Batik

Batik originated from ancestors, known since the seventeenth century, written and painted on palm leaves. At the moment motif batik pattern is still dominated by forms of animals and plants. But in its development history of batik have evolved, from painting motifs of animals and plants gradually turn to the abstract patterns that resemble a cloud, temple reliefs, wayang beber and so forth. Furthermore, through the merger of the painting with the art of decorating style clothing, batik art show as we know it today.

The type and style of traditional batik quite so much, but the patterns and variations in accordance with the philosophy and culture of each region are very diverse. Indonesia's cultural treasures so rich nation has been driving styles and types of batik tradisioanal with the characteristics of specialty themselves.

History of Batik Indonesia

Batik is historically derived from ancestors, known since the seventeenth century, written and painted on palm leaves. At the moment motif batik pattern is still dominated by forms of animals and plants. But in its development history of batik have evolved, from painting motifs of animals and plants gradually turn to the abstract patterns that resemble a cloud, temple reliefs, wayang beber and so forth. Furthermore, through the merger of the painting with the art of decorating style clothing, batik art show as we know it today.

The type and style of traditional batik quite so much, but the patterns and variations in accordance with the philosophy and culture of each region are very diverse. Indonesia's cultural treasures so rich nation has been driving styles and types of batik tradisioanal with the characteristics of specialty themselves.


The development of Batik in Indonesia

The history of batik in Indonesia with regard to the development of the Majapahit kingdom and the kingdom afterwards. In some records, the development of batik is mostly done in times of Mataram kingdom, then in the kingdom of Solo and Yogyakarta.

Art of batik is an art image on the fabric for clothing that was one of the family culture of Indonesian kings of old. Batik initially worked in the palace alone are limited and the results for the king's clothes and family and his followers. Because many of the followers of the king who lived outside the palace, the art of batik was brought by them out palace and place of each work.

In the development of this batik art gradually imitated by the people nearest and subsequently expanded into the work of women in the household to fill his spare time. Furthermore, batik clothes that used only the royal family, then became a popular folk clothes, both women and men.



White fabric that is used when it is the result of homespun. Medium dye materials used consisted of plants native to Indonesia who made himself among others of: noni tree, tall, soga, indigo, and the material is made from soda ash soda, as well as salts made from mud soil.

So this batik in Indonesia has been known since the time of Majapahit kingdom and continued to grow until the next kingdom. The start spreading this batik art belongs to the people of Indonesia and Java in particular tribe is after the end of the eighteenth century or early nineteenth century. Produced batik batik is all to the early twentieth century and printed batik is known only after the world war was over unity or around 1920. Now, batik has become part of traditional Indonesian clothing.


Pekalongan BatikAlthough no official records began to be known when the batik in Pekalongan, but according to estimates existing in Pekalongan batik around the year 1800. Even according to data recorded at the Ministry, batik was made 1802, like a small tree motif in the form of clothes.

But significant progress is expected to occur after a major war in 1825-1830 in the kingdom of Mataram which is often referred to as Java Diponegoro war or war. With the onset of this battle royal family and urged his followers were many who left the kingdom. They then spread towards the East and West. Later in the area - a new area that the family and followers develop batik.

To the east of Solo and Yogyakarta Batik batik patterns that have been perfected in Mojokerto and Tulungagung to spread to Gresik, Surabaya and Madura. Medium westward batik developed in Banyumas, Kebumen, Tegal, Cirebon and Pekalongan. With this migration, the batik Pekalongan that have been there before growing.

Over time, Batik Pekalongan experiencing rapid development compared to other regions. In this region batik evolved around the coastal areas, namely in Pekalongan city and regional areas Buaran, Pekajangan and Wonopringgo. 

Pekalongan public encounter with the various nations such as China, Dutch, Arabic, Indian, Malay and Japanese in ancient times has colored the dynamics of color motifs and batik art.

In connection with the several types of batik motif result of the influence of various countries came to be known as the identity of Pekalongan batik. As for motive, among others Jlamprang inspired batik from India and Arabia, and batik Encim Klengenan, influenced by the Peranakan Chinese, batik Morning Afternoon by the Dutch, and batik Hokokai, grown rapidly since the Japanese occupation.

The development of print culture techniques using dye motifs cover the night (candles) on the fabric which is then called batik, is inseparable from the influence of those countries. This shows the context of the flexibility of batik from time to time.

