INDONESIA CULTURE

The temple is located in the Village Temple Singasari Renggo, Singosari District, Malang district, approximately 9 km from the city of Malang in the direction of Surabaya. This temple is also known by the name of temple or temple tower cupola, a name that indicates that the temple is a temple Singasari the highest of his time, at least compared to other temples around it. However, this time in the region Singasari Singasari only remaining temple, while the other temples have vanished without trace.

When exactly Singasari temple was founded is unknown, but experts estimate the ancient temple was built around the year 1300 AD, as an offering to honor the King of Singasari Kertanegara. There are at least two temples in East Java that was built to honor King Kertanegara, namely Candi Candi Jawi and Singasari. As Candi Jawi, Singasari Temple is also a Shiva temple. This can be seen from the existence of several Shiva statue in the courtyard of the temple.


Singasari Temple is located in the middle of the yard. Body of the temple stood on the shelf foot around 1.5 m tall, without decoration or relief at the foot of the temple. Up stairs into the hall at the foot of the temple was not flanked by a staircase with ornate makara cheeks as found in other temples. Entrance to the room in the middle body of the temple, facing south, located on the front side of the viewer booth (a small booth tucked into the front). This looks simple entrance without a frame decorated with carvings. Above the doorway are carved heads are also very simple Kala pahatannya. There are several sculptures and reliefs is a very simple construction of the temple suggests that Singasari not yet fully resolved.

On the left and right door cubicle door, slightly to the rear, there are niches where the statues. Threshold niche also without frame and Kala headdress. There is also a similar niche in the three other sides of the body temple Singasari. Niche size larger, equipped with the viewer and the chamber above the threshold there is a simple headdress Kala. In the middle of the main room there is a broken yoni top. At the foot of the yoni is also not there any sculptures.


At first glance the building looks as if tiered temple Singasari two, because the bottom of the rectangular temple roof, resembling a small room with niches on each side. Apparently the original niches contain the statues, but today kempatnya empty. On top of each threshold 'door' there are niches with carved headdresses Kala is more complex than the one on the threshold of the entrance and niches in the body of the temple. Meru Peak shaped tiered roof itself, upwards increasingly smaller. Some top of the roof has collapsed look.


Singasari Temple had been restored by the Dutch government in the 1930s, terlihatan of notes at the foot of the temple sculptures. However, it seems that restoration is done the results are not comprehensive, because the temples are still lined up around the yard a pile of stone that has not been restored into place.


On page Singasari temple there are also several statues, mostly in damaged condition or has not been completed, including statues of Shiva in various positions and sizes, Durga, and Ox-Nandini.


Approximately 300 m west from the Temple Singasari, after going through a fairly dense neighborhood, there are two statues Dwarapala, giant gatekeeper, in very large sizes. It is said that the weights of the statue weigh 40 tons, the height reached 3.7 m, while the circumference of the largest bodies reach 3.8 m. Location of the two statues is approximately 20 m apart (now separated by the highway).


By Dwi Cahyono, an archaeologist from the State University of Malang (UM), the two statues were originally Dwarapala facing eastward, ie towards Singasari Temple, but this time the statue on the south side has changed direction slightly to the east overlooking the sea. Shift in direction occurred when the appointment of the soil. Until the late 1980s statue located on the south side is still buried in the soil to the extent of the chest. Behind the statue is situated in the south are the ruins of a stone building which looks like a wall. Presumably this is the second statue guards the entrance to the palace of King Kertanegara (1268-1292) which was situated in the west (dibelakangi) the second statue.

Legends about Dynasty Singasari

Some temples in East Java, especially those located around the city of Malang, has a history of close association with the Kingdom Singasari. Singasari Dynasty is a descendant of Ken Dedes with both her husband, stumps Ametung akuwu (head of district-level administration) Tumapel and Ken Arok, the people most of the killing, took over power, and at once took his wife Ametung stumps.

