Bach JS; Cantata BWV 106 - Waktu Tuhan adalah waktu yang terbaik

Diungkapkan dalam master piece karya musik, Cantata No. 106 (BWV 106), Gottes Zeit ist die allerbeste Zeit [Gods time is the very best of times], atau Actus Tragicus, oleh Johann Sebastian Bach pada tahun 1917. Pada saat itu adalah pemakaman dari paman Bach. Disini Bach ingin menempatkan kita semua dalam perasaan malu dan tahu diri, karena kita tidak bisa menyelamatkan diri kita sendiri, keselamatan kita adalah keselamatan dari TUHAN.

Dimulai dengan Movement 1, Sonatina yang merupakan bagian terbaik dari komposisi Bach dimainkan oleh 2 Solo Recorder/Block Flute Alto, yang saling mengejar, satu sama lain, merupakan cara Bach, menunjukan, bagaimana kita harus berjuang mengejar mendapatkan dan memahami waktunya TUHAN.

Conductor: Rev. Billy Kristanto, Dipl. Mus. MCS
Choir Eliata
Alto Blockflute: Prasetyo Sampurno, Juhad Ansyari
Viola de gamba: Hery Sunarta, Kadensi, Ella, Obrien Kussoy
Cello: Asep Hidayat
Bass: Ari Moeladi

Friday, March 20th, 2009
07.30pm
Gereja Kristus Ketapang
Jl. K. H. Zainul Arifin No. 9
Jakarta Pusat


1. Sonatina

2a. Chorus
(Kisah Para Rasul 17:28)

Gottes
Zeit
ist
die
allerbeste
Zeit.

Tuhan punya
waktu
adalah
yang
terbaik
waktu.

{Waktu Tuhan adalah waktu yang terbaik.}


In
ihm
leben,

Dalam
Dia
Hidup,

{Dalam Dia kita hidup,}

weben
und
sind
wir,

bergerak
dan
ada
kita,

{bergerak dan berada - move and being,}

solange
er
will.

selama
Dia
berkehendak.

In
ihm
sterben
wir
zur
rechten
Zeit,

Dalam
Dia
mai
kita
pada
yang tepat
waktu,

{Dalam Dia kita mati pada waktu yang tepat,}

wenn
er
will.


saat
Dia
berkehendak.

2b. Tenor Arioso
(Mazmur 90:12)

Ach,
Herr,
lehre
uns
bedenken,

Oh,
Tuhan,
ajari
kami
mencamkan,

daß
wir
sterben
müssen,

bahwa
kami
mati
pasti,

auf daß
wir
klug
werden.

supaya
kami
bijaksana
menjadi.

2c. Bass Aria
(Yesaya 38:1)

Bestelle
dein
Haus;

Rapikan
kamu punya
rumah,

denn
du
wirst
sterben

karena
kamu
akan
mati

und
nicht
lebendig
bleiben!

dan
tidak
hidup
tetap!

{dan tidak akan hidup abadi!}

2d. Chorus (Alto, Tenor, Bass) dan Soprano Arioso
(Sirach 14:17, Wahyu 22:20)

Es
ist
der
alte
Bund:

Ini
(tertulis)
di
yang terdahulu
perjanjian:

{Sudah tertulis di Perjanjian Lama:}

Mensch,
du
mußt
sterben!

Hai manusia,
kamu
pasti
mati!

Soprano:

Ja,
komm,
Herr
Jesu,
komm!

Ya,
datanglah,
Tuhan
Yesus,
datanglah!

3a. Alto Aria
(Mazmur 31:6)

In
deine
Hände
befehl
ich
meinen
Geist;

Ke dalam
Engkau punya
tangan
menyerahkan
aku
aku punya
nyawa;

{Ke dalam tangan-Mu kuserahkan nyawaku;}

du
hast
mich
erlöset,
Herr,
du
getreuer
Gott.

Engkau
telah
diriku
menebus,

TUHAN,
Engkau
yang setia
Allah.

{Engkau telah membebaskan aku TUHAN, Engkau Allah yang setia.}

3b. Bass Arioso dan Alto Chorale
(Lukas 23:43)

Heute
wirst
du
mit
mir
im
Paradies
sein.

