Traditional Cloth of Madura

East Javanese house and its traditional weapon - clurit (and traditional clothes of the island of Madura)

In Indonesia which consists of some ethnic groups, every ethnic group has its own characteristics in clothing. For Madurese people, especially those living in Sumenep, the type of dresses is distinguished as follows:
1. Daily dress
2. Ceremonial dress
3. Common people’s dress
4. Elite people’s dress
5. Nobleman’s dress

Dress for Common People
For men the dress called peso with black colour. The pants also black colour and loose below the knee. This dress is fit out with a leather belt on which there is a pocket.
The Madurese call it “Sabbu tepa kole” and a Lead-clothe or “odeng”. Besides as a supplement, a “sarong” also worn crossways over the shoulder.

East Javanese house (and traditional clothes of the island of Madura)

The women wear a dress called “baju sono” or “baju kurung”,
”sarung poleng” which is green or red varied with conspicuous colours. Wearing a belt called “sivet” and a long shawl called “sarong bini” worn crossways over the left or right shoulder.
As the supplement of the daily dress, man as well as woman wear “gamparan” (slippers made of wood).

Ceremonial Dress
Ceremonial dress worn by men consists of “baju pesa”, “celana kombor” (loose pant), “odeng”, “selempang sarung” and “sabbu kale tepa”. This dress is fit out with a grandeur weapon such as “taka buwan” namely grass knife, big and long grass knife.
The women wear “baju sono” which is the same like worn daily, but the ceremonies dress is better than that worn daily.

Daily Dress for Parjaji
Daily dress which is worn by men is “baju taqwa” which looks like “surjan” with white buttons. This dress is fir out with “sarung Polekat” with a belt called “epek/stagen” to slip a creese and a head clothe called “odeng peredan.

The women wear a black “baju sono”. At the end of the long sleeves there are buttons made of silver, sarong with purer Madurese batik motive decorated of animals, leaves print and “stagen”.

Ceremonial Dress for parjaji
The men wear white “baju taqwa” with buttons made of silver or gold “adeng peredan”, long batik clothe not pleated. If the clothe is pleated then its pleats are wide and aslant.
There is prohibition for parjaji to wear clothe with a motive of “parang rusak”. Whereas the women wear baju sono. The clothe worn is “songket” long clothe and wearing “epek” or belt made of soft clothe. In former times, a parjaji either a man or a woman, was always accompanied by five servants when attending a party. The foremost one, carried a lamp or torch, those in the rear carried a container called “ekecohan” and grandeur umbrella.

Dress of Noblemen
The dress of a noblemen is almost similar with that worn by parjaji. The difference lies only in its supplements.
The man wears “ellogan”, namely belt wrapped in soft clothe to slip a creese. The colour of the “epek” is red or yellow and wear “odeng tongkosan” (tongkosan head clothe).The women also wear a dress which is worn by women of parjaji group.
If a nobleman attends a ceremony, he wears a black coat made of liken clothe embroidered with gold, a long clothe, wearing beautiful creese chained with melati flower. Head clothe worn is “odeng Sunda”.
Young nobleman wears “baju taqwa” when attending a ceremony; whereas the woman wear “baju sono” like that worn by the parjaji group. The noble women wear “sono” dress made of red velvet, dark blue or dark green, with long sleeves at the end of which there are six gold buttons. The dress worn has gold pin and belt or “epek” made of soft clothe. A clothe with a motive of “sidomukti” pleated in Madura style. A gold bracelet is worn on the ankle.

Bride Gown
There are three traditional bride gowns, worn one after another for three days. Bride gowns for parjaji and arja group are as follows:
-The first night, is “dilega” dress. The bridegroom does not wear a shirt whereas the bride wears a “kemben” a (clothe worn around the chest). This dress is attached with decoration worn on a neck, fingers and arms.
-The second night is the “kraton kepotren” dress. The bridegroom wears a black coat with lace, black “liken” made of pants; whereas the bride wears long black “kebaya” with velvet laces full with its decorations.
-The third night, either the bride or bridegroom wears a dress to attend a common ceremony (“taqwa” dress and “sono” dress).