History of the Kingdom of this Singasari artificial birth legend of dagger Mpu Gandring very popular among the people of East Java. According to legend, Ken Arok was the child of a woman's affair Panawijen Village, named Ken Endog, with Batara Brahma. Shortly after birth, babies Ken Arok abandoned by her mother in a cemetery, were later found and taken home by a thief accomplished. From his adoptive father is Ken Arok learn about all the tricks and tactics of gambling, theft and robbery. As an adult he became known as the most feared outlaws in the region Tumapel. At one point Ken Arok acquainted with a Brahmin named Lohgawe who advised him to leave his world of black. The instigation Lohgawe, Ken Arok, stop being a robber and then devoted himself as a soldier Tumapel.

At that time, which became akuwu in Tumapel, territory of the Kingdom of Kediri, is Ametung stumps. The Akuwu marry Ken Dedes, the daughter who lived in Purwa mpu Panawijen. From that marriage were born a son named Anusapati. One day, Ken Dedes home to Panawijen to see his father. When Ken Dedes down from the royal train, wind revealing tight bottom of the fabric length. At that time, Ken Arok, the duty to escort the train Ken Dedes glimpse Ametung the calf's wife stumps. In the eyes of Ken Arok, calf Ken Dedes emit a blinding light. The scenery will not disappear from the minds of Ken Arok. He then asks the mpu Purwa it. The Mpu explained that the rays are seen Ken Arok Dedes is a sign that Ken was destined to be the woman who would lower the kings of Java.

Ken Arok then ordered a dagger to a mpu mpu named in Tumapel Gandring. To create a reliable kris potency, required a long time for forging, forming and running the necessary rituals. Because the dagger that had been ordered not finished, Ken Arok, became very angry. He captured the unfinished kris ago Eglon to the body manufacturer. Toward the end, mpu Gandring that Ken Arok was condemned to die at the end of the same dagger and dagger that would require victims of seven lives.

Keris Gandring Mpu artificial by Ken Arok was lent to friends who have the character of a showboat, the Kebo Ijo. Kebo Ijo kris exhibiting it to his soldiers and friends say that it is his keris. After a lot of people know it belongs as a property kris Kebo Ijo, Ken Arok, and then steal it and use it to stab Ametung stumps. By itself allegations fell to kebo Ijo, while Ken Arok successfully replace Ametung stumps as akuwu and married Ken Dedes.

Having successfully become akuwu, Ken Arok, and then conquered the kingdom of Kediri, who was then ruled by a king who was then ruled by King Kertajaya (1191-1222), and founded the Kingdom of Singasari. He crowned himself king with the title of the first Singasari Rajasa Bathara The Amurwabhumi. From Ken Dedes, Ken Arok berputra one, named Mahisa Wongateleng, while from Ken Umang he also got a son named Tohjaya. Curse Mpu Gandring into force. Ken Arok killed and replaced by Anusapati position. Anusapati murdered and replaced by Tohjaya position. Tohjaya murdered and replaced by Ranggawuni, Anusapati children. Ranggawuni then crowned as king and rule with a degree Jayawisnuwardhana Singasari beginning in 1227 until 1268. Jayawisnuwardhana succeeded by his son, whose surname is Joko Dolog Kertanegara (1268-1292).

King Singasari Kertanegara is the last. The Government was overthrown by King of Kediri, Jayakatwang. However Jayakatwang Kertanegara defeated by-law named Raden Wijaya. Which is a descendant of Raden Wijaya Mahisa Wongateleng and King Udayana in Bali Majapahit kingdom was then established by the central government in Drag (Trowulan).
from:http://candi.pnri.go.id/jawa_timur/index.htm
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Badhut temple discovered by archaeologists in 1923. The temple is also called the Temple Liswa is located approximately 5 km from the city of Malang, precisely in the Village Karangbesuki, Dau district, Malang regency, East Java. Temple Badhut allegedly been built long before the reign of Airlangga, namely the commencement of construction of other temples in East Java, and believed to be the oldest temple in East Java.

