Tuesday, 07 Juni 2005 18:47:24
There is the assumption that our art world is a world that is "marginalized and / or termaginalkan"?. Others say the development of our art is only "roads in place"?. Even in some discussion about the art also did not complain about the birth of the great works of art in Indonesia. Is this correct? If the art world are "marginalized and / or termaginalkan"?, Only "roads in place"?, And not the birth of great works, it seems to be correlated with the condition of our public life
Life and the development of art is very determined by the condition of the people. The local living conditions will affect other choices will be revealed themes in a work, even more will be very decisive people who actually lovers (apresiator) art. This is because in the development of art, play an important role apresiator. Is nonsense, by way without the audience.
When judging from the aspect of public life, the essence of our society, both connoisseurs, bureaucrats, and artists themselves are the marginal society. The people who are on the line margin, between tradition and modernity, between the ethnic nation, among cities with villages (villages), between the feudal with egalitarian attitudes. And on the lines of other margin, at one time they can seem very traditional and the other when they all seem very modern. Likewise, at one point they seem cosmopolitan nationalists even while maintaining his ethnic attributes, living with city facilities while still thinking "ndeso", glorifying democracy but in practice remain inspired by feudal.
If it is connected with our art world in this West Sumatra, the reality described above it is very evident through the expression Wakidi way done. He reveals the social problems of such communities through the paintings of patterned likisannya-conventional naturalistic. Themes such as the conflict between tradition and modernity, ethnicity conflict, a conflict that stemmed from the feudal attitudes, hypocrisy, and other marginal permamasalahan are central themes chosen as revealed apparently Wakidi.
Public figure who made the object of the selected phrase Wakidi way it is a reflection of the new society we are marginal. The phenomenon of corruption, collusion, and neopotisme (CCN) for example, derived from the values of the feudal culture that requires a leader to accumulate wealth to secure life and his people. Similarly Minangkabau people (maybe also other ethnic communities) who lived in Jakarta, if the wedding party will feel more vibrant and tradition when compared with if the party was held at nagarinya. Many conglomerates figures and intellectuals who still require kebangsawan titles such as Datuk, Raden, Pati, etc. (feudal). Characters after releasing its structural position, frequently voicing the attitude and the desire not to do when he can do it in the capacity of the first term.
Such marginal communities, although grow and develop into a new middle class, but the nature of marginality persisted. New middle class society that is people who were also significantly marginalize our art world. Shifting cultural values of an agrarian society to industrial culture to culture and information has given birth to community groups as a new middle class is no longer to empower the arts in general and fine art in particular as a place of their spiritual contemplation. This means that between raso jo pareso they become unbalanced.
Imbalance between what is material to the arts (visual art) as a work of spiritual nuanced. This phenomenon is visible from many indications that most of the attention of our society toward greater material when compared with attention to the problems of art (spiritual). If we are not vigilant, this imbalance will destroy our society as a spiritual people, because by spending his attention to "fight for influence"? and so on, then the enrichment of spiritual experience will diminish. As a result, our society will be hit by pendangkalan spiritual meaning spiritual nature as a people will lose little by little.
Other indications show us that today the bulk of our society (especially leaders) are proud to have wealth and worldly power rather than having a painting, culture, wisdom of life, art and so on. Developed countries (U.S., Europe, Japan, Korea, etc.) which eventually became rich countries in terms of property is a major contributor unbalanced situation, since lifestyle-oriented citizens Matei area, serve as a model or parameters of a life of success. To achieve "success of life"? This race community property and the pursuit of power that many are willing to leave the spiritual problems of humanity.
Another indication that the arts and culture (and arts) and other aspects of spirituality is no longer a component of life that are important to our society is the "size"? for what is called "Developed Country and Under-developed Country"? is not measured by the cultural richness such as painting (art) for example, but measured by material things, such as Community Poverty Index (HPI) or the success of the Development Index (IKP), percapita income, and others with similar meanings.
It is thus also affecting our education are more likely to print a clever man to pursue material wealth rather than educate the people as a people wise and prudent. It is not strange that the parents will also be more proud if their children good at maths, because armed with that knowledge he would master the advanced technology as an engine to print the property and wealth. Conversely, those who cultivate their children more art, including fine art, much disappointed, because their children will not be able to compete in the fighting over wealth and power as an icon of success of a life. With such attitudes, we need not be discouraged, if the art world generally, and fine art in particular became marginal.
Attitudes and tendencies of this view also penetrated the ranks of our bureaucrats. They consciously or otherwise marginalize have also followed our cultural arts including visual art. In fact, they know that the foundation of a nation can not be measured by the HPI or IKP, but also the cultural arts. But in his treatment, art and culture (one art) they always marginalkan. This phenomenon is seen from the attitude and treat them to the work of art. Rarely among our bureaucrats are fond of collecting works of painting, and if there are exhibitions and other arts performances they rarely attend, unless invited to do the opening. Development of art and culture are treated less reasonable when compared with development in other sectors. This can be seen once in kebijakkan policies they take, the development of arts and culture always get the last rank (in terms of allocation of funds), although it has formed setakad Department of tourism and culture. They realized that the success of tourism industry highly correlated with the arts and culture, can be a flagship to reach foreign exchange, but still (in-) marginalkan. Perhaps they forget or intentionally forget that Sianok Gorge is famous in foreign countries thanks to the work of Wakidi way, thanks to touch the canvas artists, but art is still marginalized. Other evidence is not many hotels are decorated with paintings by artists, devoid of any other art performances. In short, our bureaucrats are already succeeded in becoming a community literacy, numeracy, but is still blind culture and religion, and therefore need alleviated again.
This situation is compounded by the attitude of an artist who's work tends to be too easy. There are paintings that only sparks of color alone, in addition to the definition of art itself, which is increasingly blurred. For example an Italian artist Piero Manzoni in 1961 that his signature over the bodies of women with no clothes on while stating that women are the sculptures on display ready. Or the French artist Ben Vauteier year 1962 that displayed itself as a sculpture in a gallery for fifteen days, and Pi Lind in 1969 in Stockholm that put the foundations in a sculpture gallery in the hope that the visitors would stand on the grounds that a statue, and many similar examples such as the work of Manzoni, Vautrier to illustrate how the definition of art is blurred. The result is the emergence of many individual styles that are not so prominent, not because of the birth of an important period, not the emergence of major works, and the separation of art from life contexts, and ultimately their work becomes too remote. Even things that makes the leading art historians such as Hans Belting suggests that art history has ended; the end rather than art history as a humanistic discipline, but it is art history as a chain of period-style development (a phenomenon that such profit is not our encountered in our artists in this area). In such circumstances reasonable if not born great works in our art world. Of course we do not want that we live constantly with the situations and conditions like this, we certainly do not want our society into a society that kropos, dry spiritual, cultural blindness, and loss of sense of values. For that we hope can mengasahnya artists, through creative work and expressions seem.
From the above description we can take a conclusion that in essence our art world (especially the arts) is a marginal art. Marginal nature except look of the themes expressed also determined by the marginal people as well. The intellectuals, bureaucrats, and artists themselves are expected to cultivate art world and also can protect the people love art, also still is marginal and can not be expected to enlighten our art world. For some time our art world will remain isolated.
Remoteness that, should, will not make the artists stop creating, gave birth to works of great, serious and qualified for major work, a serious and quality and will last through time and space. In most of conscience, let us plant the motto "Work while preaching"?, Hopefully with this motto, the conscience of intellectuals, bureaucrats, technocrats and people moved to badarai we love the work of art's self-image culture of Indonesia.
By: Yasnur Asri
http://senirupa.net/mod.php?mod=publisher&op=viewarticle&cid=4&artid=27
Art of Indonesia
Affandi (1907-1990)
Indonesia Maestro Painting
During his life, he has produced more than 2,000 works of painting. His works are exhibited to various countries in the world, whether in Asia, Europe, America and Australia are always fascinating world of art lovers. Painter who won the title of Doctor Honoris Causa from the University of Singapore in 1974 was the work of his paintings, more often spill liquids directly from the tube of paint was then brushed the paint with his fingers, play and process color to express what he saw and felt about something.
In terms of education, son's birth Cirebon Cirebon in 1907 which includes a formal education is quite high. For the generation born in 1907, HIS education, MULO, and later graduated from the AMS, including the education obtained only by a handful of children of the country. But the art of painting talent is very thick beat other disciplines in life, and indeed has made his name famous as a leader or leaders of other fields.
When the Republic was proclaimed in 1945, many artists took part. Train cars and walls inscribed with the other "Freedom or death!". The words were taken from the cover of Bung Karno's speech "The Birth of Pancasila ', June 1, 1945. At that moment, Affandi got the assignment to make posters. Poster idea from Bung Karno, pictures of people in chains but the chains had been broken. Which serve as a model painter Abdullah. So what words should be written on the poster? Incidentally appears Chairil poet. Chairil Soedjojono ask, then lightly Chairil way: "BUNG, BUNG GO!"
And be done with historic posters. A group of painters memperbanyaknya day and night and sent to the regions. Where Did Chairil picked those words? It turned out the words, usually spoken by the prostitutes in Jakarta that offers merchandise at that time.
Outstanding talent in painting himself never enorehkan interesting story of his life. One time, he never got a scholarship to study painting at Santiniketan, India, an academy founded by Rabindranath Tagore. When he had arrived in India, he was rejected on the grounds that he had not considered educational needs painting again. Finally, the cost of scholarships that have been received is used to hold exhibitions around the country India.
On his return from India, Europe, in the fifties, Affandi nominated by the Party to represent the people do not belong to a party in the Constituent Assembly elections. And elected him, as Frof. Ir. Poerbodiningrat etc. Saloekoe to represent the people do not belong to a party. In the constituent assembly, according to the Resobowo Basuki also a painter friend, usually he's just quiet Affandi, sometimes sleeping. But when the commission meetings, Affandi spoke. He entered humanitarian commission (maybe now HAM) led Wikana, Affandi also close friends since before the revolution.