Hari ini
akan
kami
dengan
Aku
di
Firdaus
berada.

{[Kata Yesus kepada penjahat di kayu salib:] Hari ini kamu akan bersama-Ku di Firdaus.}

Chorale:

Mit
Fried
und
Freud
ich
fahr
dahin

Dengan
damai
dan
ceria
aku
berangkat
ke sana

In
Gottes
Willen,

dalam
Tuhan punya
kehendak,

Getrost
ist mir
mein
Herz
und
Sinn,

terhibur
aku
aku punya
hati
dan
pikiran,

Sanft
und
stille.

penuh damai
dan
ketenangan.

Wie
Gott
mir
verheißen
hat:

Sebagaimana
Allah
bagiku
menjanjikan
telah;

{Sebagaimana Allah telah menjanjikan padaku,}

Der
Tod
ist
mein
Schlaf
geworden.

itu
kematian
adalah
aku punya
tidur
menjadi.

{kematian hanyalah tidur sementara bagiku.}

4. Chorale

Glorie,
Lob,
Ehr
und
Herrlichkeit

Kejayaan,
pujian,
kehormatan
dan
kemegahan

Sei dir,
Gott
Vater
und
Sohn
bereit,

bagi-Mu,
Allah
Bapa
dan
Anak
diberikan,

Dem
heilgen
Geist
mit
Namen!


kepada
yang kudus
Roh
bernama!

{juga kepada Roh Kudus!}

Die
göttlich
Kraft


Yang
berasal dari Allah
kekuatan

{Kekuatan yang berasal dari Allah}

Mach
uns
sieghaft


membuat
kita
penuh kemenangan

Durch
Jesum
Christum,
Amen.

melalui
Yesus
Kristus,
Amen.

read more "Bach JS; Cantata BWV 106 - Waktu Tuhan adalah waktu yang terbaik"

The Cultural Art Forms of Indonesia DANCE

Pagelu Dance from Toraja (Sulawesi Selatan)

Bali Dance

Wira Pertiwi Dance (Bagong Kusudiardjo Creation) from Central Java 

Marbonataon Dance from Sumatera Utara (Batak)

 

Surakarta Central Java Dance by Sulistyo Tirtokusumo

Written in bahasa by Prof. Dr. R.M. Soedarsono

DANCE

Until now there are still a number of dances in Indonesia which, when traced, are clearly dances dating from pre-historic times. Those dances can found the forms not only in isolated areas, but also live among the community that has already embraced another religion. An example is the SANGHYANG JARAN dance in Bali that live in the circles of a community of Hindu followers and JARAN KEPANG in Java of which the community embrace the Islam religion.

SANGHYANG JARAN

In Bali SANGHYANG JARAN is a possessed dance, carried out by a group-up man who in his state of unconsciousness is possessed by soul of a horse. The man carries a small toy horse on which he pretends to ride, which in his state of being possessed or called KERAWUHAN in Bali, he behaves like a horse. He runs in every directionof the performance area, and sometimes steps on burning coal which have already been prepared. This dance is consider sacred by the community in Bali and functions as a means to drive out an epidemic. According to a term in the division of the performing arts in Bali, a dance categorize SANGHYANG JARAN is very sacred dance. Therefore the performance is carried out in the part of the pura or the most sacred religious building called jeroan. Dances can be included in the category of the SANGHYANG kind dance in Bali are SANGHYANG BAJOG (Monkey), SANGHYANG CELENG (wild boar), and SANGHYANG LELIPI (Snake). It can be assumed that this kind of SANGHYANG dance is a ceremonial dance to worship the soul of the totem animal. In the primitive belief the totem animal is always considered to be an animal that guards the community.

On the Island of Java, dances that have come from pre-historic times are also still alive although their original function have disappeared or changed. In Central and East Java there are a lot of dances that are connected with horses under different names, such as JARAN KEPANG, JARAN LUMPING, INCLING, etc. Although the performances have already lost their sacred function as a means to drive out epidemic, but the remnants in the form of exhibition still behaves in a supernatural nuance. A dancer who is already possessed by the soul of a horse, has lost his identity and has turned into a horse totem animal, such as eating pieces of broken glass, drinking water out of a pail straight with his mouth, etc.

