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".
raziey
Showing posts with label culture. Show all posts
Showing posts with label culture. Show all posts
Wednesday, April 22, 2026
Tuesday, July 15, 2008
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.
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.
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 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.
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.
raziey
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?
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.
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
raziey
Tuesday, July 8, 2008
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
raziey
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
raziey
Tuesday, July 1, 2008
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".
raziey
"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".
raziey
Friday, June 27, 2008
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
raziey
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
raziey
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.
raziey
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.
raziey
Aceh
Acheh (Part 3)
Traditional Dress
Standard traditional Achehnese clothing for men includes full cut black trousers, a black top with long-narrow sleeves with one botton at the neck. A silk cloth (kain songket) is bounded around the waist, and a rencong is tucked into the belt. On the head is a kupiah meukeutob topped with a gold star shaped ornament (tampok kupiah). It is bound with a woven square of silk.
The women wear gold embroidered, black trousers which are narrow at the ankle and very broad at the waist. The blouse is also embroidered, and is yellow, green or red in colour. The sarong is a women silk fabricdecorated with gold or silver thread (kain songket). This is held in place a large gold belt. On the head is adorned with an array of golden flowers with called Bungong Ok and Patam Dho or Kulah Kama. Necklaces cascade from the neck to the waist. The arms are adorned with many bracelets, and the fingers are graced with rings, too.
raziey
Traditional Dress
Standard traditional Achehnese clothing for men includes full cut black trousers, a black top with long-narrow sleeves with one botton at the neck. A silk cloth (kain songket) is bounded around the waist, and a rencong is tucked into the belt. On the head is a kupiah meukeutob topped with a gold star shaped ornament (tampok kupiah). It is bound with a woven square of silk.
The women wear gold embroidered, black trousers which are narrow at the ankle and very broad at the waist. The blouse is also embroidered, and is yellow, green or red in colour. The sarong is a women silk fabricdecorated with gold or silver thread (kain songket). This is held in place a large gold belt. On the head is adorned with an array of golden flowers with called Bungong Ok and Patam Dho or Kulah Kama. Necklaces cascade from the neck to the waist. The arms are adorned with many bracelets, and the fingers are graced with rings, too.
raziey
Saturday, June 21, 2008
Aceh
Acheh (Part 2)
Traditional House
Achehnese villages usually lie in the middle of cultivated areas where the houses are hidden among the trees for shade and coolness. An older traditional house is built without using any nails. The house held together with cord or pegswhich are made too small for its hole and is kept in place by large wedges.
An Achehnese house stand on pillars which is well designed for the climate. It is composed of five divisions (rueung). 16, 20 or 24 sturdy pillars, usually 6-8 feet in height, rise perpendicularly up from the floor, providing space for air circulation and for people to move about comfortably.
raziey
Traditional House
Achehnese villages usually lie in the middle of cultivated areas where the houses are hidden among the trees for shade and coolness. An older traditional house is built without using any nails. The house held together with cord or pegswhich are made too small for its hole and is kept in place by large wedges.
An Achehnese house stand on pillars which is well designed for the climate. It is composed of five divisions (rueung). 16, 20 or 24 sturdy pillars, usually 6-8 feet in height, rise perpendicularly up from the floor, providing space for air circulation and for people to move about comfortably.
raziey
Thursday, June 12, 2008
others
Gamelan, the Javanese Orchestra
Gamelan is surely not a foreign music. It has been popular in most continents and has created new music integration, for example jazz-gamelan, has born institution as learning space and gamelan music expression and it has produced famous gamelan musicians. Gamelan music instrument can now be enjoyed in various parts of the world, but Yogyakarta is the right place to enjoy it since you can enjoy the original version of gamelan.
Gamelan that grows in Yogyakarta is Javanese gamelan, one form of gamelan that is different from Balinese gamelan or Sundanese gamelan. Javanese gamelan has softer and slower tones; it is different from Balinese gamelan that is very dynamic and Sundanese gamelan that is melodious with domination of the voice of seruling or traditional bamboo flute. The difference is just natural since Java has its own view of life that is expressed in its gamelan music melody.
The Javanese view of life that is expressed in its gamelan music is the harmony of physical and spiritual lives, harmony in talking as well as behaving in order not to create explosive expression and to realize people tolerance. The real form of harmony in Javanese gamelan music is the moderate play of rebab string, voice harmony of kenong, saron kendang and gambang and the voice of gong ate each closing of the melody.
