Semar: People of the Javanese Wayang

Village Chief Badranaya Kyai Semar is the name of the main character in panakawan Javanese and Sundanese wayang. This figure is reported as a caretaker and advisor of the knights in the play stories Mahabharata and Ramayana. Of course, Semar's name was not found in the original manuscript is both epic Sanskrit language, because this is a genuine character of the poet's creation of Java.

History Semar

According to the historian, Prof.. Dr. Slamet Muljana, Semar figure was first found in literary works titled Majapahit era Sudamala. In addition in the form Kakawin, Sudamala story also carved reliefs in the temple as a numbered years Sukuh 1439.

Semar is reported as a servant or servants of the story the main character, namely Sahadewa of the Pandavas. Of course, Semar role not only as followers, but also as a hurler of humor to defuse a tense atmosphere.

In the next era, when the Islamic kingdoms developed in Java, wayang was used as a propaganda medium. The stories are still performed around the Mahabharata who was already strong in the memory embedded Java community. One well-known scholars as cultural experts, such as Sunan Kalijaga. In the puppet play, a character Semar still maintained its existence, even more active role than in Sudamala story.

In a further development, increasing the degree of Semar again. Javanese poets in the literary works they told Semar is not just ordinary commoners, Batara melaikan Ismaya embodiment, brother of Guru, the king of the gods.


The Origin and Birth

Semar painting style Surakarta.Terdapat several versions of the birth or origin of Semar. But all this character called the embodiment of god.

Fiber in the script narrated Kanda, celestial ruler named Trance Nurrasa has two sons named Trance Trance singles and authorities. Because Trance Singles ugly, it also inherited the throne of heaven to Trance authorities. From Trance authorities then passed to his son named Guru Yeng. Trance singles later became caretaker of the descendants of Guru knights, with the name of Semar.

Physical form Semar

Semar has a physical form which is very unique, as if he is a symbol of the universe depictions.His round was a symbol of the earth, where humanity and other creatures.

Semar is always smiling, but the puffy-eyed. This representation as a symbol of joy and sorrow.His face was old but stylish haircut tuft like a child, as a symbol of old and young. She male pairs, but had breasts like a woman, as a symbol of men and women. He is the incarnation of a god but to live as the commoners, as a symbol of superiors and subordinates.


Privileges Semar

Semar is a character puppet creations of local poets. Despite its status only as a servant, but parallel to King keluhurannya Krishna in the Mahabharata story. If the war Baratayuda according to the original version, the adviser to the Pandavas Krishna only one, then the puppet, the number increased to two, and the other is Semar.

Semar in literature is shown only as a descendant of Resi Manumanasa caregivers, especially the Pandavas who are the main characters story of the Mahabharata. But in staging the Ramayana themed puppet, the puppeteer is also used to display the Semar as a family caregiver or Sugriwa Sri Rama. As if Semar always appear in every performance puppets, no matter what the title was told.

In wayang, Semar act as caretakers knight class, while Togog as caretakers of the giant. Can certainly foster children can overcome Semar always Togog foster care. This is actually a mere symbol. Semar is a picture of the little people mix and celestial gods. So, if the government - which is symbolized as the knight farm Semar - listening to the little people who like the voice of God, then the state would lead to superior nagara and prosperous.




source :
http://my.opera.com/ndok%20sawah/blog/semar-dalam-pewayangan-jawa

Serabi Imut from Bandung

Serabi is one of the snack or snack market from Indonesia. Similar to the pancake griddle (Pannekoek or pannenkoek) but made from rice flour (not white flour) and given a sweet liquid sauce (usually from sugar palm). pancake is also very easy to make.

In addition to easily make, pancake sold everywhere. One of Serabi Imut shop located Setiabudhi Road 194 (across the street from Uneh dinner. there are many more shops other pancake: Beta Surabi and Surabi NHI (enhai) also sells the same snacks.

Sisingaan Dance

Sisingaan is a unique arts community featuring Sunda dolls giant lion which was carried by the players while dancing. On top of which carried the lion puppet was sitting a child who will be circumcised, or a public figure.

