My participation in performing of WAYANG DRAMA

A Performance in regard to one of "the Masterpiece of the Oral and Intangible Heritage of Humanity" from WAYANG INDONESIA - International Recognition by UNESCO

Gedung Kesenian Jakarta, 8 April 2010 Mulai Jam: 19:30
Organized by Yayasan Kusuma Budaya & Gelar
Video from My Facebook

Tunggarana, a small region on the border of country Trajutrisna and Pringgandani was in turbulence because each country was to claim the existence of Tunggarana as its own region. Disputes involving widespread until achieving the leader, the leader Gatotkaca from Pringgandani and Boma from Trajutrisna. Gatutkaca supported by the Pandawa and their families while Trajutrisna supported by Yadawa and Mandura Family. Finally it was decided to determine the victory by exercising a duel. Duel eventually won by BOMA. But the Pandawa immediately to lobby the King Kresna, Boma's Father, so through some considerations though Gatotkaca defeated by Boma but Tunggarana must submit to the Pringgandani. Boma of course was to be disappointed.

Tim Kreatif
Sutradara/Komposer: Blacius Subono. Koreografer: Wasi Bantolo. Co-Kreografer: Hery Suwanto. Penasehat Koreografi: Elly D. Luthan. Ide Cerita: Bram Kushardjanto. Penulis Naskah: Nanang Hape. Penata Panggung: Supriyadi. Assisten Penata Panggung: Dede Setiadi. Penata Busana: Hartoyo. Assisten Penata BusanaL Aji Sri Hanggoro, Dwi Maryani, Dewi Kristianti. Penata Rias: Sukirman. Penata Visual: Kumoratih Kushardjanto. Stage Crew: Team GKJ

BOMA, Aris Murtono, S.Sn; GATOTKACA, Agung Kusumo, S.Sn; KRESNA , Agus Prasetyo, S.Sn; BIMA, Nanang Ruswandi; HARJUNA, Teguh Ampiranto

Wadya Trajutrisna:
Danang Cahyo, Prasetyo Sampurno, Anggono Kusumo, S.Sn, Hery Suwanto, S.Sn

Wadya Pringgandani
Mahesa Tanjung Seto, S.Sn, Teguh Ampiranto, Nanang Ruswandi, Dona Dhian Ginanjar

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Prayer of Saint Francis of Asisi, Pie Jesu, Ave Maria

Visit http://www.andrewjohnstonmusic.com. Watch Andrew drop by the GMTV studios for a chat with Ben and Fiona before performing 'Make Me A Channel Of Your Peace.'




Make me a channel of your peace.
Where there is hatred let me bring your
love.
Where there is injury, your pardon, Lord
And where there's doubt, true faith in
you.

Oh, Master grant that I may never seek
So much to be consoled as to console
To be understood as to understand
To be loved as to love with all my soul...

Make me a channel of your peace
Where there's despair in life, let me bring
hope
Where there is darkness, only light
And where there's sadness, ever joy.

Oh, Master grant that I may never seek
So much to be consoled as to console
To be understood as to understand
To be loved as to love with all my soul...

TUHAN, Jadikanlah aku pembawa damai,
* Bila terjadi kebencian, jadikanlah aku pembawa cinta kasih,
* Bila terjadi penghinaan, jadikanlah aku pembawa pengampunan,
* Bila terjadi perselisihan, jadikanlah aku pembawa kerukunan,
* Bila terjadi kebimbangan, jadikanlah aku pembawa kepastian,
* Bila terjadi kesesatan, jadikanlah aku pembawa kebenaran,
* Bila terjadi kesedihan, jadikanlah aku sumber kegembiraan,
* Bila terjadi kegelapan, jadikanlah aku pembawa terang,
* Tuhan semoga aku lebih ingin menghibur daripada dihibur,
* Memahami dari pada dipahami, mencintai dari pada dicintai,
* Sebab dengan memberi aku menerima
* Dengan mengampuni aku diampuni
* Dengan mati dalam keadaan baik aku bangkit lagi, untuk hidup selama-lamanya.
AMIN
 

Pie Jesu, Pie Jesu
Pie Jesu, Pie Jesu
Qui tollis peccata mundi
Dona eis requiem, Dona eis requiem
Pie Jesu, Pie Jesu
Pie Jesu, Pie Jesu
Qui tollis peccata mundi
Dona eis requiem, Dona eis requiem
Agnus Dei, Agnus Dei
Agnus Dei, Agnus Dei
Qui tollis peccata mundi
Dona eis requiem, Dona eis requiem
Sempiternam, sempiternam requiem

[Translation]

Merciful Jesus, Merciful Jesus
Merciful Jesus, Merciful Jesus
You who take away the sins of the world
Grant them peace
Grant them peace
Lamb of god, lamb of god
Lamb of god, lamb of god
You who take away the sins of the world
Grant them peace
Grant them peace
Everlasting, peace everlasting

Ave verum corpus, natum de Maria Virgine, vere passum, immolatum in cruce pro homine cujus latus perforatum fluxit aqua et sanguine: esto nobis prægustatum in mortis examine.

