Indonesian tourist circuit

Moluccan Wildlife

admin — Thu, 25 Feb 2010 07:03:29 +0000

As one might expect of an island region, where dispersal required the ability to fly or swim, the wildlife of the Moluccas is marked by a scarcity of land mammals and a profusion of birds, insects and fish. The animal world can be characterized as having an impoverished Asian fauna, supplemented by scattered Moluccan endemics [...]

Mixed Moluccan Species

admin — Mon, 22 Feb 2010 06:58:39 +0000

The plants and mammals of the Moluccas are much like those present on Hollywood tropical islands. Overhead are exotic clove and nutmeg trees, coconut palms, bananas, and trees sprouting strange and fragrant tropical fruits. A great variety of birds – pigeons, sunbirds, lories, cockatoos, and kingfishers – fly and screech overhead. Jus offshore, the coral-filled [...]

Moluccas, Islands of Coral and Islands of Fire

admin — Thu, 21 Jan 2010 06:37:56 +0000

Molucca’s thousand-odd islands (one count claims 999; another 1029) estend across an area of some 851000 square kilometers, only 10 percent of which is land. Geologically, biologically and culturally, these islands form a fascinating zone of transition between the Sunda Islands to the west and the Sahul zone in the east. In geological terms, the Molucca [...]

Molucca At A Glance

admin — Mon, 18 Jan 2010 06:27:10 +0000

The Moluccan archipelago, a thousand-odd islands in a vast expanse of blue, lies well beyond Bali and the usual Indonesian tourist circuit. Some of the islands are volcanic, and dressed in luxuriant vegetation. Others are coral atolls, lined with swaying palms. But there are all beautiful. And they are blessed with some of the finest [...]

How was the Prambanan Chandi formed?

admin — Thu, 17 Dec 2009 08:57:15 +0000

Everyone who journeyings to the Middle Java sooner or later visits the Prambanan Chandi and the Borobudur Chandi. And they may think how the Prambanan Chandi was formed. Long years ago these questions and the answers to them became the myths and legends of the people of Middle Java, told and retold down to the present day. The story goes. Roro Jonggrang was the daughter of King Baka, who reigned over the ancient Javanese kingdom of Prambanan. King Baka was a barbarous, knock-down king who reigned by sheer terror, and for a long time none dared challenge him-but at last, in a fierce battle, he was killed by the King of Pengging Kingdom. This victory was due to the King’s 1st minister Bandawasa, who fought with a weapon possessing supernatural powers. Bandawasa had named his magic weapon called Bandung, and for this reason he himself was known as Bandung Bandawasa. Upon the defeat of King Baka, the King of Pengging Kingdom established Bandung Bandawasa in the palace at Prambanan. Shortly after his arrival, Bandung Bandawasa expressed his desire to take to wife the Princess Roro Jonggrang, the daughter of his victim. Now Roro Jonggrang had no desire whatsoever to marry the murderer of her own father, but she had little choice in the matter. She and the Patih talked over the problem at great length. If the Princess rejected Bandung Bandawasa’s marriage offer, there was no foreknowing what dire results might follow; if she accepted, it would break off her heart. Finally, the Patih made a wise suggestion: the Princess had better accept the marriage offer, but on conditions that Bandung Bandawasa could not possibly fulfill. The conditions were these: Bandawasa was to build a thousand temples, and additionally, two deep wells, and the work was to be completed in one nighttime. When Bandung Bandawasa was told of the Princess’ requirements, he objected strongly to himself, but to the Princess he stated his readiness to do what she demanded of him. As luck would have it for Bandawasa, there were two persons he could call upon for help, both of whom possessed magic powers. One was his father, Damarmaya, who had at his performing superhuman tasks. The other was the mighty King of Pengging whom once he himself had helped in the defeat of King Baka. Both expressed their willingness to help Bandawasa complete the temples and the wells in the conditioned time. The date was fixed, and in the evening Damarmaya’s ground forces, with the followers of Bandung Bandawasa, began their giant construction job. Miraculously five hundred temples had already been completed by midnight. Roro Jonggrong had sent a representative to watch the progress of the work, and by four o’clock in the morning he saw nine hundred and ninety five temples already constructed, and two deep wells nearly completed. He returned to the palace with newsworthiness of this incredible progression, and the Princess and the Patih and the whole palace were filled with confusedness, knowing that if the Princess’ conditions were fulfilled, as it now appeared they'd be, the Princess would have to marry the man had murdered her father. What were they to do?. Over again, the Patih had an idea. Quickly he went to several nearby villages where he waked the young maidens and ordered them to fetch their rice pounders and begin pounding rice immediately. Around each rice-pounder he cautiously arranged fragrant flowers. With all their magic, the workmen still had to work frantically to complete the temples and wells in time, and they were so deeply engaged in their hammering and chiseling that they didn't even hear the 1st sounds of the pounding of rice. Then one of the men caught it; then another, and another, each one of them stopping for a moment to listen-and then, as the sound became clearer, all of them stopped, for the pounding of the rice as well as the fragrance of the flowers permeating the air about them were signs that dawn had broken and their work was over. At break of dawn Bandawasa was at the site to view the work of his men. With a joyous heart he gazed upon the tremendous assemblage of temples before him. He counted them himself-and to his great consternation discovered that there were nine hundred ninety nine temples! He soon learned the reason for the failure of his men to reach the goal, and in blazing anger he pronounced a curse on all young maidens in the neighbourhood of Prambanan. Roro Jonggrang herself he changed into a statue, and to this day she stands in the great inner hall of the largest of the temples, known as The Prambanan Chandi a.k.a. The Temple of Roro Jonggrang. And even though Bandung Bandawasa’s army came short of the thousand he had demanded of them, the whole group near the Temple of Roro Jonggrang is still called The Thousands Temples.[email_link]

