Indonesiana Vol.13 The Charms of Indonesian Culture

13 VOLUME

2022

THE CHARMS OF INDONESIAN CULTURE

WAYANG SHOULD TELL A STORY Live Tones of Gamelan Pujananting Harmony through Genrang Riwakkang Sound ISSN 2406-8063

Aceh Noodles Not Just Physical Nutrition 9

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806005

12 Intangible Cultural Heritages of Indonesia recognized by UNESCO

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2 INDONESIANA VOL. 13, 2022

T PAN

UN

FOREWORD

RESTU GUNAWAN Director of Culture Development and Utilization, Directorate General of Culture

Foreword Praise be to God Almighty so that

especially cultural actors, to disseminate

life. The unexplored whole of Indonesia’s

Indonesiana Magazine Volume 13 can

information about our Intangible Cultural

culture through the 13 volumes of

be issued as the first publication of the

Heritage such as Wayang, Gamelan,

magazines that have been published

Directorate General of Culture in 2022.

Angklung and Three Genres of Balinese

proves that there is still a lot of our

Dance, which are the main stars in this

cultural wealth that is still “hidden”. The

volume.

G20 presidency opens our hope to find

The New Normal era, the editorial team of Indonesiana Magazine continues to

a cultural roadmap that will initiate the

strive to present quality literature about

The pandemic that is still happening

culture from various parts of Indonesia.

today makes us learn more to love the

Of course, this cannot be separated

universe as our generations of ancestors

from the appreciation of the public for

did through our cultural heritage and

The presence of Indonesiana Magazine

Indonesiana magazine. Currently, all

local wisdom. The emergence of this

volume 13 is expected to be a medium

aspects ranging from social, economic, to

desire is expected to be able to achieve

of cultural diplomacy, which continues

education are adapting to the conditions

the main goal of a series of cultural

to faithfully introduce and disseminate

of the New Normal, including Indonesian

activities that actively involve the

information on cultural wealth from

culture. All the best efforts have been and

cultural drivers of Indonesia and the

various regions in Indonesia. The various

are still being made for the advancement

G20 countries towards the Ministerial

cultural stories in the archipelago

of our culture.

Meeting on Culture, namely realizing a

that are presented in this edition

sustainable living by returning to cultural

are a form of commitment from the

roots. A number of cultural activities,

Directorate General of Culture, Ministry

including mass rituals that will be

of Education, Culture, Research and

carried out this year, have been carefully

Technology, through programs that are

planned in order to find a way of life that

supervised by the Directorate of Cultural

is sustainable after pandemic through

Development and Utilization in carrying

culture.

out cultural Law Number 5 of 2017 on

This year, Indonesia officially holds the G20 Presidency for a full year since December 1, 2021. This is certainly a good and proud history, considering that we are the first developing country to host the G20. Carrying the theme “Recover Together, Recover Stronger”, Indonesia invites the whole world to work

The involvement of Indonesian artists

together to achieve a stronger and more

and society in general is expected

sustainable recovery. In line with this,

to be the first step towards a better

culture also plays an important role in the

sustainable life in the future. This year,

recovery of Indonesia, which is currently

we confidently invite all parties to think

in the New Normal era. This also opens

of a strategy that can create lifestyle

up opportunities for Indonesian people,

changes to solve problems in aspects of

establishment of a global fund for artists and cultural workers.

the Advancement of Culture inspiration for every reader, especially the people of Indonesia, to continue to contribute in promoting culture, appreciating works and helping to preserve them wherever and whenever. Recover together, recover stronger.

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VOL. 13, 2022 INDONESIANA 1

13 VOLUME

2022

THE CHARMS OF INDONESIAN CULTURE

Advisor Hilmar Farid Project Director Restu Gunawan Managing Director Yayuk Sri Budi Rahayu Editor in Chief Susi Ivvaty Executive Editor Sinatriyo Danuhadiningrat Content Editor Alfian Siagian Language Editor Martin Suryajaya Photo Editor Syefri Luwis Secretary Jessika Nadya Ogesveltry Design and Layout Zulkarnaen Proofreaders Prima Ardiani Purnawan Andra Translator Donty Widagdo Contributors Renny Amelia Susanti Prita Wikantyasning Anggoro Cahyadi Thamrin Junaidi Nadapdap Administration Ahmad Zunita E. Christisia Melati Putri Soraya Aidid Distribution Rachmat Gunawan Bayu Hardian Yudhi Wisnu Aryandi

Greetings from Editors “Recover Together Recover Stronger” which is the theme of the 2022 G20 Summit, aptly represent the global aspiration to move beyond Covid-19 pandemic. In one pulse with the theme of the G20 presidency, the Directorate General of Culture of the Ministry of Education, Culture, Research, and Technology holds a series of activities leading held at Borobudur on 12-13 September 2022.

One of the objectives of the meeting of the ministers of culture is to present good practices of sustainable lifestyles that are inspired by the potential of local culture. The spirit of the G20 presidency is in line with the themes and topics of the articles in Indonesiana Magazine Volume 13 which will be continued by volume 14 and volume 15.

The main topic in 2022 discusses the 12 intangible cultural heritages of Indonesia (WBTb) that have been recorded at UNESCO (ICH List), which are described into three publications. We want to revisit the role and continuation of the Indonesia ICH Lists since they were established until now. Do they continue to pulse, or expand and spread benefits, or is it suspended?

Indonesiana Volume 13 discusses wayang (inscribed at UNESCO in 2008), angklung (2010), three genres of Balinese dance (2015), and gamelan (2021). We know that there are three categories of UNESCO ICH proposals, including the list of intangible cultural heritage in need of urgent safeguards (lists that require urgent protection); representative list of the intangible cultural heritage of humanity (representative list) because it is still alive and growing, as well as a register of good safeguarding practices (the best protection measures).

The Intangible Cultural Heritages (ICH) have prominent values as ​​ masterpieces of human genius and creativity. ICH is extensive evidence of roots in the traditions or cultural history of the community concerned. ICH can also be a way to ensure the cultural identity of the cultural community concerned, including evidence of excellence in skills application and technical quality. Everything leads to the pursuit of sustainable living.

Ministry of Education, Culture, Research, and Technology Republic of Indonesia Directorate General of Culture Directorate of Culture Development and Ultilization Building E. Lt. 9, Jl. Jenderal Sudirman Kav. 4-5 Senayan, Jakarta 10270

The topics of cultural advancement are quite diverse and interesting to read. The wastra rubric, for example, presents Minangkabau songkets that are graceful, rich in motifs and meanings, and become cultural assets from generation to generation. Still in memory, the Malaysian songket in December 2021

(021) 5725534

was inscribed on UNESCO ICH List and sparked various comments from the

(021) 5725534

Indonesian people who view that Indonesian songket is also very worthy to be on

indonesiana.diversity@gmail.com

UNESCO ICH List.

http://kebudayaan.kemdikbud.go.id

Indonesiana Magazine aims at promoting Indonesian Culture and is not for sale Comments of articles, Photographs etc, can be send to: indonesiana.diversity@gmail.com Front Cover : The Colors of East Belitung Indonesiana Team of East Belitung Back Cover : Wastra producing ball - Heru Joni Putra

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22 INDONESIANA INDONESIANAVOL. VOL.13 13,2022 2022

There are still many interesting rubrics that are worth reading in this magazine that is in front of you, including informative topics about the steps to G20, the charm of the East Belitung spice road, and the rituals of the Dayak Deah tribe.

Come on, don’t miss listening to Indonesiana Vol 13.

Indonesiana Editor

MESSAGE

HILMAR FARID Director General Of Culture Ministry of Education and Culture, Research, and Technology Republic of Indonesia

Acknowledgment from the Director General of Culture C

ultural resources are the product of

Baduy society can be found in angklung.

The pandemic presents an opportunity to

human interaction with others and

Not just a musical instrument, angklung

rediscover the local wisdom that has kept

the surrounding natural environment.

is an important part of the life of the

us alive as citizens of this archipelago

For generations, humans have produced

Baduy community, namely in the ritual of

for thousands of years. Again, we turn

knowledge and artifacts, and built

starting the planting season and waking

to vernacular social practices that are

institutions to manage the relationship

Nyi Pohaci the goddess of rice which is

proven to produce sustainable living

between them in relation to nature. All

held all night long. This shows the close

arrangements. Through this excavation,

of them form a living tradition whose

intertwining between cultural expressions

we find a way to create a sustainable

outward manifestation can be found in

and the life cycle of people who are

life: the empowerment of local wisdom

various cultural expressions today.

rooted in the natural surroundings. As

as an integrated approach from the

long as the angklung sounds, culture

bottom to ensure the fulfillment of the

is upheld above the fertile nature. The

most basic human needs, clothing, food,

sound of angklung, thus, marks the

shelter. Turning around from all the old

endurance of the community’s culture

unsustainable ways of living, discovering

in living a life in harmony with nature.

the cultural currents from below that will

The performing arts of angklung are

catapult us into the future, advancing

integrated with the overall order of

to new sustainable ways of life—those

sustainable living.

are the opportunity that the pandemic

In the context of the pandemic, one of the brightest illustrations of the resilience and cultural endurance is the Baduy community in West Java. A year into the pandemic, there is no a single Covid-19 victim in the Baduy community because of strong social ties and discipline. This is in stark contrast to Indonesia’s urban

presents.

society, which has lost social cohesion.

Not only Baduy people, every region in

Local knowledge about health, especially

Indonesia has its own cultural resources,

For that, I welcome the publication

medicinal plants, is also very relevant.

various ways to organize a life together

of Indonesiana Magazine Volume 13

Baduy people live with a heritage of local

which are the result of adaptation to

which raises the wealth of the nation’s

knowledge that can support the immune

the surrounding environment. Wayang,

cultural heritage related to the ideals

system holistically, in contrast to urban

gamelan, dance, wastra and culinary

of a sustainable life. Hopefully through

communities who have lost their memory

treasures are some of the examples

this reading, we can all get inspiration to

of various traditional ingredients and are

of the cultural potential that we have

empower our various cultural resources

constantly exposed to pollution and a

together as a nation. These kinds of

and answer the challenges of modern life.

stressful work environment.

cultural resources are all getting more

The outward manifestation of the resilience and cultural endurance in

important when we are dealing with this never-ending pandemic.