Hail, true Body, born of the Virgin Mary, having truly suffered, sacrificed on the cross for mankind, from whose pierced side water and blood flowed: Be for us a foretaste [of the Heavenly banquet] in the trial of death!

Original Latin Text: Ave Maria, gratia plena. Dominus tecum. Benedicta tu in mulieribus, et benedictus fructus ventris tui, Iesus. Sancta Maria, Mater Dei, ora pro nobis, peccatoribus, nunc et in hora mortis nostrae. Amen. English lyrics Translation: Hail Mary, full of grace. Our Lord is with you. Blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen.

read more "Prayer of Saint Francis of Asisi, Pie Jesu, Ave Maria"

It's in everyone of us

It's in everyone of us
To be wise
Find your heart
Open up both your eyes
We can all know everything
Without ever knowing why
It's in everyone of us
By and by

It's in everyone of us
To be wise
Find your heart
Open up both your eyes
We can all know everything
Without ever knowing why
It's in everyone of us
By and by

It's in everyone of us
I just remembered
It's like I've been sleepin' forty years
I'm not awake as I can be
But my seein's better
I can see, through the tears
I've been realisin' bad
I bought this ticket
And watching only half of the show
But there is scenery and lights
And a cast of thousands
You all know (you all know) what I know (what I know)
And it's good
That it's so

It's in everyone of us
To be wise
Find your heart
Open up both your eyes
We can all know everything
Without ever knowing why
It's in everyone of us
By and by and

It's in everyone of us
By and by

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My Mother Sarasmani Sampurno

Reported by Prasetyo Sampurno

To work in an artistic atmosphere is in fact a kind of production activity which is the same as other forms of works. Only the product that is produced is a work of art which has a different appreciation value. Therefore, there is the same challenge in the productivity for people who work in the field of art as those who work in other professions.

Art, the artists and supporting community form a triangular chain that determine the development of the life of the art itself. Therefore, in the competitive era at present, to be able to guard the existence of art, the main performers of art, i.e. the actors and actresses are challenged not only to be productive but also must be able to manage and “to market extensively” the products of their art to the relevant community.

The expertise to manage basic materials and make it into a beautiful form of the art of performing, touching the heart and able to be enjoyed by all layers of the community without considering the background of the culture, has been one of the keys of success of the Taman Mini Indonesia Indah Pelangi Nusantara Cultural Team.

Since 1988, starting with the Brisbane 88 Expo until the end of 1997, 27 cultural missions by this team have been sent to various countries in the four continent. Activities abroad, among others, have included joining events in Japan, Australia, and South Korea. They have also played in tourism mission to Netherland, Hong Kong, America, and Taiwan; joined the dance festival in Thailand, RRC and South Korea; also played a role in a trade mission to Switzerland and Japan, performed in a state event at Brunei Darussalam; played a role in Cultural Diplomacy to Latin America; and performed in an investment mission to Switzerland. As cultural ambassadors of the people of Indonesia Pelangi Nusantara in each of its performance is able to invite sounds of admiration of the other nations abroad.

During its one month mission to the Indonesia-Japan Friendship Festival in late 1997, to be exact in the month of October, the Pelangi Nusantara Team has obtained an extraordinary response from the Japanese community. At its peak, the success of this mission has led the leader of the Taman Mini Indonesia Indah Pelangi Nusantara Cultural Team, Mrs. Sarasmani Sampurno, to receive an international award. THE SOKA GAKAI INTERNATIONAL PEACE AND CULTURE AWARD was given by SOKA GAKAI INTERNATIONAL (SGI), a Japanese Private Institution for peace and culture, to Mrs. Sarasmani Sampurno, in recognition of her standing valuable contribution to the creation of a more peaceful world by bringing countries together in friendship through the cultural medium of dance. This award was signed by Mr. Daisaku Ikeda, President Soka Gakai International and Mr. Einosuke Akiya, President Soka Gakai Japan.

