Showing posts with label Culture. Show all posts
Showing posts with label Culture. Show all posts

Activity of Mount Bromo indonesia

Mount Bromo activity slowly started to show a decline. Judging from some signs that ditunjukannya, Mount Bromo will likely demoted from the status of a standby alert. This was expressed directly by the Head of Geological Hazard Mitigation PVMBG Suantika Gede.

"If there is no volcanic earthquakes and seismic tremor maximum of 1 millimeter, then the status could be downgraded to level three, namely Standby," Gede said as quoted by vivanews.com.

Gede also add one of the signs decrease the activity of Mount Bromo is a change in color of the smoke released into the white of Mount Bromo. These are the traits that the pressure energy from the bowels of Mount Bromo begins to diminish. Besides measuring the level of deformation that he conducted on the mountain also showed decreasing activity.

Although optimistic about the decline in the status of Mount Bromo, Gede Suantika still advise people to stay alert. Gede adding that he now only report the latest data alone but the decision is only entitled to impairment status was decided by PVMBG Bandung.

Majapahit Empire

Majapahit was a vast archipelagic empire based on the island of Java from 1293 to around 1500. Majapahit reached its peak of glory during the era of Hayam Wuruk, whose reign from 1350 to 1389 marked by conquest which extended through Southeast Asia, including the present day Indonesia, Singapore, Malaysia, Brunei, southern Thailand, the Philippines, and East Timor. His achievement is also credited to his prime minister, Gajah Mada.

Majapahit was one of the last major empires of the region and is considered to be one of the greatest and most powerful empires in the history of Indonesia and Southeast Asia, one that is sometimes seen as the precedent for Indonesia's modern boundaries. Its influence extended beyond the modern territory of Indonesia and has been a subject of many studies. German orientalist Berthold Laufer suggested that maja came from the Javanese name of Indonesian tree.


Introduction

Little physical evidence of Majapahit remains, and some details of the history are rather abstract. The main sources used by historians are: the Pararaton ('Book of Kings') written in Kawi language and Nagarakertagama in Old Javanese. Pararaton is focused upon Ken Arok (the founder of Singhasari) but includes a number of shorter narrative fragments about the formation of Majapahit. Nagarakertagama, is an old Javanese epic poem written during the Majapahit golden age under the reign of Hayam Wuruk after which some events are covered narratively. There are also some inscriptions in Old Javanese and Chinese.

The Javanese sources incorporate some poetic mythological elements, and scholars such as C. C. Berg, a Dutch nationalist, have considered that the entire historical record to be not a record of the past, but a supernatural means by which the future can be determined. Despite Berg's approach, most scholars do not accept this view, as the historical record corresponds with Chinese materials that could not have had similar intention. The list of rulers and details of the state structure, show no sign of being invented.

Ming Dynasty admiral Zheng He visited Majapahit. Zheng He's translator Ma Huan wrote a detailed description about Majapahit and where the king of Java lived.

History

Formation

The statue of Harihara, the god combination of Shiva and Vishnu. It was the mortuary deified portrayal of Kertarajasa. Originally located at Candi Simping, Blitar and the statue is now preserved at National Museum of Indonesia.

After defeating Srivijaya in Sumatra in 1290, Singhasari became the most powerful kingdom in the area. Kublai Khan, the Great Khan of the Mongol Empire and the Emperor of the Mongol Yuan Dynasty, challenged Singhasari by sending emissaries demanding tribute. Kertanegara, the last ruler of Singhasari, refused to pay the tribute. In 1293, Kublai Khan sent a massive expedition of 1,000 ships to Java.