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VOL. 13, 2022 INDONESIANA 3

CO N T E N T S SPICE ROAD

MESSAGE 1

Director of Culture Development and Utilization, Directorate General of Culture

2

Editors

3

Director General Of Culture Ministry of Education and Culture, Research, and Technology Republic of Indonesia

28

CULTURAL NEWS 32

When Puak Dayak Deah Rejoices

36

Proud of Our Own Natural and Cultural Products

MAIN TOPIC 6

Wayang Should Tell a Story

12

Live Tones of Gamelan

16

Sanghyang from Banjar Jangu

20

Angklung Traditional Music for the New Normal

COMIC 40

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The Road To The G20 The Road to a New Normal

4 INDONESIANA VOL. 13, 2022

Comic

INFOGRAPHIC 42

Bramatabi Wayang Wong

WASTRA

CULTURAL NEWS 24

Exploring the Charm of The East Belitung Spice Road

44

Songket Pandai Sikek Dealing with Uncertainty

DOCUMENTARY FILM

MUSEUM 50

Sangiran Museum Memory of Three Evolutions

70

VILLAGE 54

Pujananting Harmony Through Genrang Riwakkang Sound

FIGURE 74

CULINARY 58

Aceh Noodles Not Just Physical Nutrition

Building Plural Market Documentary Film

Wayang Orang Bharata The Story of Survival

PHOTO GALLERY 80

Subak Building Bonding between Humans and Nature

TRADITIONAL KNOWLEDGE 62

Casting a Spell Planting Padi

ART 66

Reyog Bulkiyo Combating Tyranny

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VOL. 13, 2022 INDONESIANA 5

MAIN TOPIC

WAYANG S h o u l d Tell a Story T

he history of wayang as a performing art has been so long. The Balitung inscription (907 AD) which contains the words Galigi Mawayang proves the existence of wayang performances at that time. Centuries later, the designation of wayang as a Masterpiece of Oral and Intangible Heritage of Humanity by UNESCO on November 7, 2003 confirmed

the existence of wayang as one of the pinnacles of cultural achievement, a masterpiece of the intangible oral cultural heritage of the Indonesian nation. To commemorate that moment, the government set November 7 as National Puppet Day referring to Presidential Decree Number 30 of 2018 concerning National Puppet Day. Further complementing its prestige, wayang was inscribed into UNESCO’s intangible cultural heritage through a session in Istanbul, Turkey on November 4-9, 2008.

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6 INDONESIANA VOL. 13, 2022

The high-quality work of the nation – Danang Daniel

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VOL. 13, 2022 INDONESIANA 7

The form of wayang performances has

an event closely related to social rites,

that refers to market needs. Artists need

undergone repeated transformations

has gradually shifted to a ceremonial

income to survive economically so they

along with the growth and change of

agenda whose appearance has become

will try in various ways to survive and be

the supporting community. From the

more important than its content. People

accepted by society. Some take a long

beginning of a shadow show, wayang

are increasingly familiar with wayang

process while still considering the ethical-

has developed

performances, but paradoxically, they are

aesthetic aspects, but many also take

into a stage performance

that can from any puppeteers

increasingly

be watched

distant

angle. The

The

and supporters

wayang

from the story. language of which has its (different from the

shortcuts to gain popularity and to make their work a source of income.

The Decline of Wayang’s Realm Concerns about the stagnation and even

of the show who were originally behind

own discipline

the scenes in its development have also

language of everyday people¬) is not the

become a major part of the show itself.

only cause.

Of course, this change did not happen

Wayang deals with people who are busy

Humardani stated, “Pakeliran Saponika

immediately. Indonesia’s agrarian

fighting for the prosperity of life. In

saweg gawat kawontenanipun.” (The art of

society is slowly moving towards

conditions of unequal prosperity, most

wayang is currently in a critical condition).

industry. Wayang, which was originally

artists place their work as a commodity

The puppeteer role models of the decade

the decline of the wayang’s realm have been voiced for a long time. Around 1972, in the “Seminar on the Arts”, Gendhon

also expressed a view that was not much different.

Grande – Secretariat of Directorate General of Culture

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88 INDONESIANA INDONESIANA VOL. VOL. 13, 13, 2022 2022

Ki Darman Ganda Darsana once said,

normally chosen by most people. His

performance of a puppeteer they

“Saiki wis angel golek dhalang, sing ana

or her existence is determined more by

want to attend.

wong buruh mayang.” (Now it’s hard to

his or her popularity, how often he or

find a puppeteer, but workers who play

she performs the show, how expensive

wayang instead). It is clear that such

the tariff is, how wide the coverage

differences of opinion are not new but a

area of the ​​ stage is and so on. This

dialectic that will continue

causes puppeteers to work more alone

to

occur over time. It is the

as workers in other fields increase the

dialectic that actually leads

degree of their existence.

the wayang to find its ideal form in every era.

This group will go home after the scene of limbukan and/or gara-gara because their favorite part of the wayang show has ended.

The puppeteer is left and then continues his performance with

More and more wayang audiences no

a group of spectators

longer see the puppeteer and wayang as

who still like the elements of the play,

The puppeteer as the central figure

a unified whole, but are more interested

although their numbers are generally

of wayang is faced with the current

in marking the parts of the show that

not very large.

situation of society which tends to be

they enjoy and understand. Those who

individualistic. The puppeteer is no

are only interested in entertainment,

longer seen as a figure who plays a social

for example, will seek information

role but is seen as an individual with a

about the guest stars, whether singers

unique field of work, a field that is not

or comedians, who will accompany the

The fact that people are more interested in entertainment has influenced most of the puppeteers to focus on cultivating the elements of

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VOL. VOL. 13, 13, 2022 2022 INDONESIANA INDONESIANA 99

their performances on the entertainment

The current situation in the world of

Adjust oneself

side, often sacrificing other important

puppetry is relatively free from criticism

Changes in various fields that are

elements. For example, the duration of

because people no longer have sufficient

increasingly fast and unpredictable as

the scenes of limbukan and gara-gara

concern for the quality of wayang

a result of advances in communication

made longer causes story development

performances. The unrelatedness of

technology today have also given rise

to be not optimal. The act or story is no

the puppeteers and the community in

to dichotomies that require wayang

longer the main element in the show.

social interaction makes wayang tend to

to adapt, develop and maintain their

This is generally accepted, although of

become the property of the puppeteers.

functions in the midst of people’s lives.

course there are still some puppeteers

Criticism is often interpreted as jealousy

The digital era is the latest challenge in

who do not apply that way.

or dislike of the puppeteer. This is

the wayang’s realm.

enough to hinder the progress of wayang art today.

The public is spoiled for choices and offers. In the turmoil of life which is all

Not only a shadow of the imagination - Danang Daniel

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Harmony in the dimness - Danang Daniel

about material things, wayang actually

distinctive scope. If the communication

kind of artifact from the past. Watching

has room to function itself in offering

problem in the show is successfully

wayang is not visiting a museum.

views and values. Wayang and wayang

solved, wayang has the potential to touch

actors are subjects. The function of

the human side by way of space and

wayang as a transmitter of ideas, both

responding to all forms of progress, not

moral and aesthetic, is something that

only limited to the packaging but also

should not be negotiable.

the contents of the ideas conveyed in the

Awareness of the importance of

show.

It is really unfortunate when people watch wayang solely because they want to reminisce while the content in the wayang itself is not in line with the life of the era. If it is true that wayang is an oral cultural heritage recognized by the

performing arts with quality in order to

The challenges of the wayang universe

world, wayang should tell a story. It is

rebuild spaces of expression rooted in

will not stop. The digital world that

appropriate that wayang participates in

tradition is an urgent matter that should

is developing today becomes an

planning the future.

be immediately pursued. Wayang shows

opportunity as well as a threat if it is not

(Nanang Henri Priyanto, puppeteer

must be done in such a way that they

handled intelligently. Wayang is required

and founder of the Urban Puppet

are able to attract the interest of the

to be responsive and forward-looking.

Community)

audience while remaining faithful to their

Wayang shows must not stop being a

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MAIN TOPIC

Live Tones Of

C

laude Debussy, a famous 19th

music. Historians and music experts

not the first gamelan performance in

century French composer, showed

have written that Claude Debussy’s

mainland Europe. Approximately a

his extraordinary admiration

subsequent musical compositions were

decade earlier, in 1879, gamelan players

for the uniqueness of gamelan after

greatly influenced by the gamelan music

from the Mangkunegaran Palace,

he saw a Gamelan performance at the

he listened to.

Central Java performed at The National

Exposition Universelle Paris in 1889. So amazed was Debussy with gamelan that he called, rather hyperbolically, Palestrina musical polyphony (Giovanni Pierluigi da Palestrina) like “children’s play” in the face of the exoticism of gamelan

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12 INDONESIANA VOL. 13, 2022

Debussy, who later referred to gamelan as Javanese Rhapsodies, really got great inspiration in the creation of his musical works through references from gamelan.

This gamelan performance in Paris which was witnessed by Debussy was indeed

Exhibition of Dutch and Colonial Industry in Arnhem, Netherlands. This means that from the 18th century to the 19th century, gamelan had wandered far beyond its area of origin, echoing to mainland Europe, at which time the industrial revolution had begun.

Gamelan or Karawitan?

The maker of harmonious tones

The presence of gamelan which is seen as

- Danang Daniel

the influence of the entry of metal culture into the archipelago proves at a time that the people of the archipelago have mastered the science and technology of metallurgy for a long time. Hints and nations also at certain historical periods

historical records about the existence

Since then, many European and American

began to bring in experts from Indonesia

of gamelan in the archipelago are still

ethnomusicologists and researchers

to introduce gamelan in their country.

recorded on temple reliefs in Java,

have conducted research on Indonesian gamelan. Jaap Kunst, Mantle Hood, Alan P. Meriam, and Judith Becker are some of the ethnomusicologists and Western scholars who have produced many researches on gamelan through approaches from their respective disciplines. Not only coming to do research work, European and American

For example, Hardja Susilo, who started, in the 1960s, teaching gamelan to several students at the University of California Los

including Dieng Temple (750 AD), Sari Temple (750 AD), Borobudur Temple (824 AD) and Prambanan Temple (850 AD).

