Archive for May, 2007
Bandar Seri Begawan - Travel agents from Anthony Tours and Travel, Halim Tours, Jasra Harrison, Pan Bright Travel and Straits Central Agency recently attended the 8′ Majapahit Travel Fair and Surabaya educational trip, sponsored by Royal Brunei Airlines with cooperation from Surabaya Tourism Promotion Board.
Some 92 buyers from Asean as well as Sweden, Australia, China and Japan were invited to the event, which ran from May 22 to May 26.
The buyers were also treated to a half-day city tour, full-day Madura Island tour, which included a bull race. A cultural dinner was hosted by the governor of East Java Province on May 23 at Pakuwon Golf and Family Club.– Courtesy of Borneo Bulletin
Brudirect.com News — By Yusrin Junaidi
May 31st, 2007
You’ve seen it on the Discovery channel and vaguely remember your sixth grade geology teacher lecturing on it. Well, now you live right next door to Krakatau, the site of what was once of the world’s mightiest volcanoes. So grab your gear because I’m going to tell you how to live the legend.
You can base your trip from Tanjung Lesung, a scrub of land on the tip of West Java, where the Sailing Club is located. Not exactly the gleaming marina filled with rows of luxury yachts you might imagine it would be, but still a good place for info gathering, tasty tuna steaks and a place to swap tales with crusty seamen. If you arrive early enough, you can spend the day swimming the warm waters pouring in from the Indian Ocean, rent a mountain bike for a leisurely pedal through the freshly burned down jungle, or take a sailing lesson.
At 8 a.m. you board your boat, hopefully skippered by Steady Eddy, a local tourist guide. The boat seats eight, though if you have a group of fifteen you could try to cram them on Indonesian-style, ultimately drowning yourselves in choppy waters. I doubt Steady Eddy will allow this though, as he is a consummate professional. Zoom and you’re off across the Sunda Straits with a herd’s worth of horsepower rocketing you through choppy waves.
Dave, the owner of the Sailing Club and himself a seasoned sailor, let us know that roughly ten fishermen die each month in the brutal waters of the Sunda. “If you fall out of the boat, I figure the next time they’ll see you is in Dar Es Salaam,” he had quipped the night before, adding “There really ain’t no point in even wearing a life jacket, there ain’t no one out there that’s gonna save you.”
Krakatau is anywhere from 20 km to 40 km from Java, depending on who you ask and where you’re measuring from. It is not a volcano per se, more the remnants of one. A few hundred years ago it was a real goliath of a rock, but in 1883 it got too full of itself and detonated. After all was said and done, it had snuffed out 36,000 lives, displaced 15 square miles of terra firma, submerged islands and villages with 30 meter tall waves, lowered the earth’s temperature a few degrees and packed the atmosphere with sulphuric gas and grit. But with daddy gone, a space had been made for a child to grow. Like a scene from Hellraiser, just when you thought the Krakatau nightmare was over, its spawn is found to be crawling from the depths of purgatory to continue the legacy.
This, my brave and adventurous reader, is where you are headed: Anak Krakatau, the child of a geological Satan. You reach it by 9:30 a.m. and you’re on the slopes in minutes. It’s a slog; pure and simple. For the next 45 minutes (if you’re strong) to 2 hours (if you aren’t) it’s all scree under a hot sun. You will be climbing a giant pile of hot, black ash and lava bits, dredged from the centre of the earth and deposited like a large, cancerous wart on a beautiful face.
The top, like most, makes it all worth it. Crusty, steamy walls plastered with bright oranges, dried-blood reds and egg-yolk yellows give a cheery face to a blackened head. Looking down from the crest, you can witness the growth spurts this rowdy fellow is going through as layer upon layer of lava is being deposited; its girth expanding and might growing. The actual crater is quite small and could be climbed down into should one want to stand right on the throat of ‘Anak’. But then one is reminded of Steady Eddie’s story of a foreigner who came here and never made it home alive. Not to mention it’s just not polite to go poking around someone’s trachea. They might burp and blow your head off.
