Mengungkap Rumah Adat Masyarakat Belitung (Belitong/Biliton)

Kehidupan masa kini Belitong adalah bagian dari masa lalunya, sejarah telah mengantarkannya menjadi bagian yang tak terpisahkan dalam kebudayaan yang lebih luas. Kebudayaan masa lalunya; adanya kerajaan yang berdaulat, oleh raja yang memimpin rakyatnya dengan arif dan bijak selama turun-temurun.

Itu memaknai bahwa sistim kepemimpinannya memakai garis-garis haluan hukum yang adil hingga kemudian tatanan kebudayaan dan peradaban itu dirusak oleh penjajah Belanda yang ingin menguasai kekayaan timahnya. Peradaban Melayu Belitong yang tercermin dalam peninggalan sejarah serta yang tertanam dalam pemikiran dan kesahajaan masyarakatnya; bahasa, rumah, matapencaharian, pemeliharaan hutan, tradisi ritual, kerukunan, dan lain sebagainya merupakan cermin dari sejarah masa lalunya yang arif.

Pengetahuan ini tentu belum menjadi milik umum Bebarapa bagian tulisan yang diturunkan lewat media ini adalah substansi dari sejarah yang pernah ada dan kini masih tersimpan dalam ingatan para sepuh dan manuskrif yang pernah ditulis pada tahun 1937 oleh pendahulu mereka yaitu K.A. Haji Abdul Hamid, karenanya Penulis amat berterima kasih sedalamnya kepada seluruh keluarga besar Kerukunan Keluarga Cakraningrat, serta ketua Sepuh Adat Keluarga Besar Cakraninggrat, Datuk Mpu K.A. Idris Alie.

Rumah adat merupakan identifikasi mutlak sebagai sebuah perwujudan identitas budaya dan kebudayaan sebuah bangsa; etnik yang menempati sebuah kawasan yang mempunyai garis tegas tentang perangkat adat untuk mengatur wilayah adatnya. Maka rumah adat bukan hanya sebagai perangkat pemersatu; tempat bertemu, membahas segala persoalan yang menyangkut tentang kehidupan baca berkebudayaan; norma, hukum, ekonomi, politik, kesenian, bahkan adat istiadat atau tradisi keseharian, bahkan menyangkut hal yang bersipat insidentil seremonial.

Tetapi lebih daripada semua itu, ia sebagai tempat sublimasi bagi generasi muda; pada masa lampau semua tentang pengajaran agama di ajarkan di sana. Rumah adat seperti yang diidentifikasikan tersebut sudah pernah ada di wilayah adat Belitong. Rumah adat tersebut dibangun oleh para kepala adat wilayah Belitong yaitu para Depati yang memerintah pada tiap-tiap zamannya.

Seperti kita ketahui bahwa pemerintahan yang pertama di Belitong ada di kawasan Balok (Belantu) yang di kenal dengan Kerajaan Balok Lamak, pemerintahan di kawasan itu di perintah oleh Kiai Mas'ud atau dikenal juga dengan sebutan Kiai Gegedeh Ya'kob yang merupakan keturunan langsung Bupati Mataram pertama (Kiai Gede Pamanahan 1546-1582) yaitu Kiai Mas'ud atau sebagai Depati Cakraningrat I (pertama) dan kemudian menurunkan trah sampai kepada Depati cakraningrat ke IX (Depati yang memerintah di Kota Tanjung Pandan mulai dari Depati Rahad sebagai Depati Cakraningrat ke VIII hingga Depati Endek sebagai Depati terakhir atau ke X) Rumah adat tersebut selalu dibangun tidak jauh dari rumah tinggal Depati yang memerintah pada masanya.

Karenanya di masa-masa terakhir pemerintahan para depati Cakraninggrat atau sebelum peran Depati selaku pimpinan yang berperan secara adat "dilenyapkan" oleh pemerintah Kolonial Belanda, rumah adat yang terakhir tersebut ada di jantung kota Tanjung Pandan berdiri di dekat mesjid Jami' Kota Tanjung Pandan dengan sebutan Rumah Gede.

Rumah Gede tersebut setelah ketiadaan pemerintahan Depati (pemerintahan yang diatur secara adat menurut aturan kerajaan yang turun temurun) Maka pemerintah Belanda mengangkat orang yang dianggap bisa diarahkan dan dikendalikan oleh Penguasa Belanda (sejak pemerintahan Depati K.A. Rahad, Trah keluarga Kerajaan sempat dipinggirkan oleh Belanda dengan politik adu domba yang dikenal dengan sebutan Devide Et Invera dan Depati K.A. Rahad tidak mendapat mengakuan oleh Belanda.

Pada tahun 1826 belanda menempatkan Pangeran Syarif Hasyim dari Palembang. Pemberontakan meletus dan Pangeran Syarif Hasyim meningal dunia, kemudian tahun 1837 Belitung di pimpin oleh Mas Agus Asik dari Pulau Lepar sampai tahun 1838 dan kemudian kekuasaan diserahkan kembali kepada Depati Rahad dan ia baru dilantik dengan gelar Cakraninggrat ke VIII pada 1juli 1838 hingga meninggal dunia tahun 1854.kedian digantikan oleh adiknya K.A. Mohamad Saleh Untuk mengurangi pengaruh Depati terhadap rakyatnya, pada tahun 1873 pangkat Depati dihapus oleh Belanda.

Sedang pada tahun 1879 hingga tahun 1890, pangkat Depati diadakan kembali oleh Belanda dan Belanda mengangkat K.A. Endek yaitu keponakan yang juga menantu dari K.A. Mohamad Saleh dengan gelarDepati Cakraningrat ke X. gelar ini tidak diakui oleh rakyat karena pemberian Belanda) Rumah Adat Masa Lalu Pada masa kolonial Belanda, peran rumah adat di Belitong menjadi kurang berfungsi karena campur tangan Belanda dalam menentukan kebijakan Depati selaku pemegang keputusan adat terhadap rakyatnya bahkan Belanda serlalu campur tangan dalam menentukan Kekuasaan Depati; hingga keputusan depati selalu tidak dibahas diam-diam tidak di rumah adat. (Perlu ditegaskan hukum adat, adalah hukum yang juga mencakup hal ihkwal keseharian, seperti tradisi perniagaan, pertanian, mengolah hasil alam; hutan dan pertambangan timah) sudah dikacaukan oleh Belanda karena Belanda menginginkan keuntungan secara ekonomi.

Sedang perihal adat yang menyangkut tradisi ritual seperti memang tidak dicampuri oleh Belanda, seperti adat perkawinan dan perayaannya atau begawai, adat selamatan anak yang lahir, adat selamatan kampong, adat selamatan tahun. Rumah adat atau Rumah Gede tersebut sudah tidak berfungsi sebagaimana mestinya karena Belanda telah mengintervensi segala kebijakan Depati yang di akui oleh rakyatnya dengan berpegang pada adat, yaitu hukum tradisi sejak kerajaan pertama didirikan.Tetapi rumah adat yang ada di kota Tanjung Pandan tetap berdiri hingga akhir tahun 1950.

Fungsi rumah adat atau rumah gede tersebut setelah era kemerdekaan hanya dimanfaatkan sebagai tempat mengaji atau belajar membaca alquran oleh masyarakat setempat. Kemudian musnah dikarenakan tidak adanya lagi perhatian, baik dari pihak pemerintah maupun pihak keluarga Depati. Fungsi esensial rumah adat di zaman Belanda sudah ditiadakan, seiring dengan peran Depati yang sudah dipinggirkan oleh Belanda.

Tetapi rumah adat sebagai alat pemersatu tempat para tetua bermusayawarah dan mufakat, tempat kesenian digelar, tempat bermacam tradisi adat digelar, tentu tidak terkikis habis dalam pikiran tiap anak negeri Belitong. Karena itu sebagai anak negeri yang merdeka dari kungkungan penjajah, anak negeri yang mau membangun dan memfungsikan Rumah Adat itu kembali guna disesuaikan dengan kebutuhan masa kini, perlu kita dukung dengan sepenuh hati. karena ia tidak hanya sebagai simbol sebuah eksistensi sebuah negeri yang beradat tapi lebih dari itu, sebagai barometer kedepan; bahwa spirit anak negeri tidak semata dibangun dengan materi sebagaimana yang di anut oleh paham hedonisme masa kini.

Fungsi rumah adat Belitong untuk masa kini tentunya disesuaikan dengan kebutuhan kebudayaan saat ini. antara lain tidak hanya sebagai simbolisasi kenegerian (bahwa wilayah Belitong adalah wilayah adat yang otonom, pernah ada kerajaan dan pemerintahan yang pada masanya ada hukum adat yang mengatur segala norma kehidupan atau penghidupan masyarakatnya) tetapi juga rumah adat tersebut akan berfungsi sebagai objek studi, wisata, rumah pergelaran kesenian, pergelaran adat tradisi, bahkan sebagai rumah duta di mana para sesepuh adat; pemimpin negeri, penghulu adat, pemangku adat dari luar wilayah adat dapat saling bersitalurahim dengan takzim.

Sebagai objek studi dan wisata, tentu kita akan mendapat gambaran yang realistis tentang sejarah yang pernah ada, sementara yang sudah tertanam di dalam pemikiran sebagian masyarakat bahwa sejarah Belitong hanya ada tergolek pada benda-benda sejarah di museum kota Tanjung Pandan dan museum Badau. Tentu itu hanya sebagian kecil dari pernak-pernik sejarah. Bagaimana sejarah lainnya, seperti tradisi pemerintahannya dari masa ke masa, tradisi keseniannya, tradisi adat istiadat lainnya.

Replikasi dan pergelaran yang menyangkut hal ikhwal kebudayaan tersebut bisa di gelar di rumah adat tersebut. Spirit Rumah Adat Membangun rumah adat yang refresentatif tentulah tidak semudah membalikkan telapak tangan meski pemerintah memberikan dukungan penuh karena rumah adat erat kaitannya dengan masa lalu yang sudah menjadi sejarah, bukan saja sejarah adatnya tapi juga peran dari para keluarga depati selaku pewaris pelaksana adat sebagaimana yang telah diturunkan oleh para nenek moyang terdahulu.

Dan tak kalah pentingnya adalah bahwa masyarakat mesti menerima ini sebagai sebuah kekayaan negeri, sebuah eksotisme yang tak dimiliki wilayah lain; bahwa Belitong merupakan sebuah wilayah yang bersatu secara adat; bahasa melayu Belitong yang sampai kini tetap terjaga di hampir setiap sudut manapun di wilayah Belitong, kerukunan masyarakat, kemufakatan antarwilayah, masyarakat yang rendah hati, kearifan lokal terhadap lingkungan alam. (Pembabatan hutanoleh pengusaha adalah cerita lain yang tak terpungkiri) sebagai rakyat asli akan berpikir seribu kali untuk menghianati kearifan lokal, kecuali ia betul-betul penghianat dan tak tahu adat!

