Kuda Lumping: Traditional Art of Indonesia nuance Magis

 Friday, July 4, 2008 14:28 | By: Editor Explore Indonesia |
 
There is one game ...
Games, so unique ...
People ride horses, but horses lie ....
His name is lumping horse .....
That kuda lumping, kuda lumping, kuda lumping jump-jump ....
Sebait piece of property dangdut Rhoma Irama song on a game inspired by folk art, lumping horse dance, which is still grown in many communities in the archipelago. Traditional dances that are played on a "no pattern" by the common people has been born and liked the community, especially in Java, since the ancient kingdoms doeloe tempo. Initially, according to history, art lumping horse was born as a symbol that people also have the ability (superiority) in the face of the enemy or against the power elite who have the royal army. In addition, also as a medium for presenting entertainment that cheap but the phenomenal to the people at large.
Now, art lumping horse still be a show that is enough to make the hearts of the audience captivated. Although the existence of these cultural relics began to compete strictly by the entry of foreign art and culture to their homeland, the dance still showed high attraction. Until now, we do not know who or where that sparked community groups (created) kuda lumping the first time. In fact, lumping horse art found in many areas and each recognizes the arts as one of their traditional culture. Including, pointed out some time ago, recognized also by the people of Johor in Malaysia as its own in addition to Reog Ponorogo. The phenomenon spread of lumping horse art in various places, with various and pattern, can be an indicator that the art culture that seemed full of magic is back "on the rise" as a cultural art which should be noted as an original Indonesian art.
Whipped, glass and sprinkles of Fire Eating
I do not know what can make the players is like a man possessed. Judging from the way his game, the dancers like lumping horse has tremendous power, even seem to have supernatural powers. Art of dance that uses a fake horse made of woven bamboo and accompanied by gamelan music such as gongs, kenong, percussion and trumpet it, was able to make the audience impressed by any attractions penunggan (dancer) kuda lumping. Remarkably, dancers traditional lumping of the original horse is generally played by girls who dress like a soldier boy kingdom. Currently, more lumping horse players acted by boys.
The sound of a prod (whip) of the players who deliberately imposed this art, became the beginning of the game and the entry of a mystical power that can eliminate the consciousness-players. With the climb of woven bamboo horses, the horses ankles penunggan given this rattle began prancing, jumping up rolling on the ground. In addition to jumping, horse dancers did lumping other attractions, like eating glass and peel the coconut with his teeth. Glass (glass) that is eaten is the usual light bulb as the lights of our homes. He avidly ate like a shard of people starving, do not wince in pain and no blood at the time he ate the glass-shard.
When viewed from the overall game lumping horse, sound prod endless series of attractions that appear to dominate. Presumably, any prod by sipenunggang against itself, which is on foot or other body parts, will give a magical effect. That is, when the crack length of woven rattan and on the feet and swung his body, the dancer lumping horse will feel stronger, more powerful, more Digdaya. Generally, in that condition, he will increasingly wild and the power of doing things and not abstruse absurd healthy normal humans.
Lively and festive games lumping horse becomes more complete with a display of flame attraction. Bursts of fire coming out of the mouths of the other players, beginning with gasoline accommodate in their mouth and then sprayed on a fire that burns in a small sprig of iron which ends made in such a manner so that fire does not die before and after petrol was sprayed from his mouth. In lumping horse game, another meaning that is contained is the color. The colors are very dominant in this permaian namely: red, white and black. The red color symbolizes the courage and spirit. The white color symbolizes purity which is in the heart is also thought to reflect on all five senses so that it can serve as a role model in black.
As an attraction full of mystical and dangerous, lumping horse dance done under the supervision of a "supernatural leadership." Usually, this leader is a person who has a high unseen which can restore the dancer back to consciousness as usual. He is also responsible for the way of attractions, as well as heal pain experienced by the players lumping horse if something undesirable and cause illness or injury to the dancer. Therefore, although regarded as a folk game, lumping horse can not be played by just anyone, but must be under the direction and supervision of the leadership.
Need to Keep Maintained and Developed
Broadly speaking, so much art and culture in Indonesia familial inherited from ancestors of Indonesia until the current generation. Now, we as a successor to the nation is the heir of the art of traditional culture as they must keep and maintain it properly. Our task is to maintain and develop it, so from day to day is not vanished and disappeared from the artistic treasures of our society.
One thing we must be aware that Indonesia is still colonized until now with the influx of foreign culture that tries to get rid of local cultures. Therefore, we as the future generation rose up together to bring back culture since ancient extinct there and not to swallow the modern age. To that end, the Government and the community is expected to continually exploring cultural back what until recently almost no sound again, to then re-developed and preserved the values of Indonesian culture. (Text & photo Yosef)
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Pendet, Island of the Gods leering FROM THE WORLD