After your climb, you hop back in the boat, scarf down your pre-packed snack-pack and go snorkelling around the backside of the kid. Steady Eddie has great gear and will take you to where black tongues of lava are licking the sea. If you’re of the opinion that breathing through a plastic tube should be saved for people in the hospital, then it’s instead a good spot for impressing the Indonesian boat boys by doing back flips from the boat’s bow.
Leaving this spot, you’ll be taken to a snug little cove with monitor lizards, swooping birds and plenty of jellyfish to zap your fleshy, sunburned appendages. Don’t forget though, should you become overwhelmed with jellyfish juice, your friends can all pee on you to neutralize the sting. They can do that even if you don’t get stung; depends on your friends.
With that, you’re done for the day and it’s time to scoot home. For you in the back of the boat this will be a pleasurable romp through giant swells. For your poor, ungainly author, who had to sit in the front and endure the smacking waves, it was like being tied by one hand to a bull’s leg and then having someone kick it in the nuts. Even Steady Eddie wears a motorcycle helmet during the return trip. No joke.
All in all, an excursion to Krakatau is worth its while and easily done in a weekend. Just be sure to bring a wad of cash, as it can easily bust the piggy bank. The boat rental, at roughly Rp 5,000,000, hurts the most. I found that the money from a donated spleen plus a few nights of moonlighting as a becak driver just about covered the cost.
Jakarta Java Kini
May 31st, 2007
Remote places do not always lack facilities and technology, as is the case in Kertosari village, located on the slopes of Mount Semeru in Lumajang regency, East Java.
Remarkably, Kertosari village hosts technology similar to that in big cities, including up-to-date computers equipped with various programs and with access to the Internet 24 hours a day via satellite.
“We hope to alleviate poverty through Information Technology (IT),” said Sahlan Basyar, coordinator of the Semeru Telecenter.
Kertosari is located in Pasrujamber district, Lumajang regency, some 180 kilometers from the East Java provincial capital of Surabaya.
The three-hour journey from Surabaya to Lumajang can be made by public bus or minivan. From Lumajang it takes another hour to reach Kertosari village by local minivan. The road is hilly and winding and is lined with trees and paddy fields.
Semeru Telecenter is located in front of the Pasrujambe field, next to the Pasrujambe Military Command Office.
The telecenter looks like a residential house, the only difference being it is furnished with an assortment of hi-tech gadgets, including an Indosat IM2 satellite dish.
“We are able to access the Internet by using the satellite dish,” Sahlan said.
The telecenter was officially opened in mid 2005, and was built with assistance from the National Development Planning Board and the United Nations Development Program (UNDP).
Kertosari, with a population of 3,100 people, was chosen for the program after achieving first prize in East Java’s Poverty Alleviation Integrated Movement competition.
“They also considered this place to be undeveloped,” Sahlan said.
The telecenter is an IT-based community activity center and aside from its computers and internet access, it is also stocked with printers and photocopy machines. Local residents are able to use most facilities in the center free of charge.
Although initially it was planned the center would not be profit based, human resources and funding were limited, so it was decided the center would run off its own profits.
In Kertosari, the majority of residents work as farmers. Most people are only educated up to the elementary level, which is why the telecenter also offers computer training.
“Even in large cities, not everyone is able to use computers, especially the Internet,” Sahlan said.
Members of the community are taught how to use the Internet through neighborhood meetings and religious gatherings held every Thursday night. Public awareness drives are also carried out through community radio.
“Through these initiatives, we explain the advantages of being able to use computers and the Internet,” Sahlan said.
These efforts have paid off. Kertosari residents are beginning to realize the importance of being able to use the facilities available at the telecenter.
Since the center opened almost two years ago, 20 people, predominately youths, have taken part in an intensive training program.
Tofan Mukhlis, 18, is just one resident of Kertosari who has discovered the benefits of mastering IT.