Eksotisme yang telah tumbuh secara adat turun temurun; tradisi lokal begalor, bertani, melaut, berburu, bebanjor, nirok, nanggok, dan mengekploitasi hasil hutan, setidaknya kini masih ada dalam sisa ingatan orang-orang Belitong moderen tetapi masih dilakukan sebagian masyarakat di desa-desa tradisional Belitong. Kearifan lokal, eksotisme adat, bahasa melayu Belitong; adalah spirit yang terbangun sejak kerajaan dengan pemimpinnya yang bijak. Ketentraman Belitong akan selalu terjaga jika tidak dirusak oleh orang-orang yang tahu adat Belitong.

Perlu dicatat kerendahhatian Masyarakat Belitong terhadap siapa pun, orang manapun. adalah cerminan dari turunan terdahulu. (sejarah mengingatkan; masuknya Kiai Mas'ud atau Kiai Gegedeh Ya'kob dari Kerajaan Mataram abad ke 15 dan kemudian menaklukan kerajaan kecil yang masih menganut hindu di Belitong) bukan semata ia haus kekuasaan tapi lebih dikarenakan ia hanya ingin hidup tentram bersama rakyatnya! Akar ketentraman adalah kearifan.

Karenanya selama pemerintahan turunan Cakraningrat di Belitong tidak pernah terjadi pertumpahan darah karena perebutan kekuasaan dan penghianatan. Kecuali adanya hegemoni dari pihak luar sekitar tahun 1755 (masuknya Tengku Akil dari kerajaan Siak untuk menguasai Belitong dan kemudian membunuh Raja K.A. Mohamad Hatam atau Cakraninggrat ke VII yang berkedudukan di Hulu Sungai Cerucuk) hingga kemudian anaknya K.A Rahad meski membuat pertahanan di muara Suangai Cerucuk dan mendirikan kerajaan baru yang kini menjadi kota TanjungPandan.

Sebuah rumah adat mesti memiliki aura atau ruh yang menjaga keagungan dan keanggunannya baik secara fungsional maupun visional. Dalam hal ini tentu tidak akan dibangun hanya semata berdasarkan pada keinginan atau pemenuhan pada infrastruktur yang lazim sebagaimana kita membangun kebutuhan sarana publik karena ia memiliki semacan aura yang tegas!.Pada masa dulu munculnya aura ini karena ada wibawa raja dan kesetiaan rakyatnya. Maka sebuah rumah adat masa dulu sebagai sebuah rumah dimiliki secara komunal untuk kepentingan bersama dibawah aturan adat dan wibawa raja hingga rumah tersebut menjadi terjaga dan terpelihara.

Namun ketika kini akan diwujudkan dalam masa yang berbeda tetapi aura dan ruh yang akan tertanam teentu akan menjadi berbeda namun tingkat kecerdasan masyarakatlah yang akan mendukung aura tersebut bahwa mereka adalah pewaris dan pemelihara kekayaan eksotis tersebut. Hal itu tentu mesti memperhatikan spirit yang pernah ada bahkan hingga kini spirit itu masih tersimpan sebagai pusaka adat; baik itu yang bersipat pemikiran (keturunan dari pelaksana atau pemangku adat), materi (benda-benda pusaka), atau aturan adat (baik tertulis maupun lisan yang diwariskan secara turun temurun baik di masyarakat maupun di keluarga depati) Bentuk Fisik dan fungsi Rumah Adat Bentuk fisik rumah adat Belitong sangat sederhana, merupakan rumah Panggong; rumah yang ditopang tiang dengan bahan kayu pilihan terbaik. Kesemua bahan bangunan terbuat dari kayu sampai ke atapnya yang disebut dengan atap sirap bangunan terbagi menjadi tiga bagian; ruang teras, ruang tengah atau utama, ruang penyangga, dan ruang belakang.Ruang teras merupakan ruang publik; seperti layaknya ruang santai jadi hal-hal yang tidak begitu penting bisa dibicarakan di sini, bahkan ketika para petinggi kerajaan menonton pertunjukan di halaman Rumah Gede akan selalu duduk di sini.

Ruang utama adalah ruang besar yang bisa menampung banyak orang, tidak memilikisekat atau kamar, tetapi ada partisi artistic sebagai sekat sementara berguna untuk bersalin pakaian dan lain-lain.ruang utama ruang yang selalu terjaga. Ruang perantara selalu ada tangga di sisi kiri dan kanannya, dan ada air wudhu yang di tempatkan di dalam tempayan atau guci. Ruang ini bukan hanya sebagai penghubung antara ruang belakang dan ruang utama, tapi dipakai juga sebagai pintu darurat jika para tamu mau ke toilet karena secara adat kesopanan tidak diperkenankan melewati pintu depan. Pintu depan atau utama hanya boleh dipakai untuk datang dan pulang.

Dan ruang penyangga juga berfungsi sebagai ruang pengatur atau pengarah acara; antara keperluan para majelis yang sedang bermusyawarah di ruang utama dengan keperluan seperti pengaturan konsumsi di ruang belakang, karena makanan para majelis mesti aman dari berbagai ancaman dan keamanan. Ruang belakang merupakan tempat menyimpan semua perkakas keperluan rumah adat dan kepentingan majelis; misalnya rehal untuk meletakkan alquran, tikar untuk sholat,dan lain-lain,bahkan peralatan makan-minum, peralatan sirih pinang, Dan yang terakhir tentu saja toilet yang terletak terpisah dari bangunan utama, ia ada di belakangbangunan utama.

Halaman rumah adat relative lebih luas, selalu dipakai sebagai ruang pertunjukan, tempodulu pertunjukan yang digelar antara lain seperti pencaksilat, beripat rutan, beregong,becampak, musik gambus, tari-tarian, dan lain sebagainya

Penulis adalah Ian Sancin di Begalor.comDirektur Bidang Lintas Sosial Budaya SAPIR INSTITUTE ( sebuah lembaga studi, kajian dan penelitian )

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Suku Laut di Belitung Miliki Seni Budaya Unik

Oleh: ILHAM KHOIRI

Sungai Kerucuk di Desa Juru Seberang, Kecamatan Tanjung Pandan, Kabupaten Belitung, Provinsi Kepulauan Bangka-Belitung, terasa begitu sibuk. Beberapa nelayan hilir mudik membawa jaring dengan sampan kecil. Beberapa nelayan lain menyeberangi air di pinggiran untuk naik ke perahu yang ditambat di tengah sungai.

Pagi yang cerah di akhir bulan Mei lalu itu memang saatnya nelayan berangkat menangkap ikan di laut lepas.

Aktivitas di Pelabuhan Tanjung pandan yang terletak di seberang sungai juga tampak berdenyut. Di pinggiran sungai sejumlah bocah bermain di tengah lumpur sambil melihat rombongan nelayan yang mulai menjalankan perahu.

”Kami mau menangkap ikan. Kalau dapat banyak, kami bisa segera pulang nanti sore atau malam. Kalau lagi sepi, kami menginap beberapa hari lagi di laut sampai dapat ikan,” kata Saparuddin (20) sambil berjalan menghampiri beberapa kawannya yang telah di perahu.

Saparuddin adalah salah satu dari sekitar 50 keluarga suku Laut yang tinggal di Desa Juru Seberang. Suku yang juga disebut suku Sawang itu hidup berkelompok di tengah komunitas nelayan Belitung yang menetap di tepi muara Sungai Kerucuk yang terletak di seberang Pelabuhan Tanjung Pandan.

Mereka dikenal sebagai nelayan penangkap ikan yang ulung, mahir membuat berbagai jenis perahu, dan ahli navigasi.

Sebagaimana namanya, suku Laut sangat mencintai laut. Sebelum menetap di Desa Juru Seberang tahun 1985, suku tersebut benar-benar menjadi ”manusia perahu” yang hidup di atas perahu di tengah lautan. Mereka melakukan segala kegiatan di atas perahu dan membangun kebudayaan laut yang unik.

”Kami lahir, besar, menikah, dan bekerja di atas laut. Kami tidak bisa dilepaskan dari laut karena laut itulah hidup kami,” kata Ketua suku Laut Menan. Menan menggantikan posisi ketua adat sebelumnya, Inal, sejak tahun 1986. Sebelum Inal, suku itu dipimpin ketua adat yang bernama Tumpak.

Setelah menetap di Desa Juru Seberang hingga sekarang, suku Laut masih terus berpetualang sampai bermil-mil ke laut lepas. Dengan mengandalkan jaring atau pancing tradisional, mereka bisa menangkap berbagai jenis ikan, seperti kakap, tenggiri, ilak, terisi, atau bawal.

Mereka juga terbiasa berburu cumi-cumi di malam hari dan menyelam dengan kompresor untuk menangkap teripang atau ketimun laut (holothurians). Hasil tangkapan dijual di pelabuhan yang disinggahi atau pasar ikan terdekat.

Sekitar tahun 1980-an, teripang, atau biasa disebut gamat, menjadi primadona komoditas laut. Karena dianggap bergizi tinggi dan bisa bermanfaat untuk pengobatan, teripang menjadi produk yang sangat mahal.

Para nelayan suku Laut dikenal sebagai pemburu teripang yang sangat andal. Hanya bermodalkan perangkat seperti kompresor mereka mampu menyelam sampai kedalaman puluhan meter ke dasar laut.

”Kalau bisa menyelam sampai kedalaman 30 meter dan dapat teripang super, untungnya besar. Satu kilogram teripang kering bisa laku antara Rp 1 juta sampai Rp 2 juta,” kata Jima (38), anggota suku Laut yang tinggal di pinggiran Sungai Kerucuk. Teripang super yang dimaksud adalah teripang pasir (holothuria scabra) yang banyak diburu untuk bahan pengobatan.

Di laut berabad-abad

Menurut sejarawan yang menjadi Ketua Kelompok Peduli Budaya Belitung Kabupaten Balitung Salim Yan Albers Hoogstad, suku Laut termasuk ras Proto Melayu yang memilih tinggal di laut sejak abad-abad permulaan Masehi.

Eksistensi mereka tercatat dalam naskah-naskah peneliti Belanda saat menjajah Indonesia. Belanda menempatkan suku Laut dalam lapisan sosial di atas suku Melayu yang berada di tingkat keempat. Peringkat pertama ditempati Belanda, peringkat kedua warga keturunan China.

”Belanda membutuhkan suku Laut karena mereka termasuk pekerja keras. Mereka juga dikenal sebagai pelaut ulung yang dapat menangkap ikan-ikan besar tanpa merusak lingkungan laut,” kata Salim Yah.

Suku Laut juga dihargai karena memiliki seni budaya yang unik, terutama tari dan pantun. Salah satunya adalah tari campak laut, yaitu tarian yang dilakukan dalam iringan musik sambil berbalas pantun.