Myth and Legend

admin — Mon, 14 Dec 2009 01:30:59 +0000

Travellers who venture to the Bali island sooner or later visit the lake of Batur at the foot of Mount Kintamani and climbs the stairs of the temple of Besakih for a panorama of Mt. Agung, the Bali’s holy mountain. Travellers who venture further may cross the Bali Strait to island of Madura, or take a ferryboat from island of Bali to the island of Lombok, where they may try to reach the summit of Mt. Rinjani, the Nusantara’s 2nd highest volcano. How was the lake of Batur formed, and how did the Bali Strait come into being? Where did Mt. Rinjani get its name? who watered the beautiful terrasse rice fields of Bali and builts its many temples? Long years ago these questions and the answers to them became the myths and legends of of the people of Bali and Lombok, told and retold down to the present day. Their fairytales and fables sound familiar to us, since folklores have always existed in many places, in many different versions. The characters are similar; only the names are different. The moral is the same too, expressed in a variety of ways. In the Balinese folklores we find the legendary giant Kbo Iwo and the wayward Manik Angkeran. We read how the Half-Child becomes whole again, and we find that the trickster Mhevrotain is in Balinese folklore too. Of course Gecko is there, and the holy man Nabi Ilir, and the Slippers of Buffaloskin. Orphan Child and his friends seem too, and Lo’Lombo the straight and Lo’Bengkok the crooked, all of them reflecting the attitudes, ideas, and humor of the people of Bali and Lombok.[email_link]

The Myth of The GAMELAN

admin — Thu, 12 Nov 2009 03:21:49 +0000

In the ancient text of the Serat Sastramiruda there is a myth telling of the development of the Slendro and Pelog Ghamelan, and although it's of course quite unscientific, it does convey the generally accepted view of Javanese society that the ghamelan is the gift of the gods to human being. The myth runs as follows: When the Bathara Guru (Shiva) came to earth in human form, he became a king with the name of Shri Padhuka Maharaja Dhewa Buddha and had his court in Medangkemulan. He built a beautiful new palace on Mahendra mountain, now called Mount Lawu. Every day in the palace his courtiers played on the so-called Ghamelan Lokananta which consists of a small cymbal, large cymbals, a drum, and a gong. This music was very primitive and it was used to accompany the Lenggotbawa dance of the gods. When Shiva returned to the seat of the gods he was succeeded as king of Medangkemulan by Bhatara Indera, another god who took the name of Sanghyang Suraphati. His palace was called Suralaya. During this time a great star came to earth and turned into 7 nymphs: Suprabha, Wilutama, Warsiki, Surendra, Gagarmayang, Irimirim, and Tunjungbiru. These beautiful nymphs were ordered by the prince to dance round the palace's ornamental pool. They did so, dancing in a line to the accompaniment of songs. The king was then inspired to add the flute to the instruments of the ghamelan and to give them the five-note mode. The flute was made of bamboo, and had four holes. The drum still provided the basic rhytm, and the tune which was used for the accompaniment of the nymphs' dance is called the Swaraketawang. Afterwards the number of the dancers was increased to nine and the Bedaya dance of the palace to his day uses nine dancers, some of them with special names, such as Pembatak, Hapit Endhelajeg and Endhelwaton. At that stage; the ghamelan was then called Lokananta Surendrabuwana. Perhaps there is some connection here with the historical fact of the coming of the House of Syailendra form South Andalas. This dynasty ruled over territory extending to Middle Java, and built the Kalasan temple dedicated to Dewi Tara. Later Bhatara Citrasena was ordered to go to Purwacarita, to give the Ghamelan to Shri Raja Kanoo. This prince was very gratified by the gift of the Ghamelan instruments and added to the Ghamelan Surendra certain other instruments such as the rebab (a one-stringed instrument) and the Salugi, Dada, Gulu, and Barang. The prince gave to his invention the name Ghamelan Salendro, and many tunes were composed in the 3 groups of Pathet Nem, Pathet Sanga, and Pathet Manyura. Besides the Ghamelan used for accompanying the dances, King Kanoo also composed martial music which became known as Ghamelan Mardangga and which employed the following instruments in the Slendro mode: Kala, Sangka, Bahiri, Gurnang, Tongtong Grit, Maketeg, and Magurugangsa. When Phrabu Basurata reigned in the kingdom of Wirata, he added the Ghendher and Salukat to the Ghamelan, and composed tunes specially for the Ghendher, When the four kingdoms of Jenggala, Kediri, Singosari, and Ngurawan flourished in Java, all four kings held in their courts performances of the Srimpi dance, performed by 4 women dancers accompanied by the Ghamelan Slendro. This was about the beginning of 13th century. When Raden Panji Kasatrian became king he took the name Suryamesisa, and added the following instruments to the Ghamelan: Bhonang Panerus, Dhemung, Saron Bharung, Kecer, Ketipung, Slentem, and Kempul; and the Ghamelan as then constitued was also used to accompany wayang performance. The same prince also added a kind of zither, and composed the classic tunes Gendhings; Monggang, Kodhok Ngorek, Corobalen, and Galaganjur, all in the Slendro mode. To train the soldiers in the art of war, the king composed war dances like the Lawung and Dhadhap while his daughter Dewi Candrakirana developed the Badaya Serimpi dance. After Islam came to Java, and during the Sultanate of Demak, the Walis decided to use the Ghamelan and the Wayang as a means of propagating the new faith. For example, Sunan Giri composed the Ghamelan Sekaten to be played in the court-yard of the great mosque on the birthday of the Prophet Mohammed. When Sunan giri acted as regent for the young prince of Demak, he composed a new Ghamelan in a new Pelog mode, together with appropriate songs, divided into 3 groupings: Sendhon Nem, Lima, and Bharang. These were used to accompany the Wayang Gedhog. Nowadays the Wayang Purwa is accompanied by the Ghamelan in the Slendro mode and the Wayang Gedhog by the Ghamelan Pelog, though to make the performance of the Wayang Purwa the more enjoyable and to provide yet more music during the performance, additional ghamelan music is played sometimes in the Pelog mode.[email_link]