Bride Gown for Common People
As the wedding ceremony of “parjaji” and noblemen is carried out three days, the wedding ceremony of common people is carried out only one day, but the bride gown changed three times.
On the first meeting, the bridegroom wears white “jubah” (tabard) in Arab style, the bride wears long white skirt complere with the head clothe.
On the second meeting, the bridegroom wears a black coat with a necktie, wearing a “sidomukti” clothe and “belangkon” head clothe typically Madurese, decorated with a creese on his back. And the bride wears a long “sidomukti” clothe and “kebaya”.
On the third or the last meeting, the bridegroom wears pants, a coat, a necktie and a head clothe. Whereas the bride wears a long skirt or long cloth and “kebaya”.

Queen of the South - Parangtritis, Central Java

Queen of the South Sea - Ratu Kidul

Java's south coast is shrouded in mystery and legend, and nowhere is this more alive than in the heartland of Javanese culture and lore, Yogyakarta. The special province of Yogyakarta is remarkable for many reasons. It is home to a still-functioning royal court with a widely-loved monarch. Just to the north of the city is the legendary volcano, Merapi, also known for being the most active volcano in the world!

Parangtritis beach - Yogyakarta

Sunset in Parangtritis with andong - traditional trasportation in Yogyakarta

And directly to the south, forming the third element in this spiritual triumvirate is Parangtritis beach - where the Indian Ocean pounds against rugged, windswept shores, located about 27 km. from Yogyakarta. This is not the setting for your usual kind of beach holiday. Gone are the gently swaying palms and white sands - they are replaced with black volcanic sands and a sparse tumultuous environment of tossing seas and jagged rocks. The spirituality and vitality of Parangtritis is immediately apparent. This is no ordinary beach, it is the realm of ghosts and goddesses - it is the realm of queen Ratu Kidul or Nyai Loro Kidul.

Nyai Loro Kidul has many different names, which reflect the diverse stories of her origin in a lot of sagas, legends, myths and traditional folklore. Other names include Ratu Laut Selatan ("Queen of the South Sea," meaning the Indian Ocean) and Gusti Kangjeng Ratu Kidul. Many Javanese believe it is important to use various honorifics when referring to her, such as Nyai, Kangjeng, and Gusti. People who invoke her also call her Eyang (grandmother). In mermaid form she is referred to as Nyai Blorong. The Javanese word loro literally means two - 2 and merged into the name of the myth about the Spirit-Queen born as a beautiful girl/maiden. (Wiki)

Nyai Loro Kidul is often illustrated as a mermaid with a tail as well the lower part of the body of a snake. The mythical creatures are claimed to take the soul of any who are wished for.

Sometimes Nyai Loro Kidul literally can be spoken of as a "naga", a mythical snake. This idea may have been derived from some myths concerning a princess of Pajajaran who suffered from leprosy. The skin disease mentioned in most of the myths about Nyai Loro Kidul might possibly refer to the shedding of a snake's skin.

Legends of Ratu Kidul and her tragic, demise abound. According to one account she was the great aunt of Raden Joko Suruh, an orphaned prince of the Pajajaran kingdom. It is said that she appeared to him as a hermit and instructed him to establish the Majapahit Empire in east Java. Many generations later, a descendant of Joko Suruh, came to the shores of Parangtritis to meditate in preparation for a great battle with the kingdoms of the north. He was visited by Ratu Kidul who took him to her underwater kingdom where he studied the arts of war and love. After three days he emerged at Parangkusumo. To this day, she is said to be in communion with each of the sultans of this line to aid them when they come and pray for her assistance. Parangkusumo also remains a place of great spiritual significance and constantly attracts pilgrims who leave offerings and pray for Ratu Kidul's help. Another regular visitor is the sultan himself. At his coronation ceremony in 1989, a sudden gust of fragrant wind was noted not only by the sultan but by many others in attendance. It is believed that this wind signified the spiritual presence of Ratu Kidul.

Ratu Kidul's favourite color is a special shade of pale yellow-green known as gadung melati. Local folklore warns visitors not to wear the colour green, or the Queen will entice the wearer into the ocean to drown. And that is why you will rarely see anyone wearing green near the beach. If you happen to be in the wrong place at the wrong time, Ratu Kidul or her one of her ministers, may just claim you as another subject in her underwater court. Each year the treacherous waters here take a few more lives, each year Ratu Kidul's watery court grows a little larger, and those who survive fo on whispering the legends of the ghostly queen.