One story says that the art sisingaan circa 1840 created by the artists who come from Ciherang area, about 5 km from Subang City. At that time, Subang regency had become "owned" the Dutch and English with established P & T Lands. This causes like local government Subang be double, because politically dominated by the Dutch, but economically under the influence of the businessmen P & T Lands. As a result, the people of Subang become very miserable. In these circumstances, the arts sisingaan born as a form of popular resistance against the occupiers of both nations. And, to assert that sisingaan art is a form of resistance, then used two puppets lion is a symbol of the Dutch and the British state. Therefore, to this day in every game sisingaan always displayed at least two stuffed lions.

In a further development, the arts sisingaan not only spread to other areas in Subang District, but also to other districts in West Java, like Bandung Regency, Purwakarta and Sumedang. Apart from spreading to some areas, this art is also experiencing growth, both in the form of a lion puppet refinement, the arrangement of dance, costume players, as well as waditra and the songs being played.

The players are generally sisingaan men joined in a group consisting of: 8 people penggotong lion puppet (1 doll carried by 4 people), a leader of the group, some waditra players, and one or two people jajangkungan (players who using wood for as long as 3-4 meters walk). These players are people who have special skills, both in dancing and playing waditra. Special skill is necessary owned by each player, because in a show of collective sisingaan needed a solid team for all dance movement that is played while carrying a stuffed lion can be in harmony with the music played by the nayaga.

Arts sisingaan generally shown during the day with around the village during a circumcision ceremony, welcoming the great, the inauguration of the village head, the celebration of independence day and so on. The duration of a gig sisingaan usually takes a long time, depending on the area whether or not to be surrounded by homes.

Equipment used in the game sisingaan are: (1) two or four stretchers lion puppet. Stretcher frame and the head of a lion puppets are made of wood and bamboo are wrapped with cloth and given a seat on his back. Meanwhile, for the feathers in the head and tail made of yarn raffia. For the record, once a lion-shaped bier is made of wood with feathers from the rafters and the flowers are usually made in a snap in time to hold the show. So, first sisingaan not permanent, but only used once and then discarded; (2) waditra set consisting of: two large drums (percussion and drums ovarian children), a trumpet, three beats (bonangs), a kentrung (kulanter ), a small gong, and a kecrek.; and (3) fashion players consisting of: a pair shucks / pangsi, iket barangbang semplak, clothing and footwear taqwa tarumpah or salompak.

Sisingaan show begins with words of welcome by the group leader. After the group leader gives a speech said, then the child will be circumcised or community leaders who will be paraded welcome to climb the lion doll. Furthermore, beating accompaniment tool with songs brought the rhythmic dynamic as a sign of the beginning of the show. Then, a number of 8 players will begin to carry two lion doll (a doll carried by 4 people).

After the lion puppet penggotong ready, then the leader will start giving the cue for them to start doing the dance movements in unison and together. The doll penggotong immediately akrobatis movements are quite exciting. Dance movements are usually played by the puppet lion penggotong are: igeul ngayun glempang, plug / horse-riding, mincid, padungdung, gugulingan, bangkaret, put up, kicking two, step back, kael, ewag, jeblang, Jakarta, Solor , sesenggehan, genying, turn taktak, nanggeuy lions, lift jungjung, ngolecer, symbol, pasagi tilu, literacy cau, nincak rancatan, and kakapalan.

Meanwhile, the songs played by kawih interpreters to accompany the dances are usually drawn from the arts Tilu Tap, Doger, and Kliningan, such as: drought, Song, Titipatipa, Gondang, Kasreng, Gurudugan, Mapay Roko, Kembang prasina, Kangsring, Kembang Beureum, Fruit Kawung, Gondang, Tenggong Petit, Sesenggehan, Badudud, Tunggul Kawing, Side battered, Sireum Beureum, and the song Interlude (Siyur, Tepang Sono, Awet Rajet, Salira Fiber, Honey and Poison, Mr. Wonderful, Goyang Dombret, etc. Warudoyong ).

The show is performed while sisingaan around the village or the village, until finally returning to its place. And, with the dancers arriving in their place, then the show was over.

When examined in depth sisingaan contains not only the aesthetic value alone, but there are other values that in turn can be used as a reference in daily life for the community supporters. These values include cooperation, cohesiveness, order, dam persistence. The value of cooperation seen from the togetherness in preserving the cultural heritage of his predecessors. Cohesiveness and order value is reflected in a performance that can run smoothly. Value of hard work and persistence is reflected in the mastery of dance movements.

Palaces in Cirebon

IN THE CITY Cirebon, historic sites worth visiting are the two palace brothers, the royal palace and the royal palace Kesepuhan Kanoman.