A total of 1650 people presenting Balinese girl on a football pitch Pendet GOR Ngurah Rai, Denpasar, on Wednesday (21 / 7) afternoon last. One of the dance of Bali which last year had made Malaysia's tourism advertising illustration, shown as the top opening of the National Student Science Week (Pimnas), which was attended by Education Minister Mohammad Nuh. Dance creation in the 1950s who performed entirely by children kindergarten, elementary, junior high, high school, and students under the auspices of Yayasan Saraswati was listened to not as a welcome dance but appreciated as expressions of artistic, cultural artistic expression of the nation. After staging, the Indonesian Record Museum (Muri) gives an award in art performances are arranged by Balinese choreographer I Nyoman Stories, SST, MFA, is as Pendet mass with the largest number of dancers.
Shown dancing for 6-7 minutes with a cheerful hue under the view of thousands of spectators. Overlay of the dancers looked like puspa Pendet variety flowers in a beautiful garden. Each group of dancers wearing yellow dress, green, red, blue, inviting charm. During his appearance accompanied by Gong Kebyar, knitted by the narrative strands. Beginning with the narrative: "Here, in Bali, art is an offering, exalts the sanctity of art, art to glorify the truth, belch Art beauty, siwam, Satyam, Sundaram". At the end of his appearance with a sprinkling of flowers, highlighted with narration: "Puspa Pendet sown flower colors, from Bali earth ground, sprinkled flower Pendet for world peace."
Jagat art as a medium of communication can be carried by an aesthetic which is considered as a warehouse bersemayamnya cultural meanings. One of the cultural meaning of the art world is harmony and peace. Pendet have sown flower peace to different parts of the world. Seledet him - eye movement to the left and right in Balinese dance - have been ogling international community from California to Tokyo. Sekar Jaya, a dance and Balinese gamelan group consisting of Americans, since the 1980's had to dance and play the accompaniment pasih Pendet. In Tokyo, the Japanese artist who joined in the dance and Balinese gamelan group Sekar Jepun has also been frequently perform a welcome dance from the island resort.
In Indonesia alone, Pendet not only sow peace on the island of Bali. In Jakarta, for example, Pendet has studied and performed since the 1970s. Dance studios that reveals the big cities such as Surabaya and Medan make Pendet as compulsory basic training materials Balinese dance. Saraswati in Bali Cultural Institute, based in Taman Ismail Marzuki (TIM) Jakarta, its members not only learn the dance show, but also practically required to explore the gamelan accompaniment. Also, how the historical and cultural background of Balinese arts, including dance Pendet, also inserted as a complement to cultural insight.
Pendet created by I Wayan Rindi at Banjar Bees Sumerta, Denpasar, Bali before the tourists crowded as now. What motivation Wayan Rindi initiated the creation of dance groups that brought womenfolk are not unclear. Indeed, a hotel that has stood in the 1940s in the heart of Denpasar on Rindi its heyday as an artist devoted to the performing arts association, which was delivered by men-has begun to perform commercially Balinese performing arts to its guests. But certainly, was asked to upload their work and a welcome dance, not only in the context of the performing arts but also common turistik be presented dance performances, art exhibition opening gig in the middle of communality Balinese society.
Source of inspiration Pendet birth is a sacred ritual in a temple called Odalan mamendet or mendet. Mendet procession took place after the pastor proclaimed mantra puja and after-theater staging sidakarya masks philosophically legitimate sacred religious ceremony. Almost every large to small temple in Bali along with mamendet activity. In several large temples like Pura Besakih is situated at the foot of Mount Agung is usually specifically show rite mamendet with Pendet Line dance. This dance is performed in pairs or in mass by men with equipment to bring offerings and flowers.
Mendet activities that are etymologically derived from Mendak (welcome), the dancers are not always prepared in particular, generally can be performed by all participants, men and women young and old. When the gamelan was chanting gising papendetan, those who want ngayah mendet sincerely-dancing - will alternately appear in the page holy temple, can be solo, in pairs, or also mass. A grandfather can with passion to bring offerings and flowers dancing improvisatoris interact with accents gamelan. An old grandmother no warning suddenly rose with lively berlenggak sway with nan innocent expression. Adolescents who are energetic also often be seen mamendet with dancing really really. Everything is done in the frame of art as a meaningful gift with joy to welcome the presence of the gods.
Departing from tradition mamendet in religious activity that led to the creativity of art that became known as Pendet. Many years after the presence Pendet, religious ritual that accompanied the presentation of sacred art back into the source of inspiration birth several types of dance welcome in the following years. After the emergence of dance creation Gabor I Gusti Raka of Saba, in 1971 reveals the work of I Wayan Panyembrama Beratha which is still popular, staged as the opening dance. If Pendet, Gabor, and Panyembrana is the kind of daughter dance, dance of welcome that is named Puspawresti (1981) the work of I Wayan Dibia displays the character's son and daughter dance. The era of the 1990s led to dance and dance Puspanjali Sekar Jagat creation NLN Swasthi Bandem Widjaja, dance Strait Segara work I Gusti Ayu Srinatih.
Pendet and flower color is a welcome dance, aesthetically and culturally is a presentation of Balinese culture. If Malaysia really had time to recognize the cultural arts Pendet as this certainly is a very funny pendakuan. Pendet is a ritual that arranged into artistic expression (dance Pendet) in sanggaan aesthetic values, ethics, philosophical Balinese Hinduism. Therefore, Bali will not lose Pendet, especially the root and source of inspiration is still very strong as a rite that was escorted by reverence. As Indonesia sub culture of dance, this dance has become a bridge of tolerance plurality expression of our culture. As an aesthetic and cultural value of the archipelago, Pendet been ogling the world, to sow universal communication with global nations.
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Reog (Roxburgh)