Angeles (UCLA), America. Now, after more

The information stored in inscriptions

than 60 years since Hardjo Susilo taught

and ancient literary works helps

karawitan in the United States, there have

reconstruct the early traces of gamelan

been many karawitan groups scattered

development in the archipelago. Mantle

in various countries in America, Europe

Hood even mentions that by 300 AD

and Asia.

Javanese metalworkers had developed

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VOL. 13, 2022 INDONESIANA 13

Guardians of tradition - Ricky Kurniawan/shutterstock.com

bronze casting and forging technology and created new types of artifacts, including bronze gongs with pencon (Hood, 1980).

In Java, especially Solo and Yogyakarta, gamelan monggang, gamelan kodhok ngorek, and gamelan sekaten are considered to represent gamelan in the early days of its emergence.

Rahayu Supanggah (the late), an ethnomusicologist, an academic, a karawitan player, and a composer from the Indonesia Institute of Arts (ISI) Surakarta prefers to call gamelan a karawitan. Perhaps, Rahayu Supanggah sees the word ‘karawitan’ has more accentuation of depth of meaning and is more philosophical than the word gamelan which tends to accentuate aspects of the instrument or organology.

The term karawitan is formed from the word ‘rawit’ (Javanese) which means small, complicated, smooth. This understanding associates gamelan not only as a musical art but contains the essence of a musical activity whose main goal is to train one’s subtlety of feelings. Musical nuances that present a broad, majestic, and meditative impression are indeed the hallmark of the musical repertoire it produces. For

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14 INDONESIANA VOL. 13, 2022

the majority of the ears of the younger generation, especially those born and raised in the millennial era, karawitan music is considered as music that ‘makes sleepy’ and is less exciting.

Such an assumption may not be entirely

Not only played by men - Puspa Mawarni168/shutterstock.com

wrong because in the musical psychology approach, the dominant character of karawitan music affects brain waves, namely performing superposition and ‘manipulating’ brain wave frequencies from beta frequencies, which is a type of brain frequency that indicates brain activity is in a tense, awake situation. , rumbling, and ‘full’, towards a quieter, meditative gamma frequency. This slowed and meditative thought wave situation is then ‘read’ as something that ‘causes sleepiness’.

Of course, not all gamelan music repertoires are as meditative as that, especially if you look at the performance of Balinese gamelan music, which is mostly more energetic. Javanese gamelan music and Sundanese gamelan music

also have a more ‘enthusiastic’ musical presentation through certain garap concepts. However, the character of gamelan music which has a unikum and distinctive structure of regularity is attributed as a manifestation of the ideal concept of one’s inner condition and personal qualities that are in harmony with the laws of the universe.

Diversity Orchestration UNESCO has designated Indonesian gamelan as an intangible cultural heritage on December 15, 2021 at a session in Paris. This UNESCO decision implies that the value of gamelan is not primarily related to its physical elements, but how

Regeneration Naufal Image/shutterstock.com

Gamelan is a harmonization of diversity orchestration that is born from playing together in a group that works together, empathizes and understands. The more prominent skills, knowledge, and technical skills of a musician in a gamelan group are not used to dominate or make other musicians feel inferior, but make

Flame for the tone maker - Sony Herdiana/shutterstock.com

plan which have been listed in

a greater contribution to blending into

the proposed gamelan script

the complex musical texture and making

through a series of gamelan

each member of the group feel to be

preservation programs.

something (being something).

Of course, efforts to preserve

The gamelan ensemble is a combination

gamelan and hope for gamelan

of bronze instruments equipped with

sustainability are not in line

bamboo and wooden instruments

with the ‘old-fashioned’ attitude

depicting a fusion between the people

of being stuck in the past. The

and the rulers, a symbolic language that

valuable nature of gamelan opens the high its contribution and value to teach,

has been stored since centuries ago as

horizons of our minds to the attitude of

strengthen, and create social values for ​​

an accumulation of local knowledge that

always growing and changing but still

society from time to time. The logical

has high value for the continuation of

holding on to the basic values that ​​ we all

consequence of this appreciation of the

Indonesian civilization through a system

share. Gamelan was born from the past

world is the responsibility for a more

of harmonious cooperation and does not

and then adapted to natural resources

systematic effort to maintain the spirit of

negate each other.

and various dynamics of people’s

the Indonesian gamelan as an important

lives, recognized new needs, and then

(Lardianto Budhi, Ethnomusicology

part of the survival of the community.

responded to new situations by providing

A proactive stance has been taken by ISI Surakarta which immediately initiated the establishment of the Gamelan Study Center shortly after the UNESCO decision.

a place for the community to try new approaches to existing values and ​​ had a dialogue with old values that ​​ were in line

Graduate of the Indonesia Institute of Art Surakarta/Master of Arts Education at Postgraduate UNS Surakarta).

with the context.

Dr. Aton Rustandi Mulayana, M.Sn, an

What happened throughout the

academic from ISI Surakarta who is a

historicity of gamelan in the context

member of the team proposing gamelan

of people’s lives shows a masterpiece

academic texts to UNESCO, said that the

that reveals the important interaction

purpose of establishing the Gamelan

of human values on ​​ the development

Study Center was motivated by historical

of science and technology, as well as

considerations that the Indonesia

represents the unique tradition of the life

Institute of Arts (ISI) Surakarta had the

of a nation.

responsibility to continue the action

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VOL. 13, 2022 INDONESIANA 15

MAIN TOPIC

Sanghyang fromBanjar Jangu

Riding the fire - Rachmat/shutterstock.com

A Ritual for Preventing Adversities

dance. All three have

“JARAN GADING LUAS NGALU,NGALU

Cultural Heritage of

KEDAJAN BUKIT TAWOR TABU BUAHEE MUDAH PATPAT SATAK MAIMBUH BALU AKUTUS, BALU TIWAS NGELAH GELEBEG CENIK MISI DANGGUL JAGUNG JAGUNG KESELANA ROROBAN TEREJAK MEONG KRENCANG-KRENCING NYEREGSEG NEREJAK GENI.”

The lyrics above are sung to accompany a man wearing jaran (horse) costume who destroys a pile of coconut husks being burned in the middle of the field. Yes, the man is bringing Sanghyang Jaran Gading at a piodalan event that is being held by the people of Banjar Jangu, Duda Village, Selat District, Karangasem Regency.

Sanghyang Jaran Gading is one type of Sanghyang which is included in the genre of traditional Balinese dance which consists of three genres, namely wali dance, bebali dance and balih-balihan

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16 INDONESIANA VOL. 13, 2022

been established as the Representative List of the Intangible Humanity at the 10th session in Windhoek, Namibia in 2015.

The establishment of the Three Genres of Balinese Traditional Dance reignites the enthusiasm of the people of Banjar Jangu,

Duda Village, Selat Karangasem District in

group (Ancient Dance) because the

a big flood. Not only that, all types of

reviving tradition by bringing sanghyang

Sanghyang dance contains elements

plants in the banjar were also attacked by

in religious ceremonies that have been

of magic (spirited), animsm (all soul)

pests. This condition is very influential on

suspended for some time.

and demonology (keraksaaan) and is

the community, most of whom depend

associated with religious rituals. This puts

on agriculture and plantations for their

the Sanghyang dance in a very important

livelihoods.

Sanghyang dance itself in the repertoire of the dance world in Bali is in the ancient dance

position in Balinese life.

To stop the pest attack, the residents

Sanghyang dance is thought to have

perform the mecaru ceremony. The

originated several centuries ago when

Mecaru ceremony can also be called

Banjar Jangu was hit by a disaster and

Butha Yadnya, a ceremony to maintain harmonious relations between humans and nature. caru itself means beautiful or harmonious (book of Samhita Swara). The local community hopes that by holding the mecaru ceremony, the bhutakala will no longer disturb their land. At first the mecaru ceremony was held in a simple manner, but in the end the mecaru ceremony was held on a large scale.

In the afternoon after the mecaru ceremony, a tek-tek prus ceremony is held, namely the ceremony of presenting ebatan with taro leaves as a base in front of the house, followed by circling the corners of the yard or banjar by banging bamboo accompanied by spurting kesuna jangu, oil and betel. The people of Jangu believe that during the tek-tek prus ceremony some people will faint when they see the bhutakala in the form of horses, snakes, pigs, monkeys and other forms.

After waking up from fainting, these people will imitate the behavior of the bhutakala, and then the residents symbolically carry out banishment. So, this story is believed to be the origin of Sanghyang in Banjar Jangu.

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VOL. 13, 2022 INDONESIANA 17

Fading However, due to lack of regeneration and negligence of sanghyang accompanying songs, the performance of sanghyang in Banjar Jangu which was originally a

Before started - Harry Surya Wu

mandatory ritual has faded.

This fading occurred in the 1980s as a result of the absence of performance locations, many of the younger generation who migrated, and many of the old tradition performers passed away so that knowledge inheritance; especially the gending sanghyang did not take place.

In fact, Sanghyang Banjar Jangu had a

1. Sanghyang Dedari

dancers; self-cleaning, healthy physical

2. Sanghyang Bojog

condition and to support the aesthetic

3. Sanghyang Kerek

is going to perforn.

chance to perform at the prestigious Bali

4. Sanghyang Celeng

Arts Festival (1988).

5. Sanghyang Memedi

accompanied by songs from this group of

6. Sanghyang Tutup

singers which consists of 10 to 15 people

7. Sanghyang Jaran Gading

who are called gendhing artisans (sekeha

Sanghyang with object medium includes:

performance are canang raka, canang sari,

Data searching related to sanghyang Banjar Jangu began in 2016 with research conducted by the Bali Cultural Values ​​ Conservation Center (BPNB Bali Prov – current name). One of the backgrounds of this research is the establishment of Three Traditional Balinese Genres as Representative List of the Intangible Cultural Heritage of Humanity by UNESCO. From this research, it was revealed that in a period of 15 years, at first, there were

1. Sanghyang Lelipi 2. Sanghyang Sri Putut

Sanghyang performances are always

Tandak). The offerings in each Sanghyang saagan and daksina.