Based on historical records, as Sunan Gunung Jati was still alive, Cirebon has only one court. However, after death, the palace had split into two by the Dutch. The first royal palace royal palace there is Kasepuhan.

Entering the Palace Kesepuhan area, you will be greeted by a gate made of red brick story. The front of the palace is usually called by Siti Hinggil or high ground, facing directly toward the field where the palace used to gather the troops.

After passing Siti Hinggil-shaped gate and a long fence, other buildings of interest is the Mande Sunando Semar. The building was made of wood. Formerly used as a seat palace advisers. The building has two carved pillars symbolizing prosperity.

Marks the triumph of the palace in his day, can be seen with many ceramics from the Ming Dynasty China attached to the wall, starting at the front gate, to the inside of the palace.

"Ceramics China symbolizes that the relationship was once the palace of Cirebon with China very well. In fact, one of Sunan Gunung Jati's wife is the daughter of China," said the guide in the Palace Kasepuhan, Sugiman.

Kasepuhan royal palace built in 1529 as an extension of the oldest royal palace in Cirebon, Pakungwati, which was built by Prince Cakrabuana, the founder of Cirebon in 1445. The glory of this palace is also seen in a mosque called Masjid Agung Sang Cipta Rasa is in Kasepuhan Palace complex, so beautiful and was built in 1549.

This royal palace also has a sacred golden carriage. The train was called the Lion Barong. Since 1942, this train is not used anymore, and only issued for every 1 Syawal bath.

"The train is golden lion Barong has an interesting technology, like the spokes of a wheel made curved inward, so that water and dirt does not enter into the train," said Sugiman.

If Palace Kasepuhan seemed so grand and well groomed, not so with Kanoman Palace. Unforgettable impression on the royal palace was built in 1662 by Amangkurat I was. To enter this palace, visitors must enter from Market Kanoman. In fact, the high robustness of the gate with more than four meters, was in vain with the number of rickshaws and sidewalk stalls, which mangkaldi below.

Gloomy impression is slightly changed for the better when he entered the palace gates on the inside. Identical with the color pink, the main gate of the palace became a symbol of the triumph Kanoman in the past. Almost the same as Kasepuhan Palace, Kanoman also displaying dozens of antique plates from the Ming Dynasty at the main gate. But unfortunately, many are lost and taken out thieves antiques so many holes in the gate.

"Pendopo the Palace called Pendopo Kanoman Pujinem with 17 poles, there is also a special room called Rabayaksa," said guide Kanoman Palace, Rohim.

Historically, the palace Kanoman younger than Kasepuhan. Kanoman derived from anom which means "young". Splitting of the palace in Cirebon power represented by the two palaces, Kasepuhan and Kanoman.

Fresh tribal clash in Papua

New clash has taken place between rival groups t in Kwamki Lama village in Timika regency, Papua, on Friday although police had managed to stop the fightings a day earlier.

News portal tempointeraktif.com reported that the new clash began at 7:10 a.m. local time (5:10 a.m. Jakarta time) following provocation from one of the groups since Wednesday night.

The groups, fighting using traditional weapon, picked a new area to fight on after the local police parked an armored vehicle on a street between the two warring neighborhoods on Wednesday.

The clashes began Monday afternoon, and have resulted in the death of one man and injuries to many more.

Police said the feud was due to the unpaid compensation demanded by one tribe for a rape that was allegedly committed by a member of the rival tribe six months ago.

Clashes between tribes are common in Mimika, home to one of the world's richest gold mines. A protracted conflict in 2006 killed 18 people. Another between tribes in Kwamki Lama claimed eight lives in 2007.

Source :

http://www.thejakartapost.com/news/2010/01/08/fresh-tribal-clash-papua.html

http://i.telegraph.co.uk/telegraph/multimedia/archive/00643/news-graphics-2007-_643007a.jpg

Gudeg Jogja

If we asked about the traditional foods of Jogja, we would spontaneously replied "Gudeg". Because it is a food Gudeg of Yogyakarta. Like Sate Madura and Pempek Palembang, Yogyakarta Gudeg also very familiar in the ears of Indonesian society. Even foreign tourists even if the visit to Yogyakarta, most of them would find Gudeg, because Gudeg also been known by the world community. In Yogyakarta itself Gudeg almost in all areas Yogyakarta, the center of Gudeg on Wijilan Street to remote areas in the province of DIY.

