all circles. Not just by parents only, but also teenagers and even young children have also been unusual to see puppet show. Besides, puppet also commonly in use in certain events in the area this Kulonprogo, both in urban areas or in areas remote Wates in Kulonprogo