Sedudo Traditional Bathing Ceremony

Nganjuk Map, East Java - Indonesia

Sedudo Waterfall is situated about 27 kilometers south of Nganjuk, located at the foot of Mount. Wilis, at Ngliman, Sawahan district. This location is often visited by many of people especially during Suro, one of the months in the Javanese year.

This ritual bathing ceremony dates back to the time of the Majapahit Kingdom in the 14th and 15th centuries. According to the juru kunci (key keeper) of the Sedudo waterfall, based on the legend story, Ki Ageng Ngaliman - who spread Islam in Nganjuk - was used to meditate in the area. To regard his retribution, the district government and the public around, always held a traditional ceremony every Suro (Muharam). Also according to popular belief, Sedudo Waterfall was used to bath statue in Parna Prahista ceremony then the water spattered to the body of the family in order to grant eternal youth and safety.

The form of The traditional ceremony of taking up Sedudo sacral water is begin with 5 (five) sacred women bringing klenting, traditional water jars, dressed in Java traditional clothes, walk slowly to the pool under Sedudo waterfall. The 5 sacred women is following by 10 women with longhair. The 15 women are called Putri Tirtosasi (Tirtosari Princess). Five boys, called Jejaka Taruna, also dressed in Java traditional clothes are waiting for them under the waterfall. The procession is accompanied with Jidor, traditional drum and Sekar Mijil song. After the Tertosari Princesses gave klenting to them, they will take the water from the waterfall which is believed have savour. Then the water will dedicate as sacrifice.

This procession is led by the Regent of Nganjuk and followed by the local and the visitors who come from the whole Java. The form this procession is taking a bath together in the pool under Sedudo waterfall.

For information, contact:
East Java Provincial Tourist Office at +62 31 853 1814/853 1815.

Traditional Craft of South Sumatera

Since long before, South Sumatera has been known with its traditional crafts like weaving, plaiting, wood carving, ceramics and metal-craft. Hereditary, these art craft has not change much. It is caused by the fact that most of those products are utilized as equipments in the adapt ceremonies.

It has been mentioned about the tradition to decorate the adapt-house with wood-carving. This wood carving art does not only produce home decoration, but also furniture. Characteristics of South Sumatra wood carving art, especially that of Palembang, is the density and excessiveness of the decoration with see through technique using plant-motives with symbolism. The decorative impression is more conspicuous due to the application of different colours on the decoration. The most popular colours are gold-coating and red (lac), a tradition which supposed to be originated from Chinese decorative art.

Along the development of wood carving art, the songket-weaving art has also been developed, especially in Palembang where it later further expanded to the Meranjat OKI region. The songket-weaving art has been known already since the Sriwijaya period, when silk and gold yarns were used. The plant decorative motives seen at the woodcarving decoration appear again at the songket decorations. According to the applied decorative motives and their designs, 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. 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, etc.

Table - Wood Carving, Palmebang

Ceramic art of South Sumatra has been know since former times having produced daily necessity equipments like pitchers, cooking-pots, boilers, water-barrels, braziers, water-pitchers, money-boxers, etc.

Kayu Agung city is a centre of ceramic art beside Poya Kabung village which produces especially decoration ceramics. In the latest development, in Mentok and Sungailiat (Bangka) a sort of porcelain ceramics has been produced as industrial article. This fact is supported by the availability of high grade ceramic material in that area.

The plait-craft tradition started as side production efforts for own consumption. Bamboo and rattan are the main material to produce plaitware as baskets, mats, hats, dish-cover, bags, etc.

The Payung and Kelapa sub-districts of Bangka are well-known of their platcraft producing Kopiah (cap) made of resam, a sort of fern. Acquainted with foreign craft products and stimulated by the needs to sell, then furniture of rattan are produce, as chairs, beds, lamp-shades, book-selves, buffets, etc.

For the outfit of adapt wedding, beside songket weaving articles, the crafts of metal-smiths are also needed, which manufacture ankle and armbraceletsm brest-decorations, shoulder-decorations, belts, rings, hair-decorations (crown) etc. Materials used therefore are gold, silver, or brass blending with hammering, carving, shaping and welding technique. The Penganggon and the Gede decorations are outfits for adapt wedding, which demonstrate traditional decorative-art beauty-value being produced in the region of Palembang. The precious metal smithy art tradition has gradually disappeared. Palembang, the city once know as a centre of activity of this art, there is today rare of craftmen producing outfits for traditional wedding. Meranjat OKI is also known as a centre of gold-craft, beside being a centre of songket weaving, as mentioned before.