Special on Wijilan Street, there are many stores selling Gudeg with price and taste vary. Besides Gudeg, at Wijilan Street we can also find a variety of gifts typical of Jogja. Particularly in the Palace District, Gudeg can we find in some other places, such as in restaurants or food stalls, food stalls scattered in various parts of the Palace District.

Usually to entice prospective buyers, sellers pack Gudeg Gudeg wares with attractive packaging, which is served with kendhil, the container made of clay. In addition to attract more potential buyers, it also makes kendhil Gudeg more distinctive taste and better. Gudeg kendhil can we find in almost any place that sells Gudeg.

Based Gudeg young jackfruit stewed in conjunction with special spices, Santen, at the bottom and the top pan ingredients to boil boiled the leaf were young teak. To get the flavor and color Gudeg perfect and delicious, the material is boiled for about overnight. Teak leaves are used to obtain an attractive color Gudeg. For his areh or broth made from coconut milk, spices, and turmeric for coloring. Broth is poured on top Gudeg already ready to serve, only a little, but gravy is also sprinkled with fried onions.

Gudeg has a sweet taste. Gudeg usually served with warm rice, boiled eggs, chicken, chicken claw, tofu, tempeh, krupuk, and others. To drink mate, can drink anything; such as hot tea, warm orange, iced tea, ice lemon, white water, and others. It was less complete if a visit to Yogyakarta without feeling Gudeg.

Source :
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiohnl6IWcTI0m9qSocp0kYGQgWhxCSzwbSq_2_8NXyYlTYyPC9hNKeeCBmTlzcJE3W1evr29y1k1UqDO0KtbbXUtnn4vFJOmrNuxjBKLLOQezsWhlotlMlt8n-N3IJfYTRPTxE-wh2cilM/s400/gudeg+yogya.jpg

Insight: Gus Dur, his cultural legacy lives on

Indonesia saw out the year 2009 with unexpected sadness in the passing of one of the country’s most valuable individuals: Abdurrahman “Gus Dur” Wahid.
He was the nation’s fourth president after Sukarno, Soeharto and B.J. Habibie. But he was the first to be elected in a post-authoritarian system of government.
In 1998, socioeconomic and political crises forced Soeharto to resign from the presidency he had occupied for more than three decades.
His vice president, Habibie, then took over for less than two years. In 1999 the People’s Consultative Assembly favored Gus Dur over Megawati Soekarnoputri to lead the country. Regardless of his physical limitations, he was considered the only person who could heal the country and unite the fragmented parties. Ironically, after less than two full years, his presidency was nullified and handed over by the Assembly to his vice president, Megawati.
It is important to note, however, that Gus Dur would not be remembered more as Indonesia’s fourth president. Instead, our reminiscence of him centers on the very fact that he was a man, an extraordinary one in fact, who dedicated himself to tolerance, pluralism, democracy and respect for human rights.
He might have failed as a president, yet he thrived as an ardent advocate of these important and fundamental issues. And because of that, he will be missed most as a person who others — regardless of socio-religious affiliation or ethnic origin — could lean on and turn to in their agonized as well as frustrating moments.
For Nahdlatul Ulama (NU), the largest Islamic organization in the country, he will be remembered more as an activist who guided the institution into modernity — in the truest sense of the word. In this organization, he deserved to be put on a par with Hasyim Asy’ari and Idham Chalid. The former was the NU founder and also Gus Dur’s grandfather. The latter was one of NU’s most well-known politicians, who led the organizations for decades.
Gus Dur entered Indonesia’s socio-religious and political limelight in the 1970s. As a leader at his grandfather’s Islamic boarding school in Jombang, East Java, he quickly impressed many Jakarta-based NGO activists. Though one should not forget that after all Gus Dur also spent his early years in Jakarta — given that his father, Wachid Hasyim, was a notable statesman and former minister of religious affairs.
Dawam Rahardjo, Adi Sasono, Utomo Dananjaya, the late Eky Syachruddin and Tawang Alun were among the earliest to regard him as a colleague. Having known him for several years, they were among his strongest supporters in his bid to be the NU head.
With Nurcholish Madjid joining his ranks, in 1980 Gus Dur succeeded Idham Chalid as chairman of NU.
He stayed at the helm of the organization for 15 years, successfully transforming it into a strong civil society institution.
It was during this time that Gus Dur also became a regular contributor for many media outlets.
Tempo, Kompas and Prisma were among his favorites. His interests were wide-ranging, but he was very keen to address the issue of Islam-state relations. Many misunderstood him as a proponent of secularism. Had they read him more carefully, they would know that he only wanted to place Islam in the context of Indonesia — culturally and politically.
This was where his idea of indigenization came in. In his view there is no need to put Islam culturally in the context of its origin, Saudi Arabia.
In Indonesia, Islam would thrive and make no discordance if it developed in the country’s socio-cultural context. Because of that, it is incumbent upon Islam to accept pluralism and accommodate indigenous and local cultures. Islam should also serve as a complementary factor in Indonesia’s socio-cultural and political life.
It was in this regard that once he posed the rhetorical question, “Why must we use the Arab word shalat [or pray] if the Indonesian term sembahyang is no less true [than the former in meaning]?”
And on another occasion he argued for the socio-cultural comparability of the Arabic “Assalamualaikum” with local greetings such as “Selamat pagi”.
These viewpoints became controversial only because many did not grasp the noble intention behind them.
Indonesians, whether in agreement with his ideas or otherwise, will likely remember Gus Dur in this context. They will miss him most for his viewpoints, controversial though they may be. With his demise, many will long for a father figure to lend them a hand in times of need and despair. It is very unlikely that they will see him in the context of the shortest period of his history — as the fourth president of the Republic of Indonesia.

