INDONESIA CULTURE

cultural products that are considered a work of genius is a local batik. When the experts talk about batik, it means Indonesia or, more specifically, Java. The well-known designers from the West did not hesitate to pick up inspiration from batik. Emilio Pucci, the Italian designer of stunning the world in 1960 with a striking design motif, taking into one of batik cloth and clothing design (Pucci, A Renaissance in Fashion, 1991). The designer of the world's more now like Giorgio Armani, Kenzo and Paul Smith has long been impressed by the Indonesian batiks and woven fabrics. Humanitarian character who is also a former South African President, Nelson Mandela, always berkemeja batik made in Indonesia in every opportunity, including state occasions.



As a decorating technique, batik not only in Indonesia. Define where the origin of batik originated may be too vain. Iwan Tirta mention, batik evolved simultaneously in different parts of the world. However, the world recognizes that the Javanese batik is the most delicate because it has a decorative pattern of the richest, most developed perwarnaan techniques, and technically the most perfect creation than batik from other regions.

Batik is just one fabric decorating techniques developed in Indonesia. Indonesia familiar with other techniques such as that before the yarn was woven ikat technique. These techniques are often combined to generate wealth create decorative techniques are incredible. Those who now jump in batik and fabric industries such as Iwan Tirta, Josephine Komara of Bin House or Baron Manansang of Weaving Baron, both of us said, batik, tie, jumputan and weaving techniques such as songket and striated, giving an almost unlimited opportunities in producing decorative techniques and in the future is always able to meet the demands of the times.

Although initially only one of batik making decorative techniques, but in its development, batik became very prominent compared with other techniques to make decorative.

There are several reasons why more developed batik in Java. Iwan Tirta mentioned, one important reason is to be an alternative to batik cloth belt or a woven fabric like others who take a longer time in the making that can not meet demand. This happens especially when the fabric meets the need for religious ceremonies.

Batik as a decorative ornament and began imitating formed through the weaving technique. The most obvious example is the imitation motive patola, which is a kind of double ikat from Gujarat, India. Binding motif generated refinement patola quickly drew the interest of the royal Javanese aristocracy (Central). However, the scarcity of supply, the artisans make batik motifs rapidly emulate patola. Thus was born the motive nitik and jlamprang in Pekalongan.

Other evidence mentioned Iwan Tirta is in areas where developing weaving, batik is not growing. Batik then also started imitating decorative embroidery from mainland China, especially for altar cloths and wall decoration because of batik can repeat motifs are faster.

Other reasons why batik survive and thrive is because batik get protection (patronage) from the palace in the past, the government of the Republic of Indonesia after birth, and an elite group of society when society increasingly dominant role. Best batik batik-batik produced by the artisans to the king in part because it is a manifestation of the artist's devotion to the Creator.

Head of State is the patron when Indonesia had become independent. Star Sudibjo deceased was one of batik artisans who have a place when President Sukarno's rule. Iwan Tirta and then get a place when the deceased Mrs. Tien Soeharto heard about a man that Java is not bloody understand about batik. Now President Wahid is also more common Adurrahman wearing batik shirts in a variety show.

In addition, batik still have a place among the elite of Indonesia although a Western-style dress to wear everyday. Iwan Tirta on the 1980s introducing batik with gold prada, and come to give color to the development of batik. Bin House Houses cloth again aroused against batik and batik cloth back into vogue. Among the younger age of the designer, began to seriously pursue Carmanita batik and participate give their own color. Various batik design competition and apply it in everyday clothes who held various nongovernmental organizations to contribute to the persistence of batik till today.

BEFORE batik as it is now known to exist, the technique uses color to decorate with candles held tonight, in Indonesia has been known for "batik" technique is more simple. Cain simbut in Banten, and cloth ma'a from Toraja, South Sulawesi, also wearing the color resist techniques. As a holder of color on the fabric used simbut the crushed rice and sticky rice mixed with sugar water. Cloth and then dipped into the liquid dye made from plants. Then scrub the sticky rice and the rice is covered with sticky rice remained white rice as the original color of the fabric.

Ma'a was first done in an isolated mountainous area so there are some allegations, such as Iwan Tirta mentioned, Indonesia has the embryo of batik from within its own territory. One example of batik cloth is still produced and become examples of the evolution of intermediate forms to the present form of batik is batik cloth-striated Tuban in East Java and several motifs Jambi batik cloth. The shape of the dots that make up the geometric motifs or boxes.