“Initially, I was only interested in playing Play Station games, but once I became more familiar with the Internet, I realized I could learn a lot more,” Tofan told the Post.
“I usually surf websites about sport and IT,” Tofan said, adding that he now uses the Internet on a daily basis.
Tofan is also learning about how servers operate and about website design.
“Thank God they trust me and have made me an employee here,” he said.
The center also markets locally made products such as banana and ginger crackers and locally produced silverware through its website, which can be accessed at: http://www.indonetworks.co.id/semerutelecenter/.
Sahlan said products from Kertosari and surrounding villages have been successfully marketed in Malaysia and Togo thanks to the website.
ID Nugroho, The Jakarta Post, Lumajang
May 31st, 2007
Successfully held for seven times in Surabaya, the Majapahit Travel Fair (MTF) has become a small but the most important gathering in the province. It is held annually with the main objective of providing business opportunities for the travel and tourism industry to market East Java’s tourist attractions, hotels, natural surroundings and culture to both domestic and international tour operators. The major activities of this event include a “Table-Top Business Meeting” between the buyers and sellers (Travex), a half-day Workshop and the actual Exhibition itself where the sellers display their facilities and services. We still retain the date of MTF this year to coincide with the celebration of Surabaya’s 714th anniversary which is welcomed with the program of Surabaya Big Sale. This will give all of the delegates a chance to not only discover the exciting tourism destinations in East Java, but also truly experience the atmosphere and hospitality Surabaya has to offer. MTF 2007 will be held on May 23 -27, at the Convention Hall, Tunjungan Plaza III, 6th floor Surabaya, with the theme ”The Country’s Beauty and Uniqueness. In addition, East Javanese Traditional Dance & Song Festivals and breaking record of MURI (Indonesia Guiness Book) Appreciation Certificate by presenting a Giant Brem Traditional Food will also be held to support the theme, even to dig up cultural values to create marketable cultural attractions.
This will be our 8th Annual MTF and promise to be the most interactive than ever. MTF always achieves great success. Last year’s participants amounted to 110 buyers (domestic and overseas) and 85 sellers participating in the Table-Top Business Meeting. The buyers were mainly from other Asian countries and dominated by Malaysia and China.
The Travel Exchange is a closed business meeting with a Table-Top format between Buyers and Sellers of the travel and tourism industry. This one-day program is based on the appointment schedule arranged by the MTF Organizing Committee. The buyers taking part in this meeting are international and national tour operators who are currently marketing East Java or Indonesia and those who would like to obtain more information on our region to start promoting our market. The sellers are mostly delegates from East Java’s tourism related industries with some delegates also attending from other destinations in Indonesia.
The Exhibitors are travel operators and tourism destination representatives from East Java and other destinations in Indonesia. It is open for the public from May 23 - 27, 2007. The Expo venue will be located at the Convention Hall on the 6th floor in one of Surabaya’s large malls, Tunjungan Plaza III (next to the Sheraton Surabaya Hotel).
At the Workshop, reputable tourism professionals from Indonesia will share their experience and expertise with an interactive audience. The Sellers, Exhibitors, Managers of Tourist Attractions, Government Tourist Officials, dance companies, conservators University students and the public will attend this workshop. Convened at the Multifunction Hall, in Tunjungan Plaza III, 7th floor, the workshop will feature qualified speakers on this year’s topic, “The Country’s Beauty and Uniqueness”.
majapahittravelfair.com
May 30th, 2007
A DANCE OF WAR
This magical war dance involves several different characters, the most eye-catching and dramatic being the ‘Barongan’ tiger with a two metre tall crown of rich and beautiful turquoise peacock feathers which is larger than the dancer wearing it! It takes an enormous amount of strength and concentration to be able to throw the crown around and to make the peacock feathers wave. The whole thing is quite demonic and uncontrollably hypnotizing.