Pantun sering dimuati petuah-petuah nenek moyang dalam menjalani hidup. Penari yang tidak bisa membalas pantun dianggap kalah.

Bentuk seni lain adalah tari tombak duyung. Tari ekspresif itu dibawakan nelayan andal yang mampu memeragakan atraksi menombak ikan duyung di laut.

Ada juga tarian cap dengan penari yang memakai topi bermantra sambil terus berjoget hingga kerasukan roh nenek moyang. Berbagai bentuk seni itu sering ditampilkan dalam upacara Buang Jong yang diselenggarakan setiap tahun.

Namun, belakangan ini eksistensi suku Laut semakin terancam oleh desakan nelayan bermodal besar dari berbagai daerah atau mancanegara yang memiliki teknologi modern. Mereka lebih gesit mencari ikan karena menggunakan kapal besar yang dilengkapi radar pemantau ikan dan navigasi canggih.

Demi menangkap berton-ton ikan secara cepat, mereka tidak segan menggunakan jaring pukat atau kunsi, dinamit, dan bahan kimia seperti putas. Akibatnya, ekosistem laut semakin rusak dan banyak ikan yang masih kecil terbunuh sia-sia.

Situasi itu sempat diprotes puluhan nelayan suku Laut dengan berunjuk rasa di depan Kantor Dinas Perikanan Kabupaten Belitung tahun 2002 lalu. Saat melaut, suku itu aktif memperingatkan nelayan yang kepergok menggunakan alat yang merusak lingkungan. Namun, ketika pemerintah kurang konsisten menindak kejahatan lingkungan, praktik penangkapan ikan yang menghancurkan ekosistem laut terus berlanjut hingga sekarang.

”Sekarang ini sudah tidak bisa bilang apa-apa lagi. Setelah karang, terumbu karang, dan lingkungan laut hancur, semakin sulit saja mencari ikan, apalagi teripang. Mungkin yang tersisa hanya teripang jenis karang atau lontong yang harganya murah. Kadang kami sudah putar-putar di laut, tetapi terpaksa pulang dengan tangan hampa,” kata Menan.

Situasi itu bertambah runyam setelah harga bahan bakar minyak makin melambung sehingga biaya melaut pun melonjak. Untuk melaut dengan perahu kecil bermuatan lima nelayan dalam waktu lima hari saja, setidaknya dibutuhkan modal Rp 1,5 juta. Modal itu untuk membeli es balok, solar, sewa kapal, dan makanan. Setelah pulang, mereka biasanya hanya bisa membawa 100 kg ikan campuran yang laku dijual Rp 500.000.

”Uang itu dibagi untuk lima nelayan, masing-masing Rp 100.000. Hasilnya tipis sehingga modal enggak tertutupi. Kadang malah pulang tanpa membawa apa-apa,” kata Badung (53), nelayan suku Laut.

Situasi serba sulit ini mendorong beberapa anggota suku terpaksa meninggalkan kerja mencari ikan dan melirik pekerjaan lain yang lebih menjanjikan, seperti mencari besi tua di dasar laut, menambang timah, atau menjadi buruh serabutan. Mereka yang bertahan melaut tetapi bermodal cekak, mudah terjerat utang para tengkulak.

Menurut Ketua Lembaga Adat Provinsi Bangka-Belitung Suhaimi Sulaiman, eksistensi dan budaya suku Laut hendaknya dijaga sebagai salah satu kekayaan tradisi Belitung. Kekayaan itu penting sebagai rujukan sejarah di tengah minimnya tradisi lokal di Bangka-Belitung yang tumbuh sejak awal Masehi.

Budayawan Willy Siswanto mengatakan, keberadaan suku Laut merupakan aset kultural yang memberikan acuan untuk mengidentifikasi budaya Bangka-Belitung.

”Budaya suku Laut memberikan sudut pandang yang lebih bijak di tengah hasrat masyarakat yang bernafsu menggerus alam untuk mengeruk keuntungan. Komitmen mereka untuk menjaga laut dapat dijadikan cermin penyadaran bahwa hidup harus selaras dengan alam,” katanya.

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java wedding

Indonesia has many diverse cultures (an estimated number of 300 cultures and languages, among 200 million Indonesians, living on 13.677 different islands). This enormous variety in cultures has a great impact on marriage ceremonies. Every wedding in Indonesia has a different ceremony, each of them influenced by the cultures of the families involved. Every ceremony is a step in the creation of a new bound between two families.

The parents of the man (would-be-bridegroom) send an envoy to the parents of the woman (would-be-bride), proposing that their son is willing to marry their daughter. Nowadays, for practical reasons, the parents of both sides can talk directly. The parents of the couple have to approve the marriage.

Usually, the parents of the would-be-bride have a greater say, as they are the ones who will organise the ceremonies (a big wedding will require a Paés Agung (kings make-up), a small one will require a Paés Kesatrian (knight's make-up)). They are responsible for the wedding ceremonies that will be followed, such as Siraman (bathing ceremony), Midodareni (ceremony on the eve before the wedding), Peningsetan (traditional engagement ceremony), Ijab (religious marriage consecration) and other Javanese ceremonies following the wedding celebration. They will also organise the wedding reception to give family and friends the opportunity to send their blessings to the newly wed couple.

taken from: http://users.skynet.be/dvran/E_javanese.htm

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Batak Wedding

It's not often that we, as foreigners in Indonesia, are given the opportunity to delve deeply into the cultural traditions of traditional Indonesian ceremonies. Recently, Hartmuth "Heinz" Kathmann and his lovely bride, Rose Merry Ginting, gave me that opportunity. Merry's father, Rakatta Ginting, served as our cultural guide as we discussed and looked at hundreds of pictures which document the traditional ceremonies in their recent marriage.

While each of the major Batak societies/tribes (Alas-Kluet, Angkola, Dairi, Karo, Mandailing, Pakpak, Simalungun, Sipirok, and Toba) are related, they have distinctive languages, customs and cultures. The traditional Batak homelands surround Toba Lake in North Sumatra. Merry Ginting is from the Ginting marga (clan) of the Karo Batak ethnic group, and her family ensured that the necessary wedding customs were followed, even though she was marrying a German national.

You Must Become a Batak, Heinz!

The primary obstacle to Heinz and Merry's marriage was the Batak tradition that a Batak can only marry another Batak, so Heinz had to be accepted into a Batak marga. Since tradition further stipulates that a man may not marry a woman from his own clan, Batak grooms have to search among the other 451 marga for a wife. Fortunately, Heinz gives traditional uis nipis textiles to family representatives in the ceremony which will ensure his entrance into the Brahmana clan.non-Batak grooms can be adopted by a willing Batak clan and thereby marry a Batak wife according to tradition.

The marga is an extensive, complex system of relationships between Batak family members within the clan and between clans. Each person, dependent on their relationship to others through parentage, sibling relationships or marriage has their own place in the relationships between clans, represented by a specific term. Unweaving this web of relationships is difficult at best and near to impossible without hours of study of the various ways in which people are considered to be related.

In Heinz's case, the adoptive family was the Brahmana clan of Merry's father's younger sister. Heinz's adoptive parents held a special ceremony to discuss and get their permission for this adoption from their related clan members. All clan members must agree, as the newly admitted son becomes their relative as well.

As the Batak are patrilineal, the discussions were held between the male elders of the Brahmana family groupings which would be affected by Heinz's joining the marga. The family grouping representatives involved in this ceremony were the:

1. puang kalimbubu - the prospective mother in-law's clan (Tarigan)
2. kalimbubu - the prospective mother's clan (Ginting)
3. sembuyak - the prospective father's clan (Brahmana)
4. anak beru - all the women in the father's clan (Brahmana women)

Heinz sat with these family grouping representatives, and gave the symbolic gifts of a uis nipis (traditional ulos When the traditional uis nipis textile is placed around Heinz's neck, he is accepted into the Brahmana clan.textile), a parang (dagger) and money, in this case a symbolic amount of Rp 12,000. The men accepted the uis nipis, and put the textile over their shoulders.

Discussions followed where Heinz and the family representatives discussed his joining the clan. At the successful conclusion of the discussions, the Brahmana family gave Heinz a uis nipis as a symbol of his acceptance into the clan. The textile was placed over his shoulders, and Heinz was then considered a son of his new parents and a full member of the Brahmana clan, with full rights and obligations, except the right of inheritance. As he was now a Batak, he could proceed with marrying Merry.

Requesting Merry's Hand in Marriage

Heinz and his new clan members took part in two traditional ceremonies (pesta adat) to seek permission to wed Merry, the ngembah belo selambar (which means to bring a sirih leaf) and the nganting manuk (which means to bring a chicken). Heinz's new family went with him to the Ginting household to conduct these traditional ceremonies. As the prospective groom, the cost of the ceremonies was Heinz's responsibility.

Ngembah belo selambar opens with the giving of the traditional gift of kampil. As dictated by tradition, Heinz gave kampil to his sembuyak, kalimbubu, puang kalimbubu, anak beru and perbibin (maternal aunts).

The kampil is a closed basket, which is woven from pandanus leaves. It contains the ingredients for smoking andThe first step in many Batak Karo ceremonies is the giving of kampil to family members betel chew . tobacco, matches or a lighter, sirih and other betel chew ingredients and small food items. The gifts are consumed as friendly conversation is enjoyed. When finished, the basket is returned empty and the ceremony can begin.

Discussions ensue between the two families . to determine if everyone is in agreement with the marriage, what the dowry will be, where the wedding will be held, how many people will be invited, what the wedding will cost, and who will pay for it. Men and women are separated during these discussions, with the men making all the decisions.

Following the successful conclusion of marriage negotiations in the ngembah belo selambar, either on the same day or soon thereafter, the nganting manuk ceremony is held for the symbolic payment of the dowry. Traditionally, the prospective groom's family brings a chicken to the bride's house, as the name of the ceremony implies. Nowadays, the chicken is usually accompanied by a traditional meal.

The bride's family examines the dowry given to them by the groom and his family.The dowry is symbolic of the replacement cost of the loss of the female to the clan. The amount is determined by the bride's family and is the same for all the clan's women who get married. In the Ginting clan the amount is Rp 286,000. If this sum sounds small, note that it was much lower before the monetary crisis, only Rp 120,000. The actual dowry will be paid at the wedding reception to members of the bride's family.

As most Karo Batak are Christian, a wedding ceremony in the church follows the two traditional ceremonies so the church can bless the union. The newlyweds usually dress up in western wedding finery, with an elaborate white dress and suit/tuxedo. The church ceremony must also be followed by a visit to the Civil Registry office to ensure the government legally registers the marriage.

The Wedding Reception

Anyone who has ever been to a Karo Batak wedding reception can see that the Karo sure know how to enjoy a wedding party, which they refer to as the Kerja si
mbelin (pesta besar), or big party. The Karo bring new meaning to the adage, "Eat, drink and be merry" as a good time is had by all attending family and friends.