Rens Heringa anthropologist who has studied Javanese batik for over 25 years in Batik from the North Coast of Java (1997) among others mention, simple motifs on simbut cloth, batik-striated Tuban or Jambi batik cloth, were also found on various objects made in South Asia and Southeast Asia. The same design is also found in batiks are drawn using bamboo sticks called Laran, which is made of ethnic minorities in southwest China, and ethnic minorities in the mountains of Thailand, Laos, and Myanmar.

Use of the night (candle) to distinguish the batik is now known from the early form of batik. Tonight provides an opportunity to produce a variety of motifs of batik in Java so that developed into the shape it is today.

Techniques to make decorative fabrics with color hold techniques are expected already in the archipelago since the prehistoric period, although no example of fabric that remains today except the cloth from the 19th century. One of them is the fabric simbut contained in the National Museum.

There are not many records about the development of batik technique (holding color) start to become rich Javanese batik techniques and decorative details are complex. One of the reasons for making batik in Java is women's work, and therefore not be written because the writing is decent domain name menfolk.

Heringa mention, although written evidence or physical evidence of the development of batik in the early period have not been found today, but most early myths about batik already exists in approximately the year 700 AD The myth that mentions the prince from the east coast near Surabaya Jenggala Amiluhur named Ox. Ox-Amiluhur bride, a princess from Coromandel, India and Hindu ladies, teaching the weaving, batik, and dye the fabric to the people of Java. This myth survived until the son of Ox, Raden Panji Ima Kerta Pati, became king.

Written records of new batiks appeared hundreds of years later, in 1518, namely from Galuh region in the northwest of Java, in the pre-Islamic.

Both the myth and the first written records about batik, both located in coastal or northern coast of Java and before the advent of Islam. These areas have tremendous influence from India, China, and Persia through trade. The technique uses color to hold a candle (night) which may be imported from the Coromandel and Persian, have more in common visually with the traditional cloth Coast, especially in size and format.

However, artisans in Java and then develop their own fabric to match their needs so that then the techniques used in the Coromandel is only ornament was made only on one side is very different from the Javanese batik in detail, so not exactly Javanese batik originated from India. The same thing applies in the fabric of the Persian kalamkari using block-printing process for ornamentation.

China also donated at least since the time of Javanese batik Sultan Agung who became the first Muslim king of Mataram (1613-1645). Sultan Agung mentioned using batik with a bird motif huk who in Chinese mythology brings good luck blessing. This story opens up the possibility of the role of Chinese immigrants in 19th century on the coast in the spread of Islam. Alternatively, immigrants from southern China to contribute to the development of batik. Women from minority tribes in the south and southeast China cotton fabric adorned them with the technique of wax resist wear colors used in the Empire of the Sun Java up to now.

Dutch colonialists began paying attention to the batik in the 19th century. The experts at that time to make judgments about batik distorted by stating that originally centered batik from Yogyakarta and Surakarta, a new kingdom spread to the women artisans in the villages that make batik for commercial purposes.

Rens Heringa reject that view, saying the possibility of a new batik technique into the hinterland of Java after the mid-17th century when the Sultanate of Mataram develop and adopt a culture of Coastal. When Kertasura became the capital of the kingdom, colors and patterns change gradually become softer style palace of Central Java. Batik-batik originated mainly from the Surakarta and Yogyakarta Palace and motifs derived from both, then regarded as the culmination of the work of batik and batik from another area then considered not as beautiful batik two regions that, for a long time.

So far, all made using batik canting with different size and shape refinement. Coloring using natural dyes, batik and more of a seasonal job for the family.

Batik began to develop as a commercial commodity when in the late 18th century the fabric of Indian exports have fallen because of competition from European print fabric. Coastal batik from start replacing the cloth from Indian and Peranakan Chinese trader was involved in batik production and trade.

Peranakan merchants who controlled trade in white cotton cloth and other materials batik maker, has a network to the remote villages and they also lend money. They often give advance payments to encourage the production of batik by women in rural areas. In the mid-19th century women's Indo-European and Indo-Arab coming in as a batik entrepreneur. At this time that women in the villages of Java began to work outside their villages for a wage as batik, especially when the crops failed family.