A TIMELESS STORY
The history of the dance, or at least the story that goes behind it, goes back to ancient East Java mythology and goes something like this: Once upon a time there was a legendary battle between two mighty kings; King Prabu Klonosewandono and King Adipati Singobarong. (in that life-time a ferocious tiger ). The cause of the battle? A beautiful woman. Not just any beautiful woman but a princess from the kingdom of Kediri called Dewi Songgolangit.
MESSAGES IN DREAMS
King Prabu, unmarried and concerned about succession (he wanted an heir to the throne ), dreamt that he met Princess Dewi. Dreams hold great portent in Indonesia, both then and now, and his prime minister took it as sign that Princess Dewi should be the king’s wife and bear him his heir. His dream came too late, however, because Adipati, the tiger king, had already proposed to the beautiful princess. Classic situation; one eligible and drop-dead-gorgeous princess and two extremely well off, love-sick suitors, forget one of them is a tiger. There would obviously have to be a contest of some sort. Princess Dewi thought about it for a while and decided that she wanted three things from her husband-to-be.
A TEST OF WORTH
The first thing was easy. All she wanted was one hundred and forty four horses. Number two on the shopping list was to create a new musical sound and performance that nobody had ever seen or heard before. More difficult but hardly impossible. The final thing. however, was real tricky. Princess Dewi wanted and animal with two heads!
One thing naturally led to another and the two Kings tried to kill each other in a vicious battle. Magic and sorcery were common place at this time, (just look at the tiger King Adipati ), and King Prabu used all the magic he could muster to try and create the beast with two heads. Needless to say he did and King Adipati was forced to bow out of the contest for the beautiful princess.
The characters and story come to vivid life in the Reog performance. King Prabu, obviously angry at having to compete with a tiger for Princess Dewi’s hand is red-faced while King Adipati looks magnificent in his plume of feathers. A small percussion group’s instruments and music represent those created for Princess Dewi from battle armour and the men on wooden horses represent armies going into battle.
This is a really colourful and exciting event and can be seen in many areas of East Java and even in streets and car parks in Jakarta. Next time you see a group of people dressed in black, carrying small cut-out stylised horses and carrying a huge plume of peacock feathers take the time to see where they go and watch one of Java’s most unusual cultural shows.
Tourism Indonesia
May 29th, 2007
Anyone who goes to Surabaya, East Java, and stays at Surabaya Plaza Hotel can watch a traditional dance performance at the hotel lobby.
The Sparkling Suroboyo dance choreographed by Diaztiarni portrays dynamism and enthusiasm of the dancers. It reflects Surabaya, which Plaza says, is a comfortable, beautiful and bright city to visit.
The dance performance is put on every Saturday at 11 a.m.
It is hoped that the dance could become a signature for the East Java capital city.
Surabaya Plaza Hotel
Plaza Boulevard
Jl. Pemuda 31-37
Surabaya
telp : (031) 5316833
May 28th, 2007
The Catholic minority in Madura.
Radar Surabaya journalist Lambertus L. Hurek visited the island of Madura in East Java to learn the situation of the island’s very small Roman Catholic minority. The Madurese are known as being fiercely Muslim and are not known for their gentle natures and so one might assume that Christians on Madura have a hard time. Lambertus however found this to not be the case, at least for Catholics.
First, at Easter time of 2007, he visited a small church in the rough-as-guts town of Bangkalan, the Stasi Telang church, and talked with two senior parishioners, Rafael and Andreas.
Andreas Slamet, who wore a kopiah, as if he had been on the Hajj to Mecca, said the church was built in 1986, on a rather large plot of land. When asked whether the church had found it difficult to get building permission originally the men laughed and Rafael said:
Oh here there were no problems. Everything went smoothly. We have very good relations with the people and with the government. So getting permission to build was no problem.
Lambertus admits to being surprised at hearing this, and notes that many churches, although they are usually Protestant ones, have trouble gaining permission on Java. However he is even more surprised to learn that it was the local government head, in the 1970’s, who had encouraged the Catholic community in the area to build a church, because he pitied them having to move from house to house to conduct services.
A big, well-located plot of land was then set aside, and the church built, although of a very simple construction. Local Muslims did not object.