There is no definite history of gamelan existence. The development of gamelan music is predicted to begin from the existence of kentongan, rebab, tap on the mouth, rubs on string and thin bamboo until the introduction of metal music instruments. Further development after named by gamelan, this music was used to accompany leather puppet show and dances. Later it became independent music and it was completed with voices of female singers called sinden.
A set of gamelan consists of several music instruments; some of them are drum called kendhang, rebab, and celempung, gambang, gong and bamboo flute or seruling. The main components composing the gamelan music instruments are bamboo, metal, and wood. Each of the instrument has its own function in a gamelan music show, for example the gong functioning to close the long music melodies and to give balance after the music was previously decorated by Javanese music melodies.
Javanese gamelan is music with pentatonic melodies. A complete gamelan play consists of two cycles, namely slendro and pelog. Slendro has 5 melodies per octave, namely 1 2 3 5 6 [C- D E+ G A] with small interval difference. Pelog has 7 melodies per octave namely 1 2 3 4 5 6 7 [C+ D E- F# A B] with big interval difference. Gamelan music composition was created with some rules, namely consists of some cycles and pathet, confined by one gong and the melodies were created in a unit consisting of 4 melodies.
You can see gamelan as an independent music performance or a companion of a dance or performance arts such as leather puppet show and ketoprak. As an independent performance, gamelan music is usually combined with the voice of the Javanese singers (male singers are called wiraswara and female singers are called waranggana or sinden). Gamelan music performance can be classic or contemporary. One form of contemporary gamelan is jazz-gamelan as a combination of music with pentatonic and diatonic melodies.
One of the places in Yogyakarta where you can see gamelan performance is Yogyakarta Kingdom. On Thursdays from 10:00a.m. to 12:00p.m. gamelan is performed as an independent music performance. On Saturdays at the same hours, gamelan is performed as companion of leather puppet show, while on Sundays at the same hours, gamelan accompanies Javanese traditional dance. Please come to Bangsal Sri Manganti to see the performance. Meanwhile, in order to see older gamelan music instrument, you can go to other hall of the kingdom that is located a little further at the back.
gamelan sound
Text: Yunanto Wiji Utomo
Photo & Artistic: Singgih Dwi Cahyanto
Copyright © 2006 YogYES.COM
raziey
Gamelan is surely not a foreign music. It has been popular in most continents and has created new music integration, for example jazz-gamelan, has born institution as learning space and gamelan music expression and it has produced famous gamelan musicians. Gamelan music instrument can now be enjoyed in various parts of the world, but Yogyakarta is the right place to enjoy it since you can enjoy the original version of gamelan.
Gamelan that grows in Yogyakarta is Javanese gamelan, one form of gamelan that is different from Balinese gamelan or Sundanese gamelan. Javanese gamelan has softer and slower tones; it is different from Balinese gamelan that is very dynamic and Sundanese gamelan that is melodious with domination of the voice of seruling or traditional bamboo flute. The difference is just natural since Java has its own view of life that is expressed in its gamelan music melody.
The Javanese view of life that is expressed in its gamelan music is the harmony of physical and spiritual lives, harmony in talking as well as behaving in order not to create explosive expression and to realize people tolerance. The real form of harmony in Javanese gamelan music is the moderate play of rebab string, voice harmony of kenong, saron kendang and gambang and the voice of gong ate each closing of the melody.
There is no definite history of gamelan existence. The development of gamelan music is predicted to begin from the existence of kentongan, rebab, tap on the mouth, rubs on string and thin bamboo until the introduction of metal music instruments. Further development after named by gamelan, this music was used to accompany leather puppet show and dances. Later it became independent music and it was completed with voices of female singers called sinden.
A set of gamelan consists of several music instruments; some of them are drum called kendhang, rebab, and celempung, gambang, gong and bamboo flute or seruling. The main components composing the gamelan music instruments are bamboo, metal, and wood. Each of the instrument has its own function in a gamelan music show, for example the gong functioning to close the long music melodies and to give balance after the music was previously decorated by Javanese music melodies.
Javanese gamelan is music with pentatonic melodies. A complete gamelan play consists of two cycles, namely slendro and pelog. Slendro has 5 melodies per octave, namely 1 2 3 5 6 [C- D E+ G A] with small interval difference. Pelog has 7 melodies per octave namely 1 2 3 4 5 6 7 [C+ D E- F# A B] with big interval difference. Gamelan music composition was created with some rules, namely consists of some cycles and pathet, confined by one gong and the melodies were created in a unit consisting of 4 melodies.