Narasumber: Moerdowo,R.M.

The Fighting Techniques

admin — Mon, 09 Nov 2009 02:30:17 +0000

Ampyak Fight This scene of great activity usually takes place after the departure of the army from its camp and when it encounters obstacles which to be cleared. To symbolize the obstacle the Gunungan figure is placed on the lefthand side of the Kelir screen. After the dhalang has explained the situation, the army symbolically beats againts the Gunungan to show the obstacle being cleared or surmounted. Thus the scene represents cooperation and communal effort in the overcoming of difficulties. The army moves from right to left, struggles with the Gunungan, and indicates the building of the road, the bridging of a river or the scalling of a mountain pass. When the scene is concluded, the dhalang again takes up the story and described the destination of the army. Gagal Fight Eventually the knights and their followers encounter the look out and guards of the kingdom they are entering, and the fight, which ensues is called the Perang Gagal. It's so called because in this fight no blood is shed; the fighting is with first, and finally the knightly heroes uses their magical powers to summon up a great wind or mist to confuse and disperse the enemy. Kembhang Fight This fight is technically one of the more exacting tests of the dhalang's art of wayang manipulation, and is eagerly awaited by the audience. It commonly takes place at about 1 or 2 a.m. The fight involves a knight or princess and a group of titans, who menace and attack the hero or heroine in a journey. Before the fight, we find the knight or princess in the wood exchanging banter with clowns, in a scene of delightful commedy, which is interrupted by the arrival of the titans. The dhalang is at the fulest extent of his powers in this scene, handling delicate movements while singing the songs and delivering the quickfire dialog of the clowns. It's by this scene and that which ensues that the skill of the dhalang can best be judged. The technique need of course meticulous practice, and the knight or princess prevails not by brute force but by skill in ducking, weaving, and parrying the furious blows of the titans. All this must be indicated by wrist and finger movements on the part of the dhalang. The main movements involved may be summarized as follows: giving rapid blows with the right and left hands; grabbing the Keris, disarming the titan, and killing him with his own Keris. Ksatriya Fight In this battle use is made of the Keris and of arrows and the power of the knights lies not in their physical strength, but in their magical power. Most of them cannot be wounded by weapons made of steel. Magical arrows are used which, being shot from the bow, multiply into thousands of darts. The arrows my turn into balls of fire, a rainstorm or a tempest. Sometimes visible weapons are not used at all, the conflict being waged by means of spells and magical incantations. These are sometimes in the form of whole armies of immortal spirits. The knight can himself assume the form of a titan, a garudha, a lion, a tiger, a dragon, wind or fire. Female characters also fight, with daggers and arrows. On the death of her lover, a princess commits suicide with the Keris rather than fall into the hands of his opponent. Amok Fight The technique of this fight is nearly the same as that of the Gagal battle, involving fist and kick. Werkodhara fights and defeats the titan king and all his army, when they attack the Pandhava. In the middle of the fight there is a symbolical dance presaging victory known as Tayungan. Creatures Fight The movements in this fight depend of course on the different natural weapons of the various creatures. Thus a great snake or dragon will try to swallow its victim, a garudha bird will fight with talons and beak, an elephant uses his trunk and tramples his opponent, while apes bite and throw stones and other missiles.[email_link]

Narasumber: Moerdowo,R.M.