by : Bactiar Effendy


Source :
http://www.thejakartapost.com/news/2010/01/05/insight-gus-dur-his-cultural-legacy-lives.html
http://anakbangsa69.files.wordpress.com/2008/06/gusdur-senyum1.jpg

Sekatenan in Yogyakarta

Sekaten is a preliminary ceremony of the birth anniversary of Prophet Muhammad in the environment of Yogyakarta Palace and Surakarta (Solo). In addition to commemorating the birthday of Prophet Muhammad, sekaten also used by the King / Sultan to communicate with people and to give thanks to God's blessing.

Sekaten also often regarded as the People's Party. Sekaten Night Market is a local tour event whose existence was so eagerly awaited by the people of Yogya and Solo.

Usually one week before the closing, Kanjeng gamelan Kyai Kyai Gunturmadu and Kanjeng Nogowilogo removed from its storage place in Sri Manganti to be placed in the ward and then transferred to Ponconiti grand mosque yard with a convoy of abdi dalem (court officials) to be sounded every day except Friday . Another requirement is to eat betel nginang alias believed to make a young, red egg aka abang egg as a symbol of life, there is also sego tasty (rice uduk) is interpreted as a request that the upcoming crops succeed, then there is also whips (whips ) which means to try.

At the closing ceremony Sekaten, gamelan will be drawn back into the palace accompanied by courtiers. as the climax of the sekaten "grebegan". where there will be 4 "mountain" (a pile of food that resembles a mountain) which will be distributed to the people who believed to bring fortune.

At the end of the procession will appear 4 mountains (Mount Kakung, Estri, Gepak and Pawuhan), where the mountains are brought from the palace and will be a bone of contention residents. Previously, 1 mountain (kakung) brought to the area accompanied by a bodyguard Pakualaman elephants and other troops for grabs people. The other 3 mountains will be brought to the mosque gedhe as an offering to the people of Yogyakarta. There is a myth that says that when he got the blessing mountain will come to us. So that people would expect a blessing to scavenge the rest of the mountain that is not drawn.

Long before the "core", the local authorities have warned people who crowded and jostled for the order. Even been warned that his mountain fighting after the prayer offered. However, when entering the mosque gedhe Mount community has urged for progress. Whereas the existence of these mountains are still outside the mosque complex. But it often happens even totally out of control, before the prayer over the people's fight for hope Mount blessing.

Aceh Sharia forbids Chinese dance of the lions

Indonesians of Chinese descent are in revolt against the decision of the

Religious Affairs Office of Aceh, which has banned the popular barongsay(the dance of the lions, ed) during the commemorations of the fifth anniversary of the tsunami. The authorities explain that it is clearly extraneous to local culture and they want to "maintain religious harmony." The descendants of the Chinese replicate by describing the decision as "ridiculous".