BEDHAYA KETAWANG

The Bedhaya dance in the palaces of Surakarta and Yogyakarta carried out by nine women dancers is a ceremonial dance which people consider sacred. The number of nine dancers can be connected with cosmology of India, which considers the number nine as a sacred number, because the number represents the nine wind directions or the nine gods who guard the nine wind directions. The nine wind directions are North, East, West, South, North-West, North-East, South-East, South-West, and Center. The main meaning of Bedhaya dance is to keep the balance of nature and universe. Sometimes the nine dancers are said by the Javanese court circles to represent the nine holes of the body of a human being. The nine holes of a human body are one mouth, two eyes, two nostrils, two ear holes, one anus, and one sexual organ. The meaning is that when a person is able to NUTUPI BABAHAN NAWA SANGA or able to close the nine holes, one will be a perfect person, who is able to control one's carnal desire. This kind of description can be found in the story of Arjunawiwaha.

Bedhaya Dance Illustration

The documentation of classical Javanese court dance Bedhaya and Srimpi is a project to conserve these dances. The reconstructions are done gradually with the support of experts and choreographers, such as Sulistyo Tirtokusumo. Dress reconstructions will be done by Iwan Tirta, the leading Indonesian batik designer. Currently, the audiovisual documentation of "Bedhaya Pangkur" had been completed, as well as the musical accompaniment of "Bedhaya Anglir Mendung" and "Bedhaya Duradasih".
Source: bramkushardjanto youtube

The Bedhaya Ketawang from the palace of Surakarta is considered the very sacred among the Bedhaya dances. This dance is considered as a dance that is very sacred by the tradition of the palace Surakarta as it describes the meeting between the ruling Sultan Agung or the Susuhunan with the Kanjeng Ratu Kencanasari (Wedapradangga, 1990). Because it is so sacred, the dance must be carried out by seven girls who are spiritually clean, and is only performed one day after the coronation of the king. Nevertheless, since the reign of Susuhan Pakubuwono X, the Bedhaya Ketawang dance, besides being performed only after the coronation of the king, it is also repeated once a year at the date of the commemoration of the Susuhunan coronation. The performance is held in the pendapa (halls) with the court officials sitting in front of him. Various articles for the ceremony are placed behind the king. During the performance people say that sometimes the Susuhunan can see Kanjeng Ratu Kencana sari to be present there, and later on the Batak dancer, that is one who has the most important role in the dance composition, will possessed by her. With these feature it can be assumed that Bedhaya Ketawang dance is a means of meditation carried out by Susuhunan to request the present of Kanjeng Ratu Kencana sari or Kanjeng Ratu Kidul. This means that Bedhaya Ketawang also has a mystical meaning.

LUAMBEK

Minangkabau is a n area in west Sumatera which has a very unique dance development. Although the inhabitants of this area are strong believers of Islam, but it appears that the custom and culture still store old values. One of the very interesting forms of dance is the LUAMBEK which they say used to have a very important function in the appointment of the Penghulu (muslim leader) of the nagari sicincin, which the Minangkabau circles ia called BATAGAK PANGHULU ALEK PAULEH which means “a continuous feast” (Yusril, 1997).Alek Pauleh is performed in a temporary building called laga-laga. LUAMBEK which is important ceremonial dance carried out by two male dancers. Both make the SILAT (traditional self defense art) movements, if one attacks or lalu, the other party is ambek. From those two terms comes the name LUAMBEK. One very interesting thing is that although the two pretend to be fighting, the never touch each other.

NEW CREATION.

After Indonesia became independence in the year 1945, there are several choreographer who want to present a dance choreography that is not bound to various tight traditional rules. The movement for the modernization at first limited to the way it was expressed and was still referring to the traditional stock. The innovation lies in the preparation of the composition and the shortening of time. Afterwards they also borrow from the stock of movements from other ethnical groups.I Ketut Mario from Bali, Tjetje Soemantri from West Java, Bagong Kusudiardjo and Wisnu Wardhana from Central Java, including Yogyakarta, are a number of pioneers of the modernization of dances. Meanwhile, several more courageous modernizers of dances are Sardono W. Kusumo, Gusmiati Suid, Miroto and others. One important matter that should be noted is that the Western influence of the modernization of dances in Indonesia touches more the idea and not merely the technique. 