Pekalongan in 1850 by collector Harmen C. Veldhuisen Batik (Batik Netherlands, Dutch Influence in Batik from Java History and Stories, 1993), has emerged as an important center of batik. In the batik industry and the division of labor occurs: the man in charge of preparing the white and colored cotton cloth, while women's batik motif determined by the buyer or copying ready-made batik wear tonight.

Since the beginning of the start of commercial production of batik, batik needs can never be fulfilled. Therefore, in the early 19th century created a market for fabrics that imitate the technique of batik prints imported from Europe.

This fact and encourages traders to develop techniques for batik production speed. They then conducted various experiments, among others, using sweet potato as a stamp. Finally found a block cap which is made from copper wire to form a block pattern. However, because it requires a lot of stamp-making labor, production of cloth should be large enough to make it economical. Veldhuisen mention one stamp could create about 200 gloves. Because making batik is a job for men, women forced to only be working to make batik.

World War I brought destruction on the batik industry. White cotton imports from the Netherlands disrupted, batik price rises, and to get more money, the batik produce as much as possible. The result is flooding the market and prices fell, while the limited supply of fabric. After World War I, re-import the fabric of Dutch East Indies in 1918 but printed batik industry improved only momentarily because later affected by depression. Only those who are serving a group of elite like batik Peranakan's all I can survive. This caused many to lose jobs batik, batik and then brought in from other areas to use the train when the wages of local batik became too expensive.

BATIK is a major clothing to describe a person's social position, especially during the reign of the kingdom and Dutch colonial rule. Parang motif is damaged, for example, may only be worn by kings in Yogyakarta and Surakarta. This motif has been rescued by the myth of the dangers of Raden Panji and Sultan Agung also use this motif.

Batik is considered to have meaning associated with birth, marriage and death. Javanese people who died for example, the base where he lay before going to the grave covered seven batik cloth, batik is also used to cover the body. Brides use the cloth as a symbol of blessing sidamukti.

Iwan Tirta who call themselves as guardians of traditional values batik, batik look at the future of fashion will survive as a complement to the modern (Western) women in Indonesia in the form of cloth scarf (shawl) or scarf, as a batik shirt, or as a decor element. Long batik cloth in the form of kebaya worn together will only be used at certain times only.

The more melunturnya sacred elements of tradition in everyday life humans Indonesia, had an impact on more meaning sirnanya batik. Which will be developed later is a truly batik ornamentation.

Resist technique of batik as the night wore any color will likely increasingly scarce, especially batik. Workmanship that takes time, especially if you want to get the batik with many colors, make batik become increasingly expensive. Batik with beauty as in the 19th century and early 20th centuries, is likely only become collectibles.

On the other hand, the growth of textile industry in Indonesia is also threatening the existence of batik in the sense that they reproduce without using the batik technique but using the technique of batik print. Layman might be fooled by the "batik" like this batik cloth can be "cheap".

One that makes Java different from batik batik other regions is isen-isen which became the main motive background is divide the geometric patterns and motifs nongeometris. When batik was victorious, isen-isen which can be the point, and the tendrils or lines, filling the entire background of the fabric, something that is now very rarely done anymore because it takes a long time in the process. Batik, as a decorative technique, might eventually will belong to a few people.
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The monument is very impressive and comes from Syailendra Dynasty is not a temple, but a mound of dirt in the pile of stones. It is a stone portrait of Mahayana Buddhist cosmic system.
Based on the writings contained in the "foot" was closed to the Borobudur temple in the form of letters from the ancient Javanese Pallawa letter.

Can be expected in the establishment of the temple, namely in the years before 850 AD, the island of Java at the time ruled by kings Sailendra family between the years 832-900.
So old already more than 1100 years and about 300 years older than Angkor Wat temple in Cambodia.
Borobudur temple is the other side consists of 2 million, boulders of rock and 60,000 cubic meters, partly a wall relief in the form which tells the Mahayana teachings. The size of the sides 123 meters in height including the top of the stupa that no longer exists because it was struck by lightning 42 m. That there are now 34.5 m high living
. This temple consists of two million, boulders of rock and 60,000 cubic meters, in part a form of wall reliefs which tells the Mahayana teachings. The size of the sides 123 meters in height including the top of the stupa that no longer exists because it was struck by lightning 42 m. That there are now 34.5 m. high living


The discovery of Borobudur

It never crossed by the Dutch government that once the Archipelago will be ruled by England. Governor-General who take care of the colonies in the East, Lord Minto should delegate this power in the archipelago to the Lieutenant Governor General Sir Thomas Stamford Raffles. Raffles have a great attention to the eastern culture, so that when in the year 1814 received a report about the discovery of the ruins of the temple is expected, immediately sent officers to engineers HC Cornelius to Earth Segoro. That initial discovery of the buried Borobudur either since when and why. Mystery that until now has not been revealed.