The Procession

The wedding party enters the reception hall in a long processional with the bride and groom leading the way, - The bride and groom enter the reception hall in a procession followed by their families.followed by the bride's parents, the groom's parents and then the close family members, grandparents, aunts, uncles and cousins. The groom's anak beru throw rice in front of the couple, to symbolize fertility.

As the procession reaches the center of the hall, it stops and the family members separate with the bride's family sitting on woven mats (tikar) on one side of the hall, and the groom's family sitting on mats on the other side of the hall, facing each other. One distinctive feature of a Karo Batak wedding reception is that guests are seated on mats, not on chairs.

After the dowry is paid, the bride and groom are dance the landek for their guests in the middle of the reception hallThe anak beru of the bride's family cross the room to offer traditional kampil gifts to the groom's family as a sign of respect, though they don't necessarily have to partake of the contents during the reception.

The women of the bride's and groom's family then discuss the dowry that was agreed upon, and the groom's family pays the dowry to the members of the bride's family present at the ceremony. Even if they each receive Rp 500 or Rp 1,000, they feel compensated!

The groom's family formally states that since they've paid the dowry they would like to assume possession of the bride. Both families stand and escort the bride and groom to meet in the center of the room, all doing the traditional As the bride and groom sing and dance for their guests, people come forward and drop money into the basket as a gift to the happy couple.landek dance. Since the dowry has been paid and accepted, according to Batak tradition the couple is now considered married.

The families return to their respective sides of the room and the bride and groom are left dancing in the center of the room, with all eyes on the newlyweds. They dance the landek and sing to entertain their guests. As they sing and dance, family and friends come forward and put money in a basket at their feet as wedding gifts. The money is a modern custom and is not required by traditional customs (adat).

When the newlyweds finish entertaining their guests, they are accompanied by their families who dance the landek down the hall to the stage (pelaminan) where the bride and groom sit in a highly decorated setting with both sets of parents. In this instance, since Heinz was adopted into the Brahmana marga, his adoptive parents were onstage, as well as his actual brother and sister who flew in from Germany for the festive occasion.

Speeches

After the family members are seated, the speeches begin. The first speeches are given by representatives of the groom's family, followed by the bride's family representatives. Both begin with speeches from their sembuyak, then the kalimbubu, and finally the anak beru. The newlyweds descend from the stage and stand before the various family groups as they give them advice on marriage, and how to maintain good relations with their in-laws and other family members.

At Heinz and Merry's reception the truly international flavor of the event led to speeches in Bahasa Indonesia, German, English, and of course the Batak Karo dialect.

As the various family groupings come forward and the representative gives the advice to the newlyweds, anyone within that family grouping who wants to give a gift to the couple comes forward and does so.

Traditionally, close family members give textiles to the couple. These include uis nipis, batik and other textiles,Family members give the newlyweds traditional textiles, which they wrap around the wedding couple as a symbol of togetherness and anticipated fertility which are closely wrapped around the couple's shoulders, bringing them close together, symbolizing the togetherness of marriage. A batik selendang is often wrapped around the couple as a symbol of hoped for fertility as the selendang will one day hold the children that will come from the union. These ritual gift exchanges between the bride-giving and bride-receiving sides of the families are believed to increase fertility in the marriage.

Another traditional gift is the luah berebere. These practical household items are given by the bride's maternal uncle's family (kalimbubu). They symbolize the setting up of the newlywed's household. Traditionally, luah Presentation of the traditional luah berebere gifts to the newlyweds from the bride's maternal uncle's family.berebere includes: mattress, pillows, sheets, dishes, glasses, silverware, an oil lamp, rice and bowls. In addition to the practical items, food is given which must include one chicken egg and two live yellowish-color hens, which symbolize fertility for the new couple.

When the wedding reception is concluded tradition demands that the bride and groom must return to the groom's family home and reside for four days and nights, without ever leaving the home for any reason. This practice dates Traditional gifts, luah berebere, are given from the bride's maternal uncle's family - household essentials including lamps, dishes, mattress and moreback to ancient pre-Christian customs where the groom's family prevented the possible kidnapping of a reluctant bride by a thwarted lover.

The elaborate ceremonies in a traditional Karo Batak wedding are filled with symbolic rituals and customs. These customs ensure the acceptance of the new union by their new families, establish the intricate relationships that will govern their lives and provide the opportunity for family members to extend advice and good wishes and give gifts to the happy couple. A Karo Batak wedding is a richly meaningful life-cycle event, enjoyed and celebrated by all the members of the families involved.

Traditional Wedding Dress

As in all traditional Indonesian wedding ceremonies, the wearing of elaborate traditional clothing is required. Heavy ornamentation with accessories and layers of various fabrics utilize colors and designs which are highly symbolic to the Karo Batak.

The bride's heavy headdress is called tudung gul. The groom's hat is called bulang-bulang. The bride and groom Heinz Kathmann and Rose Merry Ginting in traditional Batak Karo wedding dressare both adorned in a variety of gold accessories, called emas sertali. These include earrings, necklace and bracelets. While solid gold heirloom accessories are lent to young brides by their female relatives, many modern brides opt for gold-plated accessories, as they are much lighter to wear. The solid gold accessories can weigh over 2 1/2 kilograms.

The traditional Batak ulos textiles used in the wedding dress are all called uis nipis. However, they have different, special names when used in wedding dress, dependent on where they are worn on the body.

The uis nipis worn over Heinz's shoulders was the one given him during the ceremony to enter the Brahmana marga and is called langge-langge. The bride is wearing a sarong songket Palembang, and over that a red uis nipis which is called ndawa when worn wrapped around the hips in the wedding costume. The black textile that is worn by both bride and groom is called julu.

by Danielle Surkatty
First published in Kem Chicks' World in September 2001.

Note: Please note that Karo Batak wedding traditions vary, depending on the area that the person is from!

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Prambanan

Prambanan, Candi Hindu Tercantik di Dunia

Candi Prambanan adalah bangunan luar biasa cantik yang dibangun di abad ke-10 pada masa pemerintahan dua raja, Rakai Pikatan dan Rakai Balitung. Menjulang setinggi 47 meter (5 meter lebih tinggi dari Candi Borobudur), berdirinya candi ini telah memenuhi keinginan pembuatnya, menunjukkan kejayaan Hindu di tanah Jawa. Candi ini terletak 17 kilometer dari pusat kota Yogyakarta, di tengah area yang kini dibangun taman indah.

Ada sebuah legenda yang selalu diceritakan masyarakat Jawa tentang candi ini. Alkisah, lelaki bernama Bandung Bondowoso mencintai Roro Jonggrang. Karena tak mencintai, Jonggrang meminta Bondowoso membuat candi dengan 1000 arca dalam semalam. Permintaan itu hampir terpenuhi sebelum Jonggrang meminta warga desa menumbuk padi dan membuat api besar agar terbentuk suasana seperti pagi hari. Bondowoso yang baru dapat membuat 999 arca kemudian mengutuk Jonggrang menjadi arca yang ke-1000 karena merasa dicurangi.

Candi Prambanan memiliki 3 candi utama di halaman utama, yaitu Candi Wisnu, Brahma, dan Siwa. Ketiga candi tersebut adalah lambang Trimurti dalam kepercayaan Hindu. Ketiga candi itu menghadap ke timur. Setiap candi utama memiliki satu candi pendamping yang menghadap ke barat, yaitu Nandini untuk Siwa, Angsa untuk Brahma, dan Garuda untuk Wisnu. Selain itu, masih terdapat 2 candi apit, 4 candi kelir, dan 4 candi sudut. Sementara, halaman kedua memiliki 224 candi.

Memasuki candi Siwa yang terletak di tengah dan bangunannya paling tinggi, anda akan menemui 4 buah ruangan. Satu ruangan utama berisi arca Siwa, sementara 3 ruangan yang lain masing-masing berisi arca Durga (istri Siwa), Agastya (guru Siwa), dan Ganesha (putra Siwa). Arca Durga itulah yang disebut-sebut sebagai arca Roro Jonggrang dalam legenda yang diceritakan di atas.

Di Candi Wisnu yang terletak di sebelah utara candi Siwa, anda hanya akan menjumpai satu ruangan yang berisi arca Wisnu. Demikian juga Candi Brahma yang terletak di sebelah selatan Candi Siwa, anda juga hanya akan menemukan satu ruangan berisi arca Brahma.

Candi pendamping yang cukup memikat adalah Candi Garuda yang terletak di dekat Candi Wisnu. Candi ini menyimpan kisah tentang sosok manusia setengah burung yang bernama Garuda. Garuda merupakan burung mistik dalam mitologi Hindu yang bertubuh emas, berwajah putih, bersayap merah, berparuh dan bersayap mirip elang. Diperkirakan, sosok itu adalah adaptasi Hindu atas sosok Bennu (berarti 'terbit' atau 'bersinar', biasa diasosiasikan dengan Dewa Re) dalam mitologi Mesir Kuno atau Phoenix dalam mitologi Yunani Kuno. Garuda bisa menyelamatkan ibunya dari kutukan Aruna (kakak Garuda yang terlahir cacat) dengan mencuri Tirta Amerta (air suci para dewa).

Kemampuan menyelamatkan itu yang dikagumi oleh banyak orang sampai sekarang dan digunakan untuk berbagai kepentingan. Indonesia menggunakannya untuk lambang negara. Konon, pencipta lambang Garuda Pancasila mencari inspirasi di candi ini. Negara lain yang juga menggunakannya untuk lambang negara adalah Thailand, dengan alasan sama tapi adaptasi bentuk dan kenampakan yang berbeda. Di Thailand, Garuda dikenal dengan istilah Krut atau Pha Krut.

Prambanan juga memiliki relief candi yang memuat kisah Ramayana. Menurut para ahli, relief itu mirip dengan cerita Ramayana yang diturunkan lewat tradisi lisan. Relief lain yang menarik adalah pohon Kalpataru yang dalam agama Hindu dianggap sebagai pohon kehidupan, kelestarian dan keserasian lingkungan. Di Prambanan, relief pohon Kalpataru digambarkan tengah mengapit singa. Keberadaan pohon ini membuat para ahli menganggap bahwa masyarakat abad ke-9 memiliki kearifan dalam mengelola lingkungannya.

Sama seperti sosok Garuda, Kalpataru kini juga digunakan untuk berbagai kepentingan. Di Indonesia, Kalpataru menjadi lambang Wahana Lingkungan Hidup (Walhi). Bahkan, beberapa ilmuwan di Bali mengembangkan konsep Tri Hita Karana untuk pelestarian lingkungan dengan melihat relief Kalpataru di candi ini. Pohon kehidupan itu juga dapat ditemukan pada gunungan yang digunakan untuk membuka kesenian wayang. Sebuah bukti bahwa relief yang ada di Prambanan telah mendunia.