By that time, Jayakatwang, the Adipati (Duke) of Kediri, a vassal state of Singhasari, had usurped and killed Kertanagara. After being pardoned by Jayakatwang with the aid of Madura's regent, Arya Wiraraja; Raden Wijaya, Kertanegara's son-in-law, was given the land of Tarik timberland. He then opened that vast timberland and built a new village there. The village was named Majapahit, which was taken from a fruit name that had bitter taste in that timberland (maja is the fruit name and pahit means bitter). When Mongolian Yuan army sent by Kublai Khan arrived, Wijaya allied himself with the army to fight against Jayakatwang. Once Jayakatwang was destroyed, Raden Wijaya forced his allies to withdraw from Java by launching a surprise attack. Yuan's army had to withdraw in confusion as they were in hostile territory. It was also their last chance to catch the monsoon winds home; otherwise, they would have had to wait for another six months on a hostile island.

In AD 1293, Raden Wijaya founded a stronghold with the capital Majapahit. The exact date used as the birth of the Majapahit kingdom is the day of his coronation, the 15th of Kartika month in the year 1215 using the Javanese çaka calendar, which equates to November 10, 1293. During his coronation he was given formal name Kertarajasa Jayawardhana. The new kingdom faced challenges. Some of Kertarajasa's most trusted men, including Ranggalawe, Sora, and Nambi rebelled against him, though unsuccessfully. It was suspected that the mahapati (equal with prime minister) Halayudha set the conspiracy to overthrow all of the king's opponents, to gain the highest position in the government. However, following the death of the last rebel Kuti, Halayudha was captured and jailed for his tricks, and then sentenced to death. Wijaya himself died in AD 1309.

Wijaya's son and successor, Jayanegara was notorious for immorality. One of his sinful acts was taking his own stepsisters as wives. He was entitled Kala Gemet, or "weak villain". In AD 1328, Jayanegara was murdered by his doctor, Tanca. His stepmother, Gayatri Rajapatni, was supposed to replace him, but Rajapatni retired from court to become a bhiksuni (a Buddhist nun) in a monastery. Rajapatni appointed her daughter, Tribhuwana Wijayatunggadewi, or known in her formal name as Tribhuwannottungadewi Jayawishnuwardhani, as the queen of Majapahit under Rajapatni's auspices. During Tribhuwana’s rule, the Majapahit kingdom grew much larger and became famous in the area. Tribhuwana ruled Majapahit until the death of her mother in AD 1350. She was succeeded by her son, Hayam Wuruk.

Golden age

Hayam Wuruk, also known as Rajasanagara, ruled Majapahit in AD 1350–1389. During this period, Majapahit attained its peak with the help of prime minister, Gajah Mada. Under Gajah Mada's command (AD 1313–1364), Majapahit conquered more territories. In 1377, a few years after Gajah Mada's death, Majapahit sent a punitive naval attack against Palembang, contributing to the end of the Srivijayan kingdom. Gajah Mada's other renowned general was Adityawarman, known for his conquest in Minangkabau.

According to the book of Nagarakertagama pupuh (canto) XIII and XIV mentioned several states in Sumatra, Malay Peninsula, Borneo, Sulawesi, Nusa Tenggara islands, Maluku, New Guinea, and some parts of Philippines islands as under Majapahit realm of power. This source mentioned of Majapahit expansions has marked the greatest extent of Majapahit empire.

The Nagarakertagama, written in 1365 depict a sophisticated court with refined taste in art and literature, and a complex system of religious rituals. The poet describes Majapahit as the centre of a huge mandala extending from New Guinea and Maluku to Sumatra and Malay Peninsula. Local traditions in many parts of Indonesia retain accounts in more or less legendary from 14th century Majapahit's power. Majapahit's direct administration did not extend beyond east Java and Bali, but challenges to Majapahit's claim to overlordship in outer islands drew forceful responses.

The nature of the Majapahit empire and its extent is subject to debate. It may have had limited or entirely notional influence over some of the tributary states in included Sumatra, the Malay Peninsula, Kalimantan and eastern Indonesia over which of authority was claimed in the Nagarakertagama. Geographical and economic constraints suggest that rather than a regular centralised authority, the outer states were most likely to have been connected mainly by trade connections, which was probably a royal monopoly. It also claimed relationships with Champa, Cambodia, Siam, southern Burma, and Vietnam, and even sent missions to China.