Similar award have also been given to among others: General Andres Rodrigues (President of Paraguay); Dr. Carlos M. Clerc (President, International University of Lomas de Zamora), Dr. Emerlinda R Roman (President, University of the Philippines); Dr. Ana Milena Munoz Gaviria (First Lady of the Colombian President); Dr. Howard Eugene Hunt (Professor, Tufts University) and Mr. Vasant Sathe (President, India Council of Cultural Relations).

The cultural mission that was performed in 16 cities in Southern Japan received a warm reception from the Japanese Community one can be very proud of. The performance was carried out in a building with a capacity of 1.000 to 2.5000 seats, of which the greater part was fully occupied. To watch this performance each spectator must buy a ticket of 4,000 to 4,500 Yen. In fact this is not so surprising because the potency and quality as owned by The Pelangi Nusantara Team is of high quality. Not only foreign missions, but also various tasks at home have been carried out seriously by this team. Performance at the Presidential Palace, and cultural missions to the regions from time to time are part of the agenda and activities.

To become an artist is a choice of life; so, there will never be a term “forced” to become an artist. An Artis is a beauty divine creature, be assigned to serving the world within a long period dedication. They do work hard without self interest, on the contrary, their focus mission is to enhance the beauty-peace-being of the world ( in Javanese terms be said, mamayu hayuning bawana).

This expression that has been quoted from a poet on this country has a wide meaning. As a choice of life, working in the field of art has more power and love which in the end will result in satisfaction and to produce a beauty culture cause towards the world of peace, as a destination of culture works. It is the deep love and commitment towards art, especially the art of dancing and music. That is the main reasons why a number of prominent actors and actresses be united in the Pelangi Nusantara Cultural Team. Because of their divine called.

Pelangi Nusantara is not a place to learn an art, but more like a vehicle to apply an art in teamwork. The approach is more application. The members who have a varied background of work, education, and profession, work in solid team, undergo severe discipline and training, create and develop their creativity, talent, and ability in the art dedication. In fact, each member has a skill in a quality mastered, at least, an artist masters a number of dances from four different regions of Indonesia.< Through the Pelangi Nusantara, various cultural information are disseminated to all corners of the world, however, up to now, particularly traditional arts, including the art of stage performing, is still considered as a tertiary need and an inferior perception by public. Pelangi Nusantara is able to present an art work to inspire which is also interesting to be enjoyed and further researched. With a professional management Pelangi Nusantara is able to respond an art called from the international society to perform professionally. Pelangi Nusantara offers a diplomacy culture to contribute a peace and beauty at one blast according to their divine cultural assignment for the world. Art, the artists and supporting community form a triangular chain that determine the development of the life of the art itself. Therefore, in the competitive era at present, to be able to guard the existence of art, the main performers of art, i.e. the actors and actresses are challenged not only to be productive but also must be able to manage and “to market extensively” the products of their art to the relevant community. The expertise to manage basic materials and make it into a beautiful form of the art of performing, touching the heart and able to be enjoyed by all layers of the community without considering the background of the culture, has been one of the keys of success of the Taman Mini Indonesia Indah Pelangi Nusantara Cultural Team. Since 1988, starting with the Brisbane 88 Expo until the end of 1997, 27 cultural missions by this team have been sent to various countries in the four continent. Activities abroad, among others, have included joining events in Japan, Australia, and South Korea. They have also played in tourism mission to Netherland, Hong Kong, America, and Taiwan; joined the dance festival in Thailand, RRC and South Korea; also played a role in a trade mission to Switzerland and Japan, performed in a state event at Brunei Darussalam; played a role in Cultural Diplomacy to Latin America; and performed in an investment mission to Switzerland. As cultural ambassadors of the people of Indonesia Pelangi Nusantara in each of its performance is able to invite sounds of admiration of the other nations abroad. 

During its one month mission to the Indonesia-Japan Friendship Festival in late 1997, to be exact in the month of October, the Pelangi Nusantara Team has obtained an extraordinary response from the Japanese community. At its peak, the success of this mission has led the leader of the Taman Mini Indonesia Indah Pelangi Nusantara Cultural Team, Mrs. Sarasmani Sampurno, to receive an international award. THE SOKA GAKAI INTERNATIONAL PEACE AND CULTURE AWARD was given by SOKA GAKAI INTERNATIONAL (SGI), a Japanese Private Institution for peace and culture, to Mrs. Sarasmani Sampurno, in recognition of her standing valuable contribution to the creation of a more peaceful world by bringing countries together in friendship through the cultural medium of dance. This award was signed by Mr. Daisaku Ikeda, President Soka Gakai International and Mr. Einosuke Akiya, President Soka Gakai Japan.

