Traditional Occupation - Endangered Species

A couple “traditional occupation” that consider close to extinction. Some were deemed outdated, while others were regarded simply as ‘having no future’. One thing for sure, most of these jobs were gone because they could not compete with the advancement of new technologies which have caused a shift in the pattern of human’s behaviour.

Here their stories…

Becak driver

Becak (tricycle) Driver
Becak is a form of environmental-friendly transport. Once upon a time, becak was more favored type of public transport. Many people preferred to use becak as form of transportation to enjoy the city atmosphere. Even more, many schoolchildren were driven to and picked up by parent’s regular becak driver.

Not only the number of becak decreasing, rarely the driver were still at young age. The younger generation prefer to be ojek (motorcycle-taxi) driver then a becak driver. Not only because driving a becak needs more man-power energy, but also the image of a becak driver itself were far from ’cool’, hence the discreditable popularity among youngster. If this attitude remains, it is almost certain that the profession of becak driver will be extinct because there is no regeneration while the elder were too old to drive.

Postman
There are times when the arrival of postman created a specific excitement among residents of the house. An incoming letter often creates thrill for the recipient. The letter can bring bad or good news, coming from a family, close friends or even lovers. Either one, each of residents at home presents their own enthusiasm to the postman for he has bought the letter to the house.

The advancement of communication technology presents us with e-mail, mobile phones and fax machine, thus providing easier, cheaper and faster modes of communication. ‘Snail’ mail o longer popular. Postmen have lost the enthusiasm of letter’s recipients, of house’s residents. Many of the envelopes he sends around were no longer personal letter but bills, invoices or advertisement. Nowadays, postmen compete with advertisement of technology to steal public’s heart.

Weight Scale-man
The man always brings weight scale every day walk around the neighborhood and yell out “Weight scale!” without paying attention to the burning sun. His service is to scale someone’s weight, and they have to pay Rp. 500-1,000,-. It is very cheap, indeed, especially nowadays when the price of weight scale has become cheaper in addition to commercially entertaining weight scale we can find in malls and department stores.

A weight scale man daily income is very small, they sometimes work as scavengers to be able to fulfill their basic needs. Usually, their regular customers are children. But now, almost every household have a weight scale, putting the weight scale-man’s job to rest.

Tukang Sayur (Vegetable/fresh Produce Seller)

Tukang Sayur (Vegetable/fresh Produce Seller)
In the last couple of years, we can still hear a vegetable-seller yelling out “veggies..veggies..” around our neighborhood. At that moment, housewives and housemaids were coming out of their homes approaching this seller to buy some fresh produce for daily consumes. The surging crowd clamoured for a negotiable price while selecting goods and sharing local neighborhood gossips spreading from the vegetable-cart.

With the rise of new technology, mobile vegetable sellers have become more and more difficult to find. The new advancement in technology more often than not has change individual habit and routines, including these sellers’ habit. They improve their services with the help of new technology. Now, their regular customers no longer have to wait for their arrival in the neighborhood, a short message through mobile phone to these vegetable sellers is enough. Then, the vegetable seller will send a courier to deliver their order right to their front door.

Photo Reproduction Kiosk

Photo Reproduction Kiosks
The advancement of photography technology has become more apparent nowadays, from the traditional photography with negative film to digital photography. With the new technology, photograph reproduction can be performed in a faster and more efficient manner. An outlet that provides photo reproduction services will be able to print a couple hundred photos in a couple hours. We only need to wait 1-2 hours to print a photo in that outlet. Even a home printer nowadays can print a photo with good resolution and a quality comparable to those photo reproduction service outlets.

Prior to the digital age, to print a photo in those outlets we need to wait up to 4 days long for it to be finished. Not a long time ago, several photo reproduction kiosks were standing in front of many well-known university. With conventional printing technique and pertomaks (a petrol-lantern) as its lighting, this service was quite popular. These kiosks offer their own benefits such as cheap and quick compared to big outlets.