Pekalongan batik is very unique because it relies entirely on hundreds of small entrepreneurs, rather than on a handful of large employers have capital. Since many decades ago until now, most of Pekalongan batik production process is done in homes. As a result, closely united with batik Pekalongan Pekalongan community life that is now divided into two administrative regions, namely Pekalongan Municipality and Regency of Pekalongan.

Pekalongan batik tidal development, showing Pekalongan eligible to become an icon for the development of batik in Indonesia. Icon for works of art that never gave up with the times and always dynamic. Now, batik has become a breath of everyday life Pekalongan residents and is one superior product. This is because many industries which produce batik. Because the product is known for his batik, known as the City of Pekalongan Batik. The nickname came from a long tradition rooted in Pekalongan. During that long period, various properties, the variety of uses, type design, as well as batik quality is determined by the climate and the presence of fibers of local, historical factors, trade and community readiness to accept and understand new ideas.

Batik is an art culture that admired the world, among the traditional varieties produced with dye technology hurdles, none of which can be present as beautiful and as smooth as batik Pekalongan. 

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Custom House Sumba

Sumba Island in East Nusa Tenggara province, its people have a religious teaching 'Marapu' who believe in the divine power of 'Mawolu Marawi'. There was also a belief in guardian spirits of the forest, rivers and others. Beliefs about life after death is realized by the grave stones in the yard. In this grave stone body position is set with folded arms, legs bent sideways and put to sleep like a baby at birth. In the vicinity of the grave stone also made sculptures and reliefs depicting ancestral spirits.
Houses indigenous people of Sumba was given the name 'Uma'. Each uma has a name based on social status. For ordinary people's house named 'Uma Marapu Manu', to house the settlement leader named 'Uma Rato', to house Katuas named 'Uma Delo', and buildings for bermusyawaran given the name 'Uma Wawine'.

'Uma' is a building that has a roof shield high at the top with a very steep slope. At the bottom of the roof of a smaller proportion made with the slope of ramps. The proportion between the roof with the walls as well as different wall sehigga almost invisible. Roof ridge is a positive runag functioning optimally. Space in the upper ridge is used to store seeds and food ingredients with the name 'uma dalo', below that is where the daily food store called 'pedalolo', below it again is the bedroom so-called 'katendeng'. The lowest part of the space 'Uma' is 'katonga tana' that serves as a hall where the footrest before entering the house. The bottom of the stage-shaped building with a porch that is not fenced. Finishing construction tend to be neat and not tersistem rigidly. The walls of the timber line of piles placed in a horizontal position.

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Sundanese Traditional House

generally shaped stage. It has a height between 40 cm - 1.5 cm. Space between the ground floor of Sundanese traditional house, known under the Imah. Houses stage is very useful to avoid wild animals and flooding. And facilitate the circulation of fresh air.
Rangkay Imah.

Also called the frame house and divided in three parts. The top of the roof termed hateup, and Susuhunan or ridge. Hateup in traditional houses made of palm fiber or leaf kawung (palm). In general, Sundanese house now replaced with materials tile roof section.
Susuhunan have different types and shapes. There are terms Susuhunan type long, short or Susuhunan Susuhunan jure, and lisung nangkub or dimples face down. Typical form of Susuhunan Sundanese traditional house is shaped Ngapak Hornbill. In Kanekes environment, known as Sulah Nyanda. There is also a form of Susuhunan Tagog Dogs, Limasan, and others.

Room house
Sundanese traditional house room is divided into three. The outside, the inside of the house, and the back. The room is called the side: the exterior, patio, or porch. Serves to relax outside and the room to receive guests.

For Kanekes Sundanese people, side: also called sosoro. While the front of the house of Jaro, known as sosompang. For those who have sufficient land area, usually built guest rooms specially designed parallel to the porch.

Restricted part of the house with walls made of processed bamboo sticks. Cubicle walls or houses made of woven bamboo called giribig. The term often refers to the chamber itself giribig after a wall of the house.
Imah Central.

The term middle part of the house. In this section, generally there are pangkéng-walled chamber. Another term of pangkéng is enggon, the room or house owner's bed. The bedroom is made according to the number of family members and in accordance with an area of ​​the house.

Space between boys and girls separately. Bedrooms parents separate also from the child's bedroom. There is also the room where the family gathered, as the living room.

Tailor Imah
The back, or handyman. Consisting of a kitchen and a room goah. The kitchen serves as an indoor cooking. The back of built wells as water sources. There is also a laundry and shower water.