Kim, an Indonesian of Chinese descent in North Jakarta, speaks of a "ridiculous and shameful" decision, in open violation of the five basic principles (the Pancasila) that "ensure full respect for cultural diversity." They are the five pillars of secular nationalism, on which the country has built its history since independence in 1945. "The decision to ban the barongsay - he adds - humiliates the various ethnic groups in Indonesia, including the Chinese people of Aceh."

The dance of the lions (pictured) was in program for 26 December next, the fifth anniversary of the tsunami tragedy, which caused hundreds of casualties among the Chinese community in Aceh. Groups coming from the province of North Sumatra were also to have attended the ceremony.

A. Rahman TB, an official of the Religious Affairs Office of Aceh - the most fundamentalist province of the country, where Islamic law is in force - justifies the decision stressing that the dance "has never been represented before” and the desire to maintain" religious harmony among the Muslims of Aceh and other ethnic groups in the province".

"It's stupid" replies Martini, a woman of Chinese origin who lives in Jakarta, based on "completely unfounded reasons". The Chinese community states that thebarongsay has"no religious character”, but is only a" cultural show ". Finally they add that they received all necessary permits from local authorities, including a police permit.

The Chinese community in Indonesia suffered harsh repression during the dictatorship of General Suharto (1967 - 1998). He had imposed a ban on all traditional cultural expressions, including the characters, language and dance of the lions. According to the dictator, the leaders of the Indonesian Communist Party (PKI) were responsible for the massacre of a group of army generals in 1965. The ban ordered by Suharto was removed in 2000 by his successor, Abdurrahman Wahid, "Gus Dur", who granted greater autonomy and freedom.

The hostility toward the Chinese ethnic community is also caused by economic reasons. Merchants, bankers, industrialists, they have long controlled the national economy. Moreover, the Chinese – once majority Buddhist – are now increasingly converted to Christianity and have become an ideal target for Islamic fundamentalist fringes in the country.

http://www.asianews.it/index.php?l=en&art=17172&size=A

Seren Taun ceremony in CIGUGUR - Kuningan

Seren Taun is a tradition of public thanksgiving application especially in West Java as an agrarian society to the Creator of Life. This tradition can be found in some indigenous communities in West Java, Banten as in; community Baduy, Sumedang Disallow (Ranch Kalong), Kampung Naga-Tasik, Copyright Degree-Sukabumi etc.. Seren Year ceremony held in West Java Brass CIGUGUR be interesting to discuss because it is a portrait of the social life of society. Be unique because of the implementation of Year in CIGUGUR Seren can involve all elements in society regardless of ethnicity, religion, gender and age.

CIGUGUR society that values diversity not only look at the Seren Taun cultural event held once a year, but more than that the values of togetherness, harmony in diversity is terejawantahkan in everyday life people.
One week before the traditional procession of the ceremony took place Seren Taun begins with the Feast Dadung located in Situ Hyang on On the morning after dawn. Hyang Situ area is an area surrounded by rocky hills, which is said by people in the surrounding area is famous for being haunted. The core of the party is throwing Dadung pests. Use of large mines Dadung or made of fibers, expressing gratitude to a shepherd community.

Song of the petition containing a blessing, so that farmers, shepherds, cattle and rice fields saved from peril, the opening event. After that, then banished to the fields of pest hole in Situ Hyang, which is said to have long had a place of throw away pests. Dadung party ended with a dance by some farmers. One expression of joy to entertain the farmers who work year sweat, cultivate rice in the heat and rain. Planting tree seedlings is also a part of Dadung Party. One form of kindness and love of the natural population, which sustain everyday life.

Not just stop at Dadung Party, the next day moved into the center of Balong Girang (natural pool of water upstream) CIGUGUR. After noon, the villagers gathered Nyiblung entertained by the music produced from hand pats in the pond water. Water music played by the player's hand and contested by local residents heard a thud clamorous. Laughter, cheers and applause sounds combined with the audience crowded musical sounds of water.

The following days during the week before the ceremonial procession of the top seren taun, usually held pegelaran attractions or traditional arts from various regions in West Java such as (Art Jentreng Tarawangsa Disallow Sumedang, Ronggeng Mount of Ciamis, Angklung Baduy of Baduy or Baduy, Music Rendo and outs of Baduy, Gending Karesmen or sendar dance, classical tembang Sundanese, etc.). In the afternoon and evening during the week was also held exhibitions like the various handicrafts of local communities, batik, weaving, carving and traditional dishes such as peuyeum CIGUGUR glutinous (sticky tape), gemblong (a type of cassava chips) and so on. On the sidelines pegelaran activities of various traditional arts and art exhibitions are also held dialogue among like indigenous peoples, agam and the general belief peeling of the social and cultural problems experienced in each region. Dialogue is usually also take place in the warm atmosphere of family, sharing experiences and help each other find solutions to be addressed together.