Farmer - planting padi

Farmer
Farmer used to be the most important job in our country, Indonesia, with its overflowing natural resources and its fertile land where it needs these farmers attend to this blessing. However, the development of this country has left fewer fields for farmers to work on. Moreover, some possibilities may also be the reason why this job become marginalized, such as its low-ranking image, their unstable income, their exclusion from prosperity that has been ignored by the government and many other possibilities.

Now farmers are the old generations whose energy has been consumed by the burning sunlight and heavy works. Their children prefers to work as an ojek driver, mechanic or technician or move to big cities to get a job, any job. Some of the young generation, who decided to work as farmers because of their love of their hometown, have become scarce.

Housemaid
A housemaid as a discourse urban society is a confirmation that modern society is unable to face the basic foundation of their life: domestic life. While life has become harder, technology will always make everything easier and user friendly.

Domestic duties, which were considered nuisance, nowadays can be completed in one touch. In a world of high technology rules where some robots have take over human’s ‘heavy’ duties… where would the housemaid belong?


Mobile Barber
He doesn’t work as a beauty salon or barbershop: he is a DPR (Di bawah Pohon Rindang = under the shades of trees) barber or a mobile barber moving around with his bicycle selling his haircut skill.

This type of job still exists around us, although threatened by its competition with barbershops, which offer comfortable places and similar price. The changing trends of hairstyles also become the reason there mobile barbers lose from the competition.

Their regular customers might be one of few reasons this occupation still exist. Some people sometimes trust only one barber to cut their hair, but this is about style.

The horse chart as a public transportation only used for a short distance in Bali

Horse-dawn Carriage Driver
Horse-dawn carriage was one of the main forms of transportation used by Indonesia people. However, with the rising popularity of fossil-fuel vehicles, horse-drawn carriage has been marginalized by those new technologies. Cars, motorcycles and carriages were competing for a space in the road. Moreover, the lack of regeneration has reduced the number of these carriages and only to be found in several areas.

NGABEN

NGABEN: Bali Cremation Ceremony

Hindu funerals in Bali are intensely suggestive ceremonies of great cultural and religious significance. Funerals are centred on cremation of the body requiring a complex apparatus and characterized by a large following known as ngaben or pelebon. This practice is considered essential if the 5 elements making up the microcosm of the human body are to be returned to their original residence, the universe’s macrocosm.


The five elements, Panca Maha Bhuta, are the earth (pertiwi), water (apah), fire (teja), air (bayu), and ether (akasa). Since the primordial dimension can only be attained through water and fire, the ashes are dispersed in the water of the sea or if the distance is too great, in a river. The funeral ceremony is generally led by a priest and punctuated by a lavish offering of gifts. For the occasion, a large bullock-shaped wooden structure is built and then entirely covered with white drapes if the deceased belongs to a priestly caste--in black.


There are ceremonies for every stage of Balinese life but often the last ceremony--cremation--is the biggest. A Balinese cremation can be an amazing, spectacular, colourful, noisy and exciting event. In fact it often takes so long to organize a cremation that years have passed since the death. During that time the body is temporarily buried.

Of course an auspicious day must be chosen for the cremation and since a big cremation can be very expensive business many less wealthy people may take the opportunity of joining in at a larger cremation and sending their own dead on their way at the same time. Brahmans, however, must be cremated immediately. Apart from being yet another occasion for Balinese noise and confusion it's a fine opportunity to observe the incredible energy the Balinese put into creating real works of art which are totally ephemeral. A lot more than a body gets burnt at the cremation.


The body is carried from the burial ground (or from the deceased's home if it's and 'immediate' cremation) to the cremation ground in a high, multi-tiered tower made of bamboo, paper, string, tinsel, silk, cloth, mirrors, flowers and anything else bright and colourful you can think of. The tower is carried on the shoulders of a group of men, the size of the group depending on the importance of the deceased and hence the size of the tower.

The funeral of a former rajah of high priest may require hundreds of men to tote the tower. A long the way to the cremation ground certain precautions must be taken to ensure that the deceased's spirit does not find its way back home. Loose spirits around the house can be a real nuisance. To ensure this doesn't happen requires getting the spirits confused as to their whereabouts, which you do by shaking the tower, running it around in circles, spinning it around, throwing water at it, generally making the trip to the cremation ground anything but a stately funeral crawl.