The church has 17 families belonging to it, however none of these people are ethnically Madurese, with most coming from Flores, Java, Sumatra, and some local Chinese.
Next Lambertus travels to another town, Pamekasan, which doesn’t have a much better reputation than Bangkalan. The Pamekasan Catholic Church is led by a Flores priest and is located in the town’s main square, along with the grand mosque and important government buildings, and is a survivor of Dutch colonial times.
Lambertus attends an Easter service at the church but finds it hard to conceal his disappointment at how simple and low-key some aspects of the service are.
Later he meets with a senior church member, Antonius Stefanus Suharto Atmaja, a Madurese Chinese, and learns that the church has stood for 60 years and has 6-700 parishioners. In Pamekasan there is also a Catholic kindergarten, primary school, and junior high school, but Antonius complains that most young Catholics in the town soon leave for greener pastures, as there is no university, and so the church community does not grow.
Antonius said in 1992 the church won permission to renovate the building and says relations with local Muslims and the authorities are good.
They always involve us in discussions.
Christianity, Java, Cities & Regions, Religion, by Patung
Indonesia Matters
May 28th, 2007
Grahadi, the nearest thing to a palace in Surabaya, is now open to the public.
If you’re planning to visit East Java, maybe to climb magnificent Mt Bromo, you’ll probably end up staying a night or two in Surabaya. Ignore the naysayers; Indonesia’s second largest city is full of surprises. Culture buffs looking for a grand old building, an authentic slice of the East Java capital rich in history should not go past Grahadi. This is the nearest thing to a palace in Surabaya and is now open to the public. This sprawling 16,000 square metre former Dutch garden house was once the governor’s residence. It’s now the principal reception centre for dignitaries visiting East Java.
Its wide forecourt and deep lawns also make it an ideal parade ground for students and public servants practising for the next big show. These are regular events and usually include children from distant schools in astonishing fantasy outfits - frequently a cross between cheerleaders and fairies, creating a paradise for photographers.
The performers march and cavort around some dinky little cannon of unknown ancestry, two caged cockerels to signify the Province and crow up the dawn, and a mighty flagpole.
Built in 1795 by Dutch commissioner Dirk van Hogendorp, Grahadi must have originally dominated the city. That’s because it fronted Kali Mas, the river which bisects Surabaya and was once a major transport route. Now the river carries little traffic so access to Grahadi is from Jalan Gubernur Suryo.
The change in orientation meant switching the main entrance from the north riverbank to the south-side highway. Till recently most present-day visitors have been unaware that the river is just outside the rear of the building. Now tourists have the chance to peep down the once-handsome promenade where in colonial days families would have participated in the passing parade and soaked up the evening cool.
The Dutch may have been solid builders and competent constructors, but as designers they didn’t leave soaring architectural monuments. Grahadi isn’t lofty but it’s certainly substantial. It was built to last of big red bricks laid without mortar and has well outlived the colonialists. The timber flooring upstairs is teak, robust and enduring.
The roman pillars supporting the top deck and making a grand entrance statement (and a shady veranda) are all recent editions, which mask the original rather plain structure. These have been embellished with a frieze showing scenes from the Battle of Surabaya when in November 1945 the British tried to retake the city after the defeat of the Japanese and were met with fierce resistance.
Inside there’s all the paraphernalia of protocol and a wide variety of donated gifts. Visitors can see the handicrafts of East Java and portraits of governors since Independence. The first, Pak R.T. Soerjo is also remembered in the little Kroesen Park facing Grahadi where his large statue shows the governor in the uniform of the post-colonial era.
Just behind him is another park, quiet, spooky and thick with banyan trees. Here Joko Dolog, the mysterious 13th century statue of Buddha Akshobya, sits with a Sanskrit inscription clear around the base. On Thursday nights this is a busy place for the superstitious and pilgrims of many faiths praying in clouds of incense.