The night before implementation Seren Taun ceremony, usually held the customary rituals of the society ngareremokeun Baduy, ritual songs of the Dayak community Losarang Indramayu and ends with a dance Badaya Pwah Nyi Aci Sang Hyang Sri by female dancers.

The morning of 22 Saka Sunda Rayagung year, along with the rising of the dawn began the tradition of ceremonial processions peak Indigenous Seren Taun. The ceremony began with music gempitanya goong successively as a sign that the ceremonial procession to begin. Goong music is playing echoed successively implies an atmosphere of joy as indigenous citizens to start a party CIGUGUR agrarisnya customary. After that came the music of the harp to play the flute to the accompaniment of tattoo bubuka narrative horse's bit host with a short poem explaining the meaning of implementation intentions Seren Year ceremonies.

Further attractions Baduy angklung performances played by about ten people Baduy tribe. Baduy Angklung art as usual was done in the community Baduy / Baduy the traditional harvest feast in progress. Then forwarded to the pitcher as pesembahan dance a traditional dance CIGUGUR creations are danced by dozens wanoja (the girls) CIGUGUR. Formation of the dancers move from berbbagi direction of the wind directions in accordance with each party procession ceremony. This jug dance implies the meaning "where the earth where the sky dipijak upheld". Done pitcher dance performances and events continued with performances from CIGUGUR angklung beans that dipergelarkan by hundreds of youths beat sambiol CIGUGUR angklung and reog or dog-dog (sort of a drum percussion instruments of various sizes covered only the skins of animals on one side of the wooden circle). Along with musical instruments ditabuhnya angklung this reog beans and dance formations dipergelarkan banners colored by the youths also follow the music swell and rumbles echoed that.

After the end of angklung musical beans coming or moving from different parts of the wind's direction, then the procession of ngajayak ceremony. Where the corners of each group were moved lulugu and youth in pairs (male and female) of the eleven pairs take the earth in Tampah woven bamboo. Usually women girls who bring the produce white berkebaya and berkain batik dipayungi by rereng and young coconut leaf umbrellas by the pious youth-clothes white shirt, black pants and batik cloth berdodot too. The delegation of eleven pairs of young people carrying produce from different parts of this lacks the back by a group of mothers carrying rice or stored in ditampah Tampah and carried on his head (in Sundanese = disuhun), and behind are mothers, fathers father who carry rice and other crops (fruits and tubers) with a rengkong, dongdang and jampanan. The group of mothers mememaki slps koko berkain sinjang white and batik, while the gentlemen dressed in black shucks and bonded head-patterned batik cloth cap liwet general.

The procession of all the group moved the ceremony accompanied by a gamelan goong successively moved into the Tri Paseban Pendopo Gdeung Panca Tunggal. The results brought the earth lulugu and eleven pairs of young people were taking turns secaar and diterimakan dedicated to traditional leaders, community leaders, leaders of gamma and trust, and character of government officials. While the group of mothers and fathers to move directly to the place of rice or panutuan comminution. When the procession crop revenue received by the community leaders and officials said, the music of the gamelan called goong S imonggang faint strains of melodious sounds accompany tembang-tembang or babarit songs (Buhun hymn) sung by Rampak sekar (chorus) people elderly.

The climax of the top of this ceremony is seren taun speech Indigenous leaders CIGUGUR (Kusumah Djati Prince, grandson of Prince Madrais), leaders of government officials and representatives from national institutions or the world who happened to be present at the time. Then include prayers from their respective religious leaders and representatives of the trust as a form of unity in diversity in gratitude to God Almighty. Further gradual procession ended when the leaders and officers entered the area of comminution and rice together to pound rice, followed by all citizens who follow the whole ceremonial was seren taun. In addition to explanations that are usually crushed grain mass society in the top end of the ceremonial process of seren Year's around 20 quintals of paddy, while the other 2 quintals of rice in the granary store and distributed to the residents who attended and farmers in the form of puppet-wayangan rice. The entire ceremony lasted from morning till afternoon.