What is unique about the Sanghyang dance is that this dance is performed in the courtyard of the temple and has a

3. Sanghyang Kuluk

magical content in the form of a trance.

4. Sanghyang Teter

Therefore, in its performance, this dance

5. Sanghyang Capah 6. Sanghyang Sampat

really takes into account the composition of space and the cardinal directions.

Dancers and audiences believe in the

18 types of sanghyang in Banjar Jangu,

7. Sanghyang Sembe

connection with the location of the

and only 17 types of sanghyang were left.

8. Sanghyang Lesung

performance, namely in the temple

Of the 16 types of sanghyang, only 8 types

9. Sanghyang Dongkang

courtyard, to the east of the temple

of sanghyang could be reconstructed and the rest could not be reconstructed due to loss of knowledge of the songs that

10.Sanghyang Sele Perahu

courtyard which is a sacred area and where an altar is built.

Sanghyang Banjar Jangu is usually

People believe that the north direction

performed at night in March (Sasih

is the head in the composition of the

The seventeen types of Sanghyang

Kesanga) or in the event of an adversity.

performance room. This direction is

are divided into seven Sanghyang with

The Sanghyang performance begins with

believed to be a place of the spirits which

human medium and ten Sanghyang with

preparations made by the Sanghyang

accompany the sanghyang.

object medium. Sanghyang with human medium includes:

I

side, dancers are made up as if Sanghyang

18 INDONESIANA VOL. 13, 2022

Possessing – Harry Surya Wu

medium. The object medium which is used includes potato trees, cassava trees, reeds, palm trees that are still young, and coral trees. Sanghyang Medium must be obtained through a special abstinence called piit / pingit or acted with attitudes and behaviors that are kept secret so that other people are

is equipped with offerings and incense sticks.

Some types of Sanghyang use two sacred incense sticks because they are part of the concentration for inviting spirits.

When ngukup (smoking) is carried out, the dancer is in a bent position, while the object medium is placed on the incense stick with

or the dancers are interrelated for the success of the performance.

Sanghyang Banjar Jangu is distinguished from other Sanghyang based on the medium used, namely the human medium and the object

the object medium becomes possessed when the object moves, imitating the movement of living things.

determined and depends on the mental

Sanghyang medium in front of the altar which

of the space, the location of the altar

trance state are called menadi. Meanwhile,

Sacredness

(smoking) which is performed by the

are invited to dance. The composition

invited spirit. Dancers who are dancing in a

The duration of the dance cannot be

performance is seen at the time of ngukup

– Harry Surya Wu

up to dance and behaves according to the

not allowed to know.

The sacredness of the Sanghyang

Sanghyang Memedi

the dancer falls. After that, the dancer gets

a certain distance. The dancer closes his/her eyes to concentrate while pleading for the desired spirit to enter him/her. This process is accompanied by singing in a certain rhythm and with simple verse. This song is very decisive because if the verse is not complete then the trance process will not be achieved.

endurance of the dancer to hold the spirit in his/her body and depends on his/her obedience for not to violate ritual taboos.

However, if the dance lasts long enough, then to wake the dancer from kerawuhan is enough by splashing the holy water.

Nevertheless, not all Sanghyang dances can be stopped with a splash of holy water, such as the Sanghyang Dedari dance. The dance can only be stopped if the spirit that enters the body of the dancer wants to stop.

Unlike the Sanghyang Bojog dance, to stop it, it takes several strong people to hold the dancers who have finished performing the sanghyang when they are about to be splashed with holy water.

(I Putu Putra Kusuma Yudha/Dwi Bambang Santosa/I Gusti Ayu Agung Sumarheni, BPNB Bali).

The sign of a Sanghyang dancer who has been possessed by a spirit (kerawuhan) is when

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VOL. 13, 2022 INDONESIANA 19

MAIN TOPIC

ANGKLUNG

Traditional Music for the New T Normal

he bamboo slats vibrated violently releasing a dynamically rhythmic sound. In

the middle of the sound of bamboo, the occasional booming bass and electronic melodies alternated with traditional melodies from the land of Priangan. The sound of bamboo and electronics in tandem built momentum until it reached a moment of silence before finally breaking into a series of tones where it was no longer possible to distinguish between bamboo and electronic sounds. There the voices of the past and the present had mingled into one.

Such is the EDM concert or electronic dance music which is the result of the collaboration of the famous DJ Alffy Rev from Mojokerto and Manshur Praditya, a musician from Bandung who processes angklung into a contemporary medium. This

music collaboration

is

one of many initiatives by Indonesian youth to cultivate the treasures of traditional music by bringing it

Toned bamboo - Faiz Dila /shutterstock.com

together with various modern musical expressions, such as those performed by Senyawa Band, V1Mast, Rubah di Selatan, and Astakosala.

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20 INDONESIANA VOL. 13, 2022 20 INDONESIANA VOL. 13, 2022

Bamboo - Thomas Hadorn Fotografie /shutterstock.com

Angklung story

the sacred atmosphere that

Angklung is part of a very old musical tradition.

envelopes the entire event.

Although it is strongly alleged that it had been

Angklung, in that sense, has

known long before the major religions entered the

become an integral part of

archipelago, historical records regarding angklung

a world-view that places the

only appeared around the 12th century AD,

preservation of nature as the foundation of social life.

namely during the time of the Sunda Kingdom.

The Sundanese at that time used angklung as part

m Im

lized orta

in rupiah c

oin s

of Rice who was believed to give life to humans.

Made from black bamboo, angklung

in the Sundanese tradition, angklung is also found in

rstock.com hutte v /s he

or the Goddess

Even though it was first recorded c ba Lo

Nyai Sri Pohaci

nd re

y

of a ritual to honor

–A

many archipelago people.

The people of Ponorogo in East Java use angklung in Reyog performances, as do the people of Banyuwangi. In a slightly

different form, in Bali we also know bamboo gamelan

was originally played

instruments that produce musical

by hitting it. The sound that

compositions with dynamic rhythm

appears when the bamboo blades collide

that resemble an angklung.

with each other produces an alluring tone and rhythm. Over time the bamboo slats are arranged in a series that can produce sound by shaking them. This creates a difference between angklung and calung: one is played by shaking while the other by hitting.

It is likewise the kolintang musical instrument in Minahasa, North Sulawesi, which is made of cempaka wood and not bamboo. Like calung and Balinese gamelan, kolintang is played by hitting. The similarity of the forms of these musical instruments

This musical instrument is used

shows the existence of a very old

by the Sundanese people when a

cultural exchange network in the

ceremony is held to bring crops to

archipelago. It can even be said that

be presented to Nyai Sri Pohaci. The

every musical instrument of the

sound of the angklung accompanies the procession and strengthens

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VOL. 13, 2022 INDONESIANA 21 VOL. 13, 2022 INDONESIANA 21

archipelago is the result of intercultural

with regard to the mutual cooperation

context of using angklung, namely

mixing involving enrichment and innovation

nature contained in the angklung

traditional rituals, is slowly being shifted

by every cultural group in various regions.

performance. The web page launches:

by the routines of modern life.

World Heritage, An Effort Against Forgetting Due to its uniqueness and cultural values, angklung has long been seen as an important intangible cultural heritage for Indonesia. In the context of cultural diplomacy, the Indonesian government strives angklung to become part of the

“Due to the collaborative nature of angklung music, performing encourages cooperation and mutual respect among the performers, along with discipline, responsibility, concentration, development of imagination and memory, as well as artistic and musical feelings.”

To overcome the challenges of modernity, various angklung revitalization efforts have emerged in the lives of young people. One of the most influential is Saung Angklung Udjo in Bandung.

The community, which was founded by angklung maestro Udjo Ngalagena, has been managed for generations and has

world heritage. This effort paid off when

Even though it has been designated as

succeeded in attracting public attention

in November 2010, angklung was officially

a world heritage, angklung still faces

to preserve this traditional art. With a

registered as a Masterpieces of the Oral and

common challenges that are also

museum and various public programs,

Intangible Cultural Heritage of Human from

experienced by all traditional cultural

Saung Angklung Udjo has succeeded in

UNESCO.

expressions in modern times today.

bringing angklung closer to elementary

Various forms of modern cultural

and high school students. Through

expression that are very effective in

such initiatives, angklung has found its

attracting public attention are slowly

public again: not only in the community

becoming a new tradition of Indonesian

implementing traditional rituals, but also

society. In the midst of such a situation,

in the context of character education in

angklung must compete for public

schools throughout Indonesia.

UNESCO’s official web page which accommodates data regarding angklung as a world heritage mentions one unique feature of this musical instrument, namely

attention with pop music, cinema, video games and various multimedia contents on social media. Meanwhile, the original

Today’s Angklung Challenge Although various modern cultural expressions that are widespread in the digital age become a challenge for the preservation of angklung, digital technology also provides new opportunities for efforts to advance the angklung ecosystem.

The development of communication media has allowed angklung to be more widely known and reach various audience

In a line to be the tone – Andie Nurhadiyanto /shutterstock.com

From Indonesian Bamboo for the world - Akhmad Dody Firmansyah/shutterstock.com

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22 INDONESIANA INDONESIANA VOL. VOL. 13, 13, 2022 2022 22

segments that were previously difficult to

repeatedly performed in various concerts

reach within the framework of traditional

in Malaysia, Singapore, China, Taiwan,

angklung performance. Moreover,

Japan, and India. Through his innovations,

various technologies in music production

angklung is known more widely and

also allow angklung to meet an entirely

favored by many people.

new audience segment, namely urban youth.