Kalau cermat, anda juga bisa melihat berbagai relief burung, kali ini burung yang nyata. Relief-relief burung di Candi Prambanan begitu natural sehingga para biolog bahkan dapat mengidentifikasinya sampai tingkat genus. Salah satunya relief Kakatua Jambul Kuning (Cacatua sulphurea) yang mengundang pertanyaan. Sebabnya, burung itu sebenarnya hanya terdapat di Pulau Masakambing, sebuah pulau di tengah Laut Jawa. Lalu, apakah jenis itu dulu pernah banyak terdapat di Yogyakarta? Jawabannya silakan cari tahu sendiri. Sebab, hingga kini belum ada satu orang pun yang bisa memecahkan misteri itu.

Nah, masih banyak lagi yang bisa digali di Prambanan. Anda tak boleh jemu tentunya. Kalau pun akhirnya lelah, anda bisa beristirahat di taman sekitar candi. Tertarik? Datanglah segera. Sejak tanggal 18 September 2006, anda sudah bisa memasuki zona 1 Candi Prambanan meski belum bisa masuk ke dalam candi. Beberapa kerusakan akibat gempa 27 Mei 2006 lalu kini sedang diperbaiki.

taken from: yogyes.com
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Borobudur

Borobudur, Candi Budha Terbesar di Abad ke-9

Siapa tak kenal Candi Borobudur? Candi Budha ini memiliki 1460 relief dan 504 stupa Budha di kompleksnya. Jutaan orang mendamba untuk mengunjungi bangunan yang termasuk dalam World Wonder Heritages ini. Tak mengherankan, sebab secara arsitektural maupun fungsinya sebagai tempat ibadah, Borobudur memang memikat hati.

Borobudur dibangun oleh Raja Samaratungga, salah satu raja kerajaan Mataram Kuno, keturunan Wangsa Syailendra. Berdasarkan prasasti Kayumwungan, seorang Indonesia bernama Hudaya Kandahjaya mengungkapkan bahwa Borobudur adalah sebuah tempat ibadah yang selesai dibangun 26 Mei 824, hampir seratus tahun sejak masa awal dibangun. Nama Borobudur sendiri menurut beberapa orang berarti sebuah gunung yang berteras-teras (budhara), sementara beberapa yang lain mengatakan Borobudur berarti biara yang terletak di tempat tinggi.

Bangunan Borobudur berbentuk punden berundak terdiri dari 10 tingkat. Tingginya 42 meter sebelum direnovasi dan 34,5 meter setelah direnovasi karena tingkat paling bawah digunakan sebagai penahan. Enam tingkat paling bawah berbentuk bujur sangkar dan tiga tingkat di atasnya berbentuk lingkaran dan satu tingkat tertinggi yang berupa stupa Budha yang menghadap ke arah barat. Setiap tingkatan melambangkan tahapan kehidupan manusia. Sesuai mahzab Budha Mahayana, setiap orang yang ingin mencapai tingkat sebagai Budha mesti melalui setiap tingkatan kehidupan tersebut.

Bagian dasar Borobudur, disebut Kamadhatu, melambangkan manusia yang masih terikat nafsu. Empat tingkat di atasnya disebut Rupadhatu melambangkan manusia yang telah dapat membebaskan diri dari nafsu namun masih terikat rupa dan bentuk. Pada tingkat tersebut, patung Budha diletakkan terbuka. Sementara, tiga tingkat di atasnya dimana Budha diletakkan di dalam stupa yang berlubang-lubang disebut Arupadhatu, melambangkan manusia yang telah terbebas dari nafsu, rupa, dan bentuk. Bagian paling atas yang disebut Arupa melambangkan nirwana, tempat Budha bersemayam.

Setiap tingkatan memiliki relief-relief indah yang menunjukkan betapa mahir pembuatnya. Relief itu akan terbaca secara runtut bila anda berjalan searah jarum jam (arah kiri dari pintu masuk candi). Pada reliefnya Borobudur bercerita tentang suatu kisah yang sangat melegenda, yaitu Ramayana. Selain itu, terdapat pula relief yang menggambarkan kondisi masyarakat saat itu. Misalnya, relief tentang aktivitas petani yang mencerminkan tentang kemajuan sistem pertanian saat itu dan relief kapal layar merupakan representasi dari kemajuan pelayaran yang waktu itu berpusat di Bergotta (Semarang).

Keseluruhan relief yang ada di candi Borobudur mencerminkan ajaran sang Budha. Karenanya, candi ini dapat dijadikan media edukasi bagi orang-orang yang ingin mempelajari ajaran Budha. YogYES mengajak anda untuk mengelilingi setiap lorong-lorong sempit di Borobudur agar dapat mengerti filosofi agama Budha. Atisha, seorang budhis asal India pada abad ke 10, pernah berkunjung ke candi yang dibangun 3 abad sebelum Angkor Wat di Kamboja dan 4 abad sebelum Katedral Agung di Eropa ini.

Berkat mengunjungi Borobudur dan berbekal naskah ajaran Budha dari Serlingpa (salah satu raja Kerajaan Sriwijaya), Atisha mampu mengembangkan ajaran Budha. Ia menjadi kepala biara Vikramasila dan mengajari orang Tibet tentang cara mempraktekkan Dharma. Enam naskah dari Serlingpa pun diringkas menjadi sebuah inti ajaran disebut "The Lamp for the Path to Enlightenment" atau yang lebih dikenal dengan nama Bodhipathapradipa.

Salah satu pertanyaan yang kini belum terjawab tentang Borobudur adalah bagaimana kondisi sekitar candi ketika dibangun dan mengapa candi itu ditemukan dalam keadaan terkubur. Beberapa mengatakan Borobudur awalnya berdiri dikitari rawa kemudian terpendam karena letusan Merapi. Dasarnya adalah prasasti Kalkutta bertuliskan 'Amawa' berarti lautan susu. Kata itu yang kemudian diartikan sebagai lahar Merapi. Beberapa yang lain mengatakan Borobudur tertimbun lahar dingin Merapi.

Dengan segala kehebatan dan misteri yang ada, wajar bila banyak orang dari segala penjru dunia memasukkan Borobudur sebagai tempat yang harus dikunjungi dalam hidupnya. Selain menikmati candinya, anda juga bisa berkeliling ke desa-desa sekitar Borobudur, seperti Karanganyar dan Wanurejo untuk melihat aktivitas warga membuat kerajinan. Anda juga bisa pergi ke puncak watu Kendil untuk dapat memandang panorama Borobudur dari atas. Tunggu apa lagi? Tak perlu khawatir gempa 27 Mei 2006, karena Borobudur tidak terkena dampaknya sama sekali.

taken from: yogya yes.com

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Jogya Hotel

JOGJAKARTA PLAZA HOTEL
Jl. H. Affandi - Gejayan
Complex Colombo
Jogjakarta 55281
Indonesia

Jogjakarta Plaza Hotel is a unique International resort-styled hotel located in the city's university district . You will discover how the harmony between our distinctive low rise Javanese styled architecture combines with our warm hospitality.

Only minutes away you will find the Malioboro shopping arcades and Keraton. Just short distance out of town are Merapi Volcano, the tranquil beaches of the Indian Ocean, and the famous Buddhist and Hindu Temples, Borobudur and Prambanan.

Only 15 minutes from Adisucipto Airport, and Tugu Railway Station, Jogjakarta Plaza Hotel is an ideal new destination for leisure or even business. Whether you visit Jogjakarta for business or pleasure, remember Jogjakarta Plaza Hotel. The Jogjakarta Plaza represents a new breed of four-star hotel. Calm, comfortable surroundings, complemented by unmatched service and facilities.

Operating within a beautifully modern Javanese styled building, the Jogjakarta Plaza Hotel is all about new standards. By combining the best of old traditions and new excellent services, we are committed to the highest level of hospitality. Stay with us and you will experience real Indonesian hospitality.

Yogyakarta The Heart Of Java

Yogyakarta The Heart Of Java, Hotel, Tour

Yogyakarta / Jogyakarta special province (nowdays simply called Jogya) is relatively small narrow area, with its rich of tourist attractions. Visitor can find many kind of art works and cultural peformance, which are interesting and excellent.

According to the history, before 1755 Surakarta was the capital city of Mataram Kingdom.
After the The Treaty Of Gianti in 1755, Mataram was divided into two kingdoms; Surakarta Hadiningrat Sultanate (at Surakarta) and Ngayogyokarto Hadiningrat Sultanate (at Yogyakarta).

Following the treaty, Prince Mangkubumi the brother of Susuhunan Pakubuwono II, was crowned as the King of Ngayogyakarto Hadiningrat. He was then called Sultan Hamengku Buwono I.

As the center of Javanese art and culture, there are various kind of fascinating tourist attractions in Yogyakarta. That is the reason why people refer to Yogyakarta as the cradle of Javanese culture.

And for those who love mountainside, beaches or beautiful scenery, Yogyakarta also provides them with abundant numbers of sight. Related to above mentioned ancient cultural heritage, Yogyakarta is well known also as the center of culture, indicated by a great number of historical building and sites.


Savoring Appetite

Traditional Javanese food can be found in many places around in this city. The famous traditional food called Gudeg which containt boiled vegetables and jackfruit, eggs and chicken that cooked with coconut milk and Jati leaf. You can found Gudeg at many places in Yogyakarta. In the morning local people ussualy eat Pecel for breakfast, a traditional food which contain vegetables with chili nuts sauce. Bakmi Jawa is another traditional food similiar with chinese noodle but cooked with traditional system. The very popular Bakmi Jawa can found at around Alun-Alun (City Square)

Cafe and Restourant can be found at Yogyakarta very easily. In the night you can found many food stall in Malioboro street, they are open at the front of clossing shops. but to dine in this area, the visitors must be carefully ask the prices first for each food and drink.

Accomodation

As a tourist destination, Yogyakarta has a lot of hotels that easily be found in some places. There is many star hotels with various facilities. Visitor can choose the atmosphere, location and accomodation suitable for tourist budget. But for backpackers or visitor with middle budget you can find hotels and guest houses that quite cheap at Prawirotaman and Sosrowijayan Street. If you plan to stay for a long time you can negotiate the room rate. There are shops that provides tourist needs, such as money changer, internet booth, telecomunication booth and European food stall, mini market and so on.

taken from:www.jogyakarta.blogspot.com
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Lake Toba, Sumatra

Danau Toba, or Lake Toba as we know it, is the largest lake in Southeast Asia. It was created by the eruption of a super volcano 75 thousand years ago. It is still surrounded by the crater edge of that volcano, and in the middle of the lake, volcanic activity created Samosir an island as big as Singapore. Attached to that island is a small peninsula, with the village of Tuktuk on it. This is the tourist destination of the area, where we enjoy the cool air, a dive in the lake, the relaxed atmosphere, and the local Batak culture.