Similar award have also been given to among others: General Andres Rodrigues (President of Paraguay); Dr. Carlos M. Clerc (President, International University of Lomas de Zamora), Dr. Emerlinda R Roman (President, University of the Philippines); Dr. Ana Milena Munoz Gaviria (First Lady of the Colombian President); Dr. Howard Eugene Hunt (Professor, Tufts University) and Mr. Vasant Sathe (President, India Council of Cultural Relations).

The cultural mission that was performed in 16 cities in Southern Japan received a warm reception from the Japanese Community one can be very proud of. The performance was carried out in a building with a capacity of 1.000 to 2.5000 seats, of which the greater part was fully occupied. To watch this performance each spectator must buy a ticket of 4,000 to 4,500 Yen. In fact this is not so surprising because the potency and quality as owned by The Pelangi Nusantara Team is of high quality. Not only foreign missions, but also various tasks at home have been carried out seriously by this team. Performance at the Presidential Palace, and cultural missions to the regions from time to time are part of the agenda and activities.

To become an artist is a choice of life; so, there will never be a term “forced” to become an artist. An Artis is a beauty divine creature, be assigned to serving the world within a long period dedication. They do work hard without self interest, on the contrary, their focus mission is to enhance the beauty-peace-being of the world ( in Javanese terms be said, mamayu hayuning bawana).

This expression that has been quoted from a poet on this country has a wide meaning. As a choice of life, working in the field of art has more power and love which in the end will result in satisfaction and to produce a beauty culture cause towards the world of peace, as a destination of culture works. It is the deep love and commitment towards art, especially the art of dancing and music. That is the main reasons why a number of prominent actors and actresses be united in the Pelangi Nusantara Cultural Team. Because of their divine called.

Pelangi Nusantara is not a place to learn an art, but more like a vehicle to apply an art in teamwork. The approach is more application. The members who have a varied background of work, education, and profession, work in solid team, undergo severe discipline and training, create and develop their creativity, talent, and ability in the art dedication. In fact, each member has a skill in a quality mastered, at least, an artist masters a number of dances from four different regions of Indonesia.

read more "My Mother Sarasmani Sampurno"

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"

GORDANG SEMBILAN

Written in bahasa by Prof. Dr. R.M. Soedarsono
Posting inspired by Andrea 'Uli' Tobing-Hilliard

One of the very interesting ethnical music ensembles dating from the Pre-historic era is the GORDANG SEMBILAN, owned by the Batak Mandailing in North Sumatera. This ensemble consists of nine big one-head drums and several bronze blow instruments. While in some part of the areas in Indonesia the drum always functions as a rhythmical instrument, then what is interesting in GORDANG SEMBILAN is that the nine drums have more the feature of a melody. By observing the instruments in this ensemble, it is very clear that there is no Indian element, and can even be said to have more Pre-historic features. In the Batak Mandailing Society, when this very sacred instruments are not played, they are always stored in a special house called SOPO GORDANG meaning the house of the GORDANG. People say that the nine drums represent the nine clans in the Batak etnic, and the highest clan is the Raja (English: KING). Only ensemble from SOPO GORDANG is allowed to play a sacred music and to be played when to be needed to call the souls of the forefathers.



Because it is so sacred, the taking down those instruments must be with the authorization of the KING followed by executing the ritual buffalo butchery. After the drums are being synchronized then must be followed by executing the ritual buffalo butchery as well. This musical ensemble, which consider the drum to be the most important, forms the main ensemble of the Batak Society consisting among other of the Batak Mandailing, Batak Karo, Batak Pak-pak Dairi, Batak Simalungun, and Batak Toba (Margaret J. Kartomi, 1977).

read more "GORDANG SEMBILAN"

L'Histoire de Babar

This part was played by Inez Raharjo and Terrence Judian

Kisah Babar, Imajinasi Dongeng
Auditorium GoetheHaus
Sunday, 12 October 2008
Jl. Sam Ratulangi 9-15, Menteng Jakarta Pusat
Reportage Reported by Kompas TV