Tapis - Traditional Weaving of Lampung

Lampung had a rich and varied weaving tradition and its has its own traditions, high valued handicraft and art creations such as woven cloth, interwoven by gold threads called "tapis". For the Lampung community, tapis cloth reflects the status of the owner. Take Tapis Raja Medal, for example. This particular type of cloth may be worn only during traditional ceremonies by the upper class of the indigenous Lampung ethnic group, such as family members of traditional community elders or tribal chiefs. Even among the upper class, there are special rules that must be observed when wearing the cloth.

Traditionally, Lampung textiles were used as part of religious ceremonies such as weddings and circumcisions.The type of the ceremony will determine which tapis cloth should be worn. For weddings and cakak pepadun, only Tapis Jung Sarat, Raja Medal, Raja Tunggal, Dewasano, Limar Sekebar, Ratu Tulang Bawang and Cucuk Semako can be worn.

Tapis Raja Tunggal, Lampung

If a piece of tapis cloth is worn for a cangget, an event in which a dance is performed to honor an important guest, then it must be one with any of these motifs: Bintang Perak, Tapis Balak, Pucuk Rebung, Lawek Linau or Kibang. For elderly women, the tapis worn is usually Tapis Agheng, Cucuk Pinggir or Tapis Kaca. If a piece of tapis cloth is worn when it should not be, a traditional sanction will be imposed on the wearer. He or she will be admonished by the other members of the community. If, for example, someone who has yet to meet the traditional requirements for wearing Tapis Medal insists on wearing it during a traditional ceremony, the cloth may be taken off in public.

The Pucuk Rebung motif, a symbol of prosperity, remains the main motif used in tapis cloth today. Also still popular nowadays is the spiral motif, the symbol of worship of the sun and nature. The decorative motif of the Tree of Life is also believed to signify the unity and oneness of God, the creator of the universe.

However, modernization has caused tapis cloth to lose its sacred quality. Today, it is worn not only by noble families and traditional community elders, but also by lower class Lampung people. There is a difference, though.

The thread used to embroider the cloth worn by traditional community elders is usually mixed with gold but for ordinary people, the thread is gold in color only.
Despite this difference, the motifs embroidered on tapis cloth worn by ordinary people are still beautiful. However, the cloth may only be worn for certain traditional rites, such as bumammat, an event in which youngsters recite the Koran in a traditional hall in the presence of community elders and others as evidence that they can read the Koran.

The Mosques of Jakarta

"Modern eyes maybe more accustomed to the minarets and domes of the Middle East, but Indonesia's early mosques sometimes blended Islamic, Hindu and Chinese architectural styles where roofs varied from flat tiers to tiered domes to flat domes."

Masjid Luar Batang

Jakarta’s mosques reflect a diversity of architectural styles, historical, and cultural influences. Masjid Luar Batang (Sunda Kalapa) was built in 1739, although those responsible for the management of the mosque claim that it was established around 1700. National hero Sayid Husein bin Abubakar of the Abdillah al-Aidrus, a direct descendant of the Prophet Muhammad SAW through his daughter Fatimah, was exiled by the Dutch but managed to return to Sunda Kalapa and establish the mosque. He was later buried there in 1756, and his tomb is incorporated into the structure of the mosque.

The 5,780-metre site is now regarded as a sacred place and is visited by many pilgrims from Indonesia and abroad. While it contains certain European architectural features, the main gate to the two-storey mosque is decorated with reliefs similar to those fond on Java’s old Hindu temples. It is closely connected with the history of Sunda Kalapa and subject to a local government preservation order. Architects claim that when the Rp 5 billion restoration is finished, the mosque will become an object of interest for all tourists visiting the area as well as maintain its traditional role as a place of worship, pilgrimage and education, as well as an Islamic Centre.