Manshur Praditya is part of a new wave of young people who dare

What Manshur Praditya did is the

to reinvestigate the inspiration of

brightest example of contemporary

tradition and create new relevance

angklung art. A graduate of the

for today’s traditions. He proves

Sundanese karawitan school from

that tradition is an endless source

Bandung and the Indonesia Institute of

of inspiration and can answer

Cultures and Arts , majoring in angklung

the challenges of today’s creative

music and bamboo music, he has

world. Through excavations like

succeeded in cultivating the treasures

this, we can find a way to create

of angklung music by combining it with

a new normal, a way of life that

various forms of modern music, such as

is more sustainable because it is

rock, pop and electronic dance music. He

sourced from local traditions that

innovated angklung into an instrument

have proven to be reliable in guiding

that was played by pressing a pedal

our lives from generation to generation.

connected to a row of angklung. In that

(Martin Suryajaya, Indonesian).

way, angklung can be played like a piano.

Manshur’s innovation did not stop at the design of the angklung instrument, but also in the way he presented angklung in the midst of urban life. He Before played – Hafedz Musthofa/shutterstock.com

collaborated a lot with pop musicians from various genres so that angklung reaches a much wider audience than before. He collaborated with Eka Gustiwana, Alffy Rev, and Weird Genius, each of which has a wide and varied fan base. Even thanks to the courage to experiment with angklung and various modern musical instruments, Manshur

For souvenirs – Kingfajr/shutterstock.com

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VOL. 13, 13, 2022 2022 INDONESIANA INDONESIANA 23 23 VOL.

CULTURAL NEWS

The Road To The

G20

The Road to a New Normal Today the world is looking for a road to a new normal. Various high-level world forums are busy discussing various possibilities to build a more sustainable post-pandemic order. This includes the G20 (Group of Twenty), a forum of the world’s 20 nations with the largest economies.

Indonesia, which holds this year’s G20 Presidency, will offer a new way out of the pandemic: culture road.

An Australian Representative Widji

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24 24 INDONESIANA INDONESIANA VOL. VOL. 13, 13, 2022 2022

for the mainstreaming of culture

the G20 Cultural Working Group under

As a forum that was first established in

on the development agenda. The

the Italian Presidency, has committed to

1999 to respond to the 1998 economic

importance of culture in promoting

deepen the transformative role of culture

crisis, the G20 tends to focus more on

more sustainable development

in helping address economic, social, and

economic and trade issues. However,

is increasingly recognized today.

ecological pressures and needs. This is

since the Presidency of Saudi Arabia

Good initiatives in culture can

confirmed by the Rome Leaders Declaration

in 2019, there has been a shared

trigger multiple effects across the

in the form of three main cultural agendas

awareness among G20 member states

spectrum of society. A culture-based

that will be pursued by the next G20

to pay special attention to cultural

economy that promotes diversity

session on culture: (1) safeguarding and

issues. This awareness was then

and creativity is increasingly seen as

promoting culture, (2) supporting workers,

realised more concretely during the

a key to create new societies geared

including in the cultural field, by facilitating

Italian Presidency in 2020 with the

toward achieving universal and

access to employment, social protection,

establishment of the G20 Cultural

inclusive prosperity. The Indonesian

digitization and business support

Working Group.

Presidency is committed to this effort

measures, also (3) strengthening cultural

and will hold the third G20 Meeting Built on the first joint meeting of

cooperation between G20 countries. These

of Ministers of Culture, September

Ministers of Culture organised by

three priorities are the starting point for

12-13, 2022.

building a new cultural approach in solving

Cultural Discourse in the G20

the Saudi Presidency in 2020, and further developed during the Italian

The Rome Declaration of the G20

Presidency in 2021, the G20 Meeting

Minister of Culture, resulting from

life challenges in this pandemic era.

of Ministers of Culture is a platform

Lobbies for G20 Widji

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VOL. VOL. 13, 13, 2022 2022 INDONESIANA INDONESIANA 25 25

A group photo Widji

Imagining the New Normal

modern life and create a new, better

If we look at our traditional culture, there

Pandemic situations reveal latent

society. To recover together, and

are many sustainable ways to meet

vulnerabilities in our modern lifestyles. As

recover stronger, we need a new, more

all our basic needs. From processing

a result of the pandemic, this vulnerability

sustainable lifestyle.

natural fibres, natural dyes, or social

came to surface and manifested as a systemic disruption to the supply chain that left us wondering about our current way of life. It is increasingly realised that our current situation has raised existential risks that risk human existence on earth.

I

In promoting this new lifestyle, culture plays an important role. The various knowledge, institutions, cultural expressions and practices we inherited have passed the test of time and the laboratory of survival so that they continue to be brought into modern

We are no longer talking about poverty,

times. If these various cultural sources

inequality, injustice, but about human

are consolidated, then we will have the

survival as a species. This crisis, in other

means to create a more sustainable

words, should be seen as an opportunity

lifestyle. This is the “culture road” offered

to solve the fundamental problems of

by the Indonesian Presidency at the G20.

26 INDONESIANA VOL. 13, 2022

cooperation-based recycling initiatives, leveraging abundant local food sources to improve global food security, to developing environmentally friendly vernacular architectures and encouraging social collaboration and inclusion. If all this is explored and strengthened through public participation and coupled with equitable access to technology, then we will be able to see a transformation into a new normal in our way of life: a step out of pandemics, the climate crisis, and social inequality at the global level.

Meeting of Ministers of Culture

Indonesian vocal art groups, and vocal

The Indonesian government will host the

artists from the members of G20

“G20 Culture Ministers Meeting” in on

countries.

September 12-13, 2022 main objectives: (1) building a global consensus for a sustainable new normal and (2) initiating a global recovery agenda through the establishment of a joint network of action in the field of culture.

The series of activities supports the key message of the Indonesian Presidency in G20 2022, namely “Pulih Bersama, Pulih Lebih Kuat”. The way to recover together and be stronger is to take the culture road.

To create a broader echoe for the

(Martin Suryajaya, Indonesiana)

global public, a number of cultural activists and global pop culture icons who actively strive for a sustainable life based on culture will also participate to give a statement. The “Ruwatan Bumi” performance, a traditional Nusantara ritual to restore cosmic balance, will finish their activities. Ruwatan Bumi combines elements of ritual and performing arts by involving traditional leaders, traditional

Iwan Syahril Widji Merdeka Belajar Widji

G20 participants Widji

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VOL. 13, 2022 INDONESIANA 27

SPICE ROAD

Exploring the Charm of The

East Belitung Spice Road

A

ccording to UNESCO, the spice

journey through this route is estimated

as pepper, cinnamon, candlenut, and

road is the name given to

to reach 15,000 kilometers, as written by

nutmeg. These memories become

the shipping network route

Azyumardi Azra (2016).

historical records that helped build the

connecting the Eastern world and the Western world. The spice road runs from the western and southern sides of Japan, connects with the archipelago past southern India to the Red Sea, then crosses the Arabia-Egypt mainland, continues to enter the Mediterranean Sea and the southern coast of Europe. The

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28 INDONESIANA INDONESIANA VOL. VOL. 13, 13, 2022 2022 28

The spice trade of archipelago also inherits a variety of events and historical remains that become evidence of the

identity of the nation, including the local identity of East Belitung as part of the history of the spice road.

process of transportation of spices from

Bumi Belitung Timur, is an archipelago

their sources to consumers in various

with a variety of biological wealth. Some

parts of the world. Various commodity

spices that are still surviving and easy to

products used to be very popular, such

find are sahang (pepper) sepang (sappan),

Batun Island is far in the middle.

Ship sails across the ocean

Use the ship to go there.

Making friends with waves of time

Let’s preserve the history of the spice road Spice road of the nation’s historical wealth As a clencher of the nation’s identity

Let’s make culture the spirit of tourism

Betiong Begubang – Indonesiana Team of East Belitung

and kumbek (candlenuts). A series of

The Marine Research Center of the

the spice road in East Belitung through

studies were conducted to explore the

Ministry of Marine Affairs and Fisheries

the festival “Exploring the Charm of the

history of East Belitung in the past related

also participated.

East Belitung Spice Road”. The festival

to the maritime spice road of the world.

Intensive and integrated research (land and sea) was conducted from 2011 to 2019, which was conducted by the Ministry of Education, Culture, Research and Technology through the National Archaeological Research Center and the Archaeological Center of South Sumatra.

East Belitung as a Knot Point The results of the study mention that East Belitung is the knot point of the archipelago and world spice road. This

has been held since 2019 and became a forum in the economic recovery of the People of East Belitung during the Covid-19 pandemic.

is what then behind the move of the

Exploring the Charm of the Spice Road

East Belitung Regency Government to

(JPJR) East Belitung is held in an effort to

popularize the footprint and future of

protect, develop, utilize, and build culture

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VOL. 13, 13, 2022 2022 INDONESIANA INDONESIANA 29 29 VOL.

that becomes the spirit in the tourism

knowledge, traditional technology,

agenda. It is also a medium of cultural

culinary, spice medicine, and spice

promotion. One of its visions is to

culture management society as

make JPJR Belitung as a tourism agenda

important actors in maintaining the

based on the history of spice road as

specialty of spice culture in East

local history in the global network. Of

Belitung.

course, traditional knowledge is also

Promotion of Culture

developed as a tourist attraction and

East Belitung has traditional gambus

spice-based creative industries to

music. East Gambus Belitung is a

strengthen the local economy.

distinctive art as a result of cultural

East Belitung becomes part

acculturation due to the spice road in

of the history of the

the past. The protection efforts carried

spice road involving

out are the inventory and recording of

multi-nationality

East Gambus Belitung into the basic

in various layers

data of regional culture. The process

of times and

of making gambus is documented into

generations. East

cinematic videos and disseminated as

Belitung in the past

a source of information. Development

has been recorded as

efforts are to make the study of East

an exotic spice producing

Gambus Belitung as the cultural

area until spice culture

heritage of East Belitung.

becomes a local identity

Gambus Nusantara Festival will be

and connects with cross-

held in 2022 as one of the efforts

national culture. Therefore, the

to use the spice road. One of the

JPJR Belitung Timur program

programs is the coaching of gambus

held in 2022 takes the theme

maestro and the capacity building

“Exoticism of East Belitung Spice

and skills of young gambus artists.