The walls of Grahadi carry an eclectic collection of pictures featuring events from the Majapahit kingdom through to the Revolution. Some fine old photographs show Grahadi in the early 19th century. There’s also a well preserved and rare Seni Reog Javanese dance headdress from Ponorogo made of a tiger’s head and peacock feathers, and occasionally wheeled out for a performance.
The building is carpeted in the European fashion although the tropical heat of East Java is better suited to tiled floors. The upstairs rooms can be reached by a small staircase indicating the building was designed more for work than pleasure. Otherwise there would have been a grand staircase where the fashionable could make sweeping entrances in a grand swish of skirts.
There are four well-furnished bedrooms. These are used only for high-ranking guests. The present Governor lives elsewhere, and his offices are some distance away in Jalan Pahlawan.
More than 30 staff work at Grahadi, a name derived from the Sanskrit Graha (meaning house) and adi, implying distinguished. Formerly it was known as Simpang (deviation or crossroads), the name now allocated to the nearby road junction.
Staff members are happy to show visitors around, but to appreciate the place properly it’s worth sitting quietly in the cool courtyards of the building’s wide wings. These are the unembellished tiled and timbered rooms more appropriate to the climate and genuinely East Java.
Take time to reflect on the past. Here the big kitchens and shuttered quarters for workers look much like they must have appeared two centuries ago. That was when Grahadi was the place to be seen - the administrative and legal centre of Surabaya, busy with business and alive with the adventure of a growing port.
Grahadi is open to the public at weekends and public holidays unless a major event is underway. Times 8 am to 5 pm.
Text and Photos Duncan Graham, historical images Courtesy of Dukut Imam Widodo, Author of Soerabaya Tempo Doeloe.
Jakarta Java Kini Magazine
May 25th, 2007
Even today, a variety of masks are used in traditional fertility, death and other ritual ceremonies in many parts of the country. The Dayaks of Kalimantan (Borneo ), for example, use carved and painted wooden masks at the great tiwah feast which concludes death rites.
Since pre-history, the Bataks of Sumatra have used masks adorned with the beaks of hornbills in death ceremonies. In both Sumatra and Kalimantan, and also other parts of the country, the hornbill symbolises the “gods of the upper world” and the vessels which transport the souls of the deceased to the hereafter. Dayak mythology associates the hornbill with the creation of mankind and is likewise venerated as a symbol of the deities. Similarly, in mask dances which honour ancestral spirits or the deities for their benevolence, it is the mask that portrays and indeed, strengthens the presence of these supernatural beings. This is especially so where mask dances are a part of funerary rites.
Masks are also used as supporting elements in other dance forms. In the magical hobbyhorse dances, kuda kepang, that are very ,popular in Java, there can be up to eight horse riders. Each of them in a state of trance and whipped into a frenzy by another member of the group, the riders become totally “possessed” and begin to act like horses. In their entranced state the performers often run wild and even eat grass or drink water from a bucket on the ground. Although this entrancement is the principle theme and audience attraction, the presence of mask dancers and several musicians, adds to the intensity of an already supercharged performance. The masks are usually coloured red, black, yellow and white, each of which have magical properties in Javanese and Balinese folklore, in addition to representing the four cardinal points of the compass. Versions of this dance are found in West Java where it is known as kuda lumping or ebleg, in Jogyakarta as djatilan, and in East Java as reyog or ludrug.
In East Java a red-masked warrior known as Djoko Ludro, accompanies the hobbyhorse dancers who are put to flight by the monstrous animal, singa barong. But in its battle with Djoko Ludro, it is singa barong that is defeated. The huge mask of singa barong is extremely heavy and difficult to wield, requiring considerable strength and stamina on the part of the dancer as he twists and turns in mock battle. Of all the animal masks used in Javanese dances, which include elephants, boars, crocodiles, tigers, dogs, monkeys, buffaloes, deer and the bird, Titit-Tuwit, it is the singa barong that is the most impressive. Actually bearing the face of a tiger, the mask is fan-shaped and beautifully crowned with peacock feathers.