Then what the topic is raised Affandi? "We're talking about the humanitarian, then how about Perikebinatangan?" Thus he began his oration. Of course, who heard all the laughing ger-Geran. Affandi no ordinary humanists. Painter who liked to wear gloves, also when called to the palace during the Suharto was still in power, intuition is very sharp. While living in the era of technology is often identified the modern era, he was still very close to the fauna, flora, and this universe. When Affandi question 'Perikebinatangan' in 1955, public awareness of the environment is still very low.
Affandi also includes the central leadership Lekra (Lembaga Kebudayaan Rakyat), the largest cultural organization that was dissolved by the Suharto regime. He's part of art Art Institute) with Resobowo Basuki, Henk Ngantung, and so on.
In the sixties, the U.S. anti-imperialist movement was intense enough mengagresi Vietnam. U.S. culture is also anti-called 'cultural imperialism'. American films, boycotted the country. At that time, Affandi got an invitation to exhibit at the USIS Jakarta. And Affandi was, exhibitions there.
When a group of painters gathered Lekra, there is a question. Why is the leadership Affandi Lekra kok exhibition at the aggressor's representative. Responding to this problem, there is nyeletuk: "Mr. Affandi was led Lekra, but he could not distinguish between Lekra with Lepra!" friend said calmly. Karuan just all laughed.
On his way to work, the degrees of Doctor Honoris Causa from the University of Singapore in 1974, is known as a painter who adopted or abstract expressionism. So that his paintings are often very difficult to understand by others, especially by someone who lay about the art world, if no explanation. But for lovers of painting it so that adds charm.
Affandi was just one great painters of Indonesia along with other painters such as Raden Saleh, Basuki Abdullah and others. But because many advantages and privileges of his works, his admirers to her the various titles and boasts among other nicknames such as the nickname Painters New Ekspressionis Indonesia even nicknamed Maestro. Is the International Herald Tribune newspaper that called him the painter of New Ekspressionis Indonesia, while in Florence, Italy he had been given the title of Grand Maestro.
Various awards and prizes like a flood the journey of life from the man who nearly all his life devoted to this art world. Among other things, in the year 1977 he received the Peace Prize of the International Dag Hammershjoeld. Even the Central Committee of the Diplomatic Academy of Peace PAX Mundi in Castelo San Marzano, Florence, Italy was picked to be members of the Academy of Human Rights of Man.
From within their own country, do not lose many awards she had received, among them, the award "Star Services" which was awarded the Government of the Republic of Indonesia in 1978. And since 1986 he was also appointed as a Member of the Board of Trustees ISI (Institut Seni Indonesia) in Jogjakarta. Even a poet Force for 45 Chairil ever presented a special poem for her, entitled To the painter Affandi.
To appreciate the great works, the various institutions or foundations are also trying to capture a memento of this great painter. In 1976, Prix International Dag Hammerskjoeld has published a keepsake book about the "Affandi". Thick book over 189 pages was published in 4 languages, namely English, Dutch, French, and Indonesia. Similarly, Doubleday Publishing Foundation, has published a book about Sumaatmadja Nugraha Affandi's works in 1975.
Similarly, in order to commemorate 70 years of Affandi in 1978, the Jakarta Arts Council also published a book "70 Years Affandi" arrangement Ajip Rosidi, Zaini, Sudarmadji. And in order to commemorate 80 years of Affandi in 1987, Yayasan Bina Lestari Budaya Jakarta, published a book about "Affandi". The book compiled by Raka Sumichan and Umar Kayam thickness over 222 pages was published in two languages ie English and Indonesian.
To close and introduce his works to art lovers, Affandi often held exhibitions in various places. In India, he has held exhibitions around to various cities. Similarly, in various countries of Europe, America and Australia. In Europe, he has held exhibitions among others in London, Amsterdam, Brussels, Paris and Rome. Similarly in countries such as the American continent in Brazil, Venice, San Paulo, and the United States. Such a case, too, who made his name known in different parts of the world.
Despite melanglangbuana to various countries, Affandi is known as a simple and rather modestly. Favorite painter who eat rice with grilled tempeh have an idol are fairly unusual. Other people when choosing puppets to idols, usually choosing a good, handsome, brave, wise, such as Arjuna, Gatutkaca, or Werkudara Bhima, Krishna.
However, Affandi choose which face Sokasrana ugly but very powerful. Puppet's character thinks is representative of much of his handsome face. Even so, the Ministry of Tourism Post and Telecommunication (Deparpostel) captured her face by issuing a new stamp series of art / artist Indonesia. According Helfy Dirix (Affandi's oldest grandson) images used for the stamp is a self portrait paintings of Affandi in 1974, when Affandi was so industrious and productive as well as painting in the museum at the edge of the residence time Gajahwong Yogyakarta.
Simplicity way of thinking looks at a time, Affandi was confused myself when Western critics ask concepts and theory of painting. By Western critics, Affandi's paintings are considered to give a new style of expressionism flow. But when it actually Affandi asked,''what it flow?''.
Even when his parents, Affandi blinded himself with the theories. In fact he was known as a painter who does not like to read. For him, the letters are small and large specter renik considered.
In fact, in everyday life, he often says that he is a painter buffalo, diakunya nickname because he feels as stupid painter. Perhaps because the buffalo is an animal that is considered dumb and stupid.
The maestro''attitude''who is not fond of theorizing and prefer to work in real earnest as evidenced by professing himself as a painter who not only seasonal exhibitions. Even against his chosen field, he was not overreacting.
For example Affandi answer each time was asked why he paints. With lightly, he replied,''I paint because I can not write, I'm not good at talking. The language I use is the language of painting.''For Affandi, painting is work. He paints like a man hungry. Until the elitist impression about as a painter, he just wants to be as''artist''.
He further argued that he did not have a personality big enough to be called an artist, and he does not put art on the family's interests. ''If my child sick, I was going to stop painting,''he said.
In terms of productivity, including the painter Affandi productive enough. According Affandi himself, he has painted more than 2000 pieces of paintings and about 300 fruit painting private collection is now stored in the Museum Affandi, Jogyakarta. Museum which was inaugurated by Fuad Hassan, Minister of Education and Culture as it was in its history has never been visited by former President Soeharto and former Prime Minister of Malaysia Dr. Mahathir Mohammad in June 1988 when both were still in power. The museum was founded in 1973 on the land that became his home.
Until his death in May 1990, he remained to cultivate the profession as a painter. Activities that have become part of her life. He was buried not far from the museum, which he founded it.
Currently, there are about 1,000 of the more paintings in the Museum Affandi, and 300 of them are works of Affandi. Affandi's paintings on display at the gallery is the work I have restropektif the historical value from the beginning of his career to finish, so not for sale. While II is the painting gallery friends Affandi both the living and the dead as Basuki Abdullah, Popo Iskandar, Hendra, Rusli, Fajar Sidik, and others. The third gallery contains paintings of Affandi's family.
In the third gallery which was completed in 1997, when it displayed the latest paintings of Kartika Affandi made in 1999. The painting was among other "what to do" (January 99), "What's Mine? Why does this to Happen" (February 99), "Unfair" (June 99), "Back In the Reality of Life, Everything I handed him" (July 99), and others. There are also paintings Maryati, Rukmini Joseph, and Juki Affandi.
http://www.tokohindonesia.com/ensiklopedi/a/affandi/index.shtml
Indonesian Art identity
Diversity that characterizes the cultural basis of Indonesia has given birth to various types and forms of expression of the old Indonesian art. Based on the work found, Indonesian art is divided into four times, namely the prehistoric culture, ancient, middle, and a new era or modern. The diversity of works of art from prehistoric times, classical Hinduism, and Islam, not only arose because the influence of foreign cultures are not equal, but also because of the birth and development influenced the natural environment.
The identity of Indonesian art-identified as a local Hindu genius who experienced the process of acculturation and inculturation for centuries. Manifestations and the diversity of styles based on the continuity of expression values Indonesian native art traditions enriched with elements from other arts such as from China and Campa.
Cultural patterns Hindu feudal era are still maintained and color forms of art expression time of the kings of Islam. The formation of Islamic culture that originated from India and made Gujarat Hindu-Parsi culture colored part of Islamic culture in Indonesia. Hindu tradition of decoration is dominated by floralistis become distinctive style of Islamic decorative art in Indonesia.
Documentation of this artwork shows a plurality of styles of art expression Indonesia since the colonial government as a result of losing the meaning of continuity of tradition that could produce a new creation. Of contact with European culture is only based on trade and military interests have resulted in the western culture does not work with the art form artistic values intact. Forms of art works that resembles western culture is only imitation of foreign art without melali acculturation process.
Kompas, Sunday, November 9, 2008
http://nalar.co.id/identitas-seni-rupa-indonesia-387.php
Kota Gede Yogyakarta
Only five kilometers towards the south-east of Yogyakarta city center to reach the location of the ancient city which left a lot of old buildings which once was the royal city and palace Mataran Islam. This ancient city is more known by the name of Kota Gede Yogyakarta and all residents aware of this location, especially public transport drivers or tour guides, just by using the city bus line 11 from the terminal can Umbulharjo nyampai less than thirty minutes, or going even faster with taxi or private vehicle was not until fifteen minutes. For every tourist to really want to visit Yogyakarta Kota Gede, because they can see the silver-making process and also buy a souvenir or gift for family or friends.