The Calibres of The Good Dhalang

admin — Thu, 08 Oct 2009 04:30:09 +0000

Hamardawa Lagu The Hamardawa Lagu is the musical skill. The Dhalang must be familiar with all the many tunes used in a performance of wayang play. The Dhalang must understand the texts in old Javanese (the Kawi), and must sing the songs in the proper manner. Many Dhalangs are in fact also skilled instrumentalists, though this particular skill is not used by them in a performance. The Dhalang must only make a dramatic use of the rhythmic rapping on the wayang chest, and the metal clappers, which he holds. He must avoid tedium by filling every scene with appropriate sounds. Thus is Garagara scenes he must improvise humorous songs and jokes, maintaining the balance of different moods. This is one of the important arts demanded of a good Dhalang. Hamardi Basa The Hamardi Basa is the knowledge of literature. The Dhalang must learn all the every long speeches he will use in the performance. The Dhalang must for this purpose read widely, especially in the book of wayang scholarship. When thoroughly versed in this ancient literature, his performances will have the life and vigour that spring form authentic understanding. The Dhalang must at the very least read and understand the book of Arjuna Wiwaha by Mpu Kanwa, the Bharata Yudha by Mpu Sedah, Boma Kawya, Smaradhahana, Mahabharata, Ramayana, Pustaka Raja Purwa, and other ancient texts about the wayang. The basic hand book for techniques in the two volumes of the famous ancient text of Serat Sastramiruda. The Dhalang must also be a fine mimic, and must know all the shades of formality in modes of address. Hawicarita The Hawicarita is the story-telling ability. The Dhalang must avoid monotony in telling stories, and must be able to hold the interest of his audience. The Dhalang must be expert in selecting from the enormous available literature. The Dhalang must, of course, know his audience, and modify his technique from hour to hour if necessary. He must also know, which of the many wayang stories is appropriate to the celebration of which the particular performance is a part. Parmakawi The Parmakawi is the linguistic skill. The Dhalang must be completely familiar with the Kawi language. This severe course of study for the Dhalangs must include straight-forward language teaching, including translation work. But many existing Dhalangs have learned the dialogs from their fathers by rote, without a real understanding of the meaning. For this reason, the language of many of the songs has been corrupted and needs revision. Paramasastra The Paramasastra is the grammar. The Dhalang must have a real working knowledge of the language, and this involves grammatical facility also. This skill can best be fostered by sutable study and the publication of texts by the existing institute of professional Dhalang. Whatever improvisation is demanded of the Dhalang, he must of course ramain true to the basic outlines of his stories. He must also give appropriate weight to the various elements, neither shortening nor expanding them. There is a danger, that a Dhalang may take away the embellishments of a play and fail to make it las throughout the night. Conversely, the performance must not drag on after daybreak. Renggep The Renggep is the relevance. The Dhalang must stick to his play, and is not permitted to make a allusions or references to his audience which may give offense. The Dhalang must stay within his screen. His jokes must avoid obscenity, which may also give offense, particularly to women. This would be a gross failure of his duty to educate as well as to entertain. Stamina Wayang play is always very exhausting, and demands physical and mental stamina of the Dhalang. He must remain in control of all his faculties for the whole night, and must give equal care to the interpretation of the personality of every single wayang character. Puppetry The Dhalang of course must be a skilled puppet master.[email_link]

Narasumber: Moerdowo,R.M.

The Handling of The Wayang Puppets

admin — Mon, 05 Oct 2009 03:22:46 +0000

The handling of the wayang puppets, a very important element in wayang and considering by some Dhalangs to be the most important aspect of their art. The Dhalang can spellbind the audience by their dexterity in handling the puppets during fight scenes, produces helpless laughter with the antics of the antic figures, and this is all part of the Dhalang's ability to carry the audience's attention. A good test of the dexterity of the Dhalang is the super exacting scene, called the fighting of Perang Kembang, in the midst section. Therein scene a knight is fighting with titans. In the Dhalang's training school of Solo city the course in the handling laid out as follows:

Tancepban. The tancepban is the art of placing the wayang puppets on the banana stem during an actual scene. They must be composed in an artistic grouping. E.g., the king must be placed in a grave and ennobled relationship to his courtiers, and the courtiers in their due rank. A scene in the palace must give an impression of éclat, while a scene in a hermitage must reflect simple piousness. In court or hermitage scenes, the principal figures are placed on the Dhalang's right side, subordinates on his left side. Likewise important and lesser characters are taken off stage to the right and left respectively. Before a battle, the puppets must have an aggressive posture. The art of the tancepban is therefore to convey mood and personality, even when the pupets are not being moved, and to provoke the interest of the whole audience, young and old, sophisticated and simple.
Bedholan. The bedholan is the art of plucking the puppet from its base in a smooth and fluent manner. It's very hard to move a large heavy titan figure with sufficient strength without an appearance of fitfulness. On the other hand, when a small female figure is being handled, a very delicate touch called methit is require. Knights and other larger figures of course need to be took hold of more firmly. When an army or other group figures is lifted, part of its base as well as its central support is gripped, for additional steadiness. This handle is called nyangak. It would be a tragedy, if the Dhalang were to drop a puppet, when lifting it from rest; this accident is guarded against by special holds.
Lampah. The lampah is the conveying of the illusion of movement to the figures of the puppets. It's influenced by several factors such as the age of the wayang character, personality, gender etcetera, as well as temper and function at the moment of movement. E.g., Werkodhara leaps with great footsteps, Gathotkaca flies, while gay young female characters skip lightly. Older female characters move more quietly, titans bluster, apes are acrobatic, and all the other creatures have their characterstic movements.
Perang. The perang is fighting techniques. The technique of handling puppets during a fight or violent activity also has several aspects, with their own names; Perang Ampyak, Perang Gagal, Perang Kembang, Perang Ksatriya, Perang Creatures, and Perang Amok.

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Narasumber: Moerdowo,R.M.

Entre The Dragon

admin — Fri, 25 Sep 2009 04:16:52 +0000

Most Nusantara islands have been connected to other land masses in the past, but the Komodo, Rinca, and Padar have always stood alone. Their parched, mountainous terrain produced nothing of interest to conquerors, and the deadly currents that surrounded them held all but the bravest fisherman and pearl divers at bay for centuries. One of the driest spots of the entire archipelago, Komodo bakes in the heat of the equatorial sun almost year round, reaching a scorching 43 degrees celcius at the height of the dry season. Only the heartiest flora and fauna species usually survive in such an environment. Why the dragons evolved on these islands, and nowhere else, remains a mystery, but painstaking research is gradually revealing more about them. The dragons are normally solitary, and mating usually occurs when several animals gather in the vicinity of a kill. Breeding takes place in the dry season, after which the female lays an average of 35 eggs which she buries in an old megapode mound or under large boulders on the hillsides. The mother guards the nest shortly before laying, and for a short period afterward, but is sometimes driven off by another female who is about to lay. The young hatch eight to nine months later, and immediately scamper up the nearest tree where their speckled coloring serves as excellent camouflage. At first they feed on other lizards and insects, then rats and birds, but eventually grow too large for climbing and are forced to compete for wild game on the ground below, among their cannibalistic elders. The dragons dislike the intense heat of the day and the cool of the evening and use burrows along embankments of dried riverbeds to regulate their body temperature. The dragons basking in the sun appear to be lazy and harmless, however they are able to rise their bellies off the ground on muscular legs and sprint short distances at up to 11 miles per hour. Their massive tails are effective for knocking down prey and enormous claws on their forefeet are efficient ripping devices.[email_link]