Goah is room in the house located at the rear. Built close to the kitchen. Goah space serves to store food, cooking spices, rice, kitchen furniture and padaringan.

Padaringan a storage area for rice that is part traditional Sundanese. Rice stored in a container or small barrel-shaped, and placed in goah. Habits of interest is only women are allowed to enter padaringan. In fact believed to be the core of the existence of a house. At present, it is rarely someone's house who has padaringan Sundanese. Usually only have pabéasan course, as a place to store rice alone.
Sundanese tradition Buhun view that men are taboo to go into the kitchen, and it is not good. The back room like a place to receive guests of women. While the porch, is devoted to receive male guests.

Leuit
Leuit is building for storing crops. Usually used as a granary. Built separately from the house resident.

Saung Lisung
Form of buildings provided by the community. Functioning as a place of citizens committed to pound rice in a collaborative royang and full of togetherness. Activities to pound rice, in some communities in the Sunda accompanied by singing and accompaniment Halu beats lisung and shouted to each other.
Sundanese traditional house is the more rarely seen in the township of Sunda. The Sundanese many homes switch to brick wall. To Kanekes and kabuyutan Sundanese village, still maintain their traditional Sundanese house.

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shadow play

As its name suggests, shadow puppets are made from the skins of animals (buffalo, cow or goat). Shadow puppets are used to demonstrate Purwa The play chronicles the story of the Mahabharata and Ramayana, is therefore also called puppet Purwa. Until now leather puppet show as well as a means of entertainment is also one part of traditional ceremonies such as: clean village, ngruwat and others. To perform a puppet show complete skin required approximately as many as 18 people supporters. One person as a puppeteer, 2 people as waranggana, and 15 people as gamelan wiraswara concurrently.
The average performances in one night is 7 to 8 hours, from 21:00 hours until 05:00 hours of the morning. When done in the daytime show usually starts from 09.00 until 16:00 hours. Place puppet show performances arranged by using an abstract concept. Arena stage consists of a screen of white cloth as a means of technical and placed beneath banana stem to stick puppets. In the leather puppet show, the number of scenes in a play can not be determined.
The number of these scenes will vary based on the play that demonstrated, or depending on the mastermind. As the pre-spectacle is tetabuhan that has nothing to do with the main story, so just be as heated atmosphere or introductory course to get into the actual show. As a guide in presenting puppet shows are usually a puppeteer would use a standard form of puppetry puppetry books. But there is also the mastermind who uses records from the old puppeteers whose knowledge acquired through descent.
However, a puppeteer also given the opportunity to improvise, because the grip of puppetry is actually only contains the main story's core course. To further turn the atmosphere and make the performance more interesting, improvisation and creativity puppeteer holds a very important role. Color makeup in leather puppet has a symbolic meaning, but there is no general rule here. The color red makeup for the face for example, most indicate the nature of anger, but the figure has Setyaki makeup color red is not a figure insolence. So the puppet character is not determined by the color of makeup, but also determined by other elements, such as the shape (pattern) puppet itself. Arjuna figures, both for having a black face and yellow colors, is still Arjuna with its properties that we already know. Advances such as color differences are only to differentiate spatial and temporal appearance. Arjuna with the color yellow face for a scene staged in the palace, while Arjuna with the color black face indicates that he was on his way. Similarly, figures Gatotkaca, Krishna, Werkudara and others. This puppet face color difference will not be known by the audience who saw the show from behind the scenes. Lighting equipment used in the leather puppet show from the first until now has undergone many changes in accordance with technological developments. In its original form of lighting equipment used in the leather puppet show is blencong, then evolved into a kerosene lamp (keceran), pumped, now many use electric lights.

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Karapan Cow

For the people of Madura, karapan cow is not just a party of the people of celebrations held every year.Karapan cows also not just a tradition that carried generations from one generation to the next. Karapan cow is a pride that will raise the prestige of dignity in society.

The history of the origin of Beef Kerapan no one knows exactly, but based on oral sources who passed on from generation to generation is known that Kerapan cow was first popularized by Prince Katandur Sapudi originating from the island, Sumenep during the 13th century.
Originally intending to use cows as processing power fields. Brangkat of perseverance how to plow the cow work, processing rice field soil, it worked and the barren land was turned into fertile soil.

