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.

North Sumatera Cultural Art

The native people consists of all kinds of ethnic groups namely the Malayans, Batak Toba, Simalungun, Karo, Pakpak Dairi, Pesisir, Mandailing and Nias. They reside in their own area, nevertheless there is an assimilation among the migrants in some areas especially in big cities.

The majority of the population earn their living by farming. In the coastal area there are a lot of them who live as fishermen. And some of them carry on trade, become labourers and officials especially cities and plantation areas.

Since a long time ago North Sumatera has been open for the outer world. This is not only caused by the existing communication facilities such as the ocean harbours Belawan and Sibolga and the airport of Polonia Medan but, also Indonesian ethnic groups especially many of those from Java have lived in this province since the opening of the plantation in Dutch Colonial time.

Even later they have assimilated with the native people. Also many foreign citizens live here; especially in big cities. Plantations form the most important economical potential of north Sumatera. A big plantation area is especially found in plains in the Eastern part.

Like the other areas in Indonesia, North Sumatera is characterized with all kinds of art. And caused by the regional condition, the existence of a particular style of art is of nothing incredible in every region. Also various kinds of ethnic groups found in North Sumatra, have created sorts of art showing where the ethnic groups come from.

As a really open area for comers it is obvious that the influence of outer culture will easily enter this area. This influence is seen obviously on the nature of art inherited up to the present. This doesn’t mean that the original form of their art has disappeared. The inheritance shows that some tribes, especially in the inlands still practice the art. Like art life in other areas, the birth and creation of art in North Sumatra contains magic/religious and aesthetic aspects. These two values appear in all kinds of arts.

HISTORICAL BACKGROUND

According to the myth of the tribes, there were all kinds of antecedents of the people of North Sumatera.

Batak tribe for example believes that their ancestors came down from heaven to the top of mouth Busuk Buhit, and lived in Sianjur area. It first around Samosir island and later its generation developed and spread everywhere in its surroundings. Nias tribe believes that their ancestors came from them most beautiful heaven called Tetoholi Ana’a, and went down to the Gomo area in the middle part of Nias and later spread to all part of the island. Some of the Malayan tribe believes they were originated from the descendants of Iskandar Zulkarnaen who came down on the hill of Siguntang in Palembang.

Nothing could fix the antecedents of the people of North Sumatera, however, according to the historical of the spreading of the tribes like the other Indonesian people the ancestors were supposed to come from further India coming to this area in groups. Therefore people consisting of all kinds of tribes developed by themselves in their own areas.

As the result of the pluralistic condition art as moral expression of the tribes, they have their own various style and kinds. Like the various kinds of its tribes in North Sumatra there are all kinds of traditional art, namely Malayan art, Batak Toba art, Simalungan art, Karo art, Pakpak Dairi art, Angkola mandailing art, coastal and Nias art. These traditional arts have their own kinds, style and local characteristics.

War Dance, Nias

The style and characteristics of ethnic art, are later influenced by outer culture. The influence of the older megalithic art is found in the cultural environment of the population of Nias archipelago. The Hindu influence is felt especially in the Batak ethnic environment whereas Islam influence in the coastal populated area. Megalithic art for example has left its remnants in Nias in the form of stone monuments and sacrificial ceremony by scarifying a pig. Also in several places around Samosir there are statues and cemeteries of the ancestors. The Hindu influence is around in all kinds of aspects of life in this area. In all kinds of spoken language and medical books of Batak called Pustaha there are Sanskrit words. Even the form of the original Batak characters are very much influenced by Hindu, so are the textile handicraft.

The temples found in South Tapanuli are proofs of Hindu remainder in architectural field. The temple complex spread in a large area.

Some names of “marga” in Dairi and Karo, are considered to have originated from the influence of social structure in Hindu culture, such as “marga-marga” Brahmana, Padia, and Colia. So are the influences of religion and Islam cultures. Especially in the art of this area, there are all kinds and sorts of typical Islamic items. Gambus, rebana, adrah, bordah and qasidah are Islamic art of music. Whereas in field of art dancing for example there is one called “tari zapin” which is liked by people of the coastal area.

Batak traditional house

Mosque and palace are the products of Islamic architecture. The Grand Mosque in Medan and Azizi Mosque in Tanjungpura, with their beautiful ornaments have a high Islamic architecture, so are the Maimun on palace in Medan and the Datuk Lime Laras Palace in Asahan.

The Dutch Colonial rule later built some buildings in European style such as City Hall and Post office. Since this era, the new art had developed as individualistic among the middle class people who was living in the city. Whereas the traditional art was still supported by the ethnic group although it was not developed by the colonial government.

In general the new art forms activities on literature and play which develop in Medan. The well known play groups at that time were Keris (creese) Opera, Blue White, Miss Alang etc. The period of the Japanese occupation formed a paralyzing period for art. The people potential supporting traditional art grew weaker and weaker. Some kinds of art had disappeared and the appreciation of the people toward art was decreasing. The daily stress of life which was so burdensome influences the attention and attitude of people toward their traditional art.

After the fight for freedom especially after 1960s’ traditional activity being neglected for a long time and as the result of change in attitude and progress of the era gradually could attract the interest of the people. Probably caused by the strength of the Batak people in holding and applying their tradition, the spreading of art from one area/tribe to the other became difficult. Consequently, particular style of art of each area/tribe was created.