Unfortunately, in 1815 the British had to leave and return the land to the Dutch colony. For the Netherlands, the legacy of history is also not less interesting. In 1834 Hartman Resident Kedu named a new two-year cleanup effort Borobudur positions. Stupa which was top of the temple known to have dropped from 20 years previously handled Cornelius ..
During the period of 20 years that there is no region that is responsible for invention. In 1842 Hartman doing research on stem stupa. In the culture of Buddhism, the stupa was founded to save the relics of Buddha or Buddha relics students who achieve sanctity. In religious language, called saririka dhatu relics, taken from the remaining physical form completed crystal cremation. If it has not reached the sanctity, the remaining material is not crystalline and is not taken. If a crystal is retrieved and placed in a stupa.
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Keris is a typical Indonesian stabbing weapons. Based on ancient documents, a dagger in the initial form has been used since the 9th century. Strong likelihood that the dagger has been used before this period.Indonesian Culture Minister Jero Wacik has brought the keris to UNESCO and requested assurance that this is the cultural heritage of Indonesia.

The use of the keris itself scattered in clumps community Malays. At the present time, a dagger commonly known in the area of Indonesia (especially in the areas of Java, Madura, Bali / Lombok, Sumatra, part of Borneo, as well as some of Sulawesi), Malaysia, Brunei, Thailand and the Philippines (particularly in the Mindanao region). In Mindanao, the form of weapon which is also called the keris is not a lot of similarities though also a stabbing weapon.

Keris has a variety of forms, for example, there are winding blade (always an odd they are many) and some are straight bladed. Javanese people assume different forms have different effects esoteri.

Besides being used as a weapon, a dagger is also often considered to have supernatural powers. These weapons are often cited in a variety of traditional legends, like the keris Mpu Gandring in legend of Ken Arok and Ken Dedes.

Procedures for the use of different dagger in their respective regions. In areas such as Javanese and Sundanese, a dagger is placed in the rear waist peacetime but are placed in front on the war. Meanwhile, in Sumatra, Borneo, Malaysia, Brunei and the Philippines, a dagger is placed in front.

In addition to a dagger stabbing weapons, there are a number of others in the archipelago, such as rencong from Aceh, badik from Sulawesi and West Java cleaver. Keris distinguished from other stabbing weapons primarily from the blade. Keris blades are not made from a cast in a single metal but a mixture of various metal layers. Due to this manufacturing technique, a dagger has a specific form of prestige on the blade.

In the area known grouping called the keris which could mean tough period of manufacture or production style. This is similar to Javanese dance styles such as Yogyakarta and Surakarta. An understanding of respite will help identify the physical features of a keris.

Some commonly known as tough:

* Powerful Majapahit
* Tough Pajajaran
* Tough Mataram
* Tough Yogyakarta
* Powerful Surakarta.
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ONE HUNDRED years ago, the unitary Republic of Indonesia has not yet formed. That there are ethnic groups, such as Javanese, Balinese, Minang, and the Malays who lived separately under Dutch colonial rule. Before the colonial present, native rulers-kings, especially Java and Bali-legitimize its power and influence with the patronage and with organizing the show as part of a state ceremony, religious or recreational activities and entertainment only.

Through such a spectacular ceremony Garebeg, sekaten, eka dasa Rudra, and Galungan the king showed his greatness. Through discourse the concept of god-kings, queens gung binathara, title greatness Sayidin panata gamma kalifatullah Java land, the people are convinced of the power and greatness of a ruler. Javanese society past the priyagung divided into two groups and ordinary citizens (subjects alit). Disadvantageous position in the tradition of this small people have dutifully accepted without question.

The inclusion of the Dutch colonizers of life worsened. The kings, local rulers who deified the people, no longer in power management but must be subject to and serve the interests of the Dutch colonizers. Initially, the native rulers sporadically against the Dutch. They struggle with their own economic power, military, technology, and strategies are inadequate, so many are run over.

