honai

Honai is a typical house of Papua.
Building structure

Honai house made of wood with a conical roof made of straw or reeds. Honai purposely built narrow or small and windowless in order to withstand the cold mountains of Papua. Honai usually built as high as 2.5 meters and at the center of the house put up a place to build a fire to warm themselves. Honai house is divided into three types, namely for men (called Honai), women (called Ebei), and pigpen (called Wamai).

Honai ordinary house inhabited by 5 to 10 people. Honai house in one building used for a place to rest (sleep), and other buildings for a place to eat together, and the third building to corral. Houses Honai generally divided into two levels. Ground floor and first floor are connected by a bamboo ladder. The men slept on the ground floor in a circle, while the women sleep on the first floor.

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Houses Gadang

Gadang house is named for the traditional house of Minangkabau, Sumatra province Barat.Rumah are unique in architectural form that is with a roof resembling buffalo horns are made of palm fiber. Tower House front yard is usually always there are two buildings Rangkiang, used to store grain. Gadang house on the right wing and left there anjuang space (Anjung) as a place where the coronation of the bride biting or customary chief, because that house is also named as a home Gadang Baanjuang. Anjuang on harmony Bodi-Chaniago not use crutches underneath, while for groups kesalarasan Koto-Piliang wearing crutches. This fits the philosophy adopted for these two different groups, one group adopted governance principles anjuang wearing hirarkies using crutches, the other faction anjuang as if floating in air.

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Pendet dance

Pendet dance was originally a cult which was exhibited at many temples, places of worship for Hindus people in Bali, Indonesia. This dance symbolizes the welcoming of the gods fall into the natural world. Gradually, as the development of times, changing Pendet Balinese artists to "welcome", although still containing elements of the sacred-religious. Creator / choreographer of modern dance is a form of I Wayan Rindi (? - 1967).

Pendet is a declaration of a gift in the form of ceremonial dances. Unlike dances performances that require intensive training, Pendet be danced by all people, pemangkus men and women, adults and girls.

This dance is taught simply by following the movement and rarely performed in the row-row. The young girls follow the movements of more senior women who understand their responsibilities in providing a good example.

This daughter has a dance movement pattern that is more dynamic than Rejang Dance that was delivered in groups or pairs. Usually appear after the Rejang Dance in the courtyard of temples and generally facing the direction of the sacred (pelinggih) with ceremonial dress, and each dancer brings sangku, jars, bowls, and accessories of other offerings.

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Reog (Ponorogo)

Reog is one of the cultural arts that originated from East Java and the north-west part Ponorogo Reog regarded as the true home town. The city gate was decorated by the figure Ponorogo Warok and gemblak, two figures who have appeared at the time reog performed. Reog is one of the local culture in Indonesia is still very thick with the smell of things mystical and powerful mysticism.

• History

Basically there are five versions of the popular story that develops in the community about the origins of Reog and Warok [1], but one of the most famous story is the story of the rebellion Ki Ageng Fleas, a royal servant during Bhre Kertabhumi, the last king of Majapahit power in the 15th century. Ki Ageng Fleas will anger the powerful influence of the Chinese partner in the government and its king, king of the corrupt behavior, he also saw that the power of the Majapahit Kingdom will be terminated. He then left the king and founded the university where he taught young children martial arts, science, self-immunity, and the science of perfection in the hope that these young children will be the seeds of revival again later Majapahit kingdom. Realizing that his forces were too small to fight the royal troops Ki Ageng the political message conveyed through the performing arts Flea Reog, which is a "hint" to the King and his kingdom Kertabumi Bra. Performances Reog become a way of Ki Ageng Flea build local resistance using Reog popularity.
Reog barong masks are used as the closing attraction.

In the show displayed Reog shaped head of a lion mask, known as "Singa Barong", the king of the jungle, which became a symbol for Kertabumi, and above it is plugged in peacock feathers to resemble a giant fan that symbolized the powerful influence of his Chinese colleagues who manage the over all movement geriknya. Jatilan, played by a group of dancers gemblak a rocking-horse became a symbol of the power of the Majapahit Empire troops who became Warok contrast ratio with the power, behind the red clown mask that has become a symbol for Ki Ageng Fleas, alone and sustain the weight that reached more masks singabarong of 50kg using only his teeth [2]. Ki Ageng Reog popularity eventually caused Kertabumi Lice take action and attack perguruannya, a revolt by Warok quickly resolved, and forbidden to continue teaching college will Warok. But the disciples Ki Ageng lice continues it secretly. Even so, art is still allowed to own Reognya staged because the show has become popular among the public, but the way the story has added a new channel in which the characters from folklore Kelono Sewondono Ponorogo namely, the Goddess Songgolangit, and Sri Genthayu.