YOGYAKARTA TRADITIONAL CEREMONIES

SEKATEN, GREBEG MAULUD, AND TUMPLAK WAJIK

SEKATEN

Sekaten ceremony starts on the 5th day of the Javanese month Maulud. People from Yogyakarta and villages around the city still believe that by celebrating Sekaten, particularly when listening to the sets of the Gamelan music, they will get rewards from the God Almighty, concerning their work, health and future.


The first day of the ceremony starts at midnight with a procession of the royal servant, "abdi dalem" who walk in two rows bringing two sets of Gamelan named Kyai Nogowilogo and Kyai Gunturmadu. This procession leaves from the Ponconiti hall.

GREBEG MAULUD

The climax of Sekaten ceremony is called Grebeg Maulud, held on 12th of the Javanese month Maulud. This festival starts by a parade of the Palace guard consisting ten units, namely; Wirobrojo, Daeng, Patangpuluh, Jogokaryo, Prawirotomo, Nyutro, Ketanggung, Mantrijero, Surokarso, and Bugis wearing their specific uniforms.


The parade starts from the yard of the northern Kemandungan of the palace, crosses the Sitihinggil, and the pagelaran to the northern square. Grebeg Maulud
The Gunungan, made of food-like vegetables, peanuts, red peppers, eggs, and several delicacies from sticky rice. It is mountain shaped and symbolizes the prosperity and wealth of the Mataram's land.

TUMPLAK WAJIK

Tumplak Wajik is held in the yard of Magangan Yogyakarta Palace at 4 PM, two days before the Grebeg ceremony. It marks the beginning of preparing the food used to make the Gunungan. A"Wajik" is a delicious made of sticky rice. Accompanying the ceremony, a "Kothekan" music composition is played by hitting various kind of wooden instruments such as rice mortars, and "Kenthongan" (barrels), which all perform a very enchanting melodious art of folk music.

Numplak Wajik, Bangsal Magangan Kraton Yogyakarta

STONE JUMPING (FAHOMBO BATU)

THE STONE JUMPING TRADITION IN NIAS ISLAND

Stone Jumping 'fahombo batu' has been one characteristic of the people of Nias. Many outsiders who remember or imagine Nias to jump rocks, so there is also a thought that everybody could jump stone Nias compiled until it reaches a height of about 2 m and a thickness of about 40 cm.


Jump stone (stone jumping) is a tradition of South Nias people, especially Telukdalam. This tradition is not usually done by the people of Nias in other regions, and only men who do it. It also has an indication of cultural differences the people of Nias ancestors. What to know more, there never was a woman who jumped stone Nias.

At first, stone jumping is not like what we see today. Both functions and how to command. First jump is a combination of sports and games are free people, not a commercial tradition.

Test of strength and agility

Stone jumping is not just tourist attractions as we see today. Stone jumping is a means and process to address the strength and agility of youth, so having a prestigious heroic souls.

If a son of one family was able to pass a stone that had been set packed in a way to jump, this is one of pride for parents and other relatives and even the whole village community in general. That is why after the boys they were able to pass, then held a simple celebration with slaughtering chickens or other animals. There was even entertained the nobility of his village youth as it can jump to the perfect stone for the first time. These young people will become youth advocates village 'samu'i mbanua or Horo la'imba,' if there is a conflict with other villagers.

Maturity and physical maturity

Seeing the ability of a young man who can jump the stone perfectly, then he is considered to have grown and matured physically. Therefore, social rights and responsibilities as adults are able to run. For example: marriage, to defend their homes or villages joined in the attack the enemy and so on. One way to measure the maturity and the maturity of a man is by looking at motor skills in stone-high stacks! 2 meters.

Technical mastery of the stone jumping tradition

For some pride, every young man not to be outdone by the others. Since the age of about 7-12 years or in accordance with the growth of a person, young boys usually play with jump ropes. They plugged the two-sided pillars, made of stone pedestal, and then jump. From the low, and long elevated. There is also with the help of two friends who hold each end of the rope, and the others jump in rotation. They played with spirit and struggle.