Indonesian From Wikipedia, the free encyclopedia Pending changes displayed on the page iniBelum Review Jump to: navigation, search For other uses Reog, see Reog (Sunda).
Reog is one of the cultural arts that originated from East Java and the northwest Ponorogo Reog regarded as the true home town. The city gate was decorated by the figure Ponorogo warok and gemblak, two figures who took part during reog demonstrated. Reog is one of the local culture in Indonesia is still very strong with things of a mystical and powerful mysticism.
history Basically there are five versions of the popular story that developed in the community about the origins and Warok Reog [1], but one of the most famous story is the story of the rebellion Ki Ageng lice, a royal servant during Bhre Kertabhumi, the last of the ruling King of Majapahit in the 15th century. Ki Ageng lice will anger the powerful influence of the Chinese colleagues in the government and its king, king of the corrupt behavior, he also saw that the power of the Majapahit kingdom will end. He then left the king and established the college where he teaches young children martial arts, science self immunity, and the science of perfection in the hope that these young children will be the seed of the resurrection of the Majapahit kingdom again later. Realizing that his forces are too small to fight the royal troops, the political message conveyed by Ki Ageng Flea Reog performing arts, which is a "satire" to King Bra Kertabumi and his kingdom. The performance becomes a way of Ki Ageng Reog Flea build local resistance using Reog popularity.
In the show Reog displayed mask lion-shaped head, known as "Singa Barong", king of the jungle, which became a symbol for Kertabumi, and above it is plugged in peacock feathers to resemble a giant fan which symbolizes the strong influence of his Chinese colleagues who manage the over all movement geriknya. Jatilan, played by a group of dancers gemblak a rocking-horse became a symbol of the power of the Majapahit Empire troops into comparison with the strength warok contrast, behind the red clown mask that became the symbol for Ki Ageng lice, alone and sustain weight that reached more masks singabarong of 50kg using only his teeth [2]. Popularity Reog Ki Ageng lice eventually cause Kertabumi take action and attack perguruannya, rebellion by warok quickly overcome, and forbidden to continue teaching college will warok. However, students still continue Ki Ageng ticks quietly. Even so, art Reognya still allowed to be staged because the show has become popular among the public, but the story has a new channel which added characters from the Roxburgh folklore Kelono Sewondono, Goddess Songgolangit, and Sri Genthayu.
Official Version Reog Ponorogo storyline now is the story of King Ponorogo who intend applying for daughter Kediri, Dewi Ragil Yellow, but amid the journey he was intercepted by King Singabarong of Kediri. King Singabarong troops consisting of peacock and lion, while the part of the Kingdom of Roxburgh and his Deputy Bujanganom Kelono King, escorted by warok (men dressed in black in the dance), and warok has a deadly black magic. The whole dance is a dance of war between the kingdom of Kediri and the Kingdom of Roxburgh, and pitted black magic between them, the dancers in a state of 'possession' when enacting the dance [3].
Until now people just follow what Ponorogo into their ancestral heritage as a very rich cultural inheritance. In his experience art is copyright Reog human creations that form the flow of an existing trust from generation to generation and maintained. The ceremony also use terms that are not easy for lay people to fulfill it without a clear lineage. embrace their lineage Parental and customary law which still applies.