The Komodo Island

admin — Fri, 11 Sep 2009 04:12:38 +0000

The Komodo island and neighboring Rinca are between Sumbawa and Flores, approximately five hundred kms east of Bali island. The shape of the island is very irregular, its three hundred and fourty square kms spread over a number of peninsulas and promontories. The dry hills, which rise to seven hundred and thirty five meters, sprout skinny Lontar palmiras. The plankton-rich seas around Komodo and support amazing reefs, and a range of large marine life, including whales and dolphins. There is one village on Komodo, and the six hundred or so Komodo islanders cling precariously to the eastern shore. Despite the small size of the community, they have developed their own distinct dialect. The make their living by fishing at night with pressure lamps from graceful, twin-hulled catamarans called bagans. The National Park of Komodo lies within an area known as the Wallacea, a transitional zone running roughly north-south where the Asian fauna from the Sunda Shelf west of Lombok intermingles with Australian species from the Sahul Shelf further east. Large land-dwelling mammals were unable to migrate to the isolated Komodo island, but swimming and flying animals did. The monsoon forests of Komodo teem with activity, particularly early in the morning before the sun is at its peak. Squawking cockatoos flock in often leafless trees, disturbing large green imperial pigeons, black-naped orioles, sunbirds, flowerpeckers, and noisy friarbirds, while shiny black drongos and enormous crows soar nearby. The few mammals found in the park–crab-eating macaques, wild pigs, buffalos, horses, a healthy population of Timor deer and a few wild dogs—were perhaps introduced by man centuries ago. Small lizards and geckos abound, and the snake population includes green snakes, vipers, and cobras. Two species of frogs are also found in the island. The National Park of Komodo also encompasses a large area of sea where the waters are rich in plankton and oxygen. The snorkeling is excellent. Colorful crinoids, nudibranchs, giant clams, turtles, corals of numerous shapes and sizes, and a multitude of reef and pelagic fish, sharks and rays inhabit reefs which are within easy swimming distance of the beaches. These waters serve as a migratory route for whales and dolphins, and often flying fish and schools of tuna skim the surface of the open sea. The monsoon forest species thrive under the hot, dry conditions: Acacia, Corypha elata, and an occasional stand of bamboo are interspersed with the brilliant orange flowers of the wild kapoks, soursop, and custard apple trees, and the gnarled, sour-podded tamarinds. High up in the treetops are epiphytes: staghorn ferns and several species of orchids. On the forest floor, junglefowl and quail scratch for insects, and megapodes build their dirtmound nests, often disturbed by burrowing or egg-hungry dragons. On the rare occasions when the rains do fall, the islands quickly turn a lush green. Purple-petaled flowers burst into bloom, attracting a variety of butterflies. The tall grasses on the hillsides, usually brown, are reminiscent of a sea of young rice, waving in the wind.[email_link]

The Gamelan Music of The Wayang Play

admin — Thu, 03 Sep 2009 02:12:00 +0000

The gamelan music in the wayang play consists of instrumental music in the Slendro and Pelog modes, and songs such as the Pathetan, Adada, and Sendhon; in Balinese Wayang the Pengalang and Tandhak. Many different gamelan melodies are used in the course of the play to create atmosphere and to provide dramatic accompaniment. Expressions of joyfulness, sorrowfulness, angriness, peacefulness, and conflict are all indicated by different gamelan melodies and by the songs sung by the Dhalang and the traditional singers known as Sindhen. The gamelan music is therefore not a mere musical accompaniment, but an important evocative element linked with the development of the story. Its function is akin to that of the music in opera house. Sulukan, Pathet, Sendhon, Gregetsaut, Tandhak, are terms relating to the most important songs in the wayang play. The Pathet (in Bali, called Pengalang Sendhon, Lepita) is used to create a mood; sometimes with the accompaniment of the Gamelan, sometimes not. The text of the song is called the Sulukan, and with it, the Dhalang can evoke different moods for different scenes. The Wayang Purwa performance is done in a classical manner, accompanied b the Gamelan in the Slendro mode and the Wayang Gedhog by the Pelog mode. The development of these 2 modes or systems of music in the history of Indonesian art is difficult to trace accurately. And it's still in question, whether there are musical influences from outside Indonesia, or wether the Gamelan is an indigenous Indonesian art form. Those ethnic groups within Indonesia which have completely developed an independent Gamelan form, are the Javanese, Sundanese, Maduranese, Balinese, and the people of the Banjarmasin area of South Borneo and those of South Andalas. The Slendro mode is pentatonic, a system of music characteristic of the people of Southeast Asia and China. There are a few Gamelan instruments, which can be found throughout Nusantara, and these are drum, flute, cymbals, and the gong. These instruments are probably the original and primitive instruments of Nusantara, but somewhat similiar instruments do occur also in Vietnam. The comparison of musical instruments and musical composition of various Asian countries is still beingstudied by musicologists of the various conservatories and schools of music in Nusantara. The themes and forms used in the wayang play are very important. They are sources of dramatic mood that accompany scenes of conflict with exciting music for state occasions, or occasions of joy, or sorrow and anger. The tunes used most frequently during the play, which continues from early evening till the next morning are Ayakayakan, Playon, Srepeghan, Kerepan, and Sampak. At every stage appropriate music is played to match the mood or character presented. Every act of the wayang play is accompanied by appropriate atmospheric music, such as Ketawang, themes for peaceful moments, and Ladrangan for joyful anticipation. In a Balinese wayang performance, the atmosphere is also shaped by the gamelan tunes, the Gendhing Pedhalangan. A session in the Kraton is accompanied by the Angkatangkatan Sekarginotan or Selangsah. In scenes, where a princess appears on the screen, the Angkatangkatan Sekethi is played. In amorous scene the Gendhing Rebong is played. When a titan king falls in love with a princess, Gendhing Benduasmara is played. When a titan king has a session in his palace the Gendher plays the Gendhing Candhi Rebah. The Bhatari Durga is accompanied by the Gendhing Sunyang which have a mystical character. When a princess is in sorrowful mood, the Gendhing Mesem is played. Battle is always accompanied by the Bathel.[email_link]