To practice and games, a collection of boys pile of clay and shape it like a stone jump, though not the same height. Starting from one meter. Having made it through that, then they pile of clay to add height. This game has made the children get used to jumping up can jump two meters high stone perfectly. There's even more.

To be more proficient, in the afternoon, when the village youth from the field, so they trooped stone jump training. Especially on a Sunday afternoon or any other big day. Stone jumping is a sport and a fun game for them and attract the attention of the audience.


Not everyone can jump stone

Although the practice continues, it is not all men can jump. There is nothing to hook on. Even some that until the accident, such as broken arms, legs etc.. There is a belief that it is influenced by genetic factors. If father or grandfather was a brave and stone jumper, so among their sons can jump the stone too. If his father was a jumper first stone when he was young, so their kids can jump the stone too even if they have a little exercise. In fact, there are only tried once or twice, then, can jump perfectly without training and warming the body.

The ability and agility of stone jumping are also linked to the old beliefs. A person who is just learning jumping stone, he asked permission first and prayed for the spirits of the stone jumper who had died. He must apply for a permit to the spirits of ancestors who frequently jumped over the stone. The objective is to avoid an accident or a disaster for the jumper when he was on the air, then dropped to the ground. Because many jumper also failed and had an accident.

Conflicts between villages

In the past, stone jumping is a need and also as a preparation to defend ourselves and defending the name of the village. Whatever sacrificed for the honor in his own village 'fabanuasa.' "Öndröra va banuasa, kiri-kiri mbambatö." That's the motto and principles in defending and maintaining the village's name. That is, a sense of patriotism in the home greater than kinship. The incident at one village residents, is the event on all citizens. For example: If one of the citizens of a village A are being hurt by the citizens of a village B, then the other citizens of village A would contribute back. And vice versa. This is a source of conflict between villages and leaving the complex solution hatred 'Horo manana. "

Many of the causes of conflict and war between villages. For example: the land border issues, women and other disputes. This is one village invites attack another village, so that the soldiers 'samu'i' who participated in the attack, must have the agility jump to save themselves.

But first, when the tradition of hunting human heads 'mangai högö' is still running, the battle between the village is also very common. When the hunters chased the human head or running away, then they should be able to jump a fence or fortress villages that have been targets built of stone or bamboo or from tree 'tali'anu' so as not to get caught in enemy territory.

That is also why the villages built on a hill or mountain 'Hili' so that the enemy is not easy to go and not run away fast.

Citadel village

Stunt jump is needed because once every village has a fortress made of stone, bamboo or other materials that are difficult bypassed by the enemy. There is also a hole dug in around the village so that the enemies fell into it while running away or into the target villages.

Rural strongholds formerly composed of stone, was not seen again now, because of human greed. Demolished and taken as a building material.

The young men who returned with success in other villages assault missions, will be a hero in his village. If they win and no one was killed in between them, so before arriving at the village, near the village gate 'bawagöli,' they march and shout while singing "Hoho" victory.

Tourism attractions

Today, remnants of the old tradition, has become a spectacular tourist attraction and able to make Nias known by other tribes. Various action and style of the jumper when he was on the air. There is a brave draw his sword, and there is also pinning his sword with his teeth. The tourists are not satisfied that it has not witnessed this attraction. That also is why, the village youth in the popular tourist destination and activities have made this tradition into commercial activities. On the one hand, they ask, and even the half forcing tourists to see this attraction, but on the other hand they do not want to jump without pay. There was even a request to Rp 100,000 to Rp 200,000 one jump, depending on the bargaining. The jumper has a network of groups and not to sell cheap.

Currently prices range from Rp 50,000 all jumped. But if tourists do not show interest and reject it, the jumper was finally able to accept a lower price. From the money can not, just jump better.

Palembang Songket Handwoven Textile

Traditional weaving Tools

The songket-weaving is a traditional craft work. It has been known already since the Sriwijaya period. The materials utilized are usually gold and silk yarns. The original characteristics of Palembang songket can be detected by observing the motives on those textiles. According to the applied decorative motives and their designs, the motives reflects roses, chained stars, waves and bamboo-shoots. Several names of songket weaving are known as Songket Lepus, Songket Naga Berdaung, Songket Bunga jatuh, Songket Bunga Cina, Songket Bertabut, Songket janda berhias, etc.