Seeing the good ideas and bring positive results, of course, village residents followed his prince. Finally the ground all over the island which was originally Sapudi arid, fertile soil that could be planted with rice. Results panenpun abundant fertile area and be prosperous.

After the harvest came as an expression of joy for the abundant harvest Prince Ketandur have the initiative to invite people in her village to hold a cattle race. The area of ​​wetland that has been harvested area used for cattle race. Finally, cow racing tradition Prince Ketandur idea that until now continues to grow and preserved. Only the more popular name is replaced with "Kerapan Cow".

For the people of Madura, Kerapan Cattle other than as a tradition as well as the party of the people who carried out after successful reaping the harvest of rice or tobacco. Kerapan as the party of the people in Madura has a role in various fields. For example in the field of economics (an opportunity for people to sell), the role of religious magic (ie the specific calculations for the owner of the cow before the match and the presence of certain mantras), the field of fine arts (there is on equipment that has a particular decoration), the arts dance and music art saronen (always changing and evolving).

Anatomy Kerapan
Definition of the word "kerapan" is a fighting cow wearing "kaleles". Kaleles are complementary means to be climbed sais / jockey who is known in Madura called "handyman Tongko". The cows that will be driven dipertautkan with "pangonong" in the neck-neck so that it becomes a single pair.

Madurese gives the difference between "kerapan cow" and "cows often." Kerapan cow is a cow that was fighting the pacemaker, in kaedaan moving, running and dynamic. Medium beef cattle often is good for one or more kerapan. This is to distinguish ordinary cow. There are several kerapan namely "kerrap kei" (small kerapan), "kerrap king''(kerapan great), 'kerrap onjangan" (kerapan invitation), "kerrap jar-teaching" (kerapan exercise).

Kaleles as a tool for the ride kerapan Tokang Tongko from time to time through many developments and changes. Kaleles light used is selected (for cows could run as much as possible), but strong enough to be climbed Tokang Tongko (jockey).

Beef cattle often are selected with specific characteristics. For example, small-breasted water means downward, long-backed, hoofed meetings, rigid upright and sturdy, long-tailed and fat. Rearing cattle is often also very different from ordinary cows. Cows eating problems often are all concerned, his health and at certain moments were given herbal medicine. It often happens that these costs are not comparable with that obtained when the winning prize, but the owner is a pride and cattle prices often can be very high.
Cows often there are three kinds of beef are "quick heat" (only with hot oiled powder and medicines quickly aroused), the cattle are "cold" (when will dikerap should be flogged many times), and cow "kowat rafters" (strong tired, need a warm up first).

At the time, will be contested cattle owners often have to prepare builders Tongko (jockey), "handyman tambeng" (duty to hold, open and remove obstacles to race), "handyman gettak" (bully beef for cattle to run fast), "handyman gubra" (people who bully beef to cheer on the edge of the field), "handyman ngeba rope" (a carrier cow reins from start to finish), "handyman nyandak" (the person in charge to stop running after the cow until the finish line), "handyman Tonja" (person in charge of guiding the cow).

Some equipment that is important in cattle kerapan kaleles and pangonong, "pangangguy and rarenggan" (clothing and jewelry), "rokong" (a tool to cow for a surprise sprint). In kerapan cows do not miss the "saronen" (the instrument of driving kerapan). Device consists of saronen, drums, kenong, kempul, krecek and gongs. Party People

Generally, a party of the people, organizing Kerapan Cows are also very enthused by the Madurese community. Each time the operation is estimated Cow Kerapan present society can reach 1000-1500 people. In the party among the people and society berabagai Madura they merge into one in an atmosphere of sportsmanship and fun.

Another interesting side karapan audience of cows is an opportunity to place a bet amongst the audience. Total stakes are also varied, ranging from the class rupiahan thousand to tens, even hundreds of millions of dollars. Usually spectators who stood along the small stakes arena, not until millions. However, the big gamblers, mostly sitting on the podium or just to see from where the distance. Transactions conducted outside the arena, and usually take place at night before karapan cow begins.

Eequal
Karapan cattle owners to obtain a high prestige when able to win the traditional race. In addition, the price of beef paired direct karapan soar winner. Mislnya, who won the race in cattle prices Bull Race 2003 soared to 200 million from the previous 2 years only Rp40 million.