Some experts argue that the ancient temple built on the orders of King Badhut Gajayana from Kanjuruhan Kingdom. In the inscription Dinoyo (Çaka 682 or 760 M), which is found in the village of Merjosari, Malang, explained that the center is in the area of the Kingdom Kanjuruhan Dinoyo.


Dinoyo own inscription currently stored at the National Museum Jakarta. Posts in the inscription also tells about the reign of King Dewasimba and his son, Sang Liswa, which is the golden era of the Kingdom Kanjuruhan. Both kings are very fair and wise and loved by his subjects. It is said the King Gajayana Liswa whose surname is very pleased to be funny (Javanese: mbadhut) so that the temple was built at his command called the Temple Badhut. Although there are such allegations, so far has not found evidence of strong linkages with the King Gajayana Badhut Temple.

In addition alleged age was much older, based on association with the Royal Kanjuruhan, there is another characteristic that distinguishes Temple Badhut from other temples in East Java, the sculptures that decorate kalamakara doorstep. In general, there is a giant head reliefs in the temples of East Java is made complete with the lower jaw, but embedded in the Temple kalamakara Badhut made without the lower jaw, similar to those found at temples in central Java. Badhut the fat body is also more similar to other temples in Central Java. This temple also has some similarities with Candi Dieng (Central Java) in the case of a symmetrical shape and relief. Badhut Candi Shiva temple believed to be, though, has not been found Agastya statue in it.

Buildings made of andesite stone was standing on top shelf height of about 2 m. Batur is very simple, unadorned relief, forming approximately 1 m wide corridor around the temple body. On the right side front of the shelf there are sculptures made of Java (hanacaraka) that are not clearly the time of manufacture.

At the foot of the stairs to the hall of the temple is located on the west side, right in front of the entrance to the main room in the body of the temple. On the outer walls are carved the ladder clamp is no longer intact, but it still looks the existence of spiral-spiral pattern which surrounds the figure of people who are blowing the flute. The entrance to the garba grha (space in the body of the temple) chamber equipped with a viewer along approximately 1.5 m. The entrance is wide enough to garnish kalamakara above the threshold.

In the body of the temple there is room area of approximately 5.53 x 3.67 meter2. In the middle of the room there phallus and yoni, which is a symbol for fertility. On the walls around the room there are small niches that seem initially contains a statuette.

Temple walls are decorated with reliefs of bird-headed man and piper. On the fourth side of the body of the temple there are also niches decorated with flowers and bird-headed manusia.Di outside the northern side of the body wall of the temple there are statues of Durga Mahesasuramardini looking is damaged.


On the south side there should be statues of Shiva Guru and on the east side there should be statues of Ganesh. Both are no longer in place.

This temple was renovated in the year 1925 - 1926, but many parts that have been lost or can not be restored to its appearance. The roof of the main building, for example, is currently not in place. Only a seam along the top edge of the wall remains.

In the western part of the court, namely the left and right sides of the front page of the temple that has been restored, there are the foundations of other buildings that still has not been refurbished. Still many rock piles around the courtyard of the temple has not been possible in the back into place.

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Regions Trowulan Mojokerto East Java does have its own potential. Not only is the potential in the fields of tourism, Trowulan also has potential in the field of handicraft. One of these statues handicraft makers. Statues handicrafts artisans Trowulan sounded so foreign.

That afternoon in one of Jl Raya Trowulan crafts gallery, a man was seen being serious attention to a statue of an ape that was covering his eyes with both hands. The statue seems only half finished.

"The statue was to be finished tonight. Because tomorrow should have been sent to France, "explains Deni Indianto, a crafter.

By holding the tool with no hammer, he looked carefully sculpt made monkey faces. Making sculpture is necessary accuracy. Because, one-time mistake, the result could be fatal.