L'Histoire de Babar - Francis Poulenc
A piano composition narratively
based on a story written by Jean de Brunhoff
Pianists:
Nadia Suharto - 19 Maret 1998
Cindy K. Gunawan - 29 Agustus 1997
Inez Raharjo - 9 Mei 1994
Terrence Judian - 22 Desember 1995
Andhanu Candana - 29 Agustus 1992
Cinta M.I. Akharina - 24 November 1992
Maharani Yasmine Putri - 18 Juni 1994
Yuliana Wijaya - 25 April 1993
Dira Saphira Putri - 13 Tahun
Narator Janice Tiffani Halim - 4 Maret 1998

The Story of Babar

Translated from the French by Merle S. Haas

In the great forest a little elephant is born. His name is Babar. His mother loves him very much. She rocks him to sleep with her trunk while singing softly to him.
Babar has grown bigger. He now plays with the other little elephants. He is a very good little elephant. See him digging in the sand with his shell .
Babar is riding happily on his mother’s back when a wicked hunter behind some bushes, shoots at them.
The hunter has killed Babar’s mother! The monkey hides, the birds fly away, Babar cries. The hunter runs up to catch poor Babar.
Babar runs away because he is afraid of the hunter. After several days, very tired indeed, he comes to a town …
He hardly knows what to make of it because this is the first time that he has seen so many houses.
So many things are new to him! The broad streets! The automobiles and buses! However, he is especially interested in two gentlemen he notices on the street.
He says to himself: “Really, they are very well dressed. I would like to have some fine clothes, too! I wonder how I can get them?”
Luckily, a very rich Old Lady who has always been fond of little elephants understands right away that he is longing for a fine suit. As she likes to make people happy, she gives him her purse. Babar says to her politely: “Thank you, Madam.”
Without wasting any time, Babar goes into a big store. He enters the elevator. It is such fun to ride up and down in this funny box, that he rides all the way up ten times and all the way down ten times. He did not want to stop but the elevator boy finally said to him: “This is not a toy, Mr. Elephant. You must get out and do your shopping. Look, here is the floorwalker.”
Babar then buys himself: a shirt with a collar and tie, a suit of a becoming shade of green, then a handsome derby hat, and also shoes with spats.
Well satisfied with his purchases and feeling very elegant indeed, Babar now goes to the photographer to have his picture taken.
Babar dines with his friend the Old Lady. She thinks he looks very smart in his new clothes. After dinner, because he is tired, he goes to bed and falls asleep very quickly.
Babar now lives at the Old Lady’s house. In the morning, he does setting-up exercises with her, and then he takes a bath.
He goes out for an automobile ride every day. The Old Lady has given him the car. She gives him whatever he wants.
A learned professor gives him lessons. Babar pays attention and does well in his work. He is a good pupil and makes rapid progress.
In the evening, after dinner, he tells the Old Lady’s friends all about his life in the great forest.
However, Babar is not quite happy, for he misses playing in the great forest with his little cousins and his friends, the monkeys. He often stands at the window, thinking sadly of his childhood, and cries when he remembers his mother.
Two years have passed. One day during his walk he sees two little elephants coming toward him. They have do clothes on. “Why,” he says in astonishment to the Old Lady,”It’s Arthur and Celeste, my little cousins!”
Babar kisses them affectionately and hurries off with them to buy them some fine clothes.
He takes them to a pastry shop to eat some good cakes.
Meanwhile, in the forest, the elephants are calling and hunting high and low for Arthur and Celeste, and their mothers are worried.
Fortunately, in flying over the town, an old marabou bird has seen them and comes back quickly to tell the news.
The mothers of Arthur and Celeste have come to the town to fetch them. They are very happy to have them back, but they scold them just the same because they ran away.
Babar makes up his mind to go back with Arthur and Celeste and their mothers to see the great forest again. The Old Lady helps him to pack his trunk.
They are all ready to start. Babar kisses the Old Lady goodbye. He would be quite happy to go if it were not for leaving her. He promises to come back some day. He will never forget her.
They have gone … There is no room in the car for the mothers, so they run behind, and lift up their trunks to avoid breathing the dust. The Old Lady is left alone. Sadly she wonders: “When shall I see my little Babar again?”
Alas, that very day, the ing of the elephants had eaten a bad mushroom.
It poisoned him and he became ill, so ill that he died. This was a great calamity.
After the funeral the three oldest elephants were holding a meeting to choose a new King.
Just then they hear a noise. They turn around. Guess what they see! Babar arriving in his car and all the elephants running and shouting: “Here they are! Here they are! Hello, Babar! Hello, Arthur! Hello, Celeste! What beautiful clothes! What a beautiful car!”
Then Cornelius, the oldest of all the elephants, spoke in his quavering voice: “My good friends, we are seeking a King. Why not choose Babar? He has just returned from the big city, he has learned so much living among men, let us crown him King.” All the other elephants thought that Cornelius had spoken wisely and eagerly they await Babar’s reply.
“I want to thank you one and all,” said Babar, “but before accepting your proposal, I must explain to you that, while we were traveling in the car, Celeste and I became engaged. If I become your King, she will be your Queen.”
“Long live Queen Celeste! Long live King Babar!” cry all the elephants without a moment’s hesitation. And thus it was that Babar became King.
“You have good ideas,” said Babar to Cornelius. “I will therefore make you a general, and when I get my crown, I will give you my hat. In a week I shall marry Celeste. We will then have a splendid party in honor of our marriage and our coronation.” Then, turning to the birds, Babar asks them to go and invite all the animals to the festivities, and he tells the dromedary to go to the town and buy some beautiful wedding clothes.
The wedding guests begin to arrive. The dromedary returns with the bridal costumes just in the nick of time for the ceremony.
After the wedding and the coronation everybody dances merrily.
The festivities are over, night has fallen, the stars have risen in the sky. King Babar and Queen Celeste are indeed very happy.
Now the world is asleep. The guests have gone home, happy, though tired from too much dancing. They will long remember this great celebration.