Although the Majapahit rulers extended their power over other islands and destroyed neighboring kingdoms, their focus seems to have been on controlling and gaining a larger share of the commercial trade that passed through the archipelago. About the time Majapahit was founded, Muslim traders and proselytizers began entering the area.
Majapahit Empire Map

Decline

Following Hayam Wuruk's death AD 1389, Majapahit power entered a period of decline with conflict over succession. Hayam Wuruk was succeeded by the crown princess Kusumawardhani, who married a relative, Prince Wikramawardhana. Hayam Wuruk also had a son from his previous marriage, crown prince Wirabhumi, who also claimed the throne. A civil war, called Paregreg, is thought to have occurred from 1405 to 1406, of which Wikramawardhana was victorious and Wirabhumi was caught and decapitated. Wikramawardhana ruled to 1426 AD and was succeeded by his daughter Suhita, who ruled from 1426 to 1447 AD. She was the second child of Wikramawarddhana by a concubine who was the daughter of Wirabhumi.


In 1447, Suhita died and was succeeded by Kertawijaya, her brother. He ruled until 1451 AD. After Kertawijaya died, Bhre Pamotan became a king with formal name Rajasawardhana and ruled at Kahuripan. He died in 1453 AD. A three year kingless period was possibly the result of a succession crisis. Girisawardhana, son of Kertawijaya, came to power 1456. He died in 1466 AD and was succeeded by Singhawikramawardhana. In 1468 AD Prince Kertabhumi rebelled against Singhawikramawardhana promoting himself king of Majapahit.
The model of Majapahit ship display in Muzium Negara, Kuala Lumpur.

Singhawikramawardhana moved the Kingdom’s capital to Daha and continued his rule until he was succeeded by his son Ranawijaya in 1474 AD. In 1478 AD he defeated Kertabhumi and reunited Majapahit as one Kingdom. Ranawijaya ruled from 1474 AD to 1519 AD with the formal name Girindrawardhana. Nevertheless, Majapahit's power had declined through these family conflicts and the growing power of the north-coastal kingdoms in Java.

Majapahit found itself unable to control the rising power of the Sultanate of Malacca. Dates for the end of the Majapahit Empire range from 1478 (that is, 1400 Saka, the ends of centuries being considered a time when changes of dynasty or courts normally ended) to 1527. The year is marked among Javanese today with candra sengkala "sirna ilang kertaning bumi" (the wealth of earth disappeared and diminished) (sirna = 0, ilang = 0, kerta = 4, bumi = 1). After a series of battles with the Sultanate of Demak, the last remaining courtsmen of Majapahit were forced to withdraw inland to Kediri; it is unclear whether they were still under the rule of the Majapahit dynasty. This small state was finally extinguished at the hands of the Demak in 1527. A large number of courtiers, artisans, priests, and members of the royalty moved east to the island of Bali; however, the power and the seat of government transferred to Demak under the leadership of Pangeran, later Sultan Fatah[citation needed]. According to Babad Tanah Jawi and Demak tradition, their first sultan, Raden Fatah is the son of Majapahit king Brawijaya V with a Chinese concubine. The Muslim emerging forces defeated the local Majapahit kingdom in the early 16th century.

Culture

Wringin Lawang, the 15.5 meter tall red brick split gate. Located at Jatipasar, Trowulan, Mojokerto, East Java. Believed to be the entrance of an important compound in Majapahit capital.

The main event of the administrative calendar took place on the first day of the month of Caitra (March-April) when representatives from all territories paying tax or tribute to Majapahit came to the capital to pay court. Majapahit's territories were roughly divided into three types: the palace and its vicinity; the areas of east Java and Bali which were directly administered by officials appointed by the king; and the outer dependencies which enjoyed substantial internal autonomy.