In the gallery were many types of stone and black stone large sandstone rock which she used as raw materials to make sculptures. "The stones of this great I have to come from Malang. I originally bought in Ngoro, Mojokerto regency, but because it was not selling the place again, my message to Malang, "he explained, holding the chisel to shape the face of the statue.

While making sculptures keranya, he tells the history of the commencement of business. According to men aged 27, before starting a business independently, ida-makers work to the maker of the statue for two years.

"It was the age I was only 21, I worked at one of the crafters of the statue. Well, that is where I learned to make a sculpture, "he explained.

Feeling quite have the "science" chiseling, he ventured to make an independent business with the capital that he gained from working in other people.

However, after its run a year, he had the misfortune. Which he built his business was bankrupt. "After that I realized that my work may not be good enough," he said.

Feels his work is less satisfactory, he then returned to "learn" by working to the maker of the other statue. After one year of work, he re-emerged to start efforts to establish handicraft sculpture gallery.

Within a month, he can send a homemade statue from Bali to a businessman as much as a truck. With that kind of delivery, any material that he acquired quite a lot. "Within a month, I can get a net gain of about USD 5 million," he explained.

Each sculpture is made, he set the price range between USD 100 thousand to $ 500 thousand. Apparently, the statue was not only marketed his work in Bali. One of the French employers specifically ordered a statue of him.

The business of making home Trowulan statue was already known in various cities. It is also not free from Mojopahit royal heritage. That said, Trowulan Kingdom central government Mojopahit, the atmosphere of deeply felt moment Mojopahit set foot in Trowulan.
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Ludruk is the art of traditional dramas of East Java. Ludruk is a traditional play that was exhibited by an arts group in gelarkan disebuah took the stage with stories about everyday people's lives, stories of struggle and many others are interspersed with jokes and accompanied by the gamelan as a musical.

Dialogue / monologue in ludruk are entertaining and make the audience laugh, using language typical of Surabaya, although sometimes there are guest stars from other areas such as Jombang, Malang, Madura, Madiun with a different accent. The plain language used in ludruk, making him easily absorbed by the non-intellect (pedicab driver, patrolman, drivers of public transport, etc).

A regular gig started with Dance ludruk Remo and interspersed with memerakan staging a character "Mr. Sakera", a master of Madura.

Ludruk Kartolo was a legendary comedian from Surabaya, East Java. He has more than 40 years of living in ludruk art world. Kartolo name and distinctive voice, with an innocent and intelligent farce, known to almost all of East Java, even to Central Java.

Different Ludruk ketoprak from Central Java. Ketoprak stories are often taken from ancient story (history or fairy tale), and the character of a particular message. While ludruk tells the story of everyday life (usually) among the grassroots.

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Remo Dance comes from Jombang, East Java [citation needed]. This dance is a dance that was originally used as an introduction to the show ludruk. However, the development of this dance is often danced as a separate reception for state guests, danced in ceremonies of state, as well as in local arts festivals. This dance is actually a prince tells the story of the struggle in the battlefield. But in its development, this dance is more often danced by women, which raises other dance styles: Princess or Dancing Remo Remo female style.

The main characteristics of the Dance Remo is a dynamic movement of the foot and dynamic. This movement is supported by the bells are mounted on the ankle. This bell sound when the dancer stepping or stomping on the stage. In addition, other characteristics of the movement of a scarf or sampur, nod and shake of the head movements, facial expressions, and the horses dance dancers make this more attractive.

Remo Dance music that accompanies this is a gamelan orchestra, which usually consists of bonang barung / babok, bonang successor, saron, xylophone, gender, slentem siter, flute, kethuk, kenong, kempul, and gongs. The type of rhythm which is often sung to accompany the Dance Remo is Jula-July and Tropongan, but can also be gending Walangkekek, Gedok dynamic, gending-gending Krucilan or new creations. In ludruk performances, dancers usually insert a song in the middle of the dancing

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