Road”. Exoticism in question is

They are expected to create East

the crystallization of values

Belitung malay music with East

in the form of traditional

Gambus Belitung nuances which will

Inspired by Chili - Indonesiana Team of East Belitung

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30 INDONESIANA VOL. 13, 2022

be played in public areas such as airports, government offices, and tourism venues.

Cultural heritage also needs to be considered through restoration and designation. Call it the Tomb Complex of the King of Beams, relics of shipwreck sites from various dynasties ranging from China, Japan, and VoC, as well as Dutch heritage buildings.

What has East Belitung felt through the JPJR Festival? The growth of various new spices; the emergence of various souvenirs made from spices in the form of tasbih, glasses, and medang kalong bracelets and agarwood; the creation of batik spice designs that can be developed into regional clothing; and the creation of carnival costumes and spice batik designs. Another benefit is the growth of creative economy products related to spice road and the emergence of spicebased tourist destinations.

Various positive impacts are also felt due to the JPJR program. The establishment of the East Belitung Spice

Wood craftsmen

Farmers Community (KIRAB) which

- Indonesiana Team of

becomes a driver in spice cultivation

East Belitung

and spice delivery to various regions in Indonesia. In addition, the strengthening of community-based spice culture,

A Malay orchestral band was formed,

preservation of cultural heritage by

especially in the Cultural Community and

namely “Spice of Svara”, which is a

elaborating the traces of spice road in

Tourism-Conscious Group (POKDARWIS)

collaboration of members of the arts

the past.

which develops a variety of traditional

and culture in East Belitung that raises

(Zulfiandi, S.Kel., M.Si, Coordinator

East Belitung spice culinary such as

traditional and modern music. In

for The Festival of Exploring The

aik sepang drinks, gangan buntal darat,

addition, the establishment of a pioneer

Charm of The East Belitung Spice

gangan darat, belitong boiled noodles,

school of spice road in East Belitung is

Road).

belitong guring noodles, and berego as a

Sma Negeri 1 Manggar. The JPJR Festival

typical dish for tourists.

is a form of cultural promotion and

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VOL. 13, 2022 INDONESIANA 31

CULTURAL NEWS

When Puak Daya Rejoices I

32 INDONESIANA VOL. 13, 2022

ak

Dayak Deah traditional dance - Dewilisa Finifera

Deah

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VOL. 13, 2022 INDONESIANA 33

Harmony with nature - Dewilisa Finifera

I

t is said that, approximately three

As in the traditional villages in the

The next series of rituals is nagasok miah

centuries ago, three family groups

archipelago, the people of Liyu Village

which is a tradition of planting rice seeds.

from the lineage of Atak, Ma Mice,

start almost all social activities with

Ngasok miah is done alternately from

and Bardi migrated from Regant Tatau

rituals. Ngumo ngentaoutn, for example,

one field to another with alternate days,

(now Banjarmasin) to Langon Langit

is a series of rituals that precede rice

depending on the readiness of the owner

(Martapura), Jemuntai (Amuntai), Peluya,

farming in the fields. The ritual begins

and reached the foot of the northwestern

with another ritual, melatu wini, which

Meratus mountains, a tropical forest area

is the recitation of mantras and prayers

flanked by two rivers namely Liyu and

to the creator and ancestors so that the

Angam (Galumbang). Now, we know this

harvest is abundant later.

area as Liyu Village, the expansion village of Mount Riut Village in 1980. Halong Subdistrict, Balangan Regency, South Kalimantan Province.

ritual of melatu wini with Bawo language, especially for farm owners who adhere to Hinduism. Nearly ninety percent of

Liyu village is the very end village, marked

Liyu villagers adhere to Hinduism. The

by the end of asphalted roads. Inhabited

rest are Muslims, Christians, Buddhists,

by the majority of the customary society

and Confucians. Unlike the Hindus on

called Dayak Deah. If you want to visit

the island of Bali, Hindus in Liyu negate

Liyu from Syamsudin Noor Airport in

the ngaben ritual and still adhere to the

Banjar Baru, you need 7-8 hours by road

Kaharingan belief.

to reach it.

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Demang or customary chairman leads the

34 INDONESIANA VOL. 13, 2022

Dayak Deah weaving workshop - Dewilisa Finifera

of the field so there is no need to spend

(traditional musical instrument), two

forget also the program of strengthening

wages to grow rice. Ngasok miah begins

people hold bamboo or thorns as a

customary institutions through

with a ritual of melatu by Penajuh Lai, a

medium of the game, while the rest

courses and transfer of knowledge

leader of rituals and planting pit makers.

dance while jumping in the middle of

about customary laws to the younger

bamboo media or thorns.

generation.

called halu or alu by men and followed

In the Promotion Program for Village

Like tit for tat, the Promotion Program

by a line of seed sowers called miah. In

Culture held by the Directorate General

for Village Culture receives positive

general, the seeds planted are mountain

of Culture of the Ministry of Education,

appreciation, not only from residents, but

rice, sticky rice, and buyung.

Culture, Research, and Technology, Liyu

also from village officials and customary

Village packaged a series of traditional

institutions. “This program is like giving

rituals above in a festival called Melatu

way to inventory wealth (culture) for

Wini Festival. In addition, there is also

us”, said Mr. Sukri, Head of Desa Liyu.

an empowerment program called

Hopefully the promotion program for

Strengthening Sanggar Senin Bajalin Jaya.

village culture will be successful and on

Its activities include inland dance training

target, namely the improvement of the

and traditional music.

cultural ecosystem at the village level.

The soil is hollowed out using a stick

In the middle of ngasok miah or during rest sessions, ritual participants usually play ngengkulunkng or kurung-kurung, then sentokep games, and the attractions of pebintis or footfighting. Ngengkulunkng is rarely played unless occasionally accompanying traditional dances.

Ngengkulukng or in banjar language kurung-kurung, is an art that is done in the middle of ngasok rest, aimed at entertaining farmers who are tired after planting rice. The show is performed by a group of people or several people. The division, three people play kengkulukng

The purpose of the festival and the strengthening of the studio is certainly not only to improve quality and regeneration, but also to strengthen the

Liyu Village is one of the examples.

Hopefully!

(Dewilisa Finifera, Young Cultural Tutor)

identity of the village. There is also a rattan woven craft workshop that is now starting to sell out the products. Not to

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VOL. 13, 2022 INDONESIANA 35

CULTURAL NEWS

Proud of Our Own Natural and Cultural Products

T

he National Movement for Being

National Movement also opens as

This program was launched by President

Proud of Indonesian Products

many wide accesses as possible for the

Joko Widodo, on May 14, 2020. A

(Gernas BBI) is the government’s

community to creatively and innovatively

movement to prioritize domestically

effort to encourage the strengthening

recognize the potential of their area, to

made products in order to contribute

of people’s economic growth to buy

build networks, to collaborate, and to

to the national economy. Strengthened

products made by local Micro Small

improve the quality of their products to

by Presidential Decree No. 15 of 2021,

and Medium Enterprises (MSME) and

be sold digitally (digital marketing).

September 8, 2020 regarding the BBI

local ultramicro, as well as to support the sustainability of the sector business during the pandemic Corona virus.

National Movement for BBI is also an effort to build Indonesian cultural pride, promote products based on local culture and wisdom, glorify local products, and empower the community.

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#AromaMaluku - Diana

36 INDONESIANA VOL. 13, 2022

This movement fosters synergy between the community, cultural actors, MSME, industrial actors, banking, State-owned Enterprise, local governments and digitalbased creative industrial actors. It is time

National Movement Team supported by 14 Ministries and Institutions under the coordination of the Ministry of Maritime Economy and Investment (Kemenko Marves).

for a stretch of national economy based

Each ministry/institution has a campaign

on culture and local wisdom to be the

program with the theme and locus

driving force.

of implementation in various regions

Wastra is an identity – Diana

Saparua Brown Sugar - Diana

with the main objective of promoting

Chairperson of BBI National Movement

Maluku has a myriad of natural and

economic potential, local wisdom, and

is the Coordinating Minister for Maritime

cultural resources as the basis for MSME

local cultural products.

Affairs and Investment, while the Deputy

products. Call it nutmeg, eucalyptus oil,

Chairpersons are the Coordinating

walnuts, saparua sugar, fish products

Minister for Economic Affairs, the

known as inasua, a sopi drink made

Governor of Bank Indonesia, and the

from coconut sap, usually from pohon

Chairman of the Board of Commissioners

koli or palm trees. There are also bottle

of the Financial Services Authority. The

nuts/Liwta which are planted in the

complete structure is in the Presidential

rainy season and dried, peeled and then

Decree.

cooked with coconut.

BBI Ambon “The Aroma of Maluku”

Maluku Island is also famous as a

8,434,446. A total of 16,434,446 units with a 105% increase from the initial launch.

The Ministry of Education and Culture,

the Tanimbar district called Tais Pet.

Research and Technology as the

This weaving is very beautiful, with a

campaign manager for BBI National

variety of colors, the motif is dominated

Movement in 2021 determines Ambon,

by lines interspersed with certain

Maluku as the peak locus of the event

patterns adapted from the surrounding

with the theme “The Aroma of Maluku”.

environment, flora, fauna and humans.

The choice of the City of Music as the

Maluku is also quite rich in various

venue for this activity is not without

kinds of woven products derived from

reason.

endemic plants in this beautiful island.

The final goal of this activity is the independence of MSME so that they can optimize their products and sales on boarding with digital platforms (digital marketing). Since the launch of BBI National Movement from May to September 2021, the number of onboarding MSME has reached

The target of this program is 30 million MSMEs are on boarding or promoted to the next class, selling through digital platforms and optimizing technology that is now developing. It is stated in the Presidential Decree that the

producer of weaving, especially from

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VOL. 13, 2022 INDONESIANA 37

Performance - Diana

Strengthening Students’ Character

as a superior product, considering that

basket are the main products in the arts and crafts sector in addition to marine

Through BBI National Movement “Aroma

seeds can be used for spices, cosmetic

products made from shellfish, one of

Maluku” 2021, the Directorate General of

ingredients and wellness products, as

which is tahuri, a typical wind instrument

Culture initiates efforts to introduce local

well as its rich flavored fruit that can

from Maluku.

wisdom to high school and vocational

be used for various types of refreshing

high school students to get to know more

drinks and very good for health.