The most famous of all the Balinese barongs, which also feature a number of different animals, is the impressive barong keket. This monstrous mask doesn’t bear the face of any particular animal, but seems to be a supernatural composite of a tiger, lion, cow, and goat. Both the mask and the accompanying fleece are regarded by the Balinese as sacred. Barong keket has a truly regal appearance, with carved leather decorated by glittering ornaments covering its head and body. At its rear there is a similarly decorated and defiant-looking tail. Barong keket uses white magic to overcome the black magic of its enemy, the witch Rangda. In a barong keket performance Rangda uses her magic powers to make the kris dancers turn their weapons on themselves, but in the end the terrible witch is always beaten by the barong keket. Although differing in character, barong singa being defeated and barong keket always the triumphant winner, they share one thing in common, they are both called the “Lord of the Woods.”
Wayang kulit or shadow puppet plays have long been an integral part of Javanese culture and their influence on other traditional dance forms led to the dancers increasingly adopting the characteristics of the wayang characters they perform. This can readily be seen in the performers’ presentation of their profiles to the audience and in their jerky, stylised movements. Especially true of Central Javanese wayang wong dance dramas of the great Mahabharata and Ramayana hindu epics, wayang kulit has also influenced to some extent the barongbarongan [monster] folk dramas and other dances in which the performers wear masks. Although mask plays are of considerably more ancient origin, it is believed that the patronage of the royal courts of Central Java led to their present degree of refinement as wayang wong. The finest dalangs [puppet masters], musicians, dance masters, costume designers, and mask and puppet artisans, served the four noble courts of Jogyakarta and Surakarta [Solo]. These were the two powerful keraton [palace city-state! of the Susuhunan of Surakarta and the Sultan of Yogyakarta, and the two smaller courts of the istana [palace] of Mangkunagara in Surakarta and Paku Alam in Yokyakarta.
In many instances, the princes took a direct and personal interest in the production of plays and dances and thus the styles chat evolved at each of the courts differs in many respects even though there were strong cultural similarities. Mask dances may have fallen out of favour at the Moslem courts following the establishment of Islam in Java, but tale tradition was preserved as a popular folk art performed in the villages by wandering minstrels. Mask dances probably returned to favour in the royal courts during the early eighteenth century, but their popularity went into decline once again with the ascendancy of wayang wong. Sadly, the art of mask making also went into decline in Java but this was not the case in Bali where fortunately, the art has continued to thrive.
Today the art has been revived in Java as the people of Indonesia explore and rediscover their rich cultural heritage. Masks and mask dances have gained a new respect as they take their rightful place in the history of the archipelago and they have also become an integral part of Indonesia’s attraction to foreign tourists. Mask makers in Java have regained their age-old skills and put their talents to work to produce traditional and modern styles. Historically, the Javanese masks have always differed greatly from those of Bali. Furthermore, subtle differences can be seen in masks from the various regions of Java, but in common they typically feature taut faces tapering towards a delicate chin and have sharply ridged noses and relatively small mouths widh narrow lips. In contrast to the dignified and serene appearance of Javanese masks, the Balinese favour expressive oval faces with broad noses and heavy lips. There are of course, exceptions to this generalisation.
Unlike the Balinese who let their imaginations run wild when inventing comic characters, Javanese comic masks appear in a limited range of styles, but early Hindu influences can often still be traced in the characteristics of many masks from Java or Bali. Older masks from all regions can be identified by their strong sculptured quality and their rich ornamentation carved in high relief. This is in contrast to modern masks in which painted or engraved features are often used in place of carving, giving the mask a flatter and frequently, a more mystical look.
Cirebon on the border between West and Central Java is famed for its traditional mask dances which are closely linked with the early spread of Islam in Java. The mask dances of Cirebon survived the decline in popularity of this dance form in other areas due to the fact that the people of this area continued to observe the ancient rituals of several traditional festivals or Selamatans An almost seamless blend of wayang wong and Sundanese mask dances of West Java, these colourful dances are showcase performances at cultural festivals which are becoming major tourism attractions for the Cirebon area. Tourism has in general kindled a renewed interest in many of Indonesia’s traditional art forms and this may have helped to save some of them from extinction. This is particularly true of the various forms of mask dances which are witnessing their value as a cultural heritage being elevated to new heights.