Liberty of Lekjon

After the exciting bus and bemo ride to Parapat we meet Liberty. He tells us that the last ferry to Tuktuk leaves in an Hour. But not to worry, there is a small restaurant where we can eat something while Liberty tells us all about Tuktuk and his hotel Lekjon cottages. It appears that the ferry will drop us off at any hotel on Tuktuk we want, and since we like the leaflet of Lekjon, we decide to let us lead by Liberty.

In the dark the ferry brings us over lake Toba. It takes about half an hour during which we only see some lights and a small fire along the crater edge. The ferry stops at the bay next to the peninsula first, and then moves along the coastline to drop everybody at their desired destination. We see a lot of hotel names, but it is too difficult in the dark to see what they are like. Just in the middle of the peninsula is Lekjon, and we are easily convinced to at least spend one night here. We get a clean room, a warm shower, and a nice view for a low price, what else do we want?

At night we drink something in Lekjon’s restaurant. The personnel is friendly, and one of them starts playing the guitar. A few English guests know some songs, and Sabine also starts playing. It is a good start for our stay at Lake Toba, which promises to become a holiday during our world journey.

Where are the tourists et Lake Toba?

The next morning we make a walk around Tuktuk. Although Lekjon is okay, we like to know what alternatives are around. And we also like to explore the surroundings. We pass many hotels. Big ones, with large buildings, and small ones, with cosy cabins along lake Toba. Especially the big ones make a desolate impression, they seem to have almost no guests. And some of the small ones are closed all together, and so are many of the restaurants. It appears to us that lake Toba must have seen much more tourists in the recent past. Many stay away now because of September 11, and the independence struggle of Aceh in North Sumatra, not very far from Lake Toba.

The peninsula is larger than we expected. At different hotels we inspect the rooms, but it is all similar to Lekjon. We also stop at some souvenir shops. Many nice woodcarvings for low prices. The vendors are urging us to be something, they also feel the lack of tourists

To the market

In the afternoon we take the ferry across lake Toba back to Parapat. There is a market there, and we have to go there to get some money. This time we have a seat on top of the boat, and inspect the hotels again, this time from the water. There are a few that could not be seen from the road. It is clear that Hotel Carolina is the most fancy hotel on Tuktuk. Nice cabins in traditional Batak style, including cane roofs, and a private pool created in the lake.

The market of Parapat isn’t much of an attraction. We quickly find the ATM and go back to the ferry with a bemo. Parapat isn’t very interesting, but it is a pleasant town. There are some hotels here as well, but again only a few tourists.

Historic Ambarita

We decide to rent a few mountain bikes to explore Samosir island, the main island in Lake Toba to which Tuktuk is attached. The main road goes around the island, and we enjoy great views until we reach the historic town of Ambarita. We enter the wall around the historic center via a small gate. We have to fill in our names in a guestbook, and pay a small fee. We are the only tourists in here, and from the guestbook we learn there are not many visiting these days. We wonder how the personnel here can live from the fees. Then a guide comes along offering his services. He tells us we can decide for ourselves how much we pay him afterwards. Yeah, right.

There are a few traditional Batak houses in a nice row. Although they’re not that traditional, since they have tin roofs. But at least they have the traditional shape, that resembles the traditional shape of the Minangkabau houses, or these of the Toraja people in Sulawesi. They all had the horns of the water buffalo for inspiration. One of the houses doubles as a small museum and the guide explains some tools there. From his explanations, we only remembered the Batak calendar, so is wasn’t much.

Cannibalism at the old courtyard

Most important part of Ambarita is the old courtyard. Under an old tree are a number of stone chairs in a circle where the village elders held council. Criminals who were convicted with the death penalty were led to the execution yard 50 meters further. This is a larger circle with stone chairs, and a large boulder on which the convicted would be tortured to scare away the evil spirits. Then, the victim would be killed, beheaded, and cut in pieces. The heart and liver were eaten by the king and elders, and every witness had to eat something as well. The blood served as a drink for everybody.

We pay our guide, not surprised he asks for more, and move on to the souvenir street. Lots of stalls with woodcarvings and vendors who are desperate to sell something. And only 2 tourists (us) as their prey. But we carry very little money, so we have to disappoint them all. Another sad result of the tourist decline at Lake Toba.

Graves of Tomok

We hop on our bikes and follow the road to Tomok. Main attraction in this village is the grave of the king. Or actually there are more graves, and it is unclear to us which one is which. There are some stone figures around the graves, but no guide to explain things. A little further is a large doll on a stage. The story goes that a former king was so sad for the death of his son, that he ordered a dancing doll. The dancing of dolls became a tradition at funerals.

In Tomok are a lot of souvenir stalls as well. This time especially with clothes and other stuff. But again, no tourist around, and we are the only prey. So we don’t stay long, hop on our bikes and go back to Tuktuk, enjoying the views over Lake Toba.

Cinema

Tuktuk has its own cinema. An Englishman who lives here permanently, created a business with the copied video CD’s which are for sale everywhere in Southeast Asia. He has a large collection for rent, or you can watch them in a small room with large TV. We are watching “The Lord of the Rings” here. The copy was obviously made in an actual cinema: we can hear the laughter of the audience, and once in a while there is a shadow passing by. Amazing how the illegal copying industry works here.

In order to explore more of Samosir, we hire some motorbikes. After some instructions, we leave while the people shout at us to drive on the left side of the road, something we would already forgot. Easily we pass the many hills on our way to the first target: Samanindo. Here is a the Batak museum of Samosir located. After a little search, we find it just in time for an dance exhibition.

Batak dance

In front of an open terrain a more tourists are gathered than we saw in total the last couple of days. And in front of a scale model of a traditional Batak house are a group Batak people dancing. Well, dancing is a big word for the small movements they make. The program indicates multiple dances, but we see little variation. When some tourists join them, we hardly see a difference. And then a dancing doll enters the scene, making more moves than the dancers themselves. The tourists are supposed to give a donation to the doll, which is rewarded with a loud “Horas”. And that is the most exciting part of the exhibition.

The accompanying Batak museum isn’t much either. A little disappointed we hop pack on our motorbikes and move on. What amazes us most is that this place attracts most of the tourists around Lake Toba.

We move on along the outside of the island, passing many traditional houses, most of them with zinc roofs. Also many impressing grave towers, with on top of them a miniature traditional house.

Hot Springs

As we approach the other side of the island, the mainland comes in sight. A large white spot on the crater edge draws our attention. It almost seems like a ski trail, but we suppose it must be chalk or sand. A little later we arrive at the village where the island is connected to the main land by a small bridge. In fact, the bridge was only needed since the Dutch dug a canal to separate the island from the main land in 1906. We pass the bridge and drive up to search for our next goal: the hot springs. The closer we get, the more we realize the white spot is where we will find the hot springs.

The hot springs are accompanied by a number of restaurants and a large parking lot. But there are not many tourists. At one of the restaurants we park our motorbikes and order a meal. While we wait we see a little girl playing with to chicks, one of them bright yellow, the other bright green. Funny little animals, although it is sad that they probably have no mother and are obviously artificially colored.

After lunch we search for the hot springs. Every restaurant appears to have a bath of swimming pool fed with hot water from the springs, but we want to find the springs themselves. So we climb up, until we reach a restaurant that only lets us through if we order something. Here is a pool as well, but also a natural bath in the rocks. And as we climb up, we reach the actual source of the hot springs. In some kind of white moon landscape there is a stream of hot, yellow water. It is boiling up from the rocks, although we cannot see exactly where.

After a lovely, purifying, very hot bath, and a cola at the restaurant, we descend to our motorbikes. Although there is a market in the village we pass, we decide to go back to Tuktuk. It takes us two hours to go back, including a few stops for a beautiful view and a drink. We are back before dark, so we can cool off in the lake.

More Batak dance

That night there is a traditional dance performance in one of the restaurants of Tuktuk. We are convinced that there should be more to it than the slow motion dance we saw that morning, we decide to have a look. But what we see is even worse than that. Odd, since the traditional music sounds happy and dynamic.

After the dance there is a singing performance. Five men are putting all their energy in a few nice songs. Quite a contrast to the dance performance. The surprise is complete when the dancers invite the audience to swing with them. So they can actually dance enthusiastically, although it is not very traditional.

Woodcarving course

Having seen most of the sights around Lake Toba, we search for an alternative activity. We find a cooking course, but that one is a bit expensive. A woodcarving course, however, is cheap so we join a few souvenir makers. We get to pick something we like in order to try and copy it. After some instructions how to cut, we try for ourselves. Bit by bit our blocks of wood get some shape. Our teachers watch, adjust, and show how to continue.

Sabine’s mini mask is almost done. After sanding it, it can be polished and varnished. Patrick’s puppet takes a little longer, but after lunch, when our hands can be relieved from the cramps, it can be finished as well. Sabine has continued with carving her name, and begins with carving a guitar. Patrick tries a gecko. But then the fun is over. The leg of the gecko breaks, and the knife hits his hand. There is a lot of blood, but after binding it, it seems to be okay. But it is clear that we have not found a new occupation.

Tuktuk restaurants and hotels

Most of the evenings we dine at the restaurant of Lekjon. But we do want to try something different. So we walk the island, searching for nice restaurants. Around Lekjon are a few of them, but there are just a few people every where, And the further we walk, the sadder it gets. Many restaurants wait for the first guests of the evening, others are already closed. We do find one restaurant that draws more public. It is the Bamboo restaurant, with nice decoration (bamboo obviously), good food and nice music. According to Roy Bamboo, the owner, there are many guests every night. It seems to be the exception to the rule that business is bad around Lake Toba these days.

As we have seen and explored every aspect of Lake Toba it is time to move on. It was a nice relaxing week with nice activities. It is a pity that the locals are desperate because of the decline in number of tourists. Once, there were probably too many tourists, but too little is not good either, for the great destination that Lake Toba actually is .

taken from:http://www.adventure-travel-tales-and-tips.com

Follow our World Journey!! Next Stop: Bukit Lawang

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History of Aceh

Year by year

In 1292, Marco Polo, on his voyage from China to Persia visited Sumatra and reported that on the northern part of Sumatra there were as many as six trading ports including Ferlec, Samudera and Lambri. Islam is reported to have reached Aceh between the seventh and eighth centuries AD and the first Islamic kingdom, Perlak was established in 804 AD. Then followed Samudera Pasai in 1042, Tamiah in 1184, Aceh in 1205 and Darussalam in 1511. In this year the Portuguese captured Malacca and many Asian and Arabic traders sought to avoid the Malacca Strait and called instead on Aceh's port, bringing wealth and prosperity. Aceh's dominance in trade and politics in northern parts of Sumatra began, reaching a climax between 1610 and 1640. With the death of Sultan Iskandar Thani in 1641, Aceh's decline began. The British and Dutch both started to vie for influence. In 1824 the London Treaty was signed, giving the Dutch control over all British possessions in Sumatra in return for a Dutch surrender of their establishments in India and an abrogation of all claims on Singapore.