Various baskets, headgear and removing

Some of these natural and cultural products have been established as Indonesian intangible cultural heritage (WBTB), including taispet established in 2013, inasua (2015), sopi (2016),

I

Snacks - Diana

about the potential of Maluku’s natural and cultural heritage, especially those that have been established as Indonesian Intangible Cultural Heritage.

Maluku is a producer of nutmeg whose

As many as 80 students from 20 schools in Ambon received enlightenment and insight on how Maluku’s natural and cultural heritage can support and

eucalyptus oil (2017), tahuri (2017),

There are 3 (three) products that are

potentially be developed into modern

saparua sugar (2018 ), and embal (a

internalized to them related to the value

processed products that are attractive

type of cassava which is poisonous if

of philosophy or local wisdom, nutritional

in packaging, delicious in taste, high

eaten normally but becomes delicious if

content, and product development,

in nutritional content and marketed

processed with local wisdom).

namely Embal, Inasua and Saparua

through digital technology platforms

Sugar. In addition, introducing spices

(digital marketing).

38 INDONESIANA VOL. 13, 2022

The involvement of the campus, in this

BBI National Movement 2022 in each

case the Department of Anthropology,

ministry/institution is different with

Patimura University, the Health Service,

the locus of implementation in several

the Maluku Provincial Industry Service

provinces. The Ministry of Education and

and the Chef from Hotel Santika were

Culture, Research and Technology has

the speakers in a workshop held by

the task of holding the BBI summit in

the Directorate of Development and

West Sulawesi, October 2022.

Utilization of the Directorate General of Culture together with the Technical Implementation Unit of the Ambon Cultural Values Preservation ​​ Center (BPNB) in October 2021. The activity continued with a competition to make food dishes from the three foods (embal, inasua, and saparua sugar) then the three winners appeared at the peak of the BBI “Aroma Maluku” event November 29, 2021.

The focus of implementation includes strengthening Key Performance Indicators (KPI), maturation of monthly campaign concepts, increasing the duration of the BBI National Movement, and months of mentoring by ministries/ institutions. No less important is increasing the role of local governments and strengthening character in the

Inasua Sadap and Embal Manis – Diana

educational environment from an early age and striving to be included in the

BBI Gernas 2022

curriculum. There are still a number of

President Jokowi’s priority activities as

focuses that need to be implemented.

an effort to improve people’s welfare

(Yayuk Sri Budi R, Head of the Working

during this pandemic will continue to

Group for Cultural Development,

be held until 2023 with a target of 30

Directorate of Cultural Development

million MSME selling on digital marketing

and Utilization, Directorate General of

platforms or on boarding. The focus of

Culture)

BBI product brochures – Diana

the handover of gifts - Diana

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VOL. 13, 2022 INDONESIANA 39

COMIC READING PARK for PUBLIC Belief in The Only One God is a statement and implementation of a personal relationship with The Only One God based on faith

Do you know what it means to believe in The Only One God?

The Principles of Belief in The Only One God in Indonesia All of this is manifested in the behaviour of piety to The Only One God and the practice of nobility whose teachings are sourced from the nation's local wisdom Directorate of Belief in the God Almighty and Customary Law Communities

Directorate of Belief in the God Almighty and Customary Law Communities

READING

Everyone who recognizes and believes in the values of embracing Belief in The Only One God is called a Believer

PARK for PUBLIC

The diversity of believers and belief organizations gather in a national forum named the Noble Council for Belief in The Only One God in Indonesia (MLKI) Belief in The Only One God is a spiritual culture, namely spiritual values from cultural customs and local wisdom to build human character towards spiritual maturity.

Believers gather in a forum called Belief Organization which is diverse and spread throughout Indonesia Directorate of Belief in the God Almighty and Customary Law Communities

There are three main teachings of Belief in The Only One God, namely Returning to the Source

Directorate of Belief in the God Almighty and Customary Law Communities

READING PARK for PUBLIC

of Life, Becoming one with the Source of Life and Benefiting Life. These three main

teachings are manifested in various terms according to their respective teachings

Becoming one with the Source of Life, namely human efforts to establish a relationship with God by continuing to maintain cleanliness and purity of heart.

Return to the Source of Life is that humans actually come from God and will return to the Source of Life (The Only One God)

Benefiting life, which is always striving for living behaviours that brings safety, happiness, and prosperity to the universe

Directorate of Belief in the God Almighty and Customary Law Communities

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40 INDONESIANA VOL. 13, 2022

Ministry of Education, Culture, Research and Technology Directorate General of Culture Directorate of Belief in the God Almighty and Customary Law Communities 2021

Directorate of Belief in the God Almighty and Customary Law Communities

What is the history of Belief in The Only One God in Indonesia?

There are several important moments regarding the existence of Belief in The Only One God in Indonesia Constitutively, the acknowledgment of Belief in The Only One God is stated in article 29 paragraph (2) of the 1945 Constitution

At the Symposium of Believers in The Only One God in the area of the Assistant Governor (Ex-Residency) in 1982.

The greeting "Rahayu" was agreed as one of the General Characteristics of Believers in The Only One God in Indonesia In line with the 1945 Constitution. People’s Consultative Assembly Decree No. IV/1973 concerning the Broad Guidelines of State Policy (GBHN) recognizes Religion and Belief as the manifestation of the principle of Belief as the manifestation of the principle of the Indonesian Nation's Belief in The Only One God

The President then issued Presidential Decree No. 27 in junction to No. 40/1978, which underlies the management of Belief in The Only One God in the Department of Education and Culture, in the work unit of the Directorate of Fostering Believers in The Only One God

Furthermore, the guarantee of services for the Believers’ civil rights is regulated through the Joint Regulation of the Minister of Housing Affairs and the Minister of Culture and Tourism No. 43/41 Year 2009 concerning Guidelines for Service to Believers in The Only One God

In regards to identity in official documents. Constitutional Court Decision No. 97/PPU-XIV/2016 granted the right of Believers to fill in the religion column on their ID cards with Belief in The Only One God

Organizationally, the National Forum for Belief in The Only One God with the name the Noble Council for Belief in The Only One God in Indonesia (MLKI) was declared at the National Symposium of Believers in 2014 in Yogyakarta.

Against the right to education for Believers. The Ministry of Education and Culture issued Regulation of the Minister of Education and Culture Number 27/2016 which guarantees the Education Service for The Belief in The Only One God in the Education Unit

Advanced Belief Education Service opens in 2021, based on Decree of The Ministry of Education, Culture, Research, and Technology No. 418/E/O/2021 concerning the Permit to Open a Study Program of Education for The Belief in The Only One God Undergraduate Program at the University of 17 August 1945 Semarang

Thus, Belief in The Only One God is an inseparable part of the Indonesian nation. Various laws, regulations and policies are formulated in order to protect the existence of Belief in The Only One God, as well as to promote, uphold and fulfil the rights of Believers in Indonesia

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VOL. 13, 2022 INDONESIANA 41

INFOGRAPHIC

BRAMATABI WAYANG WONG Description Wayang Wong is one of the branches of performing arts which is used as a complement to the yad ceremony on the main level (big ceremony).

The Wayang Wong play takes the Ramayana Epic which is played by human figures in costumes that have been adjusted and according to the character played

Source: World Culture Heritage Nine Balinese DancesBPNB Bali

RESPRESENT: BULELENG Regency Values LIFE PHILOSOPHY LOYALTY, HEROISM

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42 INDONESIANA VOL. 13, 2022 42 INDONESIANA VOL. 13, 2022

TYPE OF DANCING Bebali Dance (Semi Sakral)

HANOMAN

EQUIPMENT

Gelungan Rama Laksmana Hanoman Sugriwa Wibisana Dalem Twalen

Topeng

Angkeb Bulet Bapang Baju

Saput

Gelang kana

Sabuk Kancing

History Appeared in the reign of king Klungkung, Dalem Gede Kusamba (1772-1825). At that time, Dalem Gede Kusuma ordered the main dancers to create a new dance using a sacred palace mask by taking the Ramayana play. The dance then spread and developed in Tejakula Village, Buleleng Regency, by getting the influence of the parwa dance brought by I Dewa Batan from Bangli Bunutin village and gambuh dance brought by I Gusti Ngurah Made Jelantik from Blahbatuh village in Gianyar

Awiran Jaler Stewel Kancut

Choreography The characters commonly shown in the Wayang Wong Dramantari include Rama, Laksamana, Manen / Tuwalen, Merdah, Delem, Sangut, Indrajit / Meganada, Wibisana, Kumbakarna, Hanuman, Sugriwa, Subali, and Jatayu. Each character has its own repertoire of movements and distinctive dance characteristics

Accompaniment Instruments Batel gender wayang, dua kendang, kajar, kempur, klenang, kemong, dan ceng-ceng

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VOL. 13, 2022 INDONESIANA 43 VOL. 13, 2022 INDONESIANA 43

WASTRA

Spinning The Yarn - Heru Joni Putra

Songket Pandai Sikek Dealing with Uncertainty

T

he Minang people certainly

Therefore, reformation through Act

collapsed, related to songket as one of

remember when Suharto’s

No. 22 of 1999 on Local Government is

the cultural heritages. The destiny of

government in the 70s forced

expected to be the right momentum to

songket “hidup segan, mati tak mau” was

the form of a village to replace nagari,

improve everything that deserves to be

buffeted by economic crisis, colonial

as the smallest system of government.

improved. When the act was passed, and

war, and political turmoil like a knife that

What happened then? Habih tandeh, the

the practice of returning to nagari began

stabbed this weaving culture to death for

term used by Minangkabau to refer to

to be tried in various ways, people slowly

many times. Until the 2000s, there were

the destruction of various Minangkabau

had to understand: they could never

only three songket centers that could

cultures, both traditional infrastructure

really go back to the “past” even though

still survive despite uncertainty, namely

and the people’s mentality, because

some insisted on bringing it back to the

Silungkang, Pandai Sikek, and Kubang.

it was hit by the village system. A few

present day.