You can see gamelan as an independent music performance or a companion of a dance or performance arts such as leather puppet show and ketoprak. As an independent performance, gamelan music is usually combined with the voice of the Javanese singers (male singers are called wiraswara and female singers are called waranggana or sinden). Gamelan music performance can be classic or contemporary. One form of contemporary gamelan is jazz-gamelan as a combination of music with pentatonic and diatonic melodies.
One of the places in Yogyakarta where you can see gamelan performance is Yogyakarta Kingdom. On Thursdays from 10:00a.m. to 12:00p.m. gamelan is performed as an independent music performance. On Saturdays at the same hours, gamelan is performed as companion of leather puppet show, while on Sundays at the same hours, gamelan accompanies Javanese traditional dance. Please come to Bangsal Sri Manganti to see the performance. Meanwhile, in order to see older gamelan music instrument, you can go to other hall of the kingdom that is located a little further at the back.
gamelan sound
Text: Yunanto Wiji Utomo
Photo & Artistic: Singgih Dwi Cahyanto
Copyright © 2006 YogYES.COM
raziey
Wednesday, June 11, 2008
LOMBOK
Ogoh Ogoh Parade
One day before the Hindu new year, the Hindu people in Lombok have a Tawur Kesanga ritual which mean to purify Bhuana Agung (macrocosmos) and Bhuana Alit (microcosmos) as well as naturalize negative power from Bhuta Kala. The Tawur Kesanga ritual is usually held in West Lombok and Mataram city during Tileming Sasih Kesanga. The Tawur Kesanga ritual usually begins with the Ogoh ogoh parade. An Ogoh ogoh is statue to visualize Bhuta Kala. This statue is to give more focus to people throughout the Tawur Kesanga ritual. During the Ogoh ogoh parade the statue is spun around before being faced in the right direction. after that the statue is cremated to ensure that the bad spirit won’t disturb the people again.
Male’an Sampi
Male’an Sampi is highly exciting Lombok tradition that always has the power to draw a crowed. The event is actually a series of cattle race held on a water logged race track 100 meters long. The local Sasak language the meaning of Male’an Sampi can be divided into two world, male’an meaning to chase and sampi meaning cow. Male’an Sampi is a favorite pastime for farmers and cattle breeders in West Lombok. This event is usually held at the planting season when the farm is empty and the farmers and cattle breeders get together to stage the race.
Gendang Beleq Festival
The Gendang Beleq Dance is one of Lombok’s famous local dances. it is so named because the musicians beat a huge (beleq) drum (gendang) that set the well – defined ‘Lombok’ rhythm to which the dancers perform. in the olden days this dances was performed to say goodbye to soldiers heading for the battlefield and again when they were welcomed home. this dance whit it’s distinct sound is now performed to welcome important guest.
Senggigi Festival
Senggigi festival is a week of cultural events to promote Lombok tourism, which will be held in the Senggigi Resort area and organized by the Department of Tourism, Art and Culture West lombok, artist and cultural observer and by tour agencies. During this event, all the color of Lombok’s arte and culture are brought together in one central location so as to be easily experience by all. Domestic and overseas guest are invited to join the event. Some important event that are going to be present include.
Painting Kite Competition
This event is oven for everyone, especially children. it’s designed to incurage children to explore they imagination and aspiration through they talent which is paint.
English Speech Competition
The competition is designed to encourage the younger generation to use more English. Especially since West Lombok relies on tourism. The more people who can speech English means more information can be given to tourist.
Stick Fighting Festival
Manhood and heroism is a total criteria are shown into a game called Perisean. The fighter called Pepadu use a stick as a tool to fight and perisae which made of Cow’s skin as a shade to protect themselves from getting hurt. Sportive is becoming the main requirement in this game with a referee called “Pekambar” will act as a judge. A simple traditional music will accompanied this game as a spirit lifter. it is usually held during the dry season. This game is also a performance to ask for the rain from the God.
Takbir Competition
Takbir is a praised to GOD, because Muslim people have completed one month fasting period, and was successful in suppressing they passion. Those happiness showed through a Takbir and Tahmid and play in a mosques. And after a while, Takbir and Tahmid are shown as a parade. Takbir is paraded at the end of the fasting month after the last breakfast.