To form the body of a healthy calf pairs will cost up to Rp 4 million per pairs of cattle for food and other maintenance. Understandably, cattle are given various herbal karapan and dozens of chicken eggs per day, even more so before competed in the arena karapan. Based on community tradition karapan cattle owners, the animal was parachuted into the arena before the wounded in the buttocks that is scraped with a nail until his skin bled for to run fast. Even given the wound or balm sauce that dioles-dab in certain body parts such as around the eyes.

The day before the race done, partner and owner of cattle and a number of relatives staying in a tent that is placed in the field. Do not forget the party enlivened by a traditional music group Sronen who paraded before the cow couples competed. Even the traditional services were required to be carried karapan cow. The "enthusiast" Kerapan Cows do it all for the sake of a prestige, or prestige is indeed a unique character Madurese

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Betang House

Betang house is a typical traditional house Kalimantan contained in various parts of Kalimantan, especially in upstream areas which usually becomes the center of the Dayak tribe settlements, where the river is the main transportation routes for the Dayak tribe to perform a variety of mobility everyday life like going to work to the fields where Dayak tribe fields are usually far from residential areas, or perform commercial activities (the ancient Dayak tribe usually trade using the barter system of mutual exchange with the fields, gardens and livestock).

Great shape and this betang house varies in different places. There betang house which reach lengths up to 150 meters and 30 meters wide. Generally betang house built in the form of a stage with a height of three to five feet from the ground. The high building this betang I expect to avoid flooding in the rainy season that threatened areas in the upstream river in Borneo. Some housing units could have a house betang more than one depending on the size of the household members of such residential community. Each household (family) occupies the chamber (room) that the barriers of a large house betang, along with the Dayak tribe in general also have single houses built temporarily to perform the activity fields, and this is because away distance between fields with the settlements.

More than buildings for dwelling Dayak tribes, actually betang house is the heart of the social structure of the life of the Dayak. Betang culture is a reflection of the togetherness in the daily life of the Dayaks. Inside the house this betang every individual's life in the household and society systematically arranged by mutual agreement as stated in customary law. Common security, both from criminal interference or sharing food, the joys and sorrows as well as mobilization of manpower to work the fields. The main value that stands out in life at home is the value of togetherness betang (communalism) among the citizens who inhabit it, regardless of the differences they have. From this we know that the Dayak tribe is the tribe who appreciate a difference. Dayak tribe appreciate the difference of ethnic, religious or social background.

But at the present time too many outsiders (and even Indonesia's own people) thought that the Dayak tribe is the tribe that are closed, individual, rude and uncivilized. Actually this is a big lie created by the Dutch colonial time period of Indonesia's independence struggle to divide the unity and integrity, especially among the Dayak tribe itself which at that time upheld the betang home culture. And a lie is still considered correct until now by those who do not know the right of the Dayaks. For example, writing works of the Dutch people named J. Lameijn entitled Rising Sun, where the writing is very degrading treatment of Dayak communities. Part writing was as follows.

".... Once finished pertcakapan it was sufficient that my knowledge of the Dayaks. Before that I already knew, that the Dayak was very rude and savage pathos. If not forced, there is no just dare to walk alone ditanahnya, because surely it will come back no more heads. "

Dayak community a bad image in perparah again with the emergence of ethnic riots that occurred in Kalimantan, which in large-scale exposure to out of the country (mainly via internet) without looking at the real cause of the riot is only looking at based on the massacre that happened, like the riots in West Kalimantan (Sambas) and Central Kalimantan (Sampit and Palangkaraya). I myself was in Sampit city during the riots first broke out on 18 February 2001 and 2 days later I was in Palangkaraya, when I was a grade 3 junior. Based on my view of the ethnic violence in Sampit and Palangkaraya, where here I did not side with any interest but I prefer to see actual facts on the ground during my stay in Sampit from my childhood until the outbreak of the conflict Sampit. Riots are not the result of the intellectual leaders who wish to disrupt the situation or feeling jealous because certain ethnic Dayak tribe more successful in making a living in Borneo, but rather the injury to feelings Dayak people who buried for years due to not appreciate that their culture betang owned by certain ethnic groups, until perihnya wound can not be arrested again by the Dayak and eventually lead to the outbreak of the bloody conflict. Should have a better understanding of that particular ethnic proverb "Where dipijak earth, where sky upheld", instead of being arrogant and want to win themselves and do not appreciate the local culture (cultural house that upholds betang common values, equality, mutual respect, and tolerance).
Now, the house is a residential betang Dayak people gradually disappeared in Borneo. Even if the residents still could no longer find it as the main house, where the family shelter, grow and share stories with the community. Betang stay a memorable home for most of the Dayaks. In some places that are dispersed, the house betang maintained as a place for the tourists. Call it, for example in Palangkaraya betang there is a house built in the 1990s but rather seen as a monument that is not inhabited. The young generation of the Dayak are now no longer living at home and raised betang (including myself). Betang house is said to only be found in corners, the interior of Borneo without knowing the exact location. This statement certainly suggests that the house betang only story of the tradition associated with backwardness and underdevelopment of the modern lifestyle.