Masjid Kebon Jeruk

Located on Jl Hayam Wuruk, and not far away from Sunda Kalapa, is Masjid Kebon Jeruk. The name is something of a misnomer, and has nothing to do with the large district of the same name located in the heart of the city’s west. Situated on the other side of the river Ciliwung and close to the Jayakarta Hotel, the mosque was built in the peranakan style in 1786 by a Mr. Tchoa, who was in charge of Jakarta’s Chinese Muslims from 1780-1797. The term peranakan was given to Chinese who had married Balinese wives. Back in those days, many Chinese converted to Islam as a result of the riots and massacres of 1740, which saw the Chinese confined to areas outside the old city. Because the had no mosque of their own, he built the mosque on top of his own home. The tomb (1792) of Fatimah Hwu, rumoured to be the wife of Mr. Tchoa, is also located on this site and is notable for its eclectic mix of chinoiserie and Arabic influences. The Arabic figure for 1792 is visible as are the heads of dragons.

The mosque at one stage also contained ceramic tiles depicting people, not permitted under Islam. Islam tradition condemns the pictorial depiction of the Prophet SAW as well as all living creatures for fear that it may lead to pagan worship. Geometric or arabesque forms are preferred.

In time, Indian, Arab and other ethnic minorities also used the mosque. Renovated in 1957, it remains in poor condition although the original shape of the first mosque can still be seen.

Masjid Istiqal

Southeast Asia’s largest mosque, Masjid Istiqlal, is situated within walking distance of the National Monument (Monas), and stands opposite Jakarta’s Catholic Cathedral. Designed by a Christian architect, construction began in 1961 during the heyday of the Soekarno era (1945-1965) and reflects that era’s love of design on a monumental scale – the mosque can accommodate up to 10,000 worshippers. The immaculately manicured lawns, gardens, fountains, lakes and waterways are spread over a spacious 9.5 hectares of land.

Masjid Hidayatullah

Mosques have also had to battle the onslaught of developers. But in the case of Masjid Hidayatullah, which sits on Jakarta’s main business thoroughfare Jl. Sudirman, Central Jakarta,t he exotic old Pagoda style mosque seems to have come into its own. Modern eyes may be more accustomed to the minarets and domes of the Middle East, but Indonesia’s early mosques sometimes blended Islamic, Hindu and Chinese architectural styles where roofs varied from flat tiers to tired comes to flat domes. The careful restoration of this mosque, obtained as a concession from the developers of the site, makes it an oasis for worshippers. That’s also in keeping with the basic principle that mosques are also designed to create “a space of serenity rather than exaltation.”

Masjid al-Azhar

Masjid al-Azhar is a mainstream mosque built alone the lines of the large traditional mosques found in major Islamic capitals around the world, and which site side by side with universities, schools and libraries, just as they did centuries ago in Baghdad, Isfahan and Samarkand. Jakarta’s modern Masjid al-Azhar complex in suburban Kebayoran Baru contains the well known school of the same name, large playing fields, a library and other facilities.

The days of Governor Coen have long gone, and mosques are now part of the infrastructure of many housing complexes in Jakarta, and constructed almost as soon as he roads are made. In other areas, local residents have to battle hard to find the funds to build their mosques. Their rewards are most certainly in heaven. For Muslims, the building of mosque constitutes an act of great merit, a fact noted in the following Hadith (saying): “Whoever builds a mosque desiring God’s pleasure, God builds for him the like of it in paradise.”

Garuda mgz

HALAL BI HALAL

THE TRADITION OF INDONESIA, HALAL BI HALAL

This is the typical tradition of Indonesian society. Halal bi halal name. This tradition is a tradition rooted in Indonesia. Hence, many Indonesian people who make it as an important momentum in the procession of life. It is not known exactly when this tradition started. But that clearly has become a typical tradition of Indonesia, well before Indonesia became more modern. And strangely, although Indonesia's modern society but this tradition seems to not be cracked by the heat and decayed by the rains. Want proof? Try to see how people in Indonesia who are overseas and away from relatives willing to coincide relatives return home only for one thing, make halal bi halal.


It was a touching scene that at the end of Ramadhan, especially in the third or fourth day before the Eid holiday they scramble to get back to their respective regions with the aim of shaking hands and saying on the day of forgiveness that the mujahidin. This is one of the beauty of the local tradition of religious-based, ie they gather once a year to forgive each other and met with relatives near and far in order to enliven the Idul Fitri holidays that always be missed.