The final scene is a lion barong, where the actor wearing a mask-shaped head of a lion with a crown made of peacock feathers. Weight mask can reach 50-60 kg. This heavy mask carried by the dancers with the teeth. The ability to bring this mask in addition to the weight gained by training, is also believed diproleh with spiritual practices like fasting and penance.
Basically there are five versions of the popular story that developed in the community about the origins and Warok Reog [1], but one of the most famous story is the story of the rebellion Ki Ageng lice, a royal servant during Bhre Kertabhumi, the last of the ruling King of Majapahit in the 15th century. Ki Ageng lice will anger the powerful influence of the Chinese colleagues in the government and its king, king of the corrupt behavior, he also saw that the power of the Majapahit kingdom will end. He then left the king and established the college where he teaches young children martial arts, science self immunity, and the science of perfection in the hope that these young children will be the seed of the resurrection of the Majapahit kingdom again later. Realizing that his forces are too small to fight the royal troops, the political message conveyed by Ki Ageng Flea Reog performing arts, which is a "satire" to King Bra Kertabumi and his kingdom. The performance becomes a way of Ki Ageng Reog Flea build local resistance using Reog popularity.
In the show Reog displayed mask lion-shaped head, known as "Singa Barong", king of the jungle, which became a symbol for Kertabumi, and above it is plugged in peacock feathers to resemble a giant fan which symbolizes the strong influence of his Chinese colleagues who manage the over all movement geriknya. Jatilan, played by a group of dancers gemblak a rocking-horse became a symbol of the power of the Majapahit Empire troops into comparison with the strength warok contrast, behind the red clown mask that became the symbol for Ki Ageng lice, alone and sustain weight that reached more masks singabarong of 50kg using only his teeth [2]. Popularity Reog Ki Ageng lice eventually cause Kertabumi take action and attack perguruannya, rebellion by warok quickly overcome, and forbidden to continue teaching college will warok. However, students still continue Ki Ageng ticks quietly. Even so, art Reognya still allowed to be staged because the show has become popular among the public, but the story has a new channel which added characters from the Roxburgh folklore Kelono Sewondono, Goddess Songgolangit, and Sri Genthayu.
Official Version Reog Ponorogo storyline now is the story of King Ponorogo who intend applying for daughter Kediri, Dewi Ragil Yellow, but amid the journey he was intercepted by King Singabarong of Kediri. King Singabarong troops consisting of peacock and lion, while the part of the Kingdom of Roxburgh and his Deputy Bujanganom Kelono King, escorted by warok (men dressed in black in the dance), and warok has a deadly black magic. The whole dance is a dance of war between the kingdom of Kediri and the Kingdom of Roxburgh, and pitted black magic between them, the dancers in a state of 'possession' when enacting the dance [3].
Until now people just follow what Ponorogo into their ancestral heritage as a very rich cultural inheritance. In his experience art is copyright Reog human creations that form the flow of an existing trust from generation to generation and maintained. The ceremony also use terms that are not easy for lay people to fulfill it without a clear lineage. embrace their lineage Parental and customary law which still applies. 