Culture of Indonesia

Indonesia has around 300 ethnic groups, each with cultural differences developed over centuries, and influenced by Indian, Arabic, Chinese, Malay, and European sources. Traditional Javanese and Balinese dances, for example, contain aspects of Hindu culture and mythology, as do wayang kulit (shadow puppet) performances. Textiles such as batik, ikat and songket are created across Indonesia in styles that vary by region. The most dominant influences on Indonesian architecture have traditionally been Indian; however, Chinese, Arab, and European architectural influences have been significant.

Sports in Indonesia are generally male-orientated and spectator sports are often associated with illegal gambling.The most popular sports are badminton and football; Liga Indonesia is the country's premier football club league. Traditional sports include sepak takraw, and bull racing in Madura. In areas with a history of tribal warfare, mock fighting contests are held, such as, caci in Flores, and pasola in Sumba. Pencak Silat is an Indonesian martial art.

Indonesian cuisine varies by region and is based on Chinese, European, Middle Eastern, and Indian precedents. Rice is the main staple food and is served with side dishes of meat and vegetables. Spices (notably chili), coconut milk, fish and chicken are fundamental ingredients. Indonesian traditional music includes gamelan and keroncong. Dangdut is a popular contemporary genre of pop music that draws influence from Arabic, Indian, and Malay folk music. The Indonesian film industry's popularity peaked in the 1980s and dominated cinemas in Indonesia, although it declined significantly in the early 1990s. Between 2000 and 2005, the number of Indonesian films released each year has steadily increased.

The oldest evidence of writing in Indonesia is a series of Sanskrit inscriptions dated to the 5th century CE. Important figures in modern Indonesian literature include: Dutch author Multatuli, who criticized treatment of the Indonesians under Dutch colonial rule; Sumatrans Muhammad Yamin and Hamka, who were influential pre-independence nationalist writers and politicians; and proletarian writer Pramoedya Ananta Toer, Indonesia's most famous novelist. Many of Indonesia's peoples have strongly rooted oral traditions, which help to define and preserve their cultural identities.

Media freedom in Indonesia increased considerably after the end of President Suharto's rule, during which the now-defunct Ministry of Information monitored and controlled domestic media, and restricted foreign media. The TV market includes ten national commercial networks, and provincial networks that compete with public TVRI. Private radio stations carry their own news bulletins and foreign broadcasters supply programs. At a reported 25 million users in 2008, Internet usage is limited to a minority of the population, approximately 10.5%.

Indonesia is

The Republic of Indonesia (Indonesian: Republik Indonesia), is a country in Southeast Asia and Oceania. Indonesia comprises 17,508 islands, and with an estimated population of around 237 million people, it is the world's fourth most populous country, and has the largest Muslim population in the world.

Indonesia is a republic, with an elected legislature and president. The nation's capital city is Jakarta. The country shares land borders with Papua New Guinea, East Timor and Malaysia. Other neighboring countries include Singapore, Philippines, Australia, and the Indian territory of the Andaman and Nicobar Islands.

The Indonesian archipelago has been an important trade region since at least the seventh century, when the Srivijaya Kingdom traded with China and India. Local rulers gradually adopted Indian cultural, religious and political models from the early centuries CE, and Hindu and Buddhist kingdoms flourished. Indonesian history has been influenced by foreign powers drawn to its natural resources. Muslim traders brought Islam, and European powers fought one another to monopolize trade in the Spice Islands of Maluku during the Age of Discovery. Following three and a half centuries of Dutch colonialism, Indonesia secured its independence after World War II. Indonesia's history has since been turbulent, with challenges posed by natural disasters, corruption, separatism, a democratization process, and periods of rapid economic change.

Across its many islands, Indonesia consists of distinct ethnic, linguistic, and religious groups. The Javanese are the largest and most politically dominant ethnic group. Indonesia has developed a shared identity defined by a national language, ethnic diversity, religious pluralism within a majority Muslim population, and a history of colonialism and rebellion against it. Indonesia's national motto, "Bhinneka Tunggal Ika" ("Unity in Diversity" literally, "many, yet one"), articulates the diversity that shapes the country. However, sectarian tensions and separatism have led to violent confrontations that have undermined political and economic stability. Despite its large population and densely populated regions, Indonesia has vast areas of wilderness that support the world's second highest level of biodiversity. The country is richly endowed with natural resources, yet poverty is a defining feature of contemporary Indonesia.