In this modern era, could actually saying sorry to each other is through mobile phones, even through facebook, twitter and so on. But the longing to meet each other physically as well as the longing for his homeland was far more important than anything. Therefore, before the holiday all crowded public transport. Buses, trains, ships, aircraft, and full of passengers. Even private vehicles like cars and motorbikes on the crowded highway. Even sometimes they have to risk one's life. It's the holiday has great magnet for the Indonesian people to celebrate.

Islam that we know are very stressed about forgiveness. Sins to God can be requested directly to His forgiveness. But the sins of mankind should be to concerned to forgive each other. If they do not forgive each other, then that sin will not be forgiven by God. Islam as exemplified by the Prophet Muhammad is the religion of brotherly love.

This is the power of brotherhood of Islam in the building not only to fellow Muslims but also to fellow human beings. There ukhuwah Islamiyah and there ukhuwah basyariyah. There was a fellow Muslim brotherhood and sisterhood of humanity there. Such concepts are later captured by the Indonesian people to the conception and implementation of these Halal bi halal. Hence, this tradition is expected to be a unique and continue to be implemented. Onslaught of modern technology through information and communication technologies, it is also not able to eliminate this tradition. Hence, in the middle of the information technology bubble harder still found millions of people who crowded to celebrate Lebaran in his homeland.

Historic Ubud - Bali (continues)

The Ayung River winds its way through several Ubud villages on its way to Sayan and on to the sea.

The Royals

Skipping ahead almost a millennium, we come to the founding of the royal house in the greater Ubud area. In the 17^th century, a rebellion occurred in the royal house of Gelgel, the then-capital of Bali, which started a surge of many small skirmishes and conflicts between royal houses. Nine kingdoms finally emerged (eight of which are now the established regencies in Bali, with the Mengwi kingdom absorbed into the others when it was defeated in battle in the 1880s).

In the early 1700s, the Dewa Agung Jambe (king) of Klungkung sent his son, the Dewa Agung Anom Wijayasunu, to Sukawati (called Timbul at the time) to found a palace there and establish a centre of power and beauty. Many artists and artisans from Klungkung and Mengwi came to build the palace in Sukawati, which was one of the finest in the land. Once their job was over, the artists did not want to go home and they remained there.

In the late 1700s, Puri Sukawati sent two of its retainers to the Ubud area as administrators to secure the area. Gusti Lanang Dauh formed the community of Padang Tegal (where Hanoman, Sugriwa and Jembawan streets now are) and the younger cousin Gusti Made Taman went further north to Taman (north of the main road in Ubud and east of the market). A fierce rivalry existed between them and fighting broke out between the two villages. In order to pacify the Tjokorde Ngurah Tabanan to Peliatan and Tjokorde Tangkeban to Sambahan, Ubud (a village north of the market and puri) to establish palaces and authority.

The younger brother of Dewa Agung Gede, king of Sukawati, I Dewa Agung, reigned in Peliatan from 1775-1800. It was here that he established a puri in Peliatan in order to guard against incursions from Mengwi and to expand the power base, again bringing with him an enclave of artists as well as people from every caste. His half-brother Tjokorde Batuan also built a puri in Peliatan. The kingdom of Peliatan ranged from Tegalalang to Mas and included Ubud village. Batuan’s older brother, Tjokorde Made Kandel, was sent to Mengwi to become sovereign there. The oldest son Tjokorde Putu kandel, went in search of holy water (tirthayatra).

Tjokorde Made kandel (who had ‘disappeared’) wanted to see the battlefield. The Pe;oatan troops numbered only 16, whereas Mengwi had thousands. Tjokorde Putu Kandel stepped onto the battlefield brandishing the keris Ki Betara Batukaru (said to have such magical powers that the enemy would flee) and the Mengwi army did indeed flee. Tjokorde made Kandel was not pleased with this and went to see why his soldiers had retreated. He got quite a shock when he realized that the Peliatan army was not being led by his uncle, Tjokorde Putu Kandel! They embraced and all was well. In fact, people fro Mengwi came to Ubud to help populate the area. All of this took place in the village now known as Tanggayuda (place of battle) around 1800.

From 1850-1880, the grandson of Tjokorde Putu Kandel, Tjokorde Rai Batur, became king and this is when Ubud began to really prosper. Batur was more inclined to steep himself in spiritual rather than military matters. The next sovereign was the pious Tjokorde Gede Sukawati (1880-1917). Rice was in abundance and the economy was booming. At this time a number of sacred in various temples around Ubud.