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Dancing Plate

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Dancing Plate in Bukit Tinggi, West Sumatra
Broken plate beneath the Dance Plate

Dancing Plates (Minangkabau: Dance Piriang) is an art of dance that originated from the Minangkabau of West Sumatra. He is one of the art of dance is still diamalkan Minangkabau population Negeri Sembilan Minangkabau descent.

This dance is a movement that resembles the movement of farmers during planting bercucuk, create employment reap and so forth. This dance also symbolizes joy and gratitude with the results of their crops. This dance is a jig with the dancers holding the plate on the soles of their hands, accompanied with songs played by talempong and saluang. Sometimes, the dishes will dilontar into the air or even dihempas to the ground and stand on these dancers. To add the elements of aesthetics, magic and surprises in this dance, male and female dancers will trample broken plates without fear nor wound. The audience will certainly feel terrified when the broken glass and sharp dipijak pulling.

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History of Wayang Kulit

History of Wayang Kulit Wayang shadow-puppet (Bali, early 20th Century)
Wayang is a generic term denoting traditional theater in Indonesia. There is no evidence of wayang existed before Hinduism That Came to Southeast Asia Sometime in the first century CE Brought in by Indian traders. However, there have been very well May indigenous storytelling traditions That Had a profound impact on the development of the traditional puppet theater. The first record of a wayang performance is from an inscription dated 930 CE the which says "the Galigi mawayang," or "Sir Galigi Played puppet". From That time till today it Seems to perform certain features of traditional puppet theater have remained. Galigi was an itinerant performer WHO was requested to perform for a special royal Occasion. At That event he performed a story about the hero Bhima from the Mahabharata