Ancient City of Mataram
Moreover, it can be seen the old buildings as a witness had a history of the Islamic Mataram kingdom before the transfer of this area eg the Palace gates, or tomb tomb complex Sapto Renggo or more often called the tomb of Kota Gede. The visit to the tomb Kotagede a pilgrimage trip is still associated with visits to tourist objects in the environment of Kraton Jogja. In the main tomb building, buried Ngabehi Sutawijaya Market Loring, founder of the Mataram kingdom Panembahan Senopati title, which is also the ancestor or ancestors of the sultans who ruled Sultanate of Yogyakarta. There is also the mother's father's tomb and Nyi Ki Pemanahan, Sultan Hadiwijaya of the kingdom which is Pajai his adoptive father and the other courtiers. In the tomb complex, the Mataram royal family there are also grave Ki Ageng Mangir, Senopati Panembahan-law who is also the enemy Panembahan Senopati. About a hundred yards south of this tomb complex, can still be seen "Watu Gilang" which supposedly is Panembahan Senopati throne floor that is used to end the life of Ki Ageng Mangir Wanabaya.
Silver Burn
The silver is also synonymous with the name of Kota Gede because many households rely life of silver, there are small, with labor a couple of people, but some are 60 people employed to crafters. Actually, this silver has been done since the first hereditary and starts fulfilling the need for jewelry or other equipment for the King and the Sultan and relatives. Location silversmiths in almost every corner of the market town of Kota Gede Gede to the former Grand Mosque and Islamic Mataram Palace, there are dozens of shops, craftsmen and cooperatives silver.
Characteristic of the workmanship is maintained manually handicrafts, because since the days of old until now still rely on hand skills. A carved slab of silver gradually with sheet asphalt or wax or a thin silver wire individually selected and combined in such a way as to obtain the desired shape with intricate parts that need to be done with full dilaspun precision. Some longer requires a different process, such as the burned fuel to get the silver which is also a lot of rage.
Most of the handicrafts of the goods in the form of a classic, such as trays, plates, silverware, vases, ashtrays, glass lid and so forth. There are also handicrafts such as rings, necklaces, earrings and more. Most silver ornaments Kota Gede is strongly influenced by batik motifs. In determining the issue price of a silver object is not only based on the amount or weight but also the value of art and the level of complexity in the process. So often found at very bervariatif between one vendor with another vendor, but certainly cheaper than that sold outside of Kota Gede, eg in a hotel, or other geleri in downtown Yogyakarta.
http://www.freshwell.com/nsh.php?nsh=0029
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Why boring shadowgraph
Moments ago, the observer and the shadow puppet berkatarsis gathered together. Quite interesting is because most of them complain about the existence of the lost shadow puppet with soap.
One of the things that make shadow puppets are no longer interesting is this show is very boring. How not, all the leather puppet show almost exactly the same, there pakemnya. As an illustration, all Javanese leather puppet show consists of three pathet (act) 1, which consists of scenes:
1. Meek and retainer meeting with King
2. King to keputren, then a farce by Limbuk & Cangik
3. Meek and retainer tightly together, then the whole of the royal entourage went to a place
4. In the middle of the road royal party met with the enemy, they fight, then one loses
5. Scene jokes Gareng, Petruk and Bagong. Then they accompanied the Satria into the woods.
6. In the middle of the forest giants met Satria Cakil and Bragalba. Fierce fighting occurred despite the knight finally won (seprise!!).
7. All the characters appear and the climax begins to happen
8. Antagonist of the war with the protagonist, and finally defeated and die. Resolution occurs.
9. Done!
A problem emerges here: leather puppet show made standard so that the mastermind could barely more creative than that. Most fixed, will explore the mastermind behind the war scene and the scene buffoonery, because the scene was still flexible.
When things are repeated continuously, eventually the audience will be saturated. And when they are saturated, they will automatically move to other entertainment.
Maybe if applied in time-sunan sunan, standard leather puppets are less of a problem because the frequency of leather puppet is still rare. But when applied in the present day can be played as two episodes at once, people will get bored quickly if the plot was always something like.
Ironically, most students of wayang kulit (including puppeteer), not like there was innovation in the pattern of leather puppet show. When shadow puppets shortened from 9 hours to 4 hours by Indosiar, they protested. When the scene in order to manipulate them utak protest too. When Ki Sukasman make Puppet Measure, berating them.
Wayang kulit as an egg from the culture should not be restrained and standardized. Like culture itself, should be able to develop and adjust the time.
Notes:
In addition to the same plot continues, the rhythm of development of wayang kulit stories gathered conflict, climax, and resolution at the last 3 hours, more or less like this graph:
Automatic, viewers are forced to spend 6 hours to see the set-up of the play (story).
WAYANG UKUR SUKASMAN; Growth or Decline?
1. Introduction
Wayang kulit is performance art form that has a long process and the shape is very unique. Wayang kulit has been found in Arjuna Wiwaha Kakawin written by Empu Kanwa, a poet of the 11th century BC at the time of Airlangga. Since birth, the original shadow play a very simple form, always experience growth and change in both forms show, game techniques, visual form and type in accordance with the needs of society and age. For example pakeliran accompaniment included in the puppet world in the 12th century BC. Stylish leather puppet performances all night and the screen used in the pagelarannya widened in the fourth century AD 14.
Function puppet ditumbuh also replaced as a container even aesthetic expression, education facilities, means of communication, religious propaganda media, and media propaganda. Forms, technical game, being puppets, types of puppets, and puppets function is slowly changed in line with the transition period.
2. Saturation and Major Problems in the Wayang Kulit
One of the things that make shadow puppets are no longer interesting is this show is very boring. How not, all the leather puppet show almost exactly the same, it is standard. As an illustration, all Javanese leather puppet show consists of three pathet (act), which consists of scenes:
1. Meek and retainer meeting with the King,
2. King to keputren, then followed by Limbuk jokes and Cangik,
3. Meek and retainer tightly together, then the whole of the royal entourage went to a place,
4. In the middle of the road royal party met with the enemy, they fight, then one loses,
5. Scene jokes Gareng, Petruk and Bagong. Then they accompanied the Satria into the woods,
6. In the middle of the forest giants met Satria Cakil and Bragalba. Fierce fighting occurred despite the knight finally won (seprise),
7. All the characters appear and the climax begins,
8. Antagonist of the war with the protagonist, and finally defeated and die. Resolution occurs.
9. Done.
A problem emerges here: leather puppet show made standard so that the mastermind could barely more creative than that. Most fixed, will explore the mastermind behind the war scene and the scene buffoonery, because the scene was still flexible. When things are repeated continuously, eventually the audience will be saturated. When they are saturated, they will automatically move to other entertainment. Maybe if applied in the time-sunan sunan, standard leather puppets are less of a problem because the frequency of leather puppet is still rare. However, when applied in the present, when the day can be played two episodes at once, people will get bored quickly if the plot was always something like.
Ironically, most students of wayang kulit (including puppeteer), not like there was innovation in the pattern of leather puppet show. When shadow puppets shortened from 9 hours to 4 hours by Indosiar, they protested. When the scene in order to manipulate them utak protest too. When Ki Sukasman make Puppet Measure, they berate.
Wayang kulit as an egg from the culture should not be restrained and standardized. Like culture itself, should be able to develop and adjust the time.
3. Evolution of the Wayang Puppet Measure Sukasman; Metaphor Analysis
Ki Sukasman known as a puppet creator measure. Creativity originates from a lack of satisfaction to see anatomical shapes typical purwa puppets and less agile mengekspresiakan each character. Then created new forms all of which turned out to not be separated from the problem of measuring, because the measuring process, it was later named the puppet puppet measure. New forms of new consequences in terms of balance and harmony. The process of measuring artistic experimentation was sharpened and extended time for socialization to get feedback from observers culture and society.
From the research that, this puppet artists began to create forms to suit their own puppets with their metaphorical character, such as: Togog, with his mlegak-mlegok, can be interpreted as filled with wonder and astonishment was obvious from his expression which is too tense.
Other creations created Ki Sukasman also include the use of a more varied lights. For example, when cutting finger Ekalaya scene, the red light to glow filled the screen directly implies spilled blood. Similarly, when Arjuna killed, re-use of red light.
Light not only helps dramatize the story, as well as other effects. For example, a number of puppet soldiers coincide successfully organized an army to bring the visualization closer puppet kingdom with it to light. Two assistant mastermind behind pakeliran (screen), able to turn the puppet movements more dynamic, such as: when the attack scene animals and forest dwellers battle between the giants and warriors Paranggelung Kingdom.
Ki Sukasman found that classical art was not considered one eye, but rather a special award. While wayang kulit in Java this would always be inferior to modern art. From there he struggled to get the composition of the shadow puppets that can be considered "parallel" with modern art.
A mountain Sukasman work, for example, has a very symmetrical design, and stopped at one point. Eggplant Blind People described as having a very large nose, so close the breathing hole. This picture to show the greed of the people who eventually turned it off myself. Puppet Sukasman Ki measure not only classics, but also able to speak in the context of the current era.
Puppet measure was unique shape, when mounted on the screen, he did not produce a black shadow behind him, but still colorful. Puppet is made transparent (translucent), so the colors remain brilliant even if viewed from behind the screen / screen. This measure puppet was not given the color of the paint but by using markers.
4. New Faces Wayang Kulit
Leather puppet show for it is identical to the picture show all night long, boring, and old-fashioned. Recent developments indicate a desire began to pack some of the leather puppet show to look more fresh.
Updates on the leather puppet show can be concluded among other things, as follows.
1. Pementasannya are solid, meaning pagelarannya term average of one hour and a maximum of two hours.
2. Performances aim to convey the values and new ideas from the wayang kulit puppet interpretation without bond by the older generation of puppeteers, and even a new interpretation that often conflict with existing interpretations.
3. Performances are intended to familiarize the puppet for the Indonesian people, not just limited to ethnic Javanese, but is expected to be accepted by all Indonesian people.
4. Show more emphasis on the visual elements rather than elements of chess or oral.
5. Show is the collectivity of the division of labor with the involvement of various elements such as elements of theater, language, movement, musicians and so forth, so that multimedia is well.