Official version of the story line Reog Ponorogo now is the story of King Ponorogo who intend to apply daughter Kediri, Dewi Ragil Yellow, but amid the journey he was intercepted by King Singabarong from Kediri. King Singabarong forces consist of peacocks and lions, while the part of the Kingdom of Ponorogo King and his Deputy Kelono Bujanganom, escorted by Warok (men dressed in black in the dance), and this Warok deadly black magic. The whole dance is a dance of war between the kingdom and the kingdom of Kediri Ponorogo, and pitted black magic between them, the dancers in a state of 'trance' when enacting the dance [3].

Until now, people just follow what Ponorogo into their heritage as a very rich cultural inheritance. In his experience art is copyright Reog human creations that form the flow of an existing trust from generation to generation and maintained. The ceremony also use terms that are not easy for common people to meet them without a clear lineage. Parental lineage they embrace and customary law which still applies.

• Performance Art Reog

Modern Reog usually performed in several events such as weddings, circumcisions and National holidays. Art Reog Ponorogo consists of several series of 2 to 3 dances opening. The first dance is usually performed by brave men with a 6-8 all-black clothes, with faces painted red. The dancer depicts the figure of a courageous lion. Next is a dance which was performed by 6-8 girls who boarded horses. In reog Traditionally, these dancers are usually played by male dancers who dressed women. This dance is called the braid horse dance, which should be distinguished from other dances are lumping horse dance. Other opening dance if there is usually a dance by a little boy who brought the funny scenes.

After the opening dance finished, the new core scenes whose content is displayed depends reog condition where art is displayed. If associated with the wedding scene shown is romance. To feast circumcision or circumcision, is usually a story of warriors,

Reog art scene in the scenario usually does not follow the well-organized. Here there is always interaction between the player and the puppeteer (usually the leader of the group) and sometimes with an audience. Sometimes a player's performances can be replaced by other players if the players are exhausted. More emphasis in the staging reog art is to give satisfaction to the audience.

Last scene is a lion barong, where the perpetrator wore a mask-shaped head of a lion with a crown made of peacock feathers. The weight of this mask can reach 50-60 kg. This heavy mask carried by the dancers with their teeth. The ability to bring this mask other than the weight gained by training, is also believed diproleh with spiritual exercises such as fasting and penance.

• Controversy

Similar dances are danced Reog Ponorogo in Malaysia called Dance Barongan [4]. This dance is also using a mask suddenly peacock, which is headed tiger mask on which there are peacock feathers. Descriptions and photographs of this dance is shown in the official website of the Ministry of Culture Arts and Heritage Malaysia.

Controversy arises because the sudden peacock mask to the official website there are the words "Malaysia", [5] [6] and is recognized as a heritage society from the Stone chisels, Johor and Selangor, Malaysia. This triggered protests of various parties in Indonesia, including artists Reog Ponorogo origin stating that copyright Reog art has been listed with the number 026,377 dated February 11, 2004, and thus known by the Minister of Justice and Human Rights Republic of Indonesia. [7] also found that information peacock suddenly visible on the official site is craftsman-made Ponorogo. [8] Thousands of artists Reog had demonstrated in front of the Malaysian Embassy in Jakarta. [9] The Indonesian government said it would investigate the matter further. [7]

In late November 2007, Malaysian Ambassador to Indonesia Datuk Zainal Abidin Muhammad Zain said that the Malaysian Government has never claimed Reog Ponorogo as the country's indigenous culture. Reog called "Barongan" in Malaysia can be found in Johor and Selangor, because Java was taken by the people who migrate to these countries [10].

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kecak dance from bali island

Kecak (pronunciation: / 'ke.tʃak /, roughly "Keh-chahk", alternate spelling: Ketjak, Ketjack, and armpit), is a typical Balinese performing arts was created in the 1930s and was played mainly by men. This dance is performed by many (tens or more) male dancers who sit in a circle and lined with a specific rhythm called "smack" and raised both arms, depicting the Ramayana, when rows of apes help fight Ravana Rama. However, Kecak sanghyang ritual comes from, namely the tradition of dance that the dancers will be in a condition not realized [1], to communicate with God or the spirits of the ancestors and then convey to the public expectations.