Solo - Central Java

This centre of Javanese culture has old colonial charm, the best of Southeast Asian warmth and the wide streets and well-planned squares of a small European town. Crumbly old-Dutch buildings and the two keratons of Kasunan and Mangkunegaran dominate the old town, surrounded by quaint streets lined with small houses with proudly manicured gardens.

Why, such a lovely name for such a close-knit and affable town. Solo, previously known as 'Surakarta' was indeed, living by its namesake, until recently. A result, 99.9% of the population of Solo, a naturally halus or well-mannered people, are not only extremely friendly to visitors but also free of the 'hello mister' attitude that comes with big tourist traps. People in Solo love a visitor.

This is a town made for the open-air. Sit in a becak or hop on the back of an ojek or motorbike taxi, stop for nasi liwet at a small side-street or sing your heart out at one of the obscure karaoke shacks and bars, open until dawn. Though many places are open all night, Solo affectionately goes by the old moniker 'So-slow,' precisely what gives it such lovable appeal.

Triwindu Antiques Market
Nestled in a labyrinthian market selling ball-bearings and car parts, the gems at Triwindu antiques market, appear even more dramatic and blissfully cheap compared to anywhere in Bali or Jakarta. On the fringes, next to a small stall selling greasy knobs and bolts, sunlight streams through Morrocan ceiling lamps saturated with color. There are venetian mirrors and transistor radios. A stall sells reproduction antique, hefty stone Buddha heads and brushed brass ganeshas of all sizes, next to a small case containing three, silk 1930s clutch-purses with delicate crystal embellishment (except that now there are two).

There are hip 1960s cocktail sets, straight from the pages of interior design magazines and about a tenth of the price of the same set in NYC or London. There are silver peacock-shaped door handles in painted wrought iron, gold vintage brooches and limestone elephants.

Because most of the goods from Triwindu are superior-quality, reproduction antiques and the rest genuine bric-a-brac from the last 60 years, prices are low. Sellers from all over come to Triwindu to sell their handiwork. It is worth a weekend trip to Solo just to furnish ones house with goods from Triwindu, or get a year's worth of gift-buying over in one morning. The sellers never harass and are open to bargaining.

Pasar Klewer
According to the tourism board, Pasar Klewer is the biggest batik and textile market in Indonesia. This may not be wholly true but it could possible be the friendliest. Ask to see a sarong and a podgy old lady will roll out the whole bunch and happily put them back when one walks away. Prices here are low. Expect to pay Rp 30.000 for a printed soft-cotton sarong or Rp 50.000 for a silk ready-made top.

Pasar Klewer (Klewer market)

Keraton Kasunanan
Javanese culture, dance, and music permeate the lives of the timeless occupants of the palace, from the guards to the royal orchestra. there are few things to see here, save for a few random artefacts and a large canoe. The palace is far more haphazard than the smaller mangkunegaran. It's unconventional charm, however, calls for a romantic stroll with the sand in one's toes. Gamelan practice is from 9am - 2pm daily.

Keraton Kasunanan

Istana Mangkunegaran
Mangkunegaran is perhaps the more cosmopolitan of the two Karatons of Surakarta. Mangkunegaran shares close ties with political powers of the past few decades.

Istana Mangkunegaran

Around the time of the Chinese rebellion against the Dutch, Raden Mas Said, the first Mangkunegaran Sultan, born in 1725, persuaded the powers that be to stop the war by signing the Salatiga treaty, during which time he became a sultan. He was like his successors to date, entitled to have his own city square, establish a women's centre, sit upon the throne and raise a pair of sacred banyan trees.

Though modelled on a typical keraton with fortress walls and a ceiling with a fire motif (each color represents a positive attribute and brings peace to the palace) Mangkunegaran went through major architectural changes during the colonial period and exhibits European decorative features typical of the period.

MASK OF MALANG

Some collection of Malang masks for Mask Dance performance

Mask (topeng) as a product of fine arts is not only used as decoration, but also as the equipment of dance and theatre in some performances. In Malang, to be exact in the Kedung Monggo village, Pakisaji sub-distric and in the Jabung village, Tumpang sub-distric, lots of Topeng are made to use for the performance of an opera or “wayang topeng”.

The mask of Malang (topeng Malang) has special characteristics, such as their thick wood of randu wood (capok tree) or “cangkring”, which is rather dark in colour, with a carving on the forehead which is specially bulging, fashioned with a square chin and high cheek- bones. Some mask needs some ritual to make the carving mask has a magic power.