Lebaran Topat
Lebaran Topat is a cultural event related to the Moslem religion in Lombok. Lebaran Topat as the tradition to celebrate Lebaran and recreation by bringing traditional food “Topat” with variety of side dishes including vegetables, it’s held in the 7 day after Idul Fitri. Lebaran Topat is Held particularly in the West Lombok, started to pray to happiness and prosperity in the mosque, musholla, family grave yard and followed by recreation along the coast line, the traditional food “topat” and variety of side dishes including vegetable dishes.
Mulang Pekelem – Mt. Rinjani
The Balinese Hindu are have been in Lombok since event though they live in Lombok over generation they are still maintain their culture and tradition. One of the tradition is Ngaturang Peklem at Lake Segara Anak, Mt. Rinjani. Pekelem means gives some offering to God like gold and buffalo heads as a expression of gratitude to god for his blessing everything in life. Thousand of pilgrimate will go up to Lake Segara Anak, some times pilgrimate as the far as Bali will come to this event. beautiful panorama of Mt. Rinjani will make them keep coming back next year.
Perang Topat
Perang Topat (Rice cake War) is a ritual ceremony which is performed as a expression og gratitude to God for his blessing of fertile soil plentiful agriculture produce. This event is performed in Lingsar Park by both Hindus and Sasaks, who throw rice cakes “topat” at each other. The show begins at 16.30 p.m after Pedande Mapuja, when the Waru flower fall (Rorok Kembang Waru). The ceremony is usually held every year at the time of sixth full moon (according to the Sasak calendar) some time in November or December. Topat is a plating if coconut leaves filled with rice and boiled.
Taken From Lombok Villas
Ogoh Ogoh Parade
One day before the Hindu new year, the Hindu people in Lombok have a Tawur Kesanga ritual which mean to purify Bhuana Agung (macrocosmos) and Bhuana Alit (microcosmos) as well as naturalize negative power from Bhuta Kala. The Tawur Kesanga ritual is usually held in West Lombok and Mataram city during Tileming Sasih Kesanga. The Tawur Kesanga ritual usually begins with the Ogoh ogoh parade. An Ogoh ogoh is statue to visualize Bhuta Kala. This statue is to give more focus to people throughout the Tawur Kesanga ritual. During the Ogoh ogoh parade the statue is spun around before being faced in the right direction. after that the statue is cremated to ensure that the bad spirit won’t disturb the people again.
Male’an Sampi
Male’an Sampi is highly exciting Lombok tradition that always has the power to draw a crowed. The event is actually a series of cattle race held on a water logged race track 100 meters long. The local Sasak language the meaning of Male’an Sampi can be divided into two world, male’an meaning to chase and sampi meaning cow. Male’an Sampi is a favorite pastime for farmers and cattle breeders in West Lombok. This event is usually held at the planting season when the farm is empty and the farmers and cattle breeders get together to stage the race.
Gendang Beleq Festival
The Gendang Beleq Dance is one of Lombok’s famous local dances. it is so named because the musicians beat a huge (beleq) drum (gendang) that set the well – defined ‘Lombok’ rhythm to which the dancers perform. in the olden days this dances was performed to say goodbye to soldiers heading for the battlefield and again when they were welcomed home. this dance whit it’s distinct sound is now performed to welcome important guest.
Senggigi Festival
Senggigi festival is a week of cultural events to promote Lombok tourism, which will be held in the Senggigi Resort area and organized by the Department of Tourism, Art and Culture West lombok, artist and cultural observer and by tour agencies. During this event, all the color of Lombok’s arte and culture are brought together in one central location so as to be easily experience by all. Domestic and overseas guest are invited to join the event. Some important event that are going to be present include.
Painting Kite Competition
This event is oven for everyone, especially children. it’s designed to incurage children to explore they imagination and aspiration through they talent which is paint.
English Speech Competition
The competition is designed to encourage the younger generation to use more English. Especially since West Lombok relies on tourism. The more people who can speech English means more information can be given to tourist.
Stick Fighting Festival
Manhood and heroism is a total criteria are shown into a game called Perisean. The fighter called Pepadu use a stick as a tool to fight and perisae which made of Cow’s skin as a shade to protect themselves from getting hurt. Sportive is becoming the main requirement in this game with a referee called “Pekambar” will act as a judge. A simple traditional music will accompanied this game as a spirit lifter. it is usually held during the dry season. This game is also a performance to ask for the rain from the God.