Narasumber: Moerdowo,R.M.

Visual Art of WAYANG

admin — Mon, 31 Aug 2009 01:23:42 +0000

The artwork of the wayang puppetry represents a culmination of esthetical expression and bonds many arts in harmonious unity, such as, visual art, vocal and instrumental music, drama, lit and dance. The narrator (the Dhalang) has to be proficient altogether these arts, and to integrate them skilfully. Only therein way can he breathe life into the wayang stories and capture the imaginativeness and involve the emotions of his audience. In the Ajuna Wiwaha, we're told, that when the Dhalang is a good one he will be able to bring the audience into a never-never land, make them weep when puppet is in distress, and laugh when it's happy and boisterous, and representations of cruelness and unjustness should evoke passionate concern. The wayang isn't a mere photographic portrayal of human models, but expresses the subjective emotions of the artists, containing elements designed to convey personality by visual means. If analyze the elements portrayed in a wayang figure, we find indicants of psychological make-up and personality in each individual wayang character, as well as the expression of the artists own feelings toward that particular character, as seen in the artist's use of line and color. Thence, the artist, may draw the body parts, such as the nose, in different ways, according to the character he wishes to represent. The drawing of the line of the mouth and lips also express different personalities. The lines of the eyes and eyelids also express character and personality. There are also other indicators, such as the angle of neck and shoulder. The colour of the face is also used to show differences between the characters of the different wayang. The colour of the body, too, can express different characteristics and moods. The ornaments express differences in age and personality. The distance between the feet of the puppets is also a measure of character, and shows liveliness and speed of movement. With these remarks we have sought to show how the wayang artist by means of decorative technique attributed character, moods, and attitudes to the characters of the wayang play. Besides these individual technical details, the grouping of the wayang falls under categories. The so-called wayang Katongan is characteristic of kings and titan rulers. The Putran and Putren wayang are the sons and daughters of kings or knights. The Dugangan Wayang indicates of forceful pesonality. These characters, when in battle, rely mainly on their bare and bodily strength rather then on their weapons. When they use weapons, they're clubs and swords, and not the Keris. There are also groups of god figures, such as Brama, Indra, Panyarikan, and Narada. Besides these, there are the nymphs; Apsari, Bidadari, Suprabawati, Tunjung Biru, Irimirim, and other dwellers in Suralaya, the seat of the gods. The Wanara group of apes consists of their king Sughriva, Hanoman, and other ring leaders of apes in the Ramayana stories. The titan king, his counselors and other officers are the Denawa group, and their followers are Bhuto Chakil, Bhuto of Fire Hair, Bhuto Terong, and Bhuto Changklok. The Punakawan wayangs are the clowns and squires; Semar, Gareng, Petruk, Bhagong, Toghog, and Soroito. These provide comic relief. The Ricikan wayang consists of lare group such as the army and also animals like the Garudha bird, the dragon, the horse, the elephant, etc. It also includes artilleries.[email_link]

Narasumber: Moerdowo,R.M.

The Dragon of Komodo

admin — Fri, 21 Aug 2009 04:06:20 +0000

Because of its great size and ferocity, and fire-like tongue, served as the original model for the Chinese dragon, so it is said that the dragon of Komodo. Perhaps this is so, but to the men of science, Varanus Komodonensis is a lizard. It is huge–the largest recorded specimen was more than 3 meters long and weighted over 150 kilos–but it is still a zoologically describable animal. The dragon of Komodo, the largest lizard on earth, is found only on the islands of Komodo, Padar, and Rinca, and parts of western Flores. Locally called Ora, the dragons are most numerous on Komodo, which together with nearby Rinca has been set aside as a National Park. The lizards are one of eastern Indonesia’s biggest tourist attractions, and in recent years, with improved transportation and promotion, Komodo island has turned into minor zoo of gawking tourists. It’s the road to the New Seven Wonders. Until 1911, the scientific world knew nothing of the dragon, when van Hensbrack of the Netherlands Indies Army ‘discovered’ the huge animals. The scientific description of the lizard followed in 1912, when P.A. Ouwens, the curator of the zoological museum of Bogor in Java, described and named the species.[email_link]