Three hundred years of struggle without success, the kings of Java and Bali and many are resigned and focused on the activities of the gamelan, dance and puppets, or mystical. Cultural discourse at the moment is survival. Greatness of Javanese kings actually lived a name, because politically and economically they are very dependent upon the Government of the Netherlands East Indies. There are times when the king actually helps the Dutch colonizers to exploit his subjects.

Patronage dance performances, puppet and gamelan remain, although reduced in number. Big ceremonies held the king changed the function of a ritual that contains the dignity of the entertainment or klangenan the form of more importance than the essence Gebyar content. Garebeg for example, no longer held solely for the safety and prosperity of the King of Java and its people, but also (and especially) to Queen Wilhelmina.

Entering the 20th century, in line with national movements, democratization and commercialization occurs. Performing arts as an expression of their culture initially internalized slowly turned into a product or commodity. Spectacle of the palace which was originally an aristocracy klangenan, produced popular for ordinary people. In Surakarta, Sunan Paku Buwono X opened Amusement Parks puppet show performed by Sri Wedari people who play every night. Surakarta and surrounding communities (which is still strongly oriented to the culture palace), welcomed with joy. Through a puppet show people they can identify themselves with the aristocracy and can admire the grandeur of the past. The king and the people have the same feelings in the face of Dutch colonizers.

In Yogyakarta, with the blessing of the Sultan, dance clubs Krida Beksa Wirama founded in 1918 and since then the palace dances may be taught to the masses. Efforts to establish the legitimacy of the king is still being done with the patronage of gamelan performances, dance, and puppets. During the reign (1921-39), VIII lane staged 11 plays puppet people. A few of them supported by the 300-400 artists and take time 3-4 days, from 06:00 hours until 23:00.

In Bali, the presence of Dutch dance and gamelan encourage artists to create works of secular all the time can be played for the entertainment of tourists. Gamelan Kebyar spectacular and brilliant emerged in the early 20th century and quickly spread from Bali Bali North to the entire region. Responding to the middle Kebyar popular gamelan, dance artists village of Tabanan, I Mario, create works of excellence that is now known as the dance Kebyar Tarung Terompong and Jago. Balinese dance artists while interacting with German painter Walter Spier, led secular Kecak dance which was then known as the Monkey Dance.

The presence of the Dutch government on the one hand the people, on the other hand, allows artists to introduce art of Java and Bali to other nations. Arts troupe (gamelan), Java's first overseas deployment in 1893, when the Dutch East Indies government promotes plantation products (tea and coffee) to the Expo colonial Java in Chicago, United States. No wonder, if until now the United States and the European community called Coffee with the term "Java".

From Bali, the group abroad Exposisi historic sent to Paris in 1926, including display-Rangda Barong dance which was witnessed by prominent reformer of the famous French theater Antonin Artaud. Fascinated watching the fight Barong-Rangda, Artaud wrote his impressions and his vision of a new theater in the book Theatre and Its Double widely influential in the development of world theater.

Orieantalisme

Meeting with the first modern dance groups from the United States occurred in 1925 when the troupe Ruth St Denis (with Martha Graham as one of the dancers) performing in Jakarta. Understandable if at the first meeting of this interaction occurs biased, our tradition of artists more supplies. While Ruth St. Denis's inspiration to create several works of Orientalists like Batik Vendors, sienk Dancer, and Balinese Dancer.

Orientalism (Edward Said, 1989) is a concept developed by educated European-American community as a tool to interpret the region and non-Western cultures (Oriental) such as Egypt, the Middle East, South Asia / India, China, Japan, Korea, Southeast Asia , including Indonesia. In the concept of Orientalism, the Eastern societies and cultures are considered incapable of representing her own voice. Language culture, customs, and history is considered mysterious and disorganized, and therefore it is up to the West to complete in order to interpret and mengkodifikasikannya context. During the hundred years of colonialism, hermeneutics, the way people perceive and judge the wrong and Eastern cultures are applied.

Yet from the first quarter of the 20th century, worthy of note the name of a Java-Yogyakarta artists who later settled in Holland, RM Jodjana, who created the works of modern dance is quite commendable in the world forum. "(Jodjana) can make a face like a mask, implying tranquility that shows his ability to control all forms of emotion" (The Saturday Review). From the comments above, looks very quality of movement and expression is still strong Javanese dance performances RM Jodjana coloring.