In the mask dances of Cirebon there are five basic dances that a performer should master, Pamindo, Patih, Klana, Rumyang and Tumenggung. In addition there are four other dances which are regularly performed, Panji, Jinggananom, Kili and Samba. Older and more experienced dancers have usually mastered all of these dances, whereas younger dancers generally start off with three. It is not unusual to see elderly performers, but their well-practiced and graceful movements belie their age and the audience is totally unaware that the dancer could be a seventy year old woman until she removes her mask to mark the end of the performance.
Usually the opening dance of a mask dance performance, the Panji is the most refined and the most difficult to perform. In contrast to the fast pace of the acompanying gamelan orchestra the dancer moves slowly and gracefully, reflecting the Javanese ideals of nobility and self-control. But the frequent mixing of the Raden Panji legends with the Mahabharata and the Ramayana, has led to a choice of identities for the Panji character. Depending on your preference, he could either be Arjuna or Panji Kudawaning Pati, but by whichever name, the mask or kedok, of Raden Panji is always white with a small nose, narrow eyes and closed mouth.
Because this dance is held sacred by the audience, who firmly believe that each of these dances has a strong spiritual influence over their lives, everyone remains silent during its performance. In other dances however, particularly in comedy sections, there is a strong rapport between the performers and the audience who respond with raucous enthusiasm.
The highlight of a mask dance performance is the Klana dance, the most dynamic, and usually the final dance. Depending on the demand of the audience, this dance can last for up to two hours without a break. Although having a variety of moods [wanda], the red mask always features large, round eyes, a forward-pointing nose, and a large moustache over an open mouth with no lower teeth and symbolises a tyrannical king. In addition to being performed for entertainment at circum-cisions and weeding celebrations, mask dances are more traditionally performed at annual village festivals. Held in a sacred graveyard, Ngunjungan is an annual Thanksgiving ceremony that people can sustain or improve their lives, both spiritually and materially. The Sedekah Bumi ceremony takes place when the farmers begin ploughing their fields. This ceremony is followed on the eve of the rainy season by another sacred ceremony, Nadran. Ngarot is a ceremony for the initiation of village youngsters, whilst Mapag Sri is held at cultivating time as an appreciation ceremony to Dewi Sri, the Goddess of Fertility, It is these special ritual Selamatans, and more recently, dance festivals staged for tourists, that have ensured the continuity of Cirebon’s famous mask dances.
Tourist may further help the full revival of authentic mask dances in other parts of the country, but it is also important that their true meanings and cultural values do not become distorted merely for the sake of tourist dollars. There is naturally, plenty of scope for new forms to continue to evolve and coexist alongside traditional mask dances, and as talented Indonesian dance masters continue to explore all the possibilities, we can perhaps look forward to new and exciting mask dances based on modern themes.
Source: INDONESIA MAGAZINE-05/XXVII/1996
May 25th, 2007
MAJALENGKA, East Java: Roads damaged by landslides have left four villages isolated in Sindawangi district in Majalengka regency, West Java, and hindered local residents from obtaining basic supplies.
Wahyudin, head of Balagedog, one of the four affected villages, said residents’ daily activities have been disrupted over the last seven days following landslides in the area on May 14.
“The damaged road networks have affected residents’ economic activities,” he said, adding the four villages are renown as centers for handicraft and kitchen utensil production.
“Almost 400 families in the village rely heavily on bamboo and rattan handicraft production,” he said.
Wahyudin explained the residents were forced to walk six kilometers to obtain basic supplies.
Deputy chairman of Majalengka Legislative Council, Sutrisno, urged the regency administration to repair the damaged facilities as soon as possible.
– Jakarta Post
May 24th, 2007
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