KOMODO

admin — Fri, 07 Aug 2009 04:00:41 +0000

The dragon of Komodo, Varanus komodoensis, a Komodo island’s jurrasic-age inhabitant, a born predator. Firstly year of a Varanus komodoensis’s life is spent living in the trees, where it predates on insects, and so small gnawers and birdies. When it reaches about a meter long, the young Draco turns too big to continue a tree-living existence. Once on the ground, the lizard’s list of ‘target’ creatures extends to wild grunters, horses, Bubalus bubalis and, most of all, deer of the species Cervus Timorensis, which can weigh over 150 kilos, also human being. In 1987, a 12-year-old boy was killed by one of the dragons on Rinca. The offending dragon was exiled to Flores but returned on its own, swimming back. An adult woman was also bitten by a dragon on Rinca, but she survived. On July 18,1972 an 84-year-old Swiss tourist, Baron Rudolf Van Biberegg, ws killed by dragons. Native tribes called it Ora, the adult Ora is all-devouring, devouring anything from insects to large things, from putrefying carrion to members of its own species. Its sharp sense of smell can detect carrion from 8 klicks away, but it’s also a good hunter. The dragon locates its prey by sight as well as smell, the roles stealth to bring it down. The Ora catches its quarry while it’s numb, or ambuscades it along game trails. An Ora has been seen gulping down a neonate foal while its mother, too exhausted from the deliverance to protect her junior, looks on helplessly. the flora of Komodo island tends toward open savanna and scrub, with some forests. the drier hills are overlooked by palmyra palms. Cover is essential for the Ora, for it’s overlarge to creep up on its quarry in the open. Although they aren’t commonly known to run down their intended quarry, on at least one occasion an Ora has been timed at more than thirty km/h – and this for several hundred metres. the hunt is over as soon as the Draco clamps its jaws on any part of the quarry. In the scarce case that the hunted animal is able to wrench itself free of the robust jaws, it will promising soon die anyway of its wound, and the contagion induced by the Ora’s powerful saliva. Evisceration is the draco’s favorite killing style. Massive bleedin’ comes about when the Draco rips out the breadbasket wall. The Ora then ofttimes swallows up its head in the its abdomen, ripping out and swallowing the viscuses.

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Tour de Djakarta

admin — Sat, 01 Aug 2009 06:19:57 +0000

Welcome to Ibukota. Literally Ibukota means “The Mother of The Cities” of country, province, state, regency, etcetera. So it means the capital city of Indonesia. Many visitors have though the Djkarta as not worth more than one nighttime stay is considered offering no attractivenesses than a lot, hot, and buzzing capital. At a glance, yes Djakarta looks just like the other capital anyplace in world. but once you have the chance to know it much better you'll find the attractiveness you might be surprised of. The museum and the artefacts they preserve, the old churces and the neighbouring masjids, the monuments parks, recreation and funfair are only a few to 6 days time of yours. Places of interest are evidently located in such a way that you'd be able to enjoy them in groups once you get there, such as the National Museum, the National Monument, the Sunda Kelapa harbour, the Mini Indonesian Park, and so forth. The National Museum the one of the finest museums in South East Asia. It was established in 1778 by J.M.C. Rademaker under the auspices of Batavia Association of Arts and Sciences. its ethnographic historical, pre historical, and archeological sections are of special interest. Its collection of Chinese and South East Asia ceramics is among the most complete in this region and Hindoo Javanese art collection is sail to rival that of Leiden (Holland). The treasure room with its priceless collection of exhibits is open only on Sunday mornings, a bronzy elephant a gift from King Chulalongkorn of Siam when he visited Batavia. The National Monument located at the Merdeka square, nowadays the centre of the capital of Indonesia. It's the Old Hindoo Javanese Lingga and Yony, the symbolization of richness, brought to life again in modern version, to symbolize national independence. The Lingga is an obelisk, 137 metres high and topped with a 'flame' coated kilos of pure gold. An elevator rides to the viewing platform from where the visitors can get a panoramic view of Djakarta. The basement house a museum of the nation's history. Near the monument is a statue of Prince Diponegoro (on horseback) who fight the Dutch colonial in the Java War. As you can see the National Monument is surrounded by many buildings of different functions standing along the streets on the four sides. The Sunda Kelapa harbour is among the oldest habours in the world. Its existence has witnessed the story of Dutch East Indies. It was formerly the harbour town of Sunda Kelapa under the Hindoo Kingdom of Padjajaran in early 16th century. On your visit to the port you'll find a exotic scence of the busy traffic, fishery boat, and cargo-sailing-boats are coming in and out, various commodities and agriculture products are loaded and unloaded at around-the-clock. The Beautiful Mini Indonesian Park portrays the beautiful Indonesia islands represented in life size models with typical regional architecture. Giving visitors an in sight of the real Indonesia islands. The idea of such park came from the first lady, Madam Tien Soeharto, who wanted that Indonesian and foreign visitors know more about the country, and to heighten pride and national sense of duty to take part in the development of the country.[email_link]