Decoratively, Malang masks are unique. They are different from any other mask art found in Java. There are five typical colurs used to deco rate the masks. The red colour symbolizes courage, the black colour symbolizes determined ambitions, the yellow colour symbolizes wisdom, the white colour indicates purified character and the green colour indicates peace.

The form of its throne and the expression of the mask especially the construction of “gelung” and “janang” and the eyes are not far different with the thrones of wayang on the relief of Jajagu temple. This is not surprising since the Jabung is located near Jajagu temple.

MALANG MASK DANCE

Malang Mask Dance (Wayang Topeng Malangan)

Malang is famous for its dances. The topeng performance has a strong dramatic value, its performance pattern is good, while the garment music have special characteristics. The carving mask usually made to be used in an opera or "wayang topeng". What is interesting about the mask dance is that all the dancers representing some characters wear masks.

Klono is the evil archrival of Gunungsari and Panji Mask Dance Drama

The characters in Malang theatrical mask dance are 64 and they play the roles of 64 figures in Panji tales. As in wayang kulit, the story is narrated and sung by a dhalang, who recreates the stories passed orally to him from generation to generation. The dancers do not speak themselves with the one exception of the clown, Patrajaya, who wears a half-mask allowing him to speak. While the other dancers move with grace and style, Patrajaya plays the fool: knock kneed, buck teeth, an old cloth tied loosely around his head, he provides the comic relief. New stories are improvised from time to time and old ones built upon to create something new.

* Find out how the traditional mask dance of Malang is staged at the Padepokan Seni Mangun Dharma in Tulusbesar village, Tumpang Sub district, Malang.
Location: Tumpang Sub Distric , Malang

Lampung Cultural Art

The culture of Lampung has begun since prehistoric time based on the prehistoric inheritance of Lampung including the spreading area of megalith and bronze Culture, this is based on the discoveries of bronze drums or “nekara” and statues of ancestors of megalithic era in specific Pasemah style of Art.

At the beginning of the first century the Hindu influence was supposed to enter Indonesia. The influence of the Kingdom of Sriwijaya had left Hindu culture in Lampung which further developed until the era of the kingdom of Majapahit. The traditional of Lampung Community has an effect from Hindu and Buddha even up to the present. Such as the structure of its community, the way of thinking and the traditional ceremonies. Like other areas in Sumatra, the development of Islam was begun with trading activities which was then strengthened by the Kingdom authorities. Islam was supposed to enter Lampung from West Sumatra, however history has proved that the development of Islam in Lampung were among others caused by the fact that this area was used by preachers from Banten to practice the teaching of Islam under the reign of Sultan Hasanuddin. This does not mean the influence of Islam did not come from Sumatra. The Sultanate of Palembang in its trading activities particularly in pepper trading, had also given an Islamic culture effect in the Northern part of Lampung.

"Tulang Bawang" was known as Lampung pepper plantation which drew much attention to the traders from outside this area. It was not surprising that Lampung was the area where all kinds of cultural factors came from outside such as from Minangkabau, Malaya, Palembang, and Java, particularly from Banten. These cultural factors from outside have become the foundation of the traditional Culture of Lampung.

The ancient belief in prehistoric time formed a tradition of believing supernatural power, creatures and spirit of the ancestors. The belief in “Gali-Gasing”, giant of heaven which pounced on the moon, "Satatuha", a tiger as the substance of spirit of the ancestors; such a belief created incantations, prohibitions and all kinds of ceremonies which were obeyed as traditional cultural heritage. Some kinds of traditional village ceremonies showed mixture of both factors faith and religion. The "Gahak Pepadun" ceremony, a ceremony of achieving a title according to Lampung Pepadun Community, was one of the village ceremonies indicating sinkretism of some kinds of element of faith and religion. Since Islam rules were of most importance and very much respected, ceremonies according to the Islamic calender among others “Nyungsum Bulan” was held on the birthday of Prophet Muhammad S.A.W. “Ngaru belas” was held on mauled of Prophet Muhammad S.A.W., beside other ceremonies like those generally found in other communities in Indonesia. The influence of Hindu and Islam could be seen in its literature legends, poems and epigrams from generation to generation.

The influence of Hindu is left on the story of Raden Jambat Mangkirat in the form of poem, the adaptations of the story of "Rama and Shinta", which later changed its theme and form caused by the influence of Islam. The old texts ever uncovered among others contained those story of animals and local events, beside those containing elements of education and history.