The dancers in the circle is wearing a plaid cloth, such as chess boards around their waists. Besides the dancers, there are also other dancers who portray the characters of Ramayana as Rama, Shinta, Ravana, Hanuman, and Sugriva.

Kecak dance songs taken from the ritual dances sanghyang. Also, do not use musical instruments. Only used kincringan imposed on the foot of the dancer who portrayed the characters of Ramayana.

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

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dance summons

Saman dance is a dance show Gayo usual to celebrate important events in the customary. Saman dance utilize poetry in Arabic and Gayo. Also usually dance is also displayed to celebrate the birth of Prophet Muhammad. The name of the dance "Saman" is obtained from one of the great scholars of Aceh, Sheikh Saman.

• Meaning and Function

Dance summons is one of the media to the achievement of a message (preaching). This dance reflects the educational, religious, decency, heroism, solidarity and togetherness.

Before the beginning of the Preamble summons or opening, to appear an old egghead or traditional leaders to represent the local community (keketar) or useful advice to the players and spectators.

Songs and poems together and continuous disclosure, the players consist of men who are still young by wearing traditional clothes. Presentation of the dance can also be performed, competed among a group guests with sepangkalan group (two groups). Ditititk assessment based on their capability in each group following the movement, dance and song (poem), which is presented by the opposition.

• Choir

Tari Saman usually displayed not use the accompaniment of musical instruments, but using the voice of the dancers and their applause usually combined with hitting the chest and groin, and flung them as a 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 this dance show, the dancers are required to have a high concentration and a serious exercise in order to appear perfectly. This dance is danced by the men in particular.In ancient times, this dance performances in the event of certain customs, such as during a ceremony commemorating the birthday of Prophet Muhammad. In addition, particularly in the context of the present, this dance is also performed on special occasions formal, such as guests visit the Inter County and State, or the opening of a festival and other events.

• Singing

Song of the dancers add to the dynamism of the dance summons. How to sing songs in the dance warrant divided into 5 types:

1. Rengum, which is preceded by the lifter's roar.
2. Tones, namely Regnum which was quickly followed by all dancers.
3. Redet, namely short songs with short sound sung by a dancer in the middle of the dance.
4. Syek, the songs performed by a dancer with a long high-pitched voice, usually as a sign of change in motion
5. Saur, the song that is repeated by all the dancers together once sung by a solo dancer.

• Movement

Dancing warrant using two elements of motion that became a fundamental element in dance summons: Applause and pat dada.Diduga, when spreading the religion of Islam, sheikh summons wilt learn the ancient dance, and then bring back through the motion, accompanied by poems by memudakan preaching Islamic dawah . In the present context, dances are religious rituals that are still used as a medium to convey messages of propaganda through these performances.

Dancing summons including one dance that is quite unique, because they show only the applause of motion of other movements, such as shaking movements, kirep, lingang, surang-filter (all motion is the Gayo language)

• Dancer

In general, dance played by a dozen or summons dozens of men, but the amount must ganjil.Pendapat Others said the dance is danced more or less than 10 people, with details of 8 dancers and 2 people as the giver of the command while bernyanyi.Namun, in the development of in the modern era, which requires that a dance that will be more lively when danced by a dancer with a larger quantity. To adjust the various movements instituted a leader who called sheikh. In addition to regulate the movement of the dancers, Sheikh is also tasked to sing a song poems warrant. namely ganit.

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dance jaipongan

Jaipongan is a genre of dance that was born from the creativity of an artist from Bandung, Gugum Gumbira. His attention to folk art that one of them is making Tilu Tap right to know and recognize motion patterns perbendaharan dance traditions that existed at Kliningan / Bajidoran or Tap Tilu. Opening gestures, pencugan, nibakeun and several kinds of motion of several arts mincid above have enough inspiration to develop the dance or the arts that is now known by the name Jaipongan.