Program:
Jakarta Conservatory of Music
Jl. Cipete IV No. 8 Jakarta Selatan 12430
jcom@centrin.net.id
+62 21 7690470/99161338

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The Cultural Art Forms of Indonesia WAYANG KULIT

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


Up till now cultural observers still argue about the origin of the Wayang Kulit performance which is very popular in the javanese community. Apparently it is necessary to observe several very different opinion, i.e. the opinion of R. Pischel, Goerge Jacob, and W.H. Rassers.

Kalasinema is a new presentation of Wayang (Javanese Shadow Puppets) Performance for Video Audience. This presentation was performed by Ki Purbo asmoro.
Source: bramkushardjanto youtube

 
Pischel said that the wayang kulit performace came from India, with the reason that besides the stories that are performed at a wayang kulit show are always part of the Indian epics Mahabharata and Ramayana, there is a leather puppet theater show called CHAYANTAKA.

Jacob had another reason about the performance of the javanese community which is very popular among all classes of the community. He said that the show came from China. His reason was that there is a shadow performance in China telling stories about kings in the past, and the much older influence of foreign culture towards Indonesia came from the South China region.

The last opinion came from a Dutch scholar, Rassers. With the reason that various technical outfit could not be found in the leather puppet show of India, he guessed that the wayang kulit performance originally came from Java. This performance was the development of a ceremony to worship the soul of the forefathers (Holt. 1967)

The Wayang Kulit performance which is a tradition of the community in Java and Bali which has socialized a great deal, appears also to have developed in the circles of the community in Lombok. Different from the stories that highly color the wayang kulit perpormance in Java and Bali which generally use the epic of Mahabharata and Ramayana, the wayang kulit in Lombok always shows plays that have its source in the Menak stories. The play of the Menak stories always picture the heroism of a prominent figure in an Arabic country before the development of the Islam religion.

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Winter Sonata's Theme Song - My Memory

Students of Spring Field International Curriculum School Raffles Hills Cibubur Depok Indonesia performing Winter Sonatas Theme Song - My Memory

Inez Raharjo violin
Cephas Kim cello
So Eun Kim piano



Winter Sonata," The Most Popular Korean Drama In Japan (reported in July 2007)"

"Winter Sonata," The Most Popular Korean Drama In Japan Results from Asahi TV programs research shows "Dae Jang Geum," and "Stairway to Heaven" follows behind.

Among many Korean dramas that have perpetrated Japan, "Winter Sonata" revealed to have the most popularity.

According to the Japanese Asahi TV informative variety show, "SMAP Station," their latest research shows that "Winter Sonata," starring Korean stars Bae Yong Joon and Choi Ji Woo, was first place in the category of Best Korean Dramas. This research was started in May.

"Dae Jang Geum," starring Lee Young Ae and Ji Jin Hee received second place, "Stairway to Heaven" starring Kwon Sang Woo and Choi Ji Woo received third place, and "Wonderful Days" and "Hotelier" were included in the top five.

The rest were "Sad Sonata," "All In," "Summer Scent," "Autumn Fairytale," and "Lovers in Paris" in the top ten.