And now, in the face of modern life is very individualist, who are only concerned with personal interests, material and full of hypocrisy, cultural masihkan betang house into order to live together in Kalimantan or whether this culture will also disappear as the disappearance of home building betang in Kalimantan. Whatever the answer we only person who can determine Borneo!

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Saman Dance

Saman dance is one of the most famous areas of Aceh today. This dance originated from the Central Highlands. In the past, Tari Saman is usually displayed to celebrate the event - a significant milestone in indigenous and people of Aceh. In addition, this dance is usually also displayed to celebrate the birth of the Prophet Muhammad. In fact the name "Samantha" is obtained from one of the great scholars of Aceh, Syech Saman.

Saman dance is usually displayed using the accompaniment of musical instruments, a drum and use the sound of the dancers and their applause is usually combined with hitting the chest and groin, and flung them as synchronization body in different directions.

This dance is guided by a leader who is typically called Syech. Because of the uniformity of formation and punctuality is a must in these dances, the dancers are required to have a high concentration and a serious exercise in order to appear perfectly.

This dance is performed in groups, singing by sitting on his knees and berbanjar / bersaf without musical accompaniment.

Because of dynamic motion, this dance a lot dibawak / danced by men, but now the development of this dance has been danced by many female dancers as well as a mixture between male dancers and female dancers. This dance is danced about 10 people, with details of 8 dancers and 2 as cue givers while singing.
For dance lovers, Saman be one prima donna in the show. In every appearance, in addition to drawing attention also suck big dance lovers. Saman dance one dance that is quite unique, because it only shows the motion of clapping and other movements, such as body movement, head and body position. Another uniqueness visible from a seated position of the dancers and swaying bodies snapped to the left or right, when the verses sung in rhythm.

This dance is usually played by a dozen or dozens of men, but the numbers must be odd. However, in subsequent developments, this dance is played also by women or a mix between men and women. And of course with modifications to other motion. I am sometimes asked how many people can simultaneously play a dance that has a high speed? In addition to training of course, there's a certain formation in putting each dancer was so dense and balanced look harmonious and dynamic dance.

Almost all Acehnese dances performed a gang. This requires cooperation and mutual trust between the sheikh (leader in the dance) with the dancers. But what are the elements that make this dance so beautiful in motion, rhythm and cohesiveness is not much we know.

Now let's start peeling the supporting elements in this saman dance. Perhaps when we know all the aspects contained in this dance, we can better understand. And get not only beauty but also the philosophical meaning of position, movement, poetry performances terlantun when Saman in the title.

In a normal appearance (not match) in which the existence of time constraints, Saman could be played by 10-12 dancers, but at least supported the integrity Saman 15-17 dancers. Which has the following functions:

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17



    * No. 9 is called Lifting

      Lifting is the main character (a type of sheikh in Seudati) central point in the Saman, which determines the motion of dance, dance level, that poetry and poets echoed in retaliation to attacks opponent's play (Saman Jalu / game)

    * No. 8 and 10 referred to clamp

      Auxiliary lifting clamps are good figures dance movement and singing / vocal

    * No. 2-7 and 11-16 is called pincers

      Pincers are regular dancers who support the dance or dance movement that is directed lifter. Aside from being a dancer also plays grip (squeeze). So the density between the dancers awake, so the dancers together without any of the positions banjo / bershaf (horizontal) to unity and simultaneity of motion.

    * No. 1 and 17 is called Penupang

      Penupang is the dancer's most right-left end of line dancers who sit berbanjar. Penupang besides supporting role as part of the dance also serves menupang / hold the integrity of the position of dance in order to remain tight and straight. So-called penamat kerpe penupang jejerun (holder jejerun grass). As if last strengthen the position with grass memgang jejerun (jejerun a kind of grass roots terhujam strong and deep, hard on the pull.