If the developments and changes observed shadow puppets, it can be said that in the development of shadow play two orientations, namely: internal and external needs. Internal needs of artists because of the desire to be creative mastermind in order to achieve high quality work, while external demand is based on technological advances, changes in norms, and public tastes shift. Internal needs of the newly created form, such as: play, Sanggit, musicians, and a new doll. The need for external use musical instruments non-gamelan instruments more technologically advanced stage than before, such as: sound system and light system, for more captivating audiences and answering the public taste. Development of art puppet show based on the orientation of these two closely related to each other, the Javanese shadow play remains alive among the people of Java and can withstand the currents of globalization are sweeping across the world.
5. Closing
Masterminds do not be separated from the puppet. Apparently a lot is determined by the puppet puppeteer taste. A masterful puppeteer in the show but usually also good at making puppets, began selecting materials, sculpture, plastered, and then used menggapiti itself to a performer.
The presence of a new puppet [read: puppet measure] reflect society at a particular time and puppet shows images of the future. In the world of shadow puppets, actually no need for categorization as a tradition and the new, the only change and development only. Wayang kulit is always there in the process of change and development. Shadowgraph essence is precisely transistasis, or properties that can change the form of both physical and nonphysical nature. As metabolic functions, the puppet who was born from the middle of the development process influences the flow-through on existing puppet. Among the puppets, there is still existence and there are the forgotten of human memory. However, what is important is because of the metabolism, shadow puppets can continue to live in the community while to adjust to the transition period. To continue her life, shadow puppets metabolism repeated as living beings.based on the orientation of these two closely related to each other, the Javanese shadow play remains alive among the people of Java and can withstand the currents of globalization are sweeping across the world.
5. Closing
Masterminds do not be separated from the puppet. Apparently a lot is determined by the puppet puppeteer taste. A masterful puppeteer in the show but usually also good at making puppets, began selecting materials, sculpture, plastered, and then used menggapiti itself to a performer.
The presence of a new puppet [read: puppet measure] reflect society at a particular time and puppet shows images of the future. In the world of shadow puppets, actually no need for categorization as a tradition and the new, the only change and development only. Wayang kulit is always there in the process of change and development. Shadowgraph essence is precisely transistasis, or properties that can change the form of both physical and nonphysical nature. As metabolic functions, the puppet who was born from the middle of the development process influences the flow-through on existing puppet. Among the puppets, there is still existence and there are the forgotten of human memory. However, what is important is because of the metabolism, shadow puppets can continue to live in the community while to adjust to the transition period. To continue her life, shadow puppets metabolism repeated as living beings.
Memoirs of Geisha; Japanese Culture distortions in the Western Paradigm
1. Introduction
As a film adaptation of the novel, the film Memoirs of Geisha is a successful Hollywood movie. The director managed to show a story about the fall-awakening of a Japanese woman who devotes her life as a geisha. Japan took the set in the era of the 1930s until the 1940s, the film is built with classic narrative standard Hollywood movies, ie: the entire narrative is built on the causal relationship works the main actor, in this case Sayuri (her geisha).
Since the beginning of Rob Marshall (the director) to build the narrative with a very simple film. Beautiful child named Chiyo is taken to the city of Kyoto because of poor family conditions. As a result of the encounter with a man named The Chairman and the conditions around him, he decided to become a geisha. The whole story focuses on the figure of this Sayuri. While the social conditions or anything else that is more naturally functioning as a catalyst / preconditions for the fate of the main characters of this.
Narrative film is built on the main character wants to get something. In this film, the main character (Sayuri) moved his fate because of the desire to meet again with the Chairman. It inspires the desire to fight the main character, change, and get goals. In the struggle to reach this goal, the characters usually get the barriers. The things that prevent the ideals main character is a cause of conflict. Conflict is the main character the film developed. Classical narratives claim Hollywood films usually have a definite closing film. In this story, Sayuri finally managed to reach his goal.
2. Problems
Since the beginning of making this film was already causing a lot of protest and controversy from many people, especially the Japanese. Why? The film was lifted from a novel that tells about the life of a geisha, written by Arthur Golden. Geisha is a Japanese cultural artifacts.
For the Japanese culture, geisha women occupy a relatively ambiguous position. Apart from being female "entertainer" in the sense of providing services for men (not always sex, but sex is an important position in this transaction), women also have a role as a geisha artists who have art technical skills, such as: playing shinkasen, and serve "guest" in the tea ceremony.
3. Memoirs of Geisha analysis; Propaganda Culture
In pursuit of the classic Hollywood narrative system which of course satisfy the audience's desire was educated by the system of this narrative, the movie, a geisha is shown as a mere courtesan / prostitute or just sell your body. This of course reduces the geisha's position as a Japanese cultural artifacts. The system is constructed through narrative images of beautiful and plots arranged in a sequence showing Chiyo (Sayuri) as a woman who is almost no power over himself.
Mental patterns presented in the film Memoirs of Geisha Sayuri displays allow himself floating in the flow of fate beyond his power. This description contrary to what is described in Arthur Golden novel. In a novel that is a reconstruction of the past of the geisha, Sayuri is portrayed as a strong woman, clay, and not give herself only to the fate of the crib. Instead of the novel seemed the impression that he is a strong woman who managed to get through "bad" as a geisha.
Helpless character protrusion Sayuri and Japanese traditions and landscape are incredibly beautiful and fascinating, the perceived excessive and more like a romance (or even melodrama). Determining the fate of the geisha and the protrusion of the role of Chairman as an ideal is also a very strong reduction of Sayuri's own initiative. In the novel, though Chairman occupy an important role, but not the only motivation, and especially the events that took place.
The issue in this narrative level and culminating in the events after the war, when the United States came to Japan as the winner of the war. In this film, showing that the Americans came as a "hero" who would help overcome the crisis, the Japanese lost the war it suffered. Negotiations between the Japanese and the United States take place very easily. Japanese people appear to rely on support from his people the United States.
What is evident from this phenomenon? Reproductive discourse occurs. The film is produced by the United States are relatively unfamiliar with Japanese culture (or liyan / the other for Japanese culture). Actor-protagonist was not taken from the Japanese people, although this film is about the Japanese. The main players instead of women taken from the Sino-people who already have a reputation among the Hollywood film industry.
In addition to economic and marketing reasons, the issue of election actress / actor is indeed correct in accordance with the demands of narrative film "won" the American people in the event of World War 2. Production problems and especially this narrative, related to the question "how the West looked at the East", how "white people" who have a history as a colonial view "of the nations of non-whites" who mostly have a history as a colony.
Sayuri melodrama in this movie exotic view mirror of the "romance" colonialists who once ruled the nations it deems liyan since the 18th century. January Nederveen Pieterse (1992) analysis of colonialism in Africa, said that the white people experience what is called "colonialist psychology" that divides the world into superior and inferior class. And this inferiority refers to nations outside the white nation.
In view of the nations outside of this white, they are "afraid to admit that the nations of non-whites are able to do things better than him". The people outside the white race is described as an object. They are isolated from the environment and presented with the "Schematic fashion" or style of beauty procedures colonialist eyes. Individual character (Sayuri, in this context) is the complement of civilization and Western privilege. Liyan confirmed by the placement of characters in the foreground (with a background of a beautiful landscape). It also puts the character as an object that can be seen and can be controlled. According to Pieterse, the liyan is placed in the Victorian aesthetic conventions.
4. Metaphor Memoirs of Geisha; Geisha Not Hookers
A geisha is not a prostitute, then what?. Problem prostitutes or not, concerns about stigma. about the stigma related to the terms of understanding, meaning, and acceptance of a term, behavior, or symptoms of a particular behavior. therefore, discuss the term geisha, prostitutes, or other terms seputarnya be important to understand the beauty of this memoir. Giving meaning and significance of a term becomes very important, at the time of the impact caused the behavior of the process of interpretation, understanding, and acceptance. This analysis, a form of metaphor, in addition to lifting beauty memoirs, the main goal is to place a geisha in stigmanya.
Ritualitas and routine of a geisha's life is different with a prostitute. There is one more unique thing, that is usually and most of the geisha have never had the choice to retire. The money it generates can be "the lure" for who knows 'position' geisha, not even feel tired after and out of the teahouse to entertain customers. A geisha is required skilled, beautiful, and intelligent.
In this memoir, the story of geisha Sayuri is a Japanese who lived in the 1930s. Geisha inhabiting such a unique subculture that and even Japanese women in the 1930s, might think is not easy to write the life of a geisha at the time. Distinctive subculture that, among other things: how a mengenakkan geisha kimono and put make-up is really one tebal.Hal distinctive subculture.
Geisha geisha called hot springs or hot springs geisha, who is resting places, obviously prostitutes; it is public opinion. However, as stated in the memoirs of Sayuri, the reader must see how they play the shamisen mahirnya, and how much their knowledge of the tea ceremony, before the readers deserve mention themselves as geisha. However, even the Kyoto geisha didistrik and Tokyo, as well as major cities the other, obviously there are some prostitutes. For example; an apprentice has to go through something called mizuage, or "memerawani". Their virginity was sold to the highest bidder.
After going through his mizuage stage, high-class geisha will provide them for the men every night. He will be a geisha who fail, if he does not have a man who acts as guardian and finance expenses. This guy will guarantee his life remain elegant, and, instead, the geisha would provide sexual services, only to the man. Is this prostitution?. Not in the same sense, as the understanding of people, which serves a variety of male prostitutes every night. In this memoir, geisha can be likened to the upper class mistress, not a prostitute.
Geisha are not any prostitutes who can offer themselves, there is a real subculture conditions achieved with great effort to skilled master training. This memoir presents to the reader, so complicated and the black side of the house peliknya sober place to prepare a novice, until he can fix the highest tariffs as a geisha. This is the memoir of a geisha beauty.