Summary of Aceh important dates in its history (1520- early 1600)

Rise of Aceh clearly demonstrates impact of Islam and trade in contestation with Europeans. Portuguese efforts to intervene in Pasai and Pidie, and takeover of Melaka across the straits, drove elements interested in Islam, commerce, or local patriotism to unite in support of Aceh's Sultan Ali Mughayat Syah.

1520s

Sultan worked to unite the north Sumatran coast into a new and explicitly anti-Portuguese kingdom; ideological identity and authority of Aceh competed directly with Portuguese Melaka as center of Islamic spice route. (Similarly, Banten in western Java emerged as an Islamic kingdom in competition with the Hindu port of Sunda Kelapa, ruled by a Portuguese ally.)

1534–38

Ottoman expansion (first to Egypt, Syria, and the Hejaz in 1516–17, then to Iraq in 1534–35) provided new military defense of Muslim spice-trading route in the Indian Ocean. First Ottoman fleet to combat the Portuguese in the Indian Ocean was launched by the governor of Egypt in 1537–38; this failed.

1560s

Establishment of direct commercial and diplomatic relations between Ottomans and Aceh; this led to concept of pan-Islamic counter-crusade against the Portuguese in Southeast Asia (e.g., 1566 petition for assistance, sent from sultan of Aceh to Ottoman sultan).

1560–1580s

High point for Islamic military success in Southeast Asia.

Early 1600s

Evidence that Shari'a courts in use in Aceh, to apply Islamic law in enforcing precepts relating to prayer, fasting, and religious orthodoxy and to deal with civil matters of debt, marriage, divorce, and inheritance as well as criminal matters of theft, drunkenness, and so on. Introduction of the kadi (law officer, an important figure in urban governance) dates from the 1580s. A number of Islamic leaders, from various parts of the archipelago, centered in Aceh during the 17th century, writing voluminously on religious topics both in Arabic and Malay. The last great mystic was ‘Abd al-Ra'uf of Singkel, born around 1615. After studying in the Middle East, he returned to Aceh, served the sultan as secretary, and wrote widely on law and religion. His fame as a religious reformer spread widely, before and after his death sometime following 1693. (See The Malayan Archipelago, 1798–1908)

Summary of Aceh important dates in its history (1816-1942)
Also referred to as Atjeh, Achin. An Islamic sultanate located on the northern tip of the island of Sumatra, at times controlling land on both sides of the Malacca Straits. Its strategic location gave it political importance

In 1816/1824 the Dutch and British agreed on delimitation of their mutual spheres of influence in the Malay Archipelago; Aceh was allocated to neither of them. In the Sumatra Treatise of 1871, Britain conceded Aceh to the Netherlands, in return for Dutch concessions regarding Sarawak/North Borneo and on the Gold Coast.

1831 - U.S. ships, the Potomac Fleet, under the order of US President Andrew Jackson and without the approval of the US Congress, shell coastal villages in Aceh in an action against "piracy" (Acehnese pepper trade dispute with businesses tied to Governor of Massachussetts). In 1832 (Quallah Battoo) and in 1838/1839 US troops landed in Aceh (Quallah Battoo, Muckie) to protect US interests. Quallah Battoo (Kuala Bate) is located between the town of Meulaboh and Tapak Tuan, near the area where the US Marines landed to help Aceh Tsunami's victims.

1852 - Aceh sends an emissary to Napoleon III of France.

1854 - Aceh establishes authority over Langkat, Deli and Serdang on east coast of Sumatra ("pepper ports").

1858 - Dutch take Siak in north Sumatra by treaty, and move troops in to prevent British adventurers from gaining a foothold there. The boundary of Siak is defined to include Langkat and Deli, infringing on Acehnese territory.

1869 - Aceh appeals to the Ottoman Empire for protection. In 1869, the Suez Canal opened, which greatly reduced the travel time and effort between Europe and Asia by sea, and gave places such as Aceh much more strategic importance.

1870 - Sultan Mahmud Syah rules Aceh until 1874.

1871 - November Treaty of Sumatra between British and Dutch: Dutch give Gold Coast to British; Dutch may send contract labor from India to Dutch Guinea; Dutch get free hand in Sumatra, British and Dutch both have trade rights in Aceh. Effect of this treaty: there is no more foreign objection to the Dutch taking Aceh.

1873 - January 25 Emissary from Aceh holds talks with the American consul in Singapore, but help was rejected by Washington. The Dutch respond with war. March 26 Dutch bombard Banda Aceh. April 8 Dutch land troops at Banda Aceh. April 25 Acehnese force the Dutch to withdraw. The Sultan of Aceh sensed the imminent danger and sent a delegation to Singapore, where they contected the consuls of Italy and the US (for a possible protectorate, 1873). The Dutch regarded this as the "Treason of Singapore" and declared war. The first Dutch attempt to conquer Aceh failed in 1873

1874 - Holland attack Sultanate of Aceh and the Kraton (capital, called Koetaradja by the Dutch) was occupied and the Sultanate formally annexed. The Dutch controlled only the area around Koetaradja; most of the territory remained unoccupied, and the Acehnese continued to resist. January 24 Acehnese abandon Banda Aceh and retreat to the hills. Dutch announce that Sultanate of Aceh is ended. Sultan Mahmud Syah of Aceh dies in the jungle; Sultan Ibrahim Mansur Syah heads sultanate in hills until 1907. Teuku Umar of the Acehnese nobility leads the Acehnese forces. The Dutch strategy of occupying the political center had failed; the resistance continued (2nd Acehnese War 1874-1880, 3rd Acehnese War 1884-1886, 4th Acehnese War since 1888). In 1882, the population of Aceh was calculated as 479,419 (Meyers). Advised by scholar Snouck Hugronje, the Dutch army, under Lt. VAN HEUTSZ, adopted a new strategy of brutal repression. In 1903 the Acehnese Sultan POLIM surrendered; only in 1908 were the Dutch able to establish control over the area; guerilla resistance continued. The wars leading to the conquest and pacification of Aceh (1873-1908) have cost an estimated 10,000 Dutch and 100,000 Acehnese fatalities.

1878 - Expedition under Gen. Van der Heijden burns 500 villages in Aceh to the ground. Teungku Cik di Tiro, an Islamic ulama, starts leading the resistance in Aceh.

1884 - Guerilla war heats up in Aceh. Dutch build "Geconcentreerde Linie" in Aceh: a series of 16 forts designed to contain guerillas. Many of the common soldiers Dutch-led troops in the Netherlands Indies forces were not Dutch, but were recruited from Java, Sulawesi, and other parts of Indonesia.

1896 - Dutch go on attack against guerillas in Aceh with special forces (Korps Marechaussee).

1898 - Van Heutsz becomes Dutch Governor of Aceh. His advisor Snouck Hurgronje introduces "Korte Verklaring", a short treaty recognizing Dutch rule, to replace older complicated agreements with local rulers; Dutch pursue alliance with uleebalangs against Islamic leaders. June Van Heutsz sends a successful Dutch expedition against Pidie, Aceh.
1899 - Teuku Umar is killed during a Dutch ambush.

1903 - Sultan of Aceh, Tuanku Daud Syah, surrenders to the Dutch, but keeps secret contact with guerillas

1904 - Van Heutsz, recently military Governor of Aceh, becomes Governor-General (until 1909). An expedition under Capt. Van Daalen to the uplands of Aceh kills over 3000 villagers, including over 1000 women and children.

1905 - Acehnese resistance contacts Japanese consul in Singapore for help.

1907 - Aceh guerillas attack Dutch in Banda Aceh

1910 - Islamic resistance in Aceh is decimated. Uleebalangs, or traditional aristocracy of Aceh take charge. The Uleebalangs would develop a reputation for collaborating with the Dutch; after World War II, many Uleebalangs were massacred.

1942 - Aceh resistance overthrew Dutch rules in Aceh and began helping Indonesian Independence movement and resistance in Java island. .......
Dec 26, 2005 - 9.0 Earthquake and Tsunami destroyed Banda Aceh, Meulaboh and all coastal towns in Aceh, killing over 170,000 people and displaced over 550,000 people.
www.aceh.net/mosques.html

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Nias

Stage Stone

amazing art from stones

A long time ago Nias Island possessed a prehistoric megalithic culture, also known as the stone ages, where the people lived with guidance from stone figures.

Their social statues are measured by placing big stone figurines within the compound of their homes. Interestingly, their megalithic background is known to be the oldest form of culture in Indonesia as published by Rumbi Mulia, an Indonesian archeologist in his book.

Remains of the historic figures still stand in the distric of Gomo. However, these figures are in dire conditions as no form of conservation or preservation have been given; some stones have even been stolen, especially from the province of Gomo.

If you want to see by yourself, the Nias megalithic stones that are listed as the oldest megalithic in Indonesia, Gomo district is the place. It is a 101 km drive from Gunungsitoli city to Gomo and 56 km from Teluk Dalam. From Orahili to Tundrumbaho is about 4 km, but enjoy a 700 m hiking to reach the intended destination. Through your journey there, you can also visit many traditional houses at that area and learn more about the local's way of life in this beautiful panoramic islands.

“Feta Batu” made from the stones from prehistoric ages. Currently, the instrument Feta Batu is owned by traditional musician Hikayat Mana-er who resides in the village of Bawömataluo.

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Nias

Ono Niha
Niasans call themselves ONO NIHA, meaning PEOPLE'S CHILDREN and they call their island TANO NIHA meaning THE LAND OF PEOPLE, which makes Nias Island what it is today. According to legend, the word NIAS originate from the word NIHA SI, There was once a time foreigners reached a beach near the territories of Teluk Dalam. Therefore the locals talk about these foreigners among their neighbours, calling them NIHA SI, meaning foreigners who come to their land. Thus, the foreigners hear this saying as NIAS. A long time ago Nias Island possessed a prehistoric megalithic culture, also known as the stone ages, where the people lived with guidance from stone figures. Their social statues are measured by placing big stone figurines within the compound of their homes. Interestingly, their megalithic background is known to be the oldest form of culture in Indonesia as published by Rumbi Mulia, an Indonesian archeologist in his [Photo] book. Its unique history appears to have no influence with any other culture, whether it be Hinduism, Islam or Buddhism, as established by Prof. Dr James Dananjaya, an anthropologist from the University of Indonesia. Also, it has been stated that the culture of Nias has been established since the Bronze ages in the book: "Manusia dan Kebudayaan Indonesia" (The people and the culture of Indonesia), this book was published in 1970 by Prof Dr Kuntjaraningrat, the first anthropologist in Indonesia.