In Java and Bali dance performance is closely associated with the gamelan and wayang. Four years before Indonesia gained its independence in 1941, the new dance is born of Yogyakarta Palace, which marionette Beksan Menak which according to tradition was created by Sri Sultan Hamengkubuwono IX, more precisely, perhaps, by the Yogya Kraton artists under the direction and patronage of the Sultan. It appears that the orientation of the traditional Javanese society's values to the group's very strong. This orientation demands obedience and respect to the older and powerful. In the creation of art, the orientation of the collective-region techniques and demands perfection-more prominent than on creativity. What also must be remembered that the creation of a new genre in the context of tradition, is often done by using elements of the existing performing arts, as seen in the marvelous works of puppet Sultan HB IX, which is based on the puppet (marionette Menak), gamelan, and dance classics Yogyakarta, Java style.

Towards independence, during the New Poet force, intellectuals and artists of Indonesia faced a dilemma, whether to develop a culture of Indonesia following the Western model that emphasizes the importance of individualism and creativity, or the Eastern model to focus the discourse of group consciousness and engineering perfection. In contrast to the modernization of literary arts, music and visual art that refers to the Western model, the modernization of dance performed starting from local traditions. Ballet, for example, in Indonesia has never accepted as a basis for the development of a national dance.

After the Indonesian Independence

Cultural discourse at the beginning of the independence of Indonesia is mobilizing national unity. National identity becomes an important issue to unite the people of Indonesia that different cultural background. Culture and art conservation remains an important national cultural heritage and identity of regions is also necessary. This dilemma is always with the development of Indonesian dance.

Five years after the proclamation of Independence (1950), the government founded the Conservatory Karawitan (which later became SMKI Kokar) the first in Surakarta, Central Java. Secondary schools following a similar art founded in Denpasar, Bandung, Padangpanjang, Makassar, and Surabaya. These schools teach the art forms of dance, music, puppetry, and theater district of the territory in which these schools were established. From the chosen name, "conservatory", showing that the government's attention focused on the conservation of traditional arts.

In 1955, a modern dance troupe from the United States (Martha Graham) entered the show in Jakarta. Two years after Martha Graham's visit, three young Indonesian dance artist-Bagong Kussudiardja, Wisnu Wardhana, and Setiarti Kailola-off to U.S. to attend a summer dance festival at Connecticut College and studied modern dance of Martha Graham in New York. Setiarti from Jakarta, ballet background, but Bagong and Vishnu, both classical dancer reliable Java-Yogyakarta. Of the three who survived and continue to work is the Bagong Kussudiardja. One reason, Bagong expertly combine traditional materials of the Javanese, Sundanese, Balinese, three of the many peaks of local arts. Epic works of Bagong (Diponegoro, White Rose, Gadjah Mada), which fuse elements of regional cultures and vibrant cultural nationalist discourse in harmony with the government who are looking for a national art that can be accepted by society at large. Bagong works of the wider community known today as Indonesian dance "new creation".

In 1961, the Department of Land Transportation, Posts, Telecommunications, and Tourism (PDPTP) took the initiative of performing colossal Prambanan Ramayana Ballet (SRP). Interestingly, Bagong had studied with Martha Graham and also a modern painter, it works more Bagong individual orientation and creativity. While RT Kusumokesowo, the former palace of Surakarta court employees and teachers of classical Javanese dance at Kokar Surakarta, in emphasizing the orientation of the group's work and more demanding technical perfection according to the rules of tradition.

Trying to integrate the dance style of Surakarta, Yogyakarta, and other areas of dance, working format is more widely Kusumokesowo RT. But the way creative work in the Ramayana, Prambanan is closer to the workings of the palace tradition. As a stylist dance, RT Kusumokesowo assisted by KRT Wasitodipuro (from Paku Alaman) and RL Martopangrawit of Surakarta in the field of musicians. To deal with drama or pengadeganan accompanied by Bambang Soemodarmoko RM Ng. It should be noted, was the initiator of Prambanan Ramayana Ballet who is also Minister Lt. Gen. Djatikusumo PDPTP and one son of Sunan PB X. Dancers, gamelan players, choir singers are students Kokar (Solo), KONRI (Yogya), as well as private students of the masters of it. Mass of dancers trained from young children around Prambanan. Performed routinely every full moon night for five months a year and six times per play of each month, SRP become an attractive place of learning for young dancers who later became prominent figures of dancers, stylists dance, Indonesian dance and thinkers such as Sardono W. Kusumo, Retno Maruti, Sal Murgiyanto, and Sulistyo S Tirtokusumo.