Demonstration of the technique to use the weaving tools

The material are gold and silk yarns

Palembang songket sarongs are not used daily, but at certain ceremonial events only, e.g. at traditional (adapt), wedding, religious ceremonies. The songket weaving are available in the form of sarong, shawl and headcloth. In latest development songket weaving are produced for various outfits of divans, back and seat of chairs, table coats, bags etc.

Hand bags songket

Songket patterns may be categorized in a number of ways. Some motive of Songket patterns:

Lepus bintang berante	Limar bintang berante
Limar cantik manis	Kenango makan ulet
Batang kayu apuy	Bungo jepang
Pulir	Biji pare
Nampan perak	Bungo cino
Bungo intan	Tabur limar
Lepus berakam	Cantik manis
Nago betarung	Bungo pacik
Tigo negeri

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Architecture of Banjar Traditional House

A traditional house of Banjar. This type of house is often called the high roofed-house (rumah bubungan tinggi) or “rumah ba-anjung” because the roof is very high and sharp, South Kalimantan

History and the Development of the Traditional House of Banjar

The traditional house of Banjar is usually called “Rumah Hubungan Tinggi “ because the roofs form a 45° angle. This form of the Banjar House began to establish during the 16th century when Banjar area was ruled by Prince Samudra who became a follower of Islam. He named himself Sultan Suriansyah with the title of Panembahan Batu Habang. Before he became a Sultan, he was a Hindu. He ruled the Banjar Sultanate between 1596 – 1620.

At the beginning, the traditional house of Banjar was a long house with the narrow sides as the front and back part. Later, they attached additional houses on the left and right sides of the house. Near the back part of the house, they also add an additional house that had the same length as the previous one. They called this addition “disumbi”.

The additional building (house) attached on the left and right of the main building are called Pisang Sasikat by Banjar people and since they are like pavilions, they called them “anjung”, so that the traditional Banjar house is usually called “Rumah Ba-anjung”.

Around the year of 1850, they built house around the Banjar Palace, especially around the Martapura Palace. But the “Rumah Ba-anjung” is the main building where the Sultan and his family live.

The Gajah Menyusu, Kelayan Dalam. A type of traditional house of Banjar people, South Kalimantan.

Some of the buildings around the Palace are the Palimasan which is used to store gold and silverware the treasure of Sultanate. The Balai Laki where the ministers live, the Balai Bini where the servants live, the Gajah Manyusu, where the close relatives of the Sultan live, they are the Gusti-Gusti and Anang. There are also buildings that are called Gajah Baliku, Palembangan, and Balai Seba.

Balai Bini, Benua Anyar Banjarmasin

Later, many houses are built following the same patters as the palace “Rumah Ba-anjung” so that this typical building is not only owned by Banjar people. The typical form of the Rumah Ba-anjung has spread to South, Central and Eastern Kalimantan with its original and traditional Banjar style is still clearly seen.


Rumah Ba-anjung is found in Pangkalan Bun, the old Kotawaringin and Kumai, in the area of Kotawaringin, central Kalimantan. These Rumah Ba-anjung became a familiar sight following the fraction of the Kotawaringin Sultanate from the older Banjar Sultanate when Banjar was ruled by Sultan Musta’inbillah between the year of 1650 to 1672 and succeeded by Sultan Inayatullah. The first Sultan of the Kotawaringin Sultanate was Prince Dipati Anta Kusuma.
The traditional house of Banjar were also found in Eastern Kalimantan because many people from Banjar moved here and made their houses in the same way as when they were in Banjar and so the Banjar type house had spread throughout Kalimantan. Nowadays the Banjar-type houses are rarely seen. Since 1930 they have rarely made new Banjar-type houses because of the high cost, difficulties in getting the suitable location and the impractical usage of that kind of houses.