The capital (Trowulan) was grand and known for its great annual festivities. Buddhism, Shaivism, and Vaishnavism were all practiced, and the king was regarded as the incarnation of the three. The Nagarakertagama does not mention Islam, but there were certainly Muslim courtiers by this time.

Although brick had been used in the candi of Indonesia's classical age, it was Majapahit architects of the 14th and 15th centuries who mastered it. Making use of a vine sap and palm sugar mortar, their temples had a strong geometric quality.

Economy

Taxes and fines were paid in cash. Javanese economy had been partly monetised since the late 8th century, using gold and silver coins. In about the year 1300, in the reign of Majapahit's first king, an important change took place: the indigenous coinage was completely replaced by imported Chinese copper cash. About 10,388 ancient Chinese coins weighing about 40 kg were even unearthed from the backyard of a local commoner in Sidoarjo in November 2008. Indonesian Ancient Relics Conservation Bureau (BP3) of East Java verified that those coins dated as early as Majapahit era. The reason for using foreign currency is not given in any source, but most scholars assume it was due to the increasing complexity of Javanese economy and a desire for a currency system that used much smaller denominations suitable for use in everyday market transactions. This was a role for which gold and silver are not well suited.

Some idea of scale of the internal economy can be gathered from scattered data in inscriptions. The Canggu inscriptions dated 1358 mentions 78 ferry crossings in the country (mandala Java). Majapahit inscriptions mention a large number of occupational specialities, ranging from gold and silver smiths to drink vendors and butchers. Although many of these occupations had existed in earlier times, the proportion of the population earning an income from non-agrarian pursuits seems to have become even greater during the Majapahit era.

The great prosperity of Majapahit was probably due to two factors. Firstly, the northeast lowlands of Java were suitable for rice cultivation, and during Majapahit's prime numerous irrigation projects were undertaken, some with government assistance. Secondly, Majapahit's ports on the north coast were probably significant stations along the route to obtain the spices of Maluku, and as the spices passed through Java they would have provided an important source of income for Majapahit.

The Nagarakertagama states that the fame ruler of Wilwatikta (a synonym for Majapahit) attracted foreign merchants from far and wide, including Indians, Khmers, Siamese, and Chinese among others. A special tax was levied against some foreigners, possibly those who had taken up semi-permanent residence in Java and conducted some type of enterprise other than foreign trade.

Legacy

 The elegant 16.5 metres tall Bajang Ratu gate, at Trowulan, echoed the grandeur of Majapahit

In sum, Majapahit was the largest empire ever to form in Southeast Asia. Although its political power beyond the core area in east Java was diffuse, constituting mainly ceremonial recognition of suzerainty, Majapahit society developed a high degree of sophistication in both commercial and artistic activities. Its capital was inhabited by a cosmopolitan population among whom literature and art flourished.

For Indonesians in later centuries, Majapahit became a symbol of past greatness. The Islamic sultanates of Demak, Pajang, and Mataram sought to establish their legitimacy in relation to the Majapahit. The Demak claimed a line of succession through Kertabumi, as its founder, Raden Patah, in court chronicles was said to be the son of Kertabumi with Putri Cina, a Chinese princess, who had been sent away before her son was born. Sultan Agung's conquest of Wirasaba in 1615, led by the sultan himself, may have had such importance as it was the location of the Majapahit capital. Central Javanese palaces have traditions and genealogy that attempt to prove links back to the Majapahit royal lines — usually in the form of a grave as a vital link in Java — where legitimacy is enhanced by such a connection. [citation needed] Bali in particular was heavily influenced by Majapahit and the Balinese consider themselves to be the true heirs of the kingdom.