Proverbs or phrases in the form of epigrams or verses delivered on ceremonies. If the proverbs contains some advice or guidance of life epigrams become variation which was uttered by replying each other in the ceremony. The literature mentioned above was among others that which become the source of stage drama such as the legend of Raden Jambat. The story teller acted as the story reader or ”dalang” in the drama of "wayang kulit (leather puppet) by imitating, the movement or the words of every prominent figure being told.

The series of traditional ceremony in the region always involved activities in arts. Consequently traditional art in the region was supported by traditional rules on the community which were very much obeyed. Traditional classical dances of the Lampung region were displayed on traditional events such as wedding ceremonies, visitors welcome ceremonies, installation of title ceremonies (cakak pepadun) etc. This traditional dances was accompanied by musical instrument such as “kelintang Lampung” or “Talo and Rebana”. Traditional garment including supplements of facilities containing values of art of decoration and art of regional handicraft.
“Tari Ngambai/Sambai”, traditional classical dance from Aceh, displayed by young people in honour of guests. “Tari Kipas” known of its dynamic movements, “Tari Seruping”, or war dance; “Tari Piring” with all kinds of dance movements.

Beside the traditional classical dance mentioned above there is a certain new dance a greater part of which is based on the traditional pattern though not exactly bound to the rules and movement and rhythm of dance like that standardized in classical dance.
These dance are for example: tari Sembah, Tari Manjau, Tari Sebambangan, Tari Sorai, Serumpun etc, like in the art of dance, music of Lampung, either vocal or instrumental is based on tradition. The main basis of Lampung music is vocal music whereas instrumental music comes from outside.

Vocal music is art of recital which in several areas of Lampung is called Muanjay “Adi-adi Hatang” and “Pisaan” can be recited individually or in group. “Diker” or Zikir” which belongs to instrumental music is accompanied by instruments such as "kendang" and "rebana", it is by nature a religions music (Islam). The introduction of new musical instruments such as harmonium, guitar, violin, have created new songs which become popular among the community of Lampung. This new creation has developed in "gambus" orchestras, Malayan orchestra with Malayan and Indian rhythm of songs.

Classical music instrument in Lampung is ike a flute made of thin bamboo with one hole on the bottom and three holes on the upper side. "Kulintang" belongs to this bamboo made musical instrument which has been pushed aside by Javanese "gamelan" recently.

Architecture of Lampung Traditional House

Lampung Architecture

The influence of Hindu and Islam does not change much in traditional architecture of Lampung. The traditional Architecture of Lampung like that of other areas in Indonesia, is wood architecture which has a structure and planning like that found in the area os South Sumatra “Atap Pelana” roof which is also called “Atas bumbungan perahu” roof, has the form of trapeze white when seen from the front or nearly has the form isosceles. There are some kinds or traditional buildings in Lampung such as village hall or “Sesat”, residence of community head or traditional house, common people house or mosque.


The Javanese cultural influence is seen on the construction of mosque and traditional house. Mosque in South and East Lampung take the example of the mosques in Banten whereas in West and North Lampung the influence of mosque of West Sumatra and Palembang is more dominant. These two characteristics like those in other mosques in other areas have piled up pyramidal roofs. Traditional dwelling house of common people is “Rumah bertingkat” (a storey grandstand) with a front room, a place to receive guest, a middle room for family to live and a rear room for the kitchen, the entire space under the house has a function of a shed and also as a stable.

A broader and more specified construction that an ordinary house is a traditional house, a construction which represents traditional house of Lampung. This kind of construction is for a well to do people who has a high social dignity among the Lampung community (Sistem pepadun). Based on the plan and structure, residence of noblemen of Sunda Banten, the entire group of construction consists of a gate leading to the building of aseban, a kind of sentry box or a place for men to relax.

Apart from that, there is “Ambang Agung” which functions as a corridor between the main house and aseban. A space which is called Andjing-andjing is an open verandah encircling the main house. The main house comprise lapang Agung, a large middle room, a place to receive guests on ceremonies. On the right and left of “Lapang Agung” there are rooms for families. Annexed to the main house is a kitchen or “Gerang”, where as the rice barn is in the rear yard. If there are not so many decorations on the mosque, but in traditional house this proved be on the contrary.

Colored carving and engraving of decoration on wood are found in some parts of the building such as the pillars, doors, windows fence of the verandah, ceiling, frame of roofs and also found on tables, chairs, beds and on pepadun. Beside Palembang decorative arts, also Java decorative style, like plants and animals and some geometrical motives. Such a decoration appears on heirlooms for traditional ceremonies (begawi) such as gold wagon, “pata aji”, pepadun sheath of sword, handle of spear handle of “keris”(dagger) etc.