The Mudras

admin — Thu, 30 Jul 2009 06:13:00 +0000

The graceful hand positions of the Buddha, mudras in Sanskritic language, all have specifically symbolic meanings. Six mudras are depicted, the symbolic meaning of each position being long-familiar.
In iconography, the description and interpretation of the 504 Buddha statues of Borobudur chandi still are a subject of controversy. The explanation for this pantheon of Buddhas is sought in the resemblance between the arrangement of the Buddhas on Borobudur chandi and those on Thibet temples.
The deviations, however, reflect the distinctive nature of the Javanese interpretation when depicting Buddhism.
Although one can ascend Borobudur chandi from all 4 directions, the easterly gate is, according to the arrange of the reliefs, considered to be the primary essence.
100s of Buddhas belongings their hands in different positions are placed in niches along 5 balustraded galleries.
The stately rhytm in which the various mudras follow along consecutively creates a unique harmoniousness.
On the 1st four galleries circumvented by balustrades are 4 dissimilar types of mudras can be distinguished. The hands of the Buddhas of the east of Borobudur chandi, call upon the Earth as witnesser to his enlightenment, in Sanskrit Bhumisparca-mudra.
Those on the south side symbolize Charity, the Wara-mudra. Further west, comes the gesture of Meditation or Dhyana-mudra, whereas those to the north express bravery, the Abhaya-mudra.
The entire 5th balustrade symbolizes the Zenith. To all 4 winds of heaven the hands of the Buddha signify Reasoning or Witarka-mudra.
The 6th mudra, reflecting the Turning of the Wheel of Law - Dharmacakara-mudra, is hidden in stupas. During his 1st sermon in the park of the Gazelles at Benares, the Buddha assumed this posture.
Should a connectedness be sought between the 6 and the cosmographic division-the sphere of Desire, the sphere of Form, and the sphere of Formlessness-then the placing of Buddhas on the 1st balustrade, forming part of the sphere of Desire, would be inappropriate.
But as this balustrade also constitutes a smooth transition to the sphere of Form, being the appropriate sphere in which to place statues, the Javanese architects placed the Buddhas there, in niches differently arranged.
The 5th balustrade separates the sphere of Form and the access to the sphere of Formlessness. Here too the depiction of Buddhas in the sphere of Formlessness would actually not be applicable.
Nevertheless, an ingenious solution was found to demonstrate the presence and non-presence of the Buddhas in the highest sphere, by putting them under trellised stupas.
The 6 positions of the hands;Bhumisparca-mudra, Wara-mudra, Dhyana-mudra, Abhaya-mudra, Witarka-mudra, and Dharmacakara-mudra, reveal the mystery which Buddha's serene face conceals.

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Narasumber: Moerdowo,R.M.

The Balinese Wayang Puppet Theater

admin — Thu, 30 Jul 2009 02:44:00 +0000

In Bali the wayang play retains its spiritual significance, being used in all the religious festivals, the 5 Yadnyas. The Dewa Yadnya ceremonials for the gods and deified ascendents, the Pitara Yadnya ceremonials for the souls, the Manusia Yadnya ceremonials for the rites-de-passage, Rshi Yadnya consecration ceremonials for the priest, and Bhuta Yadnya offerings to the magical powers of the spirits. 3 sets of wayang are known to have gained fame among the folks; the Wayang Parwa depicting the Mahabharatum stories; the Wayang Ramayana depicting the stories of Rama; and the Wayang Leyak or Wayang Calonarang depicting the legend of the magical widow of Girah who spread disease and disaster during the Airlangga period of Kediri kingdom. Still existing in Bali, but never performed nowadays, is the Wayang Gambuh depicting the Malat Pandji stories.
The wayang figures retain their original features resembling the figures of the reliefs of the Panataran temple in East Java. The Wayang Parwa is companioned by only 4 gendhers, while the Wayang Ramayana or the Wayang Calonarang is companioned by a more luxuriant orchestra called the Bhathel ensemble consisting of: 4 gendhers, 2 ghupak, 1 cengceng, 1 klenang, and 1 kempur. While the dialog of the Wayang Parwa in Java is already using the modern Javan language, the Wayang Bali still uses the Kawi (old Javan) language and translate it to ordinary daily Balinese language through the Penasars.
The technique of narration is also different in Bali. The narration is called the Penjacah Parwa (in Java the Janturan), and songs are called the Pengalang (in Java the Sulukan). The Penjacah Parwa is to be continued by the telling of the stories called the Senduk Semita. The Penasars, who translate Kawi dialogue into ordinary daily Balinese, are called Malen or twalen, Merdah, Sangut, and Melem or Dwelem. Malen and Merdah accompany the right side or heroic figure, such as the knights and Sangut-Melem accompany the left side or evil figures, such as the monsters.
According to the rules of the ceremonials every wayang performance has to be given a complete set of offerings called Bebanten Wayang to ward off evil spirits and necromancy powers. During purification ceremonials or the Penglukatan a special story is performed, the Sudamala or Sapuleger story, which is as is as in Java. Also the Murwakala story for the Ngruwat (known as Nglukat, in the Balinese ceremonial).

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Narasumber: Moerdowo,R.M.

Wayang Madya

admin — Mon, 27 Jul 2009 02:02:00 +0000

Prince Mangkunegoro IV who reigned in the Mangkunegaran area of Surakarta at the end of the eighteenth and beginning of the nineteenth centuries ordered his court artists to compose afresh wayang, which he called the Wayang Madya. It was intended to provide a link between the Wayang Purwa and the Wayang Gedhog, and utilised stories derived from a book of mythology named Hajipamasa. It deals with the coming of the Hindoos to Java before the Wayang Gedhog era (the period of Jenggala, Kediri). The stories are thence much older than those of the Wayang Gedhog, although their use in wayang performance is of course later. Performances of this kinda wayang are very rare, and there are only a few Dhalangs, who can narrate the stories, left in Solo.

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Narasumber: Moerdowo,R.M.