Wayang Kulit is a unique form of theater employing light and shadow. The Puppets are crafted from buffalo hide and mounted on bamboo sticks. When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen.
Puppet plays are invariably based on romantic tales, especially adaptations of the classic Indian epics, "The Mahabharata" and "The Ramayana". Some of the plays are based on local happenings Also (current issues) or other secular local stories. It is up to the conductor or "Tok Dalang" Decide to his direction.
The puppeteer is the genius behind the entire performance. It is WHO he sits behind the screen and narrates the story. With a traditional orchestra in the background to Provide a resonant conventional melody and its rhythm, the puppeteer modulates his voice to create suspense thus heightening the drama. Invariably, the play climaxes with The Triumph of good over evil.
Hinduism arrived in Indonesia from India even before the Christian era, and was Slowly adopted as the local belief system. Sanskrit Became the literary and court language of Java and later of Bali. The Hindus changed the Wayang (as did the Muslims, later) to spread Their religion, Mostly by stories from the Mahabharata or the Ramayana. Later this mixture of religion and wayang play was praised as harmony Between Hinduism and traditional Indonesian culture. On Java, the western part of Sumatra and Some Smaller islands traditionalists continued to play the old stories for Some time, but the influence of Hinduism prevailed and the traditional stories Either Fell Into Oblivion were the resource persons or integrated into the Hinduistic plays.
The figures of the puppets are Also present in the Paintings of That time, for example, the roof Murals of the Courtroom in Klungkung, Bali. They are still present in traditional Balinese painting today.
When Islam began spreading in Indonesia, the display of God or Gods in human form was prohibited, and thus this style of painting and shadow play was suppressed. King Raden Patah of Demak, Java wanted to see the wayang in its traditional form, but failed to obtain permission from the Muslim religious leaders. As an alternative, the religious leaders converted the wayang puppet show into prototype made from leather, and displayed only the shadow instead of the figures Itself. [Citation needed] Instead of the forbidden figures Their only shadow picture was displayed, the birth of the wayang skin. [citation needed]
The figures are painted, flat woodcarvings (a maximum of 5 to 15 mm thick - Barely half an inch) with movable arms. The head is solidly attached to the body. Puppet klitik cans be Used to perform puppet plays Either During the day or at night. This type of wayang is Relatively rare.
Wayang today is both the most ancient and most popular form of puppet theater in the world. Hundreds of people will of stay up all night long to watch the superstar performers, puppeteer, WHO command extravagant fees and are international celebrities. Some of the most famous puppeteer in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunarya, Ki Sugino, and Ki Manteb Sudarsono. [Edit] Puppet skin
Wayang kulit, shadow Puppets prevalent in Java and Bali in Indonesia, are without a doubt the best known of the Indonesian wayang. Skin means skin, and refers to the leather construction of the Puppets That are carefully chiseled with very fine tools and supported with carefully shaped buffalo horn handles and control rods.
The stories are usually drawn from the Ramayana, the Mahabharata or the Fibre Menak.
There is a family of characters in Javanese wayang Called clown-servants; They Are Sometimes Referred to as "clown-Servants" Because They normally are associated with the story's hero, and Provide humorous and Philosophical interludes. Semar is the father of Gareng (oldest son), Petruk, and Bagong (Youngest son). These characters did not originate in the Hindu epics, but were the resource persons added later, possibly to Introduce Mystical aspects of Islam into the Hindu-Javanese stories. They Provide something akin to a political cabaret, dealing with gossip and contemporary affairs.
The puppet figures themselves vary from place to place. In the Central Java city of Surakarta (Solo) is most famous and is the most commonly imitated the style of Puppets. Regional styles of Shadow Puppets Also cans be found in West Java, Banyumas, Cirebon, Semarang, and East Java. Bali produces more compact and naturalistic figures, and Lombok has figures representing real people. Often modern-world objects as Bicycles, automobiles, Airplanes and ships will from be added for comic effect, but for the most part the traditional puppet designs have changed little in the last 300 years.
Historically, the performance consisted of shadows cast on a cotton screen and an oil lamp. Today, the source of Light Used in wayang performance in Java is most Often a halogen electric light. Some modern forms of wayang Such as Puppet Sandosa created in the Art Academy at Surakarta (STSI) has employed spotlights, colored lights and other Innovations.
The handwork involved in making a wayang kulit figure That Is Suitable for a performance takes weeks installments, with the artists working together in groups. They start from master models (typically on paper) the which are traced out onto the skin (skin or parchment), Providing the figures with an outline and with indications of any holes That earnest need to be cut (Such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A Further smoothing follows before individual painting, the which is undertaken by yet another Craftsman. Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, the which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing That number over the course of a week.
The painting of less expensive handheld Puppets is expediently with a spray technique, using templates, and with a different person handling EACH color. Less expensive Puppets, Often sold to children During performances, Sometimes are made on cardboard instead of leather.


History of Wayang Kulit
  - Puppet skin

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