New genre of "dance" well accepted by society and became a popular tourist art offerings. Within close ballet spread to East Java (Wilwatikta Pandaan) and Denpasar, Bali. Bagong Kussudiardja also worked on several of his works in the form of ballet or dramatari without dialogue. The orientation of the story is still very strong, I think because of the influence of people and wayang kulit puppets. Similarly, in Bali, adding ballet repertory genre dramatari existing areas. As in Java, Bali's ballet was created jointly by a team consisting of teachers, assistants, and students under the direction of Kokar Balinese artist I Wayan Beratha. Choreography patterns similar to the SRP. Unless the story of wayang Ramayana is very popular as a tourist dish is shown also the story of the history and folklore. Balinese dance and Balinese gamelan accompaniment gending, with movement, makeup, and costumes that are developed from the existing repertory tradition. Form of ballet so popular that it became the main event in Bali Arts Week which takes place every year. Its creation is handled exclusively by the combined artistic team from Kokar (SMKI) and ASTI (STSI) in Bali. The results performed on the stage Werdhi Culture, Taman Budaya, Denpasar, Bali.

In 1963, the government opened the college's first dance of Indonesian Dance Academy (ASTI) in Yogyakarta, which was followed with similar high school in Denpasar, Bandung, Surakarta, Padangpanjang, and Surabaya. At the same time several teachers from high schools were sent to learn (and teach) to the largely foreign to the United States to broaden insight and education. As a result, except to preserve the various forms of traditional performing arts, college art of writing, research, and also spurred the creation of new works. Traditional art materials that have creatively reinterpreted.

Revitalization dance

In Surakarta in the second half of the 1960s the New Order government established the Central Java Arts Center (PKJT) in charge of digging and revitalize the traditional art forms: classical dance repertoire, gending-gending Ageng, play scripts, knowledge and practice of puppetry, etc. . For quite a long period (1968-1983), STSI and led by Drs PKJT Sedyono (Gendon) Humardhani, who has experience and extensive knowledge of art. So what happened then was not only the excavation and preservation of various art forms of the old show, but also the revitalization of traditional arts and the creation of new works with traditional materials but oriented to the present. But the work of new graduates STSI looked at least 10 years later.

After Bagong, two dancing figures that appear at the beginning of the New Order government was Sardono W. Kusumo and Retno Maruti, both students and dancers RT Kusumokesowo Prambanan Ramayana. Bagong Together, both elected in 1964 as a dancer in the art of government mission to New York World Fair. While in New York, Sardono had studied with Jean Erdmand dance stylist. Back from New York a year later, Sardono and Maruti settled in Jakarta and active work in Jakarta Arts Center "Taman Ismail Marzuki" (TIM), which opened Jakarta Governor Ali Sadikin in 1968. An important milestone for the development of dance, puppets, and gamelan occurred in Jakarta.

In TEAM Sardono held a workshop attended by skilled dancers from various regions who lived in Jakarta: Retno Maruti, S. Kardjono, Sentot Sudiharto (Java), I Wayan Diya (Bali), Huriah Adam (Minangkabau), Yulianti Parani, and Farida Oetoyo (ballet). In this workshop, Sardono motion does not teach technique but rather to let each dancer wearing dance movement techniques are mastered. Sardono sensitivity training and to explore creative movement through improvisation. Sardono want to revolutionize the dance tradition by re-interpreting them creatively. Creative method is then followed Sardono in the process of creation with Javanese dancers who produce Samgita I-XII, and then held in Bali (Cak Rina and Tale of Dirah), and the interior of East Kalimantan (Plastic Forest, Forest groan) and the paper Other contemporary works.