Takbir Competition
Takbir is a praised to GOD, because Muslim people have completed one month fasting period, and was successful in suppressing they passion. Those happiness showed through a Takbir and Tahmid and play in a mosques. And after a while, Takbir and Tahmid are shown as a parade. Takbir is paraded at the end of the fasting month after the last breakfast.
Lebaran Topat
Lebaran Topat is a cultural event related to the Moslem religion in Lombok. Lebaran Topat as the tradition to celebrate Lebaran and recreation by bringing traditional food “Topat” with variety of side dishes including vegetables, it’s held in the 7 day after Idul Fitri. Lebaran Topat is Held particularly in the West Lombok, started to pray to happiness and prosperity in the mosque, musholla, family grave yard and followed by recreation along the coast line, the traditional food “topat” and variety of side dishes including vegetable dishes.
Mulang Pekelem – Mt. Rinjani
The Balinese Hindu are have been in Lombok since event though they live in Lombok over generation they are still maintain their culture and tradition. One of the tradition is Ngaturang Peklem at Lake Segara Anak, Mt. Rinjani. Pekelem means gives some offering to God like gold and buffalo heads as a expression of gratitude to god for his blessing everything in life. Thousand of pilgrimate will go up to Lake Segara Anak, some times pilgrimate as the far as Bali will come to this event. beautiful panorama of Mt. Rinjani will make them keep coming back next year.
Perang Topat
Perang Topat (Rice cake War) is a ritual ceremony which is performed as a expression og gratitude to God for his blessing of fertile soil plentiful agriculture produce. This event is performed in Lingsar Park by both Hindus and Sasaks, who throw rice cakes “topat” at each other. The show begins at 16.30 p.m after Pedande Mapuja, when the Waru flower fall (Rorok Kembang Waru). The ceremony is usually held every year at the time of sixth full moon (according to the Sasak calendar) some time in November or December. Topat is a plating if coconut leaves filled with rice and boiled.
Taken From Lombok Villas
raziey
Friday, June 6, 2008
culture of lombok
Cultural Lombok
Lombok
On the 19th day of the 10th month in Sasak Calendar-generally February or march-hundreds of Sasak gather on the beach. When night falls, fires a built and the young people sit around competing with each other in rhyming couplets called Pantun. At dawn the next day, the first Nyale a caught, after which it is time for the Sasak teenagers to have fun. In colorful procession boys and girls sail out to sea – in different boats - chase one another with lots of noise and laughter. The worm-like nyale fish are eaten raw or grilled, and are believed to have aphrodisiac properties. A good catch is a sign that the rice harvest will also be good.
SURFING
Plenty of good waves break on the reefs around here – many supposedly “Secret”. There are lefts and rights in the bay in front of Kuta, and some more on reefs east of Tanjung Aan. Local boatman will take you out for a few thousands rupiah. Go about seven km east of the Kuta to the fishing village of Gerupuk, where there are several potential breaks on the reefs at the entrance of Gerupuk Bay. Again access is by local fishing boat. There’s more breaks further east and west, from Blongas to Serewi, but nearly all require a boat: the charter rate is about 150.000 to 250.000 rp per day. Bigger yacht from Bali do surf charters along the whole of LOMBOK south coast.
There aren’t many secrets.
INFORMATION
You can change money at Segara Anak Bungalows, but the rates are not very good. Wisma Segara Anak is a the postal agent and has a booking desk for Perama Shuttle Bus.
KUTA BEACH & SOUTH LOMBOK
The best-known place on the south coast is Lombok's Kuta Beach (Sometime spelt Kute Beach), a magnificent stretch of white sand and blue sea with rugged hills rising around it, but not much else.
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It very small development with far fewer tourist than in famous Kuta Beach on Bali, but there are big plans to develop a whole stretch of the superb south coast with luxury hotels.
After many years of speculation there are signs something is happening, with the road from Praya completely remade and big new road running to as yet undeveloped beaches.
Meanwhile, the low budget Losmen at Kuta are all on limited leases, and seem to trying to get maximum income from minimum investment-some of theme are looking decidedly squalid.
Travelers are reporting some hassles here too. People flock to Kuta for the annual Nyale fishing celebration. Usually falling in February or March each year, with thousands sleeping on the beach. The main tourist season is August and for the rest of year it’s very quite.
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