5. Closing
Clearly, that Rob Marshall to change the story of a geisha becomes a form of entertainment for "the white man" who experienced the colonial complex. So the images beautiful, the stunning cinematography system, extraordinary assertion of traditional images, is the discourse of "colonizing" is displayed in the form of popular tontontan is inevitable.
Not surprisingly, the narrative of the film Memoirs of Geisha Rob Marshall-style, white people (in this case, the United States) is described as a winner, helpers, and heroes. This is what many experts called a postcolonial Western colonial propaganda on East countries. Remarkably, this propaganda packaged in such a way that looks scientific, interesting, aesthetic and seemed not patronize (hegemonic). In this context, the film Memoirs of Geisha assert itself as a cultural propaganda that the audience does not know Japanese culture, the more attractive this movie.
Palembang songket weaving on the rise
EARLY September, Hanna brought 50 pieces Soewandi songket palembang at an event in a cafe in Kemang, South Jakarta. This new two-year Hanna songketnya building fabric business, working together with Mrs. Yani, owner of fashion house House of Yani.
Hanna was not the first person who tried to lift songket as traditional fabrics into fashion items. A number of names from the designer and nondesainer've done it first. Not only the songket, but also other traditional fabrics sourced from the wealth of cultural diversity in the country. Call it designer names such as Ramli, Ghea Panggabean, or Zainal Arifin. They try to find the effort to enable songket used by more people, the more opportunity. Songket attraction which, among other lies in the existence of gold or silver thread, and the wealth of ornamental motifs, always fascinating designer or non designers try new approaches. Ghea example, take the wealth motive songket to be printed pattern woven cloth which he produced in Pekalongan, Central Java. Other designers to build solid match a particular pattern or a certain color in clothing choices songket with your boss, or a combination of options scarves and gloves songket. Often it is not new, but every time someone is always able to exploit new charm or beauty. Use songket for interior materials for example, had also done Ghea. He songket as ornament display hanger wall in Palembang own though people have done the same thing, including tablecloths, pillowcases, close the hood of food, or decorating the bridal aisle ranjangan. Fuze-match between the cloth with songket shawl is the most common thing done, because in a way such use is more exposed to the beauty of the motive.
These efforts endless. "So beautiful songket this palembang to foreign fashion world called her as the queen of handwoven textiles, hand-made cloth queen. It's not solely because of her background that comes from the kingdom of Srivijaya civilization many centuries ago, but also because of his physical appearance admiration, "Ghea story.
***
HANNA trying to do the same effort, despite the obvious accomplishments are not really new. At the social gathering of young mothers fragrant nan, he exhibited one songket turquoise blue, new color in the treasury belonging songket been given songket generally use the colors from natural materials like wood Sepang red or yellow from turmeric. In producing songket, Hanna maintain traditional customs. According to Hanna, colors and patterns is an area still very open to be processed, in addition to the variety of uses. As far as he observed, no additional new motifs in Palembang songket wealth. Variety of motives that many species that, call the motifs of flora and fauna such as pucuk rebung, nago bersaung, jando berias, Bungo inten, Bungo china is the motive that had long existed. Perhaps the motive was hundreds of years old, and instead had brought his own philosophical message on the environment tradition in Palembang. For example motif bamboo shoot buds, described the good wishes because bamboo is a tree that does not easily fall down by strong winds. Hanna claimed to be tempted to experiment other decorative motifs, such as raising the size of interest, or enter Mandarin traditional motifs such as smelt, to try other markets. "However, it is not easy to do this because the dependence of the production process at the crafters songket pattern makers. Family life is a pattern maker in Palembang overwhelmed with a strong tradition. Not those random pattern making techniques taught but only to the offspring. While this new pattern-making requires the involvement of them, "the story of Hanna. (ody)
Copyright © 2002 Harian KOMPAS
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South Sumatra
South Sumatra Province is an area of 109,254 square kilometers on the island of Sumatra and is located south of the equator at 1-4 degrees south latitude and 102-108 degrees East longitude. Part of the province's land boundary with the province of Jambi to the north in the southern province of Lampung and Bengkulu province in the west. Was in eastern boundary with the province of Bangka - Belitung. South Sumatra also known as Srivijaya Earth because this region in the 7-12 century CE is the center of the maritime kingdom of the largest and strongest in Indonesia that affected up to Formosa and China in Asia and Madagascar in Africa. In addition, South Sumatra region is sometimes called Batang Hari Sembilan, because in this region there are 9 major river is navigable far into the upstream. Namely, the river Musi, Ogan, Komering, Lematang, Kelingi Rawas, Batang Hari Leko and Lalan and dozens of branchs.
Climate
Tropical South Sumatra which influenced only two seasons of the year the rainy season and summer temperatures vary by 24 to 32 degrees Celsius and humidity level between 73 to 84 percent. Relative fall in the rainy season in October to April with rainfall ranging from 2100 mm to 3264 mm. Or the dry summer months usually begins June to September after a transition period in May.
Topography
Eastern Region to the mainland coastline dominated swamps and lowland tidal influenced. Palms and other plants and mangrove wood is the main vegetation in the region. In the middle and more to the West is the lowlands and broad valleys. Farther to the west consists of hills and mountains of the Bukit Barisan chain that stretched across the island of Sumatra from Aceh to Lampung. Peaks in the Bukit Barisan Selatan Sumatra is among Dempo mountain (3159 meters), Seminung (1954 meters), Fracture (2107 meters) and others. At the foot of the mountain there Seminung Ranau lake covering an area of 128 square kilometers in addition memantulakn beautiful natural scenery, is also ideal for water sports, like skiing, diving, swimming, canoeing, etc.. Mountainous and hilly areas are mostly still shrouded in a thick forest to the lowlands, generally located at an altitude of 900-1200 meters above sea level. This area is also a major water source of major rivers in South Sumatra are mostly empty in Bangka Strait. Sumatra mainland section consists of low and high plains and mountains in general is a potential land for plantation crops, agriculture, and horticulture. In this area there are plantations of rubber, coffee, tea, cinnamon, palm oil, rice, vegetables, a variety of different fruits with a fairly wide area. In the Eastern region there are two large islands which are also status and the District of Bangka Belitung, each surrounded by small islands other. Offshore there are islands of Bangka island Lepar, Pongok, Jackfruit and others, were on the island of Belitung, among others seliu, Mindanau and so on. Both islands also have a plateau with a mountain peak Maras (699 meters) and Menumbing (445 meters) on the island of Bangka and Tajamlaki mountain on the island of Belitung.
Flora and Fauna
In general, varieties of flora and fauna found in South Sumatra with other regions, especially in Sumatra. Lebatsampai forests grasslands are still there at an altitude of 300 meters above sea level to which also covered the various types of good wood for building materials. Among other Merawan wood, unglen, Kulim, meranti, merbau and hundreds of other species. In addition there are also a wooden cane, various types of orchids, Raflesia and others. 'm Fauna includes elephants, tigers, bears, deer, goats forests, tapirs, crocodiles, various types parimata such as gibbons, monkeys, monkey, monkey, etc. Some diantarnya is a protected rare animals. Jugs so there are hundreds of species of water birds and animals.
Population, Religion and sociocultural
South Sumatra has a population of 7,775,800 inhabitants, with an average density of 69 km2. The natives made up of several tribes each have their own languages and dialects. The tribes in the city of South Sumatra, among other tribes palembang, OGAN, kemering, SEMENDO, Pasemah, Gumay, Lematang, musi Rawas, meranjat, great wood, Ranau, KISAM, belitung, and others. All these tribes live side by side and mingle with each other tribes of newcomers, including with strangers. Even a lot happening perkawinana intermarriage. Each tribe has a custom and tradition itself which is reflected in wedding ceremonies and important events of a tribe. Even the tribes in South Sumatra have their own art and culture are different from each other or almost simultaneously. Although each ethnic group has a distinctive pattern in the culture and structure of language itself, but it remains a unity which is difficult to separate round each other in traditional legal environment in the Sum-Tues The majority of the population converted to Islam, however, there are also people who embrace other religions, such as: Christian Protestant, Catholic, Buddhist, and Hindu. There was even a cult embraced Fhu Chu Kong. Five religions and faiths that live together - together, side by side each other and even mingle together without causing a problem. The days of general solemnly celebrated, like Raya Idul Fitri day, Eid ul adha, Mawlood, Isra Mi'radj, Nuzul Quran, Christmas, Easter, Vesak, Chinese New Year (Sin Cia), Nyepi, and so forth. And construction of mosque, musholla, Church, Chapel, Kring, temple, temple, and there are almost pure in every corner.
Government
South Sumatra Province with its capital of Palembang is divided into 6 districts, namely Komering Ogan Ilir (OKI), Ogan Komering Ulu (OKU), Muara Enim, Lahat, Musi Rawas (Mura), Musi Banyuasin (Muba). And 3 administrative city, the City Administrative Pagar Alam in Lahat regency, and city administrative Baturaja OKU district and the administrative town in the district Lubuk Linggau Mura.
http://www.stmik-mdp.net/event/competition/yusuf/sejarah.html
Concept similarity National Wedding Dress
BANDUNG indeed deserve to be called the city a tourist destination, at least for domestic tourists. In addition to the popular shopping destination, Bandung was a lot of "ogled" for the exhibition venue. Including the "Bridal Exhibition, an exhibition of wedding paraphernalia that have been held nine times in Bandung.
Bridal Exhibition is formed and held starting in 1992 with participants only about 30 people, then the more developed and received warm welcome from both private and government circles, so this activity can be integrated exhibition of bridal professionals gather up to 200 more.
Entering the age of 10 (1992-2002), a committee consisting of the activists who joined in Bandung Bridal Group, in cooperation with Apgapindo, want to extend this integrated information distribution throughout the archipelago, not only in West Java, as observed by the experts, quality and creativity of professional designers and bridal, was able to meet the standardization needs of the bride and groom both from local and major cities from all over Indonesia.