There are some variety traditional dances in the Archipelago of Indonesia, they are: 

1. Provinsi DI Aceh / Nanggro Aceh Darussalam / NAD Tari Tradisional : Tari Seudati,Tari Saman  Meuseukat

2. Provinsi Sumatera Utara / Sumut Tari Tradisional : Tari Serampang Dua Belas, Tari Tor-tor

3. Provinsi Sumatera Barat / Sumbar Tari Tradisional : Tari Piring, Tari payung

4. Provinsi Riau Tari Tradisional : Tari Tanduk, Tari Joged Lambak

5. Provinsi Jambi Tari Tradisional : Tari Sekapur Sirih, Tari Selampit Delapan 

6. Provinsi Sumatera Selatan / Sumsel Tari Tradisional : Tari Tanggai, Tari Putri Bekhusek 

7. Provinsi Lampung Tari Tradisional : Tari Jangget, Tari Melinting 

8. Provinsi Bengkulu Tari Tradisional : Tari Andun, Tari Bidadei Teminang 

9. Provinsi DKI Jakarta Tari Tradisional : Tari Topeng, Tari Yapong 

10. Provinsi Jawa Barat / Jabar Tari Tradisional : Tari Topeng Kuncaran, Tari Merak 

11. Provinsi Jawa Tengah / Jateng Tari Tradisional : Tari Serimpi, Tari bambangan Cakil 

12. Provinsi DI Yogyakarta / Jogja / Jogjakarta Tari Tradisional : Tari Serimpi Sangupati,Tari Bedaya 

13. Provinsi Jawa Timur / Jatim Tari Tradisional : Tari Remong, Tari Reog Ponorogo 

14. Provinsi Bali Tari Tradisional : Tari Legong, Tari Kecak 

15. Provinsi Nusa Tenggara Barat / NTB Tari Tradisional : Tari Mpaa Lenggo, Tari Batunganga 

16. Provinsi Nusa Tenggara Timur / NTT Tari Tradisional : Tari Perang, Tari Gareng Lameng 

17. Provinsi Kalimantan Barat / Kalbar Tari Tradisional : Tari Monong, Tari Zapin Tembung 

18. Provinsi Kalimantan Tengah / Kalteng Tari Tradisional : Tari Balean Dadas,Tari Tambun Bungai 

19. Provinsi Kalimantan Selatan / Kalsel Tari Tradisional : Tari Baksa Kembang, Tari Radap Rahayu 

20. Provinsi Kalimantan Timur / Kaltim Tari Tradisional : Tari Perang, Tari Gong 

21. Provinsi Sulawesi Utara / Sulut Tari Tradisional : Tari Maengkat, Tari Polo-palo 

22. Provinsi Sulawesi Tengah / Sulteng Tari Tradisional : Tari Lumense, Tari Pule Cinde 

23. Provinsi Sulawesi Tenggara / Sultra Tari Tradisional : Tari Dinggu, Tari Balumpa 

24. Provinsi Sulawesi Selatan / Sulsel Tari Tradisional : Tari Bosara, Tari Kipas 

25. Provinsi Maluku Tari Tradisional : Tari Lenso, Tari Cakalele 

26. Provinsi Irian Jaya / Papua Tari Tradisional : Tari Musyoh, Tari Selamat datang 

27. Provinsi Timor-Timur / Timtim Tari Tradisional before separated from Indonesia: Tari Wira,Tari Suru Boek

Rapa'i Saman Dance from ACEH (Nanggroe Aceh Darussalam)

Lenggang Nyai Dance from Jakarta

Golek Puteri Dance from Yogyakarta

Gandrung Banyuwangi Dance from East Java

Merak Dance from West Java

Senandung Kipas Dance from Sumatera Melayu

Piring Dance from West Sumatera

Tari Beksan Golek Montro Mangkunegaran - Solo Central Java

read more "The Cultural Art Forms of Indonesia DANCE"