Saman dance danced in a sitting position. Included in this type of art ratoh duk (sitting dance). Whose birth is closely related to the entry and spread of Islam. Where the dancers sat kneeling position, depressed body weight to both feet. Saman dance patterns in space is also limited at the level, ie, the height position of the body. From a sitting position on his knees turned to a position above the knee (Gayo - berlembuku) which is the highest level, being the lowest level is one where the dancers body bent forward until 45o (tungkuk) or tilted backward ° to 60 ° (langat). Sometimes when the motion is accompanied tilt to the right or left, called novice. There are also exercise in a sitting position next pitch to right-or left-rear (lingang).

In addition to a sitting position and body movement, hand gestures are very dominant in saman dance. Because he serves as a motion once the music. It's called the second hand cerkop coincide and direction. There is also cilok, namely the index finger tip motion as if to take something lighter objects such as salt. And tepok performed in different positions (horizontal / back and forth / like a propeller). Head movements such as nodding in a slow tempo to fast (anguk) and head spinning like a propeller (Girek) is also a range of motion saman. Kesenyawaan all these elements that add beauty and harmony in motion dance saman.

Because dance saman played without musical instruments, then as a retinue in use hands and body. There are several ways to get these sounds:

   1. Clapping both hands. This is usually moderate to fast tempo

   2. Punch both hands to the chest. Usually upbeat

   3. Clapping of the palms to the chest. General tempo is

   4. Friction with the thumb-hand middle finger (kertip). General tempo is.


And the singing of the dancers add to the dynamics of saman dance. Where can I sing songs in saman dance is divided into 5 types:


   1. Rengum, the roar that begins by lifting.

   2. Tones, namely Regnum which was quickly followed by all dancers.

   3. Redet, which is a short song with a short sound sung by a dancer in the middle of the dance.

   4. Syek, the song sung by a dancer with a long high-pitched voice, usually as a sign of change in motion

   5. Saur, that is the song that is repeated by all the dancers after sung by a solo dancer.


In every show it was in sinergikan so aimlessly an amazing dance movement. So the power of the Saman is not only in his verse alone, but the motion of a compact be more value in the dance. This may be realized from the compliance of the dancers in their respective roles to play.

That bit about the function of formation, type of motion, provided musical accompaniment and singing in the Saman dance performances. May be useful for you in understanding the Saman dance.
Saman Dance Little History
This dance comes from the Gayo highlands soil. Created by a cleric named Sheikh Saman Aceh. At first, this dance is just an ordinary game called Pok Ane. Seeing the great interest in the arts to the people of Aceh so by Sheikh disisipilah with poems that contain Praise, praise to Allah SWT. So Saman became a media propaganda that time. Formerly Saman exercises done under the under the Meunasah (a type of mosque, at that time still building aceh building stage). So they will not miss to pray in congregation.
Along Aceh in war conditions, the sheikh added that manambah poets fighting spirit of the Acehnese. This dance continues to develop according to their needs. Until now this dance is more frequently in the show in celebration of religious and state affairs. This dance was originally received less attention because of the limitations of communication and information from the outside world. This dance began to shake the stage during his performance at the Cultural Week of Aceh (PKA) II and the inauguration of the opening of Taman Mini Indonesia Indah (TMII). Saman rumble in TMII shocking not only the country but to foreign countries. I am a child of this country hope that can continue to reverberate Saman.

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Kecak Dance

Kecak Dance is a typical Balinese performing arts that was created in the 1930s and played mainly by men. This dance is performed by many (tens or more) male dancers who sat lined up in a circle and with a certain rhythm called "cak" and raised both arms, depicts the story of Ramayana when Rama's line of apes help fight Ravana. However, Kecak Sanghyang comes from the ritual, namely the tradition of dancing the dancers will be in unconscious condition, to communicate with God or the spirits of the ancestors and then convey its expectations to the public.

The dancers in the circle is wearing a plaid cloth like a chessboard their waist. Besides the dancers, there are also other dancers who portray the characters of Ramayana as Rhama, Shinta, Ravana, Hanuman, and Sugriwa.

Kecak dance songs taken from the ritual dances Sanghyang. Also, do not use musical instruments. Only used kincringan worn on the feet of dancers who portray the characters of Ramayana.

Around the 1930's Wayan Limbak worked with German painter Walter Spies to create the Kecak dance based ontradition Sanghyang and parts of the story of Ramayana . Wayan Limbak popularizing this dance while traveling the world with his troupe of Balinese dancers.

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