Except that, on the initiative of chairman DKJ, D Djajakusuma, members of the Panca Murti puppets (Jakarta), which disbanded, housed in the TIM in the Jaya puppet-driven culture, among others, by Sardono W. Kusumo, S Kardjono, and Retno Maruti. And when the players join the dancers Panca Murti WO Bharata, Retno Maruti establish Padneswara tarinya group. While Maruti loyal to the shape and aesthetic traditions of Java, Sardono explore various cultures and recreate the area with a personal interpretation. Completed following the workshop, participants returned to his workshop and revitalize their own tradition, but with a new attitude and spirit.

Year 1978-87 Arts Council held a Youth Dance Festival Playground who not only followed the styling of the Javanese dance (Ben Suharto) and Bali (I Wayan dibia) but also from Sumatra, Sulawesi and other regions such as Gusmiati Suid, Tom IBN, Deddy Luthan, Wiwiek Sipala, Nurdin David, and Marzuki Hasan. An important milestone in the other.
Two important dance forum in the last decade of the 20th century were Indonesian Dance Festival (IDF), held jointly by the Jakarta Arts Institute, Jakarta Arts Foundation and Arts Council, the IDF has created a young stylist, stylist dance like Boi G. Sakti, Sukarji Sriman, Mugiyono, Ketut Rina, M Miroto, and Eko Supriyanto. Second, the forum Art Summit Indonesia (1995 and 1998) which not only displays the works of Indonesian contemporary dance (Sardono W. Kusumo, Gusmiati Suid, Bagong Kussudiardja) but also works that contrast the latest music from the gamelan (R Supanggah, Suka Hardjana) held by the Ministry of Education and Culture.

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wayang kulit an Indonesian heritage that till now is still in use in a variety of like-wedding ceremonies, rituals and other ceremonies, as well as a shadow puppet show entertainment at the mean as well as a guide or figurative Indonesian people's lives.
Wayang kulit is a traditional Indonesian art, which mainly developed in Java. Shadow puppet played by a puppeteer who is also the narrator's dialogue puppet characters, with the accompaniment of gamelan music played by a group of nayaga and songs sung by the singer. Dalang behind the wayang kulit play screen, ie screen made of white cloth, while the electric lights flashed behind him or oil lamp (blencong), so that the spectators who were on the other side of the screen can see the shadow puppet that falls into the screen. To understand the story of wayang (play), the audience must have knowledge of the characters are shadow puppets on the screen.

Generally, puppets take the story from the Mahabharata and Ramayana manuscript, but not limited to the grip (the standard), the ki can also play puppeteer plays carangan (composition). Some stories were taken from the Panji stories.

Leather puppet show has been recognized by UNESCO on November 7, 2003, as the work of an amazing culture and narrative story in a beautiful and valuable heritage (Masterpiece of Oral and Intangible Heritage of Humanity). Wayang kulit more popular in central and eastern Java,

there are some kategory wayang kulit in Indonesian:
* Puppet klitik
* Puppet krucil
* Shadow puppet Gagrag Yogyakarta
* Shadow puppet Banjar
* Puppet purwa
and much more.

Sunan Kalijaga LEATHER AND PUPPET

Another is the legacy of Sunan Kalijaga gamelan, named Kyai Kanjeng Nagawilaga and Kyai Guntur Madu Kanjeng. Gamelan is now stored in the Kraton of Yogyakarta and Surakarta Palace, along with the transfer of power to the Islamic Mataram. The couple is now known as gamelan gamelan Sekaten.

Sunan Kalijaga works that also stand out are wayang kulit. Historians have noted, the puppet is a popular public before the presence of Sunan Kalijaga is wayang beber. The extent of wayang this type of paper that illustrated the story of wayang. Sunan Kalijaga believed to be the composer wayang kulit.

Each puppet characters created above the drawing and disungging cowhide. Form was developed and perfected in the era of the triumph of the Kingdom of Demak, 1480's. The story of mouth calls, also expertly mendalang Kalijaga. In Pajajaran region, better known as Sunan Kalijaga dalang Brangti Sida.

When you're in the area mendalang Tegal, Sunan Kalijaga birth name to Ki Dalang Bent. When mendalang's Sunan Kalijaga insert preaching. Played no longer play comes from the story of Ramayana and Mahabharata. Sunan Kalijaga raised carangan stories.

Some of the most famous plays Dewa Ruci, amulets Kalimasada, and Petruk Dadi Ratu. Dewa Ruci interpreted as the story of Prophet Khidr. While no other amulets Kalimasada creed symbol of the sentence. Even the habit soon becomes a means syiarnya festivity.
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