Through the exhibition events this year, in commemoration of 10 years of Bridal Exhibition, committee, together with experts and cultural sector to contribute kepengantinan mind and expertise in his profession, to find a similarity in appearance of the concept of a national wedding dress, of course, by modifying and assimilation cultures from different regions across the country.
The cosmetic bridal, cultural, fashion designer and kepengantinan Apgapindo associations, to contribute their thoughts and expertise to find a draft National Bride Dress through a symposium to be held on July 15, 2002 along with the 10-year commemorations Bridal Exhibition. In this symposium will present the Chairman FAPBA Indonesia Section, Bra. Moeryati Soedibyo, Sri Hartono from the Office of the Minister of Culture and Tourism of Indonesia, West Java, cultural, and other experts from all provinces of Indonesia. To sit down together to discuss the inputs and the concept of oneness and unity in the birth of national wedding dress, a very useful course in preparation for a national framework would deal with globalization.
Planning committee in the years to come, when equally already accepted the concept of shared national wedding dress, the next step is to prepare the nuances of wedding supplies national, let's say that bouquette hand crafted from the flowers in the archipelago, catering to special menus typical Indonesia, the music welcome the bride who also created from a variety of unique and beautiful musical instruments from all over the archipelago. Along with all of that, wedding style typical Indonesian cultural diversity can also be presented as a display face of ayu national wedding.
In addition to the steps on the committee can not be separated from the support of all parties, private or government. According to the plan, said the Head of Culture and Tourism (Disbudpar) Jabar, H. Memet H. Hamdan, SH., MSc. and Head of Bandung Tourism, H. Erwin Anwar, SH, "Bridal Exhibition" will be the next calendar of event tourism from Indonesia and West Java city of Bandung.
To host the national bridal fashion symposium on 15 July 2002, the committee "X Bridal Exhibition 2002" in cooperation with Sections FAPBA and Apgapindo Indonesia West Java, aided by organizations such as Harpi Motel, Tiara Kusumah, IKARIP Sekar Tanjung, Taty Indah, APPMI West Java and the humanists and the MFI (Floristi Society Indonesia) Bandung Branch, and supported by Mustika Ratu, will collect all the opinions, concepts, thoughts, etc., to serve as the basic framework of the national wedding dress.
This is consistent with the message Minister of Culture and Tourism I Gde Ardika is not to eliminate the tradition because it is the root of the national culture. Indonesian cultural assimilation every area of culture toward the modified into kulturisasi that produces something new and this is the meaning of this symposium.
All the activities referred to, centered at the Hotel Horison Bandung.
The committee has prepared a series of interesting programs, such as Rias Pengantin Competition Regional and International by Sekar Tanjung Ikarip; Competition Clothing Pagar Ayu National and International with guest star Yuni Shara.
In the field of wedding music entertainment, the race organizers choose F4 sang songs and soundtrack "Meteor Garden" and is targeting singing champions that will be able to attend wedding entertainment enliven.
In collecting the visitors, the organizers have spread the invitation to the cities of Jakarta, Sukabumi, Cirebon, Tasikmalaya, Garut, Tegal, Pekalongan, in the hope that the bride will have integrated all his needs with ease through a single visit to the Bridal Exhibition X 2002 .
The bride who visited the exhibition, will be given free of charge a book "Wedding Guide", a collection of brochures from the bridal professionals, is a handbook to prepare for the bride and groom happy feast day later.
(Minda) ***
http://www.pikiran-rakyat.com/cetak/0702/07/0802.htm
Make Batik Clothing For official
You intend to buy crafts Batik for personal use or as a souvenir for family or relatives in the form of clothing, cloth, or a sarong, it is very necessary attention to some of the things below:
Firstly did you know that batik art in circulation on the market there are three ways for it? Namely: batik, batik and batik stamp machine. Initially Batik art is the work of classical art in the media painted cloth using a tool known as a function like canthing write with ink pens. In a small container canthing there with candles or better known as the night, there are some holes the size of the flow canthing candle / night, it depends on what needs to disesuikan batik motifs to be painted. Candles / night which is used to paint on cloth is always in a liquid state, then in the process the wax is always available in small pengorengan embers. Process of each piece of batik cloth took more than a week, depending on the level of difficulty in describing the motives of batik cloth in the piece. In addition to using canthing, the second batik process is done by in-cap. However, this type of printed batik lower artistic taste, because of stroke-thin strokes can not be done, besides the time of each piece of cloth is also shorter than batik. And the last is the making of batik with modern textile machines that work faster and mass, then the price can be cheaper jualpun.
Of the three types of ways to make our batik is batik cloth began to understand that we wish to choose to buy, and remember that genuine work of art is painted batik / drawn by hand the batik, and of course the price would be more expensive especially with batik motifs with the difficulties more complex and more time in the process.
Second, note the problems produced batik motifs, especially in the batik cloth. Little about batik motif in several places on the island of Java, the early development of batik art is from the north coast of Java, for instance Coast region Cirebon, Pekalongan, Tuban and Madura. Then developed into the hinterland including Yogyakarta and Surakarta. The difference between the two regions motives based on the cultural background that develops between coastal and inland areas. Culture of coastal communities to be expressed more dynamic, courageous and open, the motive seemed cheerful, and many use other forms of ivy and birds as a source insprirasinya. And the selection of bright colors for the background color for example red, yellow and indigo / blue. While the interior is more interested in batik aesthetic aspect that motive is more subtle and impressed quiet, calm, and dignity. Motive was inspired by geometric shapes creeping plants, birds, flowers and latticework or a dark color is more likely to be black, brown, and dark blue. Most batik motif painted / drawn on a diagonal position, or more often called the lower garment, or can mean a long cloth which men and women. Usually batik motif characteristic of Yogyakarta and Solo is more often called a machete. Batik motif can also to distinguish the levels / strata of one's place in society for example between the royal family with ordinary people, or when used in different events used the motif is also different. So with a little knowledge about these batik motifs we can better choose the motives of the 'fit' with the official rules, but it is often the case for ordinary people or laity in selecting the art of batik is more dependent than their taste.
And when given two basic things from the art of batik is now going to buy batik, at least can be a separate reference. There are two places which claimed the town of Pekalongan batik and Yogyakarta, but can not be denied more people know and recognize that is the city of Yogya batik because it advanced the field of tourism. So when a visit to Yogyakarta for example, buying batik is very easy because many large stores and well outletnya or on the sidewalk and call it a traditional market Hardjo Bering markets also peddle a variety of batik cloth. For that we need a couple of tips below as the initial information before deciding to buy.
1. Seek first store / outlet / batik cloth seller in the list of travel guide that has been provided. Choose from the many shops / outlets or visit one at the store / outlet if you have more time. There are some stores / outlets have their own batik place in his backyard, if interested and allowed us to see the process of making home during working hours. Sometimes there is a tour guide or owner / employees can explain one by one, the process of batik making.
2. When entering a store / outlet exclusively selling batik and there must stamp batik unique aroma that is the smell of the night / wax used in batik making process.
3. We began looking at rows of batik at the store / outlet looks different motives, but consider carefully the quality of the image batik / geometric shapes / lines do not overlap / fumble with color. At the same time also hold and touch, if it garis-garis/guratannya batik will be felt more texture or more forms arise.
4. In terms of price if you really must batik expensive price than the printed batik let alone gain machine. Because the basic fabric types usually / memory used batik better, which is easily painted and must be guaranteed not easily torn and faded for a long time.
5. Finally, if there was any doubt in a better decide to ask the tour guide or friend who understands right about batik.
Happy shopping while walking around enjoying the view of the city Yogyakarta.
Songket Pasemah's Price, "Dak Katik" products
Kompas/ Ahmad Zulkani
You want to collect songket Pasemah? For collectors interested primarily traditional cloth, perhaps there is nothing wrong glance this Pasemah woven. It's just to keep in mind, the contents of pockets should be prepared in advance because the price is not cheap. The cheapest around Rp 5 million to Rp 6 million. Indeed, songket-old over 100 years even rumored price might reach USD 30 million to USD 50 millions.
However, it seems already struggling before hunting this Pasemah songket, your intention should be diurungkan. Because, looking for distinctive woven songket or original Pasemah currently perhaps similar to the adage: "ask the scales to the eels', something that is very very unlikely.
"The desire to have songket Pasemah now, do not we change it as fanciful. Because it's woven a price but not apart of goods (ie, no bags). So long as this is just a dimulut price alone," explained DJAZULI Kuris, Mayor Pagar Alam.
DJAZULI described, the last generation that still managed to wear special weaving Pasemah, perhaps the people Pasemah her age. After that, the next generation, let alone time to wear, looking at it might not ever. "Maybe just the age I was the last to wear for the event customs. Because, as a bride in the late 1970s, which imposed time was almost rotten," Mayor of this Pasemah original.
Cultural Pasemah, Mohammad Saman, admitted, in the period 1960-1970's, few families actually batih in Pasemah still keep songket-songket typical of this hand-woven. In fact, several years later are still many who have. However, it certainly was gone, indeed age, was also deliberately sold to collectors and antique hunters who have "invaded" Land Pasemah since three decades ago. From the first it had not occurred to the community, songket Pasemah is one of the high-value assets. Hence also, perhaps no one generation can now inherit weaving skills as elder-elders first. Thus, naturally woven Pasemah only a name, "he said.