Modern Indonesian nationalists, including those of the early 20th century Indonesian National Revival, have invoked the Majapahit Empire. The memory of its greatness remains in Indonesia, and is sometimes seen as a precedent for the current political boundaries of the Republic. Many of modern Indonesian national symbols derived from Majapahit Hindu-Buddhist elements. The Indonesian national flag "Sang Merah Putih" ("Red and White") or sometimes called "Dwiwarna" ("The bicolor"), derived from the Majapahit royal color. The Indonesian Navy flag of red and white stripes also has a Majapahit origin. The Indonesian national motto, "Bhinneka Tunggal Ika", is a quotation from an Old Javanese poem "Kakawin Sutasoma", written by a Majapahit poet, Mpu Tantular.[citation needed]

The Indonesian coat of arms, Garuda Pancasila, also derives from Javanese Hindu elements.[citation needed] The statue and relief of Garuda have been found in many temples in Java such as Prambanan from the ancient Mataram era, and the Panataran as well as the Sukuh temple dated from the Majapahit era. The notable statue of Garuda is the statue of the king Airlangga depicted as Vishnu riding Garuda.

In its propaganda from the 1920s, the Communist Party of Indonesia presented its vision of a classless society as a reincarnation of a romanticized Majapahit. It was invoked by Sukarno for nation building and by the New Order as an expression of state expansion and consolidation. Like Majapahit, the modern state of Indonesia covers vast territory and is politically centred on Java.

Majapahit had a momentous and lasting influence on Indonesian architecture. The descriptions of the architecture of the capital's pavilions (pendopo) in the Nagarakertagama  invoke the Javanese Kraton and also the Balinese temples and compounds of today.

Palapa, the series of communication satellites owned by Telkom, an Indonesian telecommunication company, has been named after Sumpah Palapa, the famous oath taken by Gajah Mada. Gajah Mada swore that he would not taste any spice as long as he had not succeeded in unifying Nusantara (Indonesian archipelago). This ancient oath of unification signifies the Palapa satellite as the modern means to unify the Indonesian archipelago by way of telecommunication. The name was chosen by president Suharto, and the program was started in February 1975.

During the last half year of 2008, the Indonesian government sponsored a massive exploration on the site that is believed to be the place where the palace of Majapahit once stood. Jero Wacik, the Indonesian Minister of Culture and Tourism stated that the Majapahit Park would be built on the site and completed as early as 2009, in order to prevent further damage caused by home-made brick industries that develop on the surrounding area. Nevertheless, the project leaves a huge attention to some historians, since constructing the park's foundation in Segaran site located in south side of Trowulan Museum will inevitably damage the site itself. Ancient bricks which are historically valuable were found scattered on the site. The government then argued that the method they were applying were less destructive since digging method were used instead of drilling.
Pair of door guardians from a temple, Eastern Java, 14th century (Museum of Asian Art, San Francisco)

List of rulers

1. Raden Wijaya, styled Kertarajasa Jayawardhana (1294–1309)
2. Kalagamet, styled Jayanagara (1309–1328)
3. Sri Gitarja, styled Tribhuwana Wijayatunggadewi (1328–1350)
4. Hayam Wuruk, styled Sri Rajasanagara (1350–1389)
5. Wikramawardhana (1389–1429)
6. Suhita (1429–1447)
7. Kertawijaya, styled Brawijaya I (1447–1451)
8. Rajasawardhana, born Bhre Pamotan, styled Brawijaya II (1451–1453)
9. Interregnum (1453–1456)
10. Bhre Wengker, Purwawisesa or Girishawardhana, styled Brawijaya III (1456–1466)
11. Singhawikramawardhana, Pandanalas, or Suraprabhawa, styled Brawijaya IV (1466 - 1468 or 1478)
12. Kertabumi, styled Brawijaya V (1468–1478)
13. Girindrawardhana, styled Brawijaya VI (1478–1498)

Source : http://en.wikipedia.org/wiki/Majapahit_Empire

History of Gamelan Music


The gamelan predates the Hindu-Buddhist culture that dominated Indonesia in its earliest records and instead represents a native art form. The instruments developed into their current form during the Majapahit Empire. In contrast to the heavy Indian influence in other art forms, the only obvious Indian influence in gamelan music is in the Javanese style of singing.