Many Banjar-type houses are repaired and changed to match their need of modern living (in terms of the maintenance and healthy environments). Many families still maintain their traditional Banjar houses, but they live in their modern houses that they built near the traditional ones.

When we see come traditional Banjar houses in South Kalimantan, we can conclude that those houses must have been built before the year of 1930. We can still find them in Sungai Jingah village, Kampung Melayu Laut (Banjarmasin), in Teluk Selong village, Desa Dalam Pagar (Martapura), in Birayanf village (Barabai) and in Negara. They are in a very good condition, and the government has tried to subsidize them for their renovation and maintenance, but unfortunately the owner refused the help some uncertain reasons.

Observing the traditional Banjar houses, we can study their beautiful architecture and their ornaments.

The Construction of the Banjar House

The traditional Banjar House is entirely made of wood because wood is abundant in Kalimantan. Wood is the only suitable material for that kind of traditional house.

The construction is divided into four main parts, they are:
1. The body of the main skeleton of the roof, in line to the main building.
2. Additional building attached to the left and right of the main building are called the “anjung”.
3. Sharp-type roofs (45° angle) we called “Hubungan Tinggi”.
4. A long skeleton elongated from the main one in the front part of the main house is called the Sindang Langit.

The body of the house is something like an oblong is divided into rooms with different level.
1. Palatar (front porch or ‘pendapa’)
This is the first room directly above the entrance ladder. The room is 7 by 3 meters.
2. Panampik Kecil
A small room behind the Palatar with an entrance door (lawang hadapan). The floor is higher than the floor of the front porch. The front floor of this room is called the Watun Sambungan. This room is 7 by 3 meters.
3. Panampik Tengah or Panampik Panangah.
This room is behind the Panampik Kecil and it is wider. The floor is wider than the floor of the Panampik Kecil. The front floor of this room is called the Watun Jajakan.
4. Panampik Besar or Ambin Sayup.
The floor is higher than the floor of the Panampik Tengah. The front floor of this room is called the Watun Jajakan, the same term used in the Panampik Tengah. This room is 7 by 5 meters.
5. Palindangan or Ambin Dalam.
This room is behind the Panampik Besar. The floor has the same level as that of Panamik Besar (there are some that have higher floors than those of Panamik Besar). Since the frame of the door does nothave the same level as the floor of the Palindangan, they call it Watun Langkahan (one has to step over it to enter). The room is 7 by 7 meters.
Inside the Palindangan room, there are 8 capitals to support the “hubungan tinggi’. The capitals are called Tihang Pitugur or Tihang Guru.
6. Panampik Dalam or Panampik Bawah.
A wide room in which the floor is lower than the Palindang, but it is the same level as the Panampik Tengah. The front floor of this room is called Watun Jajakan. The room is 7 by 5 meters.
7. Padapuran or Padu.
This is the last room of the main house which floor is lower than Panampik Bawah. The front floor of this room is called the Watun Juntaian. Sometimes the Watun Juntaian is high enough to step on so that they need a ladder to enter.

The Padapuran is divided into 3 parts:
* The atangan – a kind of kitchen.
* the salaian – a place to dry fire wood.
* the pajijiban and the pagaduran – a palce for washing.
The toom is 7 by 3 meters.

The traditional house of Banjar have relatively different dimension. This is caused by the different standards of measurements, should be in off numbers. It includes thelenght, width, height, etc., also the numbers of the windows, ladder-step, etc.

If we measure the dimension of the main house, it usually has 31 by 7 meters. Each anjung on the left and right of the main house is usually 5 meters wide. The height of the floor under the anjung and the palindangan is 2 meters above the ground, but under the palatar, it is only 1 meter.

Dahi Lawang Balai Laki di Kuin Utara

Dahi Lalongkang Rumah Gajah Manyusu di Kuin Utara
Woodcarving has an important role in the traditional house in Banjar. A unit of a traditional house is not complete enough without the application of woodcarving. They carved the bottom side of the wooden wall and the sides of the roofs. The carving is called the “lis-lis” or in Banjar they call it “Papilis or Pilis”. The motif of the carving is continuous flames, flower, etc.