Source : http://www.koreanmovie.com/Winter_Son...

Category: Music

Tags: pop

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RAMAYANA EPIC DANCE - DAY ONE
from kidnaped Shinta to Hanoman the envoy
Presented by Pelangi Nusantara
TAMAN MINI INDONESIA INDAH

Victoria Theatre Singapore
27 -28 Mei 1991

Sarpakenakawas watching Laksamana at a jungle, it was named Dandaka, with flesh passions and desires while at the same time Laksamana was doing meditation, mortifying the flesh. On eventually, Sarpakenaka was given a loose to, she seduced Laksamana. Of course, Laksamana rejected her. But she never gave up to insist him. It was therefore Laksamana was so angry, to be out of control of himself, intuitively, he cut her nose.

Sarpakenaka did not anticipate. She was so angry much, it was a reason, together with her Alengka Direja small troops that was led by Kalamarica (Cakil), to attacked with full intention to kill Laksamana. However, they did not succeed. Laksamana was more powerfull, who was to force them back to Alengka Direja.

Sarpakenaka reported an insulting she had received to her brother Rahwana, King of Alengka Direja. Sarpakenaka had succeeded in convincing Rahwana. In result, Rahwana was to decide making a revenge for his sister. After that, accompanied by Kalamarica (Cakil), Rahwana went to Dandaka.

At arrival, Rahwana was to keep an enough close watch on Laksamana from his hidden place, when Laksamana was to discuss his terrible incident in his previous meditation to his brother Rama and his wife Shinta.

From his hidden place, Rahwana was so surprised when he saw Shinta. In his opinion, she was the most beautiful lady that he ever saw. Shinta was to influence his mind, and changing his intention. He was about to forget a revenge. Instead of, Rahwana and Kalamarica set up a kidnapping plan for Shinta.

A plan was applied, Kalamarica changed himself as an attractive golden deer in which purposing to attracted Shinta. His effort was success. Shinta was to beg to Rama, be anxious for to have that golden deer. Rama could not refuse her desire. Shinta was to insisted to hunt that golden deer. In Hunting, unconsciously he mislead his way, more separated distantly from Laksamana and Shinta. That situation brought to her senses to be worried, so that she asked Laksamana to look for Rama. Laksamana agreed. Before departing Laksamana made a circle surrounding Shinta using his Keris Pusaka in order to protect her from evil that want to approach her. This particular circle was very effective that caused Rahwana could not pass through the circle.

So, Rahwana changed his tactic. He changed himself to be an old beggar. Shinta who was always care with every old man who needed help, could not control herself. Her right hand exceeded the circle, Shinta handed over a gift. That's why Rahwana succeeded to take her hand, then kidnapping was begun.

On the other side of Jungle, Laksamana was finally find Rama who was still fighting with Kalamarica after uncovering him from golden deer. Laksamana replaced quickly rama's position in order to sent Rama to be back to Shinta's position. Laksamana killed Kalamarica. But, Rama found his wife was missing. They were very sad and so regretful. They walked without knowing direction, to did endeavor to find Shinta.

On the air, Giant Eagle Bird Jatayu catched by surprise Rahwana who captured Shinta. Jatayu fighted to Rahwana, tried to release Shinta. However, Rahwana was more powerful, he defeated Jataju on the air. Jatayu falled down to the earth. Then Rahwana went forward his way to Alengka Direja. While Rama and Laksamana was looking for a track of Shinta, they met Jatayu in dying. Before death, Jatayu had a chance to talk an Alengka Direja direction to Sri Rama.

Hanoman (white monkey) son of Dewi Anjani, came and reported to Sri Rama & Laksamana . He needed help from Rama in regard to find a justice for his two uncles (Subali and Sugriwa). They were still in fighting, to snatched away Gua Kiskenda Kingdom and Dewi Tara the Queen. After conceiving Hanoman's appeal, Rama decided to apply sacred arrow called guwawijaya to find the truth and the false. In result, the sacred arrow founded that Subali was in the false, so it could not be avoided, the arrow killed him. Subali had mistaken, he was in provocation influencial by Rahwana as Subali's disciple, that was a bad reason, he intended to kill his brother sugriwa without mercy. After praying for the soul of Subali,

Sri Rama appointed Sugriwa becoming a King of Gua Kiskenda and Dewi Tara as his Queen.