***
Songket disappearance SIGNALING Pasemah would, in fact be determined when entering the decade of the 1930s. According Gathmyr Senen, an arts worker in Palembang, on the basis of some of the literature was by then already occurred stagnation of those skilled Pasemah weaving. At that time, was very rare in the Land of the next generation of skilled Pasemah weaving. This could be because it was the circumstances in the Land Pasemah was not profitable. This was triggered by the Dutch colonial policy that began "ruffled" and kinship systems Pasemah rule. Role of Heads Sumbai (tribe) in Pasemah, when it was liquidated Dutch versions of changed their system of government. Situation, predicted a major impact on the order and the values of local traditions. One consequence is the art of weaving the dissolution of inheritance to the next generation. information, since the late 1940s, the woven fabric Pasemah actually already started to decrease in the circulation. It is difficult to avoid, because it was mostly foreigners such as the Dutch and English, began scrambling to bring this country songket. Since then most of the year many people who hunt songket to every corner of Pasemah. In fact, the peak occurred around the year 1970, when the antique dealer Pasemah make the land as a hero. They came from Jakarta, Padang, Medan, and several regional exchanges that become the old stuff is.
"At that time, the villages in Pasemah it rang antiquarian hunters. They buy everything, from songket, antique plates, engravings, to a variety of relics that smells Pasemah. The price is not questioned, sometimes merely exchanged with clothing, new model plate, radio, and others. As inconceivable that one day such a high value, then yes people would just sell it. Moreover, the goods offered as barter is required at the time, "said Hajjah Manuyah (103), elder citizens Village signpost Kenidai (Pagar Alam), who claimed to still have a few pieces of this Pasemah woven cloth.
***
FABRIC woven Pasemah or often called Perelung or Pelung cloth, according to Gathmyr Monday, is typical and very unique. Distinctiveness is not only in physical form, is also typical of the technical side of weaving in which from the beginning to form fabric woven entirely female hands Pasemah tempo first. Songket basic ingredients are 100 percent use of gold thread. Compare with Palembang songket or songket Silungkang (West Sumatra) which uses only a small portion of gold thread. Motive most broken lines, different from Palembang songket most arch-arch motive and broken. Cain Pasemah mostly used for traditional events, for example, traditional wedding party and family event of the batih. Songket Pasemah specificity is also illustrated by its use ordinances. "Cain's customary Pasemah can not be used carelessly. Songket is applied from the chest to the knees. Thus, the rules of adat is the case," explained Gathmyr Senen. How high artistic values and culture that accompanies Pasemah songket. Will one of these Pasemah assets could rise again in future?
"I think it is impossible and too heavy to be realized again. In addition to raw materials, golden thread no longer exists in markets, people who inherit weaving skills no more," added Gathmyr. This pessimism is very reasonable. Because, for weaving songket Pasemah need delicate touch and the art of its own hand. Because hand-woven, it is necessary to artisans chopsticks, which the experts manage specific motifs woven with gold thread before. Tailor this fork now no longer exists. "If a weaver, anyone can be trained origin. But, if these workers are hard to pick because there is no one who mastered it," he said.
If indeed such a fact, means Pasemah songket now it appears it was buried. It's sad. And no need to surprise, if one day our children and grandchildren of people Pasemah have never known, his blood spilled on the ground had no results for high-value work. even now do not need to shock. If the tour guide and gift shop owners in Ubud, Bali, even better known by Pasemah songket. Similarly, be weird if the literature Pasemah of songket and engravings Pasemah now scattered abroad. Pasemah is more popular abroad than in his own village.
Songket Weaving In Indonesia
IN all the regions, was originally used for ceremonial songket traditional greatness, like marriage. In Palembang if not wearing a traditional wedding songket elements typically do not reflect the cultural heritage of the kingdom of Srivijaya. Not only the bride who wore songket, but all the people involved in the ceremony wore songket, including guest invitations. It has been the customary provisions in there.
In Bali is also similar, songket associated with traditional clothes. Even in the past, about the year 1970 songket was used for prayers to the temple clothing. In fact, for the daha-cadet (youth) in my village who danced the Rejang, had to use songket.
Later, the use of songket decreased. No longer pretending to berkain songket. Songket only used to attend the customary invitation as cutting teeth and marriage. Now, who was wearing only a bride songket course, the guests do not anymore. Satin cloth with designs resembling preferred songket. Many reasons for not wearing songket. In addition to showing off expensive and luxury impressed, songket rigid motion limiting the wearer. At most only a headband which is still a lot of songket.
The decline of the use of this songket evenly throughout the country. Drastically reduced the wearer, the production was so down. Besides songket including expensive items, because the process complicated. In South Sumatra, for example, no longer require custom wedding guests wearing songket. Quite simply the bride and her family are wearing songket.
Another reason of the decline in the use of songket is the motive of so-so only. No motive for the development of the means. This may be because the process is still songket traditionally, so to create a new pattern is complicated. Ironically again, the traditional motifs that became the pride of many local songket traced by weaving machinery company, so be modern songket, satin material, but his motives songket.
Craft songket Palembang and Padang Panjang long protest, the motive songket heritage VII century dragon named Besaung, Cak Bamboo Shoots, and base Berakam, mass produced by the weaving machine in Pekalongan, Central Java.
If in areas that became the cultural center's songket a sharp decrease in both production and user songket, Bali got a touch more modern culture would be more tragic. Especially in Bali there was a shift in religious rituals and dress material disappeared from the fashion songket ritual.
So, how can we preserve and develop the culture of the ancestors to continue weaving songket in Bali, especially in Jembrana is not shown in the map songket Nusantara? There are several examples from other regions. In Central Lombok, craftsmen began producing songket Sukarara songket not only worn for fashion, but for purely decorative.
Thus, the motive is also varied. They seem to learn from the weaving of Sumba that it can be used to decorate the walls, and even serve as ornaments painting. Why not be displayed songket such as painting, or for the tablecloth, or a guest chair for accessories? Well, that's what they produce now, and it sold. However, please note, is still loyal to weave songket here only 19 people, whereas ten years ago there were 1017 crafters in Sukarara songket.
It's hard to preserve in the middle of songket so sharp competition, particularly from a similar product but not the same, whether produced domestically or abroad. Therefore, how to preserve the modification of Jembrana songket songket usefulness, do not dwell only for clothes, try to find a breakthrough to make songket to gordyen, songket for tablecloths, bedcovers and songket for etc.. Then motif typical of Jembrana should be developed so that a clear difference which songket Jembrana, which songket Gianyar.
http://www.balipost.co.id/balipostcetak/2005/3/5/bd2.htm
Kahlil Gibran
"Apabila cinta memanggilmu... ikutilah dia walau jalannya berliku-liku & apabila sayapnya merangkummu, pasrahlah serta menyerah, walau pedang tersembunyi di sela sayap itu melukaimu."
"
...kuhancurkan tulang-tulangku, tetapi aku tidak membuangnya sampai aku mendengar suara cinta memanggilku & melihat jiwaku siap untuk berpetualang"
"Tubuh mempunyai keinginan yang tidak kita ketahui. Mereka dipisahkan karena alasan duniawi & dipisahkan di ujung bumi. Namun jiwa tetap ada di tangan cinta, terus hidup... sampai kematian datang & menyeret mereka kepada Tuhan."
"Jangan menangis kekasihku. Janganlah menangis & berbahagialah, karena kita diikat bersama dalam cinta. Hanya dengan cinta yang indah kita dapat bertahan terhadap derita kemiskinan, pahitnya kesedihan & duka perpisahan"
"Jika cinta tidak dapat mengembalikan engkau kepadaku dalam kehidupan ini, pastilah cinta akan menyatukan kita dalam kehidupan yang akan datang"
"Apa yang telah kucintai laksana seorang anak kini tak henti-hentinya aku mencintai & apa yang kucintai kini akan kucintai sampai akhir hidupku, karena cinta ialah semua yang dapat kucapai & tak ada yang akan mencabut diriku dari padanya"
"Kemarin aku sendirian di dunia ini, kekasih, & kesendirianku sebengis kematian. Kemarin diriku adalah sepatah kata yang tak bersuara, di dalam pikiran malam. Hari ini aku menjelma menjadi sebuah nyanyian menyenangkan di atas lidah hari & ini berlangsung dalam semenit dari sang waktu yang melahirkan sekilasan pandang, sepatah kata, sebuah desakan & sekecup ciuman"
HINDU CULTURE acculturation-BUDHA-ISLAM in INDONESIA
DEVELOPMENT OF HINDU-BUDHA TRADITION IN INDONESIA
Facts about Community Interaction Process
Indonesia as a regional trade route through which allows for the Indian traders to really live in the city ports in Indonesia to wait for a good season. They also interact with local residents outside of trade relations. The influx of cultural influences and Hindu-Buddhist religions in Indonesia can be divided into 3 periods as follows.
1. Early Period (V-XI century AD)
In this period, the Hindu-Buddhist elements stronger and more prominent being felt and the elements / features of the Indonesian culture of urgency. Seen with many finding statues of the gods Brahma, Vishnu, Shiva, and Buddha in kingdoms such as Kutai, Tarumanegara and Old Mataram.
2. Middle Period (XI-XVI century AD)
In this period of Hindu-Buddhist elements and Indonesia balanced. This is because the Hindu-Buddhist elements, while elements Indonesia weakening again so that the existence of this stand led to syncretism (the combination of two or more flow). This can be seen on heritage day as kerajaaan Singasari East Java, Kediri and Majapahit. Born in East Java is a Tantrayana flow stream which is the religious syncretism of indigenous beliefs with Indonesia Hindu-Buddhist religions.
King is not only a leader but a descendant of the gods. Temple is not only temples but also the ancestral tomb.
3. Late Period (XVI century-present)
In this period, Indonesia is more powerful element than the previous period, while the Hindu-Buddhist elements of the ebb because of political developments in the Indian economy. In Bali, we can see that the temple is a temple not only to worship the gods. Ancestral spirits in the form of Meru Sang Hyang Widhi Wasa in the Hindu religion as a manifestation of Belief in God Almighty. Ceremony Ngaben as objects of tourism and more literature that comes from Bali is no longer from India.