In the mid-19^th century, the new Dewa Agung (king) of Klungkung began and anti-Dutch campaign. Mengwi was defeated at this time and its land divided up between the victors. The punggawa (district leader) of Negara near Sukawati aligned himself with Klungkung and wanted to take over Sukawati, which extended throughout all of Western Gianyar, including Peliatan and Ubud.

The next ruler was a spiritual leader but, by default, became a great military man as well. By mustering forces from Peliatan, Ubud and Tegalalang, the Tjokorde Gede Sukawati, in 1890, was able to defeat Negara and occupy itslands all the way from Ketewel to Taro. The Tjokorde had a special keris, which, by simply piercing the earth would make the enemy run away. He also had a special power called bau siu whereby the enemy thinks it’s seeing many more soldiers than are actually there. Many more political intrigues and battles took place with the Dutch helping to fuel conflicts among the rivals.

Tourism and the First Westerners

The 1930’s saw the first real development of tourism on the island of Bali. Much of this was centre dint he Ubud area due to the entrepreneurial savvy of Tjokorde Gede Agung Sukawati. Tjokorde Gede Agung was born in 1910. At an early age he moved in with an uncle in Puri Belaluan in Denpasar, across the street from the Bali Hotel. At age fifteen, he stopped school and began his work as a ‘guide’ by approaching the guests at the nearby hotel and picked up English and Dutch languages. At the age of seventeen, he married (his first wife of eleven!) and moved back to Ubud where he established a small guest house in the Puri Saren Agung (now run by his son Tjokorde Gede Putra Sukawati). In that same year, 1972, his older brother Tjokorde Raka Sukawati from Puri Kantor across the street invited the composer-painter Walter Spies to come to Ubud to live, where he did for the next eleven years. Spies, along with other resident foreigners, such as Willem Hofker and Rudolf Bonnet, both painters, began to entertain celebrities from far and wide, including Charlie Chaplin, Noel Coward, Barbara Hutton, H.G. Wells and Vicki Baum, who in turn told their friends about Ubud. The Tjokorde Agung was instrumental in developing tourism in Ubud as he made very visitor feel like family.

When the Balinese talking about magic, they mean actually something completely different. The power of magic is still revered to in Bali, where more than 90 percent of the population accept magic as a part of daily life.

Boom Times

In the ‘70s, backpackers and researches alike flocked to Ubud. The serene atmosphere was conductive for painters and one could study music and dance with some of the greats. It only took a brief fifteen years before Ubud changed from a sleepy, dirt road village of the past into the bustling tourist town it is today. Yet still Ubud remains a draw for artists, dancers, musicians, students and anthropologists of all stripes.

Even in the 21^st century, Balinese firmly believe in the power of the unseen world. There is a tiny tree with six branches on it that lives inside a box within the Pura Batukura temple in Ubud. This tree sprouts kepeng of Chinese coins on it which reflect the economic tenor of the times. The last time the box was opened, there were four coins in it. In the 1960s, during the economic crisis, there were just three. Tjokorde Gede Oka Sukawati stated that perhaps at the end of the 19th century, during his grandfather’s time, that there might have been six.

Rangda.. the Widow who turn herself into balck magic world and transformed herself into monster.

Another barometer of sorts for Ubud is a celulak mask, which is used in the tale of the black magic dance-drama, the Calonarang. This mask was given to a Western couple back in the 1960’s as a wedding gift. It traveled around the world with them, bringing nightmares to those in close proximity. The woman recipient was said to unhitch herself off walls and float around her house. Finally she has came to rest in Puri Saren and if you are out around one in the morning, you will see her lurking in front of the Puri. A paranormal told Ubudians that she has come here to protect the people of Ubud. There are numerous stories like these.

Kecak Dance - Ubud, Bali

Why is it that the Ubud area has such a rich artistic tradition? Some will tell you it is the beauty of the land, but there are places far more breathtaking than Ubud on the island. Others will tell you it is due to the spiritual energy created by the confluence of the river waters at Campuhan. Whatever it is, Rsi Markandeya was the first to discover what visitors have been coming back to for centuries.

Addapted from material prepared for the book ‘Ubud is a Mood’ by Rucina Ballinger

Historic Ubud - Bali