In Javanese mythology, the gamelan was created by Sang Hyang Guru in Saka era 167 (c. AD 230), the god who ruled as king of all Java from a palace on the Maendra mountains in Medangkamulan (now Mount Lawu). He needed a signal to summon the gods and thus invented the gong. For more complex messages, he invented two other Gongs, thus forming the original gamelan set.
The earliest image of a musical ensemble is found on the 8th century Borobudur temple, Central Java. Musical instruments such as the bamboo flute, bells, drums in various sizes, lute, and bowed and plucked string instruments were identified in this image. However it lacks metallophones and xylophones. Nevertheless, the image of this musical ensemble is suggested to be the ancient form of the gamelan.
In the palaces of Java are the oldest known ensembles, the Munggang and Kodokngorek gamelans, apparently from the 12th century. These formed the basis of a "loud style". A different, "soft style" developed out of the kemanak tradition and is related to the traditions of singing Javanese poetry, in a manner which is often believed to be similar to performance of modern bedhaya dance. In the 17th century, these loud and soft styles mixed, and to a large extent the variety of modern gamelan styles of Bali, Java, and Sunda resulted from different ways of mixing these elements. Thus, despite the seeming diversity of styles, many of the same theoretical concepts, instruments, and techniques are shared between the styles.

Source : http://en.wikipedia.org/wiki/Gamelan#cite_note-1

Gamelan

A gamelan is a musical ensemble from Indonesia, typically from the islands of Bali or Java, featuring a variety of instruments such as metallophones, xylophones, drums and gongs; bamboo flutes, bowed and plucked strings. Vocalists may also be included.



The term refers more to the set of instruments than to the players of those instruments. A gamelan is a set of instruments as a distinct entity, built and tuned to stay together — instruments from different gamelan are generally not interchangeable.

The word "gamelan" comes from the Javanese word "gamels", meaning to strike or hammer, and the suffix "an", which makes the root a collective noun. Real hammers are not used to play these instruments as heavy iron hammers would break the delicate instruments.

Source :  http://en.wikipedia.org/wiki/Gamelan

Tari Remo

Tari Remo is a welcoming dance special from East Java which described dynamical characteristic of East Java Society as a picture of Prince's courage. It supported by Gamelan music and in this Gending there are Bonang, Saron, Gambang, Gender, Slentem, Zither, Flute, Ketuk, Kempul, and Gong with Slendro rhythm. Tari Remo is performed by a single dancer or by a group of dancers. Because the dancers are either men or women, Remo Dance has two styles: masculine and feminine. Very often women dancers perform masculine-style Remo Dance and men dancers perform feminine-style Remo Dance.
Tari Remo was originally danced at the beginning of ludruk performance, but later it is loosely developed into a dance performed at parties, folk festivals, or at the commemorations of national holidays. Remo Dance is perfomed to welcome guests and, therefore, it is called a welcoming dance.

The characteristic movements of the Remo Dance are the beats of the feet. A set of small bells is tied around the right-foot ankle. The bells tinkle when the dancer walks or beats the floor with his or her right foot. Beside the beats of the feet, the head movements, the manipulative play of the selendang or sampur, the facial expressions, and the postures of the dancers which conform the rhythm of the music, make this dance unique.

The costumes of a Remo Dancer are of various types: Sawunggaling, Surabayan, Malangan, Jombangan. The Surabayan costume consist of a red scarf tied around the head, a black upper outfit that resembles the outfit of an eighteenth-century noblemen with the royal insignia, a pair of velvet trousers which are knee-high and knitted with golden thread and gems, a piece of batik worn around the waist, hip and thighs, and rumpled in the front, a belt called stagen worn around the waist and a keris (a Javanese dagger). A dancer has two selendang or sampur, one of which is worn around the waist and the other which is worn on the shoulders. His or her right hand holds one end of the selendang, and his or her left hand holds the other end. The bells tied around the right ankle tinkle loudly.