Acculturation
The entry of Hindu-Buddhist culture in Indonesia led to the emergence of acculturation. Acculturation is the cultural mix of 2 cultures where both elements can coexist met and are complementary and do not remove the original elements of both these cultures. Hindu-Buddhist culture that entered in Indonesia are not taken for granted but rather through a process of processing and adjustment with the Indonesian community living conditions without removing the original elements. This is because:
1. Indonesian society has a cultural basis that is high enough so that the entry of foreign cultures to increase vocabulary Indonesia Indonesian culture.
2. Special skills possessed Indonesian nation or the local genius of a nation is the ability to accept elements of foreign culture and cultivate these elements in accordance with Indonesian national identity.
The influence of Hindu culture only complement the existing culture in Indonesia. The combination of Hindu-Buddhist culture gave birth to acculturation is still maintained until now. Acculturation is a result of processing in accordance with the foreign culture of Indonesian culture. The results are shown in acculturation.
1. Social
After the entry of the Hindu religion there is a change in the social fabric of Indonesian society. This is evident with the familiar division of society on caste.
2. Economy
In the not so big economic impact on Indonesian society. This is because the public has known shipping and trade long before the entry of Hindu-Buddhist influences in Indonesia.
3. Governance System
Before the entry of Hindu-Buddhist in Indonesia, the system of government by chiefs chosen because it has certain advantages compared to other group members. When the influence of Hindu-Buddhist kingdom in the stands, led by a king who ruled for generations. King considered as keturuanan of god that has power, respected, and revered. Thus strengthening its position to rule the hereditary monarchy. And leave the system of government chiefs.
4. Education
Hindu-Buddhist influx also affect the lives of Indonesian society in the field of education. For the Indonesian people not previously familiar with the writing. But with the entry of Hindu-Buddhist, part of Indonesian society began to recognize reading and writing culture.
Evidence of influence in education in Indonesia, namely:
ü With the use of Sanskrit language and letters Pallawa the lives of Indonesian society. Language is primarily used among the clergy and nobility of the kingdom. Have begun to use language Kawi, the ancient Javanese and Balinese languages Ancient which is derived from Sanskrit.
ü It has been known as boarding education system (ashram), and established special schools to learn the Hindu-Buddhist religions. Educational system is then adapted and developed as an educational system that have many applications in various kingdoms in Indonesia.
ü Other evidence was the birth of many high-quality literary works that are interpretations of the stories in the Hindu-Buddhist culture. Example:
· Master Sedah and Panuluh with his Bharatayudha
· Kanwa Professor Arjuna with his Wiwaha
· Dharmaja with his Master Smaradhana
· Master Prapanca with his Negarakertagama
· Master Tantular with his Sutasoma.
ü Hindu influence is also visible in the Buddhist teaching character development based on the teachings of the Hindu-Buddhist religions. Education emphasizes compassion, peace and mutual respect for fellow human beings began to be known and obliged by some Indonesian society today.
The first priest to come to Indonesia to provide education and teaching of Hinduism to the Indonesian people. They come because the beginning of trade relations. The priest then set up the places of education known as pasraman. This is where people get teaching. Because it appears that education leaders of Hindu society who have more knowledge and produce a variety of literary works.
Rakyat Indonesia, which has obtained the education and then spread to the others. Some of them are going to place the origin of religion. To enhance knowledge and perform pilgrimage. On his return from there they spread the religion to use their own language that can be easily accepted by the community of origin.
Buddhism seems that in former times there has been great Buddhist teachers, such as in Sriwijaya there Dharmakirti, Sakyakirti, Dharmapala. Even the king of gods Balaputra establish a special dormitory for the education of students prior to his education in Bengal (India)
5. Trust
Before entering the Hindu-Buddhist influence to Indonesia, the Indonesian people to know and have confidence in the worship of ancestral spirits (animism and dynamism). The entry of Hindu-Buddhist religions encourage people of Indonesia began to adopt the Hindu-Buddhist beliefs, although not leave the original as the worship of ancestral spirits and the gods of nature. Such has happened sinkritisme ie penyatuaan old ideas such as animism, dynamism, totemism in the Hindu-Buddhist religious.
Example:
In East Java developed flow as the Tantrayana Kertanagara of Singasari which is penjelmaaan Shiva. Belief in ancestral spirits still embodied in the mengandakan funeral feast 3 days, 7 days, 40 days, 100 days, 1 year, 2 years and 1000 days, and there are still many things done by the Java community.
6. Arts and Culture
The influence of Indian art of Indonesian art evident in the areas below:
Arts Building
Arts building was in the building of the temple as a form of a mixture of original art of the Indonesian nation with the Hindu-Buddhist art. Temple is a form of manifestation of cultural acculturation of Indonesia with India. Temple is the result of building megalithic era berundak punden building steps that have been influenced Hindu Buddha. For example Borobudur temple. In the temple is also accompanied by a variety of objects that come equipped buried the grave so-called temple also serves as a tomb rather than merely as the god's house. While Buddhist temple, only to be places of worship are not gods and pripih casket's ashes planted around temples in the stupa building.
Arts
Appeared in the form of fine art sculpture and reliefs.
The statue can be seen on the discovery of Buddha statues in Wake berlanggam Kutai Gandara. Buddha statue and berlanggam Amarawati in Sikending (South Sulawesi). In addition there are also statues reliefs on temple walls as found in the Borobudur reliefs of the Buddha and the story of Indonesia's natural atmosphere.
Art Literature and script
Initial period in Central Java, the Hindu literary influence is strong enough.
Middle period of the Indonesian people start doing the work of Indian adaptation.
For example: The Book is a piece Mahabharata Bharatayudha Mpu Sedah and Panuluh. The contents of the story about the war during the 18 days between the Pandavas against the Kauravas. The experts argued that the content is actually a struggle for power within the family of Kediri kings.
Inscriptions are written in Sanskrit and letters Pallawa. Sanskrit is widely used in ancient books / Literary India. Acculturation experience with childbirth Javanese ancient Javanese script Pallawa were modified in accordance with the understanding and taste of Java so that the ancient Javanese and Balinese Ancient. Development into current Javanese and Balinese script. In the kingdom of Srivijaya Pallawa letter evolved into Nagari letters.
7. Technology
Indonesian society from before the entry of Hindu-Buddhist culture was already high enough. With the influence of Hindu-Buddhist culture in Indonesia further enhance the already-owned technology Indonesian nation before. Hindu-Buddhist influence on the technological developments in Indonesia visible kemaritiman, construction and agriculture.
Kemaritiman developments appear as more port cities, expedition cruises and trade between countries. In addition, the Indonesian nation, a new beginning can make the boat as a means of transportation then began to make a boat bercadik.
A combination of knowledge and technology from India to Indonesia is also in the creation and establishment of both the temple of the Hindu temples and Buddhist.
The temple building is the work of building experts Hindu-Buddhist culture that has values very high. Also visible in the writing-prasastri inscription on the large stones that require expertise, knowledge, and high writing techniques. Knowledge and the introduction of high technology made by generations from one generation to the next.
In the field of agriculture, was with the management of a good irrigation system was introduced and developed at the time of the entry of Hindu-Buddhist in Indonesia. Look at the reliefs depicting the temple irrigation technology in the Majapahit era.
8. Calendar System
Adopted from the system calendar / calendar India. This was shown by the:
· Use Saka year in Indonesia. Created a calendar with the name Saka year, which began in 78 AD (the year of the Sun, Samsiah years) at the time of King Kanishka I was crowned the number of days in 1 year was 365 days. By the Balinese, Saka year is not based on the Solar system but Pramana Pramana Chandra system (year-month, lunar year) in year 1 was 354 days. Summer to fall on the same day in March where the sun, the earth, the moon is in a straight line. The day is celebrated as Nyepi.
· Found Candrasangkala / Kronogram there in order to commemorate the event with the year / calendar saka. Candrasangkala is the number of letters in the form of sentence structure / word picture. If an image must be interpreted in the form of a sentence.
Carving
Called Islamic Art Calligraphy Carving, which can be inscribed on the timber.
Example:
☻ Calligraphy / carving carved on the front wall of Mosque Mantingan, Jepara
☻ Cirebon in the mosque there is a tiger-shaped sculptures
The sculpture of the image is called Arabesk
ART LITERATURE
Look at literature in the Straits of Malacca and the island of Java.
Growing literature:
1. Conduct, namely that literature contains the teachings of Sufism. Example: Conduct Sukrasa, Suluk Wujil
2. Saga, the tale or folklore existing sebeluym arrival of Islam.
Example: Hikayat Amir Hamzah, Hikayat Panji Semirang
3. Chronicle, the story of history that sometimes includes the genealogy of the kings of the Islamic empire
Example: Chronicle of land Jawi, Babd Cirebon, Babad Ranggalawe
SYSTEM ADMINISTRATION
Used Islamic rules in the administration of Islamic kingdoms in Indonesia. Evidenced by the existence of:
a. King Mataram Islam originally titled Sunan / susuhunan, meaning upheld
b. Degree King will be given if the Sultan has been appointed with the approval of the caliph who ruled in the Middle East
- There are other titles that Panembahan, Maulana.
SOCIAL
- Start the democratic system known
- Ignorance of the existence of the caste system
- Not knowing the difference in the community gologan
PHILOSOPHY
After the birth of Islam developed a working philosophy of science to support the deepening of the Islamic religion.
Ø 8th century AD, was born Sciences basics Jurisprudence
Ø Jurisprudence, is the study of laws and regulations governing the rights and obligations of Muslims to God and fellow human beings.
Jurisprudence is expected by Muslims can live according to Islamic rules.
Ø 10th century AD, was born the basics Qalam Science and Mysticism
Ø Qalam, a basic teaching of Islam about the oneness of God, theology Science / Science deity / Ilmu Tauhid.
Ø The origin of Sufism since the birth of God's search for love and longing for God.
Ø Sufism evolved into a cult.
http://riefqie-yupss.blogspot.com/2009/08/akulturasi-budaya-hindu-budha-islam-di.html
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