The great Megalithic times of Nias are still preserved and this distinctive trait captures the world’s attention. Its unique stone carvings and other forms of traditional pieces are found in museums all over the world, especially in European museums ( Tropenmuseum - Amsterdam, Museum fur Volkerkunde - Basel, Kon. Musea voor schone Kunsten Musees Royaux d’Art et d’Histoire - Brussels, Rautenstrauch Joes Museum - Cologne, Volkenkundig Museum Nusantara - Delft, Museo Nationale di Anthropologia et Etnologia - Florence, Algemeen Rijksmuseum voor Volkenkunde - Rotterdam, Museum fur Volkerkunde - Vienna, Vereinigte Evangelische Mission - Wuppertal ). Fortunately, these historical artifacts are now exhibited in Museum Pusaka Nias, Gunungsitoli for both locals and tourists to learn and understand about the past social life of the Nias people.

taken from nias tourismboard.com
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Aceh (part 6)

Saman
"Saman" the most popular dance in Acheh and the dance that has become well-known abroad with the name "Thousand hands". It has its origin from the Alas ethnic group and is normally performed to celebrate the birthday of the Prophet Muhammad S.A.W. and other important occasions. Eight to twenty male performers kneel in a row on the floor and make different kinds of torso movements accompanied by songs, clapping hands, slapping chests, slapping hands on the floor, etc. The songs are praises to Allah or prayers. The dance starts with slow movements and increases its tempo gradually to great speed and finally come to a sudden stop. There are many different regional versions of "Saman"
' Saman Inong '
Meuseukat
"Meusekat" is almost the same as "Saman". The only difference is that "Meusekat" is performed by women and originates in west and south Acheh.
Pho
The word "pho" derives from "pheubae po". "Peubae" means weeping and "po " is an honorable indicator. The dance was developed from the old dance "bineuh" and originated in the 16th century in south Acheh. It was beginning performed at the death of Sultan or noble man as an expression of loss and sadness. Over the years it started to appear in the "manoe pucok" ceremony ("bathe" and "new bud" respectively) in the days before a wedding when the bride is bathed. During this ceremony the bride is seated in full traditional attire and accompanied by her parents. After a "peusejuk" ( a cooling ceremony) the dancers appear. They led by a "syeh" who produces songs that decribes the life of the bride from birth until marriage. It is about how much the parents have done, how much they have spent on her and how they have taken care of her. Now the moment of departure has come and the bride will leave her parents for a new life with her husband as wife and mother. the newlyweds are also blessed and wished a prosperous future. The songs are often so sad not only the bride and parents, but also the participans, sob togeter.
Laweut
"Laweut" was developed in early days of Islam in the Pidie area of northern Acheh and means a kind of prayer to the Prophet Muhammad S.A.W. " Lawaeut" is also called "Seudati Inong" for its similarity to the "Seudati" dance and that it is performed by women, eigh of them with a "syech" ( leader). Normally it is performed in a standing position, accompanied by song and sound of snapping fingers, stepping feet, beating thighs and clapping hands from dancers
Tarek Pukat
The "Tarek pukat" dance depicts the life of the fishermen in the coastal area. This includes making nets, rowing boats, catching fish and pulling the net which actually is meaning of "Tarek Pukat". The dance is cheerful, dynamic and accompanied by songs or instruments. Each dancer has a rope and during the dance these ropes are woven into net.
Marhaban
This dance was normally only used for celebration of the birthday of the Prophet Muhammad S.A.W. , but due to its popularity has begun to appear also on other occasions. There are 20 performer, 10 women and 10 men, accompanied by special tambourines. The dance is often followed by prayers to the Prophet.
Rapai Geleng
"Rapai" is the name of a tambourine used to accompany songs and dances. "Rapa-ii Geleng" is a dance specially developed with this tambourine in mind. The movements are almost the same as in the "Saman" dance, but the 11 to 20 male dancers handle one tambourine each, which gives the dance a very distinct and enjoyable flavor. A song with Islamic teachings accompanies the dance.

' Rapa-ii Geleng '
Perang Sabil
"Perang Sabil" is a new creation, composed in order to commemorate the war against foreign invaders. This very dynamic dance, accompanied by music, is performed by 8 women and 8 men. The women carrying rencongs (Achehnese blade) and the men swords ("Peudeung"). The dancers describes how the rencong and Peudeung is used in a real war and the dance itself can be hurtful enough if a dancer loses his concentration.
Bines
"Bines" comes the Alas people and is developed from the folk tale "odeni maleleng". This tale tells us about the fate of young woman committing adultery and punished by her own village people with death. The mother of girl walks crying around the body of the girl, layng on leather pad. The dance describes the grief of the mother and a sad song in local language accompanies the movements.
Didong
"Didong" is most popular Gayo dance, and dance groups of 20 to 40 men and women compete in different aspects of dance, such as song, movement and voice. It can be performed at any kind of occasion.
Ul-Ula Lembing
A dance strongly influenced by Malay traditions and very popular in east Acheh. It is performed by four couple in traditional Malay attire.
Alee Tunjang
Originally a dance for the start of the harvest that despicts traditional rice milling. Performed by four couple moving beautifully to the music from "serunee kalee" . They carry "lesung" (rice mortar) and "alu" (pestle), 2 to 3 meters long.
Daboih
The famous "Daboih" is hardly a dance, but merely a show of the performers ability to withstand diffeerent kinds of sharp blades. The actors stab themselves to the special sound of tambourine "rapa-ii". The show can be rather dramatic at times. Even electric chain saws can be used ! Keep away if you have a bad hearts.
Lansir Madam
Lansir Madam is an odd remnant from colonial era and can be described as a "Dutch Square dance".

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Aceh

Acheh (Part 5)
Dance and Songs
As a verandah of Mecca, songs and dances which come from Acheh generally reflect Islamic prayer art. In old times dances were either performed at the courts for sultans and their guest or in the villages as entertainment after hard work in the fields. Today dances are mostly performed at special government functions, but in many areas local dancing traditions and groups carry on the heritage. Each region of Acheh has own version of dances or its own indigenous ones. The costumes used are basically long sleeved tops and sarongs wrapped around the waist and colors are often brilliant. Women usually wear head pieces, but the use of jewelry depends on the aspect of life that is depicted by the dance. The Achehnese dance all have certain characteristics in common. Islamic values are often spread in Acheh through the dances. The dances deal with daily social activities. All Achehnese dances are performed by a group and are dynamic with stepping feet, beating of chests, hips and shoulder
Achehnese music performed on tradition string, wind and percussion instruments. Most of them seem to have Chinese origin, but at least the "arbab" is indigenous. The "arbab" is a three string zither made of wood from the jack fruit tree. The strings are made of very strong bambo, rattan, or from horse tail horse. One example of wind instrument is the "seurunee kalee ", which is a single reed wood-wind with one hole in the back and seven in the front. Other include various kinds of bamboo fluetes, such as "buloh peurindu", "bansi" and "suling". Gong are made of brass or dried goat skin and are sounded with padded wooden hammers. They come in three sizes and called "gong" , "canang", and "mong-mong". The "Rapaii Pasai" is tambourine made of goat skin. The "Rapai Pasai", for example, was introduced by the Samudra Pasai Kingdom as an instrument to call citizen to gather. The "Tak Tok" is made of bamboo and is very simmilar to Javanese "angklung". The players of traditional instruments are usually men, while women sing and play tambourines. A traditional band consists of leader, four or five players and one or two boy sopranos.
In Acheh there are 50 types of dance, 20 kinds of music, 10 form of literature and 9 tradition arts, some of which are described below. Some of the popular dances are:
Ranub Lampuan
"Ranub" is Achehnese for betel leaf. It is traditionally used for chewing after meals and is served as a way of showing respect to guest. "Serving betel leaf to the guest" as a dance has become a popular way of welcoming prominent guest to Acheh and also at opening ceremonies . Nine women perform to the music from the "seurunee kalee" instrument. At the end of dance , the performers offer "sirih" (betel) to the guests who are supposed to receive it. However no one forced to chew it !
Peumulia Jamee
A similar dance to the "Ranub Lampuan" is the "Peumulia Jamee". The difference is that the betel is omitted, and the music make one imagine exotic Arabian night and a song is sung, starting with the Arabic greeting "Assalamualaikum ..."
Seudati
The "Seudati" dance existed in pre-Islamic times, but became a way to spread Islamic value to the Achehnese people. The name can de derived from the "syahadatain" which means confession of faith by saying " Kalimah Syahadat". "Seudati" is performed by 8 male dancers commanded by a leader ("syeikh") and his assistant ("apet syeikh") . Two narattors read a poem. It is danced in standing position and starts with "saleum" (salam). Only stepping feet, snapping fingers and beating of chests accompany the movements. The Seudati Inong is the same dance, but performed by women

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Aceh

Acheh (Part 4)
Achehnese Blade
Rincong is a special Achehnese dagger which had been so important during the Achehnese war. Now the dagger is popular as a completion of the traditional attire, and nice souvenir from Acheh, too. Rincong blades are mode of metal, while the hilts and scabbard are from ivory, wood (kayu kemuning), or buffalo hom. Anatomishable steel is used for blades that will be fitted with buffalo hom hilts and scabbards. While a brass alloy is used for those with scented wood orivory hilts and scabbards. Hom, wood, and ivory are not the only materials used for roncong hilts and scabbards, silver and gold may also be used. The shape of rincong is from the invocation of 'Bismillahirrahmanirrahim' (in the name of Allah, the merciful and compassionate). The component parts of rincing is likened to individual letters of the Arabic script of phrase 'Bismillah' as follows :
- The hilt of the rincong is in the shape of 'ba'
- The decorationat the base of the hilt is 'sin'
- The shape of the blade is 'mim'
- The shape of the metal parts at the top of the blade is 'lam'
- The base of scabbard takes the shape of 'ha'
- Together ba, sin, mim, lam, and ha make up the word 'Bismillah'
Siwah
Siwah is another important Achehnese blade which is generally known as the ceremonial dagger and usually used by the Sultan and men of the subtantial wealth. It differs from the rincong in appearance in that it has a more bulbous hilt. The siwah scabbard is usually more highly ornamented than a rincong scabbard. The decoration on these fine-old weapons befits their royal heritage. Precious jewels, ivory and intricate gold filigree work adorn at the upper end of the scabbard where the blade enters the sheath. Some siwahs have straighter blades than rincong, however, both blades are sharpened on one side only, and end in a sharp point.
Peudeung
The Peudeung is a kind of a long sword and was very populer during the Achehnese wars. In Acheh, every peudeung has aname based on the shape of its hilt, for example 'hilt like the tail of a cat', (gagang ekor kucing) 'hilt like the mouth of crocodile' (gagang mulut buaya) 'hilt like the horn of a deer', (gagang tanduk rusa) 'hilt like the legs of a horse', (gagang kaki kuda) and 'hilt like the tail of a duck' (gagang ekor bebek). The hilt of a peudeung is usually decorated with a 'tampok', a smaller version of the star shaped ornament worn on top of the traditional, royal Achehnese hat. The history of peudeung may trace back to 17 century. There is an Achehnese sketch dated in the century, an Achehnese man, show him sporting a strap over his shoulder through which two long peudeung protrude.

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