The costumes of the Surabaya type are more or less similar to those of the Sawunggaling type. The difference is that the upper outfit of the dancer is a white shirt with a tie. The costumes of Malangan type are similar to those of the Surabaya type except that the trousers are longer, touch the ankles of the dancer and are not knitted with colourful beads. The costumes of Jombangan type are similar to the Sawunggaling type except that instead of wearing a white shirt the dancer wears a vest. The typical costumes of the dancers are difficult to differentiate, especially because of the new creation of Remo Dancer's costumes.

With feminine-style dance, the dancer has a unique hair-do, and wears a black mekak to cover the breast, a rapak to cover the hip to the knee, and a piece of selendang or sampur put across the shoulders. There are various kinds of womens' Remo Dance costumes.

The musical instruments used in the Remo Dance performance consist of bonang babok, bonang penerus, saron, gambang, gender, slentem siter, seruling (flutes), kethuk-kenong, kempul and gong. The various music that accompanies the dance can be gamelan laras or irama slendro or pelog. Various tunes used are Surabaya Jula-Juli, and Tropongan. Other tunes to accompany the Remo Dance are Walangkekek, Gedok Rancak, Krucilan or newly created gending. A Remo Dance performance lasts for fifteen or more minutes. In ludruk performances, a Remo Dancer sings a song in the middle of his or her performance.

Source : http://www.petra.ac.id/eastjava/culture/remo.htm

Tari Pendet

Pendet is a traditional Balinese dance, in which offerings are made to purify the temple or theater as a prelude to ceremonies or other dances. Pendet is typically performed by young girls, carrying bowls of flower petals, handfuls of which are cast into the air at various times in the dance. Pendet can be thought of as a dance of greeting, to welcome the audience and invite spirits to enjoy a performance.

The original Pendet dance is performed by 4-5 young girls (before their puberty) in temple yards. Pendet dancers bring flowers in small Bokor (silver bowls for keeping flowers in a ceremony). They spread the flowers around the temple. This dance is a symbol of welcoming God in some ritual ceremonies in Bali. Pendet actually has simple dance movements. These movements are the basic dance movements of Balinese dance. Pendet has undergone later development with variations and now is not only performed in ritual ceremonies but also in some social events. Pendet since has been known as a welcoming dance.

Pendet are welcoming dences expressing of joy, happiness and gratitude made through graceful and elegant movements. Depending on the choreography, they mey be performed by a pair or a group of female dancers of any age. In the past those dences were temple dances to great or please the gods and deities residing in the temple for the duration of the temple's anniversary festival, the odalan. Today, they are staged purely as artistic entertainment.

The choreography of both includes three main parts :
1. a brief introduction - a papeson, with fast music,
2. a slow-moving body- the pangadeng,
3. a fast ending - the panyuwud.
The traditional pendet may be performed by ten to thirty dancers, in pairs or in groups of four or six, while each dancer carries offerings which are later placed on the altar in front or at the foot of a temple shrine. The secular versions can be performed by four or six dancers each carrying a bowl of colourful flowers which they scatter the flowers over the audience to symbolize a warm welcome.

Rumah Gadang Minangkabau


Traditional house of Minangkabau is called "Rumah Gadang". It means big house or "rumah adat", customary house. It is called Rumah Gadang is not because of it's big size. But it refers to the big function of the house itself. Rumah Gadang in Minangkabau belongs to all members of relatives along the mother's line called "Kaum".

The function of this house is for all togather at happy and sorrow time, discussing and making decision for any problem in the "Kaum". 'Rumah Adat' also refers to its function as the place for all "adat" (custom and tradition) ceremonies look wedding party or inauguration of a head of clan.

The Original "adat" house is made of wood and bamboo for the back wall. The roof is made of palm vibe. It is about 12 to 20 metres long and 6-8 metres wide and the position of the floor is 2-2,5 metre above the ground.