Prior to this performing art forms emerged, there was some influence behind the dance form this association. In West Java, for example, is the influence of social dance Ball Room, which is usually in a dance-dance association could not be separated from existence and pamogoran ronggeng. Ronggeng in social dance is no longer functioning for ceremonial events, but for entertainment or a way of hanging out. Ronggeng existence in the performing arts attraction that invites sympathy for the pamogoran. For example on Tilu Tap dance is so well known by the Sundanese people, it is estimated this art popular around the year 1916. As the folk performing arts, this art is only supported by simple elements, such as waditra that includes fiddle, drums, two kulanter, three percussion, and gongs. Similarly tarinya motions that do not have a standard pattern of motion, simple costumes dancer as a reflection of democracy.Along with the waning of the above art forms, the former pamogoran (audience who actively participate in performing arts, Tap Tilu / Doger / Tayub) switched his attention on the performing arts Kliningan, which in the North Coast region of West Java (Karawang, Bekasi, Purwakarta, Indramayu, and Subang ) known as Kliningan Bajidoran tarinya patterns or events that the show has some similarities with the previous art (Tap Tilu / Doger / Tayub). In the meantime, the existence of mask dances in Banjet quite popular, particularly in Donegal, where several motion patterns Bajidoran taken from the dance in this Banjet Mask. In koreografis dance is still reveals patterns tradition (Tap Tilu) which contain elements of the opening gestures, pencugan, and several kinds of motion nibakeun mincid which in turn become the basis Jaipongan dance creation. Some basic motions other than Tap dance Jaipongan Tilu, Ibing Bajidor and Mask Banjet is Tayuban and Pencak Silat.

The emergence of dance works Gumbira Gugum initially called Tap Tilu developments, which are due to basic dance was developed from Tilu Tap. The first work Gugum Gumbira still very thick with color ibing Tilu Tap, both in terms of choreography and iringannya, who later became a popular dance called Jaipongan.

• Evolve

Jaipongan works first began to be known by the public is dance "Leaves Pulus Keser Bojong" and "Rendeng Bojong" both of which are types of dance and dance partner's daughter (son and daughter). From it emerged a few dance dancer Jaipongan a reliable name like Tati Saleh, Yeti Mamat, Eli Somali, and Pepen Dedi Kurniadi. Early emergence of these dances could be discussion, the central issue is the movement of the erotic and vulgar. But from the few print media exposure, starting Gumbira Gugum known to the public, especially after the dance Jaipongan in 1980 staged at the central station TVRI Jakarta. The impact of the popularity of the more increase the frequency of performances, either on television, the celebration and feasts were held by the private sector and government.

Attendance Jaipongan substantial contribution to the activist art of dance for more active types of folk dances that explore previously less attention. With the emergence of dance Jaipongan, used by activists to hold a dance art dance classes Jaipongan, also used by employers as pubs, night-killer invited guests, where the further development of this kind of business opportunities created by actuators of dance as an economic empowerment efforts by Dance Studio's name or groups in some areas of West Java, for example in Subang with Jaipongan style "kaleran" (north).

Jaipongan characteristic style kaleran, namely the fun, erotic, humorous, excitement, spontaneity, and simplicity (naturally, whatever they are). This is reflected in the pattern of presentation of dance on the show, there is a given pattern (Pattern Ibing) as in art Jaipongan in Bandung, also there are also dances that are not cut is (Ibing Saka), for example in art Jaipongan Subang and Karawang. This term can be found in Jaipongan kaleran style, especially in the area of Subang. In its presentation, this kaleran Jaipongan style, as follows: 1) Tatalu; 2) Flower Bluebird; 3) Fruit kawung Gopar; 4) Dance Opening (Ibing Pattern), usually sung by a single dancer or Sinden Tatandakan (sinden attack but can not sing but dance songs sinden / interpreter kawih); 5) Jeblokan and Jabanan, is part performance when the audience (bajidor) sawer money (jabanan) while greeting stickers. Jeblokan term is defined as couples who settled between sinden and the audience (bajidor).

A further development occurred in taahun dance Jaipongan 1980-1990's, where Gugum Gumbira create other dances such as Toka-toka, Setra Sari, Sonteng, Pencug, Egret dazed, convoy, procession Codiaeum variegatum Leaves, Rawayan, and Dance kawung Anten. From these dances appeared several dancers Jaipongan reliable among others Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepy, Agah, Aa Suryabrata, and Asep.

This adult dance Jaipongan quotable as one identity keseniaan West Java, this is apparent on several important events relating to visitors from foreign countries who came to West Java, it was greeted with a dance performance Jaipongan. Similarly, art missions to foreign countries, always equipped with Jaipongan dance. Dance Jaipongan many other art-influenced art in the West Java communities, both in the performing arts, puppets, gamelan, Genjring / flying, Kacapi jaipongan, and almost all public performances as well as on modern dangdut music which is collaborated with the art Jaipong Pong-Dut. Jaipongan has diplopori by Mr. Nur & Leni

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