At that time, Sri Rama called Hanoman. He appointed Hanoman as the envoy, with a mission to observe the strength of Alengka Direja. At the same time he ordered Hanoman to find Dewi Shinta. He instructed Hanoman to give a ring to her, and to watched wheather this ring was still fit into her finger. It could reveal the purity of Dewi Shinta. Sri Rama planned to attack Alengka Direja with full force assisted by Gua Kiskenda power. Rama committed to destroy every evil of Rahwana. Sri Rama had a clear picture how dangerous of evil Rahwana in the earth. Prior to this, he conveyed Hanoman to Alengka Direja.

The first arrival of Hanoman was at Taman Soka, the beautiful garden, special place provided by Rahwana to Shinta. From his hidding place, Hanoman was watching how Rahwana tried without boring to propose Shinta becoming his wife. But Shinta rejected all the time. He was watching how Trijata (daughter of Wibisana – niece of Rahwana) to protected Shinta. Rahwana was almost to kill Trijata because he was always to blocked Rahwana in order to made Rahwana staying away from Shinta.

At in the right time, Hanoman approached coming closed to Shinta. He reported his mission that was given to him, included, his mission to check her ring finger. Shinta put Sri Rama given ring to her finger, then she showed to Hanoman. She proved that she was still in purity, and this event was also to be eye witness by Hanoman. Unfortunately, his mission did not include taking along back Shinta to Sri Rama. By the end of that session, Hanoman convinced her that he would report the truth to Sri Rama after accomplishing his mission.

Henceforth, Hanoman was to pleased Shinta, Trijata and their waitress to go inside to their palace because he planned to shatter, crush and destroy Taman Soka. His purpose was to attract Rahwana. His second mission was to met Rahwana to address Rama message. After destroying Taman Soka and killed some giant guard there, Hanoman made himself deliberately to be capture by Indrajit, Prince of Alengka Direja. Indrajit by himself brought Hanoman in iron handcuff to facing Rahwana. In front of Rahwana, Hanoman addressed Rama message. Hanoman represented Sri Rama, insisted Rahwana to asking for Shinta back. Kumbakarna and Wibisana persuaded Rahwana in order to comply with Rama’s demanding. On the contrary, Rahwana rejected, furthermore it was the worst, he ordered to burn down Hanoman, life incinerating, as a symbol that he challenged Sri Rama. Rahwana chased away Wibisana from Alengka Direja because Wibisana did not support him. Not Kumbakarna. Rahwana still needed Kumbakarna to fight Gua Kiskenda force.

They started to setting on fire to Hanoman. Yet, they underestimated him. He was more powerful than every people in Alengka Direja except Rahwana and Kumbakarna. Hanoman was a disciple of a god of wind (Dewa Bayu) with the best achievements. He is a son of Guru. So, with no difficulty, Hanoman handled that fire, made the fire spread widely to burn all capital city of Alengka Direja. 

Fire followed Hanoman’s instruction. It was only Shinta palace and Wibisana's were untouched by fire. After watching destroying Alengka Direja caused by himself, Hanoman departed flying from Alengka Direja, went back to Gua Kiskenda, he was impatient to wish arriving immediately giving a report to Rama.

CULTURAL HOST:

Mr. Fuad Hasan ( Minister Education & Culture Republic Indonesia)
Mr. Tuk Setyohadi (Ambassador Republic Indonesia for Singapore)
Mr. Sampurno (General Manager TMII & Chief of The Presidential Household RI)
Ibu Tati Darsojo
Bambang Adjie Soerjosoebandoro & Indonesian Business Society in Singapore
Koreografer: Sarasmani Sampurno; Dancing Composer: Elly Luthan; Javanese Music (Karawitan) Composer: S. Bono

PROMINENT GUESTS:

The President of Singapore
The Culture Minster of Singapore
Some Cultural Attache in Singapore
Indonesia and Singapore business society
Art loving guests

ARTISTS:
Sri Rama: Sulistio Tirtokusumo
Laksmana: Wisnu
Shinta: Henny
Trijata: Poppy
Rahwana: Sunarno (STSI)
Kumbakarno: Yudho Wiratmo
Sarpekenaka: Tika
Wibisana: Slamet Harjono
Indrajit: Supriyadi
Jatayu: Yudho Wiratmo
Kijang Kencana: Imelda
Subali: Muljadi
Sugriwa: Ismuni
Hanoman: Prasetyo Sampurno
Artis Pelangi Nusantara & Children, Teenagers from Indonesian
Embassy office in Singapore & Students Indonesia in Singapore.

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