A number that is too small compared to

months after the reform, the people of West Sumatra also urged the government to babaliak ka nagari, which means a return to nagari.

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44 INDONESIANA VOL. 13, 2022

Minangkabau also has an old problem, even long before the New Order

100 or 50 years earlier when the songket center was still circulating in more nagari.

When babaliak ka nagari is encouraged,

customary processions. It is no longer

Becoming a Rare Item

songket artists hope to extend the life

just as a complement, entertainment,

Benhard Bart, a Swiss architect, since

of the weaving culture that they have

or bureaucratic storefront as in the

a few years before the reformation

maintained for generations. They hope

New Order era, where the material and

has noted the terrible conditions in

to return to nagari for not more than

philosophical qualities of the songkets

the Minangkabau songket ecosystem.

just the elimination of the village system

were not important to be considered.

He confidently said that Minangkabau

and its devices, but for the return of tigo tungku sajarangan (customary holders, theologians, and scholars) as nagari leaders replacing the hierarchical power of the village head. Tigo tungku sajarangan is not just a display but a collection of customary processions and all their derivatives in the cultural sense.

However, as mentioned earlier, the effort to “return Minangkabau” to the condition before it was shattered by the new order is incredibly impossible. Not all traditional infrastructures can be reestablished. What is clear, the practice of daily life is no longer completely related to the image of the idealized traditional

The quality of songket (both materially

ecosystem. In such conditions, songket

and philosophically) is the main tool

cloth is still needed but tends not to carry

to maintain the “marwah” of various

its traditional role anymore.

songket is the “smoothest and smartest” type of traditional cloth compared to those found in other Southeast Asian regions. Nevertheless, the best example he saw at that time was a rare item. He could only find it only in the museum or in an antique shop. On the contrary, the real condition in the field is actually too painful: in addition to the lack of songket

Wood and iron are the basic materials for weaving looms - Heru Joni Putra

Materials for wastra - Heru Joni Putra Tidying the yarn on the weaving loom - Heru Joni Putra

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VOL. 13, 2022 INDONESIANA 45

Maintaining yarn quality - Heru Joni Putra

Regeneration which is never easy - Heru Joni Putra

craftsmen, the quality of widely circulated

It starts with “regeneration”. The plan

“Useless” is a word that has reached

works is very much decreased. It’s a way

relied heavily on an elderly weaver, Hj

the throat. Month after month, their

off. The needs of the industry are also

Rohani, when she was almost 80 years

plans could be said to have not yielded

one of the main reasons, he concluded.

old. It is located in Tanah Datar Regency.

satisfactory results. It was very difficult

She was the only one who could be

to create a high-quality songket. The

found and agreed with their plan. The

difficulties that were always encountered

grandmother had two grandchildren who

were problems of materials, work tools,

did not continue their grandmother’s

and time. The most obvious: the effort to

skills. However, they finally agreed to

revive the songket had to compete with

learn how to make a songket with their

the survival efforts of its craftsmen.

Because of the difficulty of finding a highquality traditional songket, Bart could only photograph the pattern. He has more than a thousand patterns. The photo is then transferred to the computer for redesign. Thanks to the help of his wife, Bart moves further with the Minangkabau artists and cultural practitioners. At the suggestion of one of the Minang cultural practitioners, they plan to revitalize songket.

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46 INDONESIANA VOL. 13, 2022

grandmother. Even with only limited personal funds, Bart and his friends created a simple facility to succeed their plans.

Many potential successors do not choose to learn songket more deeply because the needs of daily life are more urgent.

Nonetheless, it turns out that hard effort

The story of Bart and the Minangkabau

the general condition of the songket in

cultural practitioner is just a little of the

Minangkabau was clear as mentioned

heartwarming story about the effort

earlier: it could no longer move in the

to extend the life of Minangkabau

ideal shadow of the Minangkabau’s

songket. Hj Rohani’s successors can

traditional ecosystem — which is indeed

be considered lucky because at least

the main basis for the sustainability of

they had time to meet with Bart and

high-quality songket.

friends. And vice versa. However, of course, that success is a valuable small example. Although at that time there was a strong hope that high-quality songkets would still be maintained and produced,

and many sacrifices will never be in vain.

A few years after it was first conducted, the results of their first trial made results.

In 2001, songket with basa itam motif was successfully remade, through the teachings given by Hj Rohani to her grandchild.

With a contemporary design, songket craftsmen try to preserve songket for the future - Heru Joni Putra

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VOL. 13, 2022 INDONESIANA 47

Revealing - Heru Joni Putra

Mother as a guardian of the tradition - Heru Joni Putra

Industry for the Future

context of custom, is no longer useful.

stronger than the previous decade.

Therefore, at that time, the effort of

Bart’s sadness about the strong influence

The revival of what is referred to as

songket preservation could no longer be

of the industry seems to have no

“local consciousness” complete with its

done by waiting for the ideal conditions

solution.

industrial arena, of course in a higher

dreamed of to be created when it was already babaliak ka nagari. Inevitably, in turn, the direction of the dreams changed, namely to the industry. When it comes to industry, the line between “high-quality” and “low-quality”, in the

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48 INDONESIANA VOL. 13, 2022

With all its advantages and disadvantages, the industrial ecosystem now determines that the destiny of songket artisans can be called a little better in the last decade, although not

hustle and bustle, contributes to the strengthening of the sale and purchase of traditional products. Silungkang, Pandai Sikek, and Kubang areas still become few of the areas that are still trying to survive and produce songket cloth.

Sentra Kubang can also be an example

imbalanced. The foot of culture remains

of how this weaving business tradition

the weakest, although the industrial foot

must survive between the foot of

is also not very sturdy. Unfortunately,

culture and the foot of industry. For

lately, there has been a problem, namely

business continuity needs, they produce

dizziness. The cause: the legality of

development motifs with quality levels

songket as a world cultural heritage is

that have their own consumer target. In

owned by neighboring countries. This is

this condition, we cannot fully speak of

what is being worried about. This songket

the sublimeness of motif’s philosophy,

business is like walking imbalanced while

technical intelligence, and the like.

having dizziness, afraid to stumble a little

However, at the same time, high-quality

or even fall on its own.

songkets are still produced for special

(Heru Joni Putra, Writer)

requests, for example, for collections, exhibitions, and teachings.

Does this indicate a balance between the needs of industrial foot and cultural foot? Most local producers will answer no. Many agree that this weaving culture just seems to run in balance. When viewed from afar, it does seem to run in balance. However, up close, it is

One of the efforts of “babaliak ka nagari” - Heru Joni Putra

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VOL. 13, 2022 INDONESIANA 49

MUSEUM

Bukuran Cluster - Syefri Luwis

Sangiran Museum Memory of Three Evolutions

I

What moves us to look at the museum

Try visiting Sangiran. The museum is

Sangiran site is the early human site

again? Previously, we think that just

just a storage building to store valuable

from the pleistocene epoch (2.5 million

because it is the duty that makes

collections, but it becomes part of the

to 11,500 years ago) which is the most

people want to visit the museum again,

site of early humans, the birthplace of

complete and important in Indonesia,

especially if it is located far away in

Javanese humans, who still continue to

or even Asia, since it was discovered

the corner of the village or even in the

reveal animal fossils, artifacts, and even

by G.H.R von Koenigswald through the

tableland. One example is the Sangiran

humans as the soil layers are exposed

discovery of the concentration of flake

Early Human Museum, which is located

during erosion or human activities. It is

tools in Ngebung Village in 1934, as

about 17 kilometers north of Surakarta

at this location that one of the centers of

written by Harry Widianto and Truman

Central Java. What is the reason that

human evolution of the world has been

Simanjuntak in the book Sangiran

makes us want to visit the Sangiran Early

telling the long story of humanity since

Menjawab Dunia (2011). With an overall

Human Museum?

1.5 million years ago.

area of 59.21 square kilometers in two

50 INDONESIANA VOL. 13, 2022

Understanding evolution - Syefri Luwis

districts namely Sragen and Karanganyar, the museum and Sangiran site are not enough to be explored in just a few hours.

In reality, not only does Sangiran give an idea of the physical evolution of humans and animals, but it is also able to provide an overview of the evolution of culture and environment. The oldest early humans were found at the top of the black clay of Pucangan Formation with an antiquity of more than a million year, with a very stocky body. The oldest human tools were also found in the Pucangan Formation,

currently offering a virtual tour program

in an ancient river sediment

- virtual museum - to the public. Since

that flowed between swamps

2017, the Krikilan Cluster has not only

1.2 million years ago. At that

been satisfied with the reconstruction of

time, Sangiran was still a swamp. The

sangiran’s early human body but has also

environmental change from swamp to

penetrated into the world of augmented

permanent land occurred 0.9 million

reality. Let’s walk through Sangiran,

years ago.

starting from Krikilan Cluster, Ngebung

Reading the early human history while looking directly at the location is certainly

Cluster, Bukuran Cluster, and Dayu Cluster.

Letters from Wallace - Syefri Luwis

million years old and it is neatly arranged complete with the description of the

exciting. In addition to the site’s appeal,

Krikilan Cluster

artifact. To make visitors comfortable,

another thing that attracts wider visitors’

The first location of the museum is

the museum, that is deliberately made

attention is the variety of programs: it

located in Krikilan Village, Kalijambe,

as a reconstruction of the past, has been

can be festivals, exhibitions, workshops,

Sragen, which is the information center

developed into a site of conservation that

performances, or competitions. The

of early human life in Indonesia and is

allows it to be side by side with villages in

last large enough program is SangiRun

an umbrella of other clusters as well

an integrated manner

Night Trail 2021 or night running race for

as a meeting point for information

celebrating the 25th anniversary of the

of other early human sites namely

establishment of Sangiran Site as a World

Trinil, Kedungbrubus, Ngandong,

Cultural Heritage by UNESCO (see its

Sambungmacan, Mojokerto, Ngawi,

report in Indonesiana Volume 12).

Patiayam, Semedo, and Bringin.

Head of BPSMP Sangiran, Iskandar Mulia

The Krikilan Cluster exhibition hall

surrounding community. The museum

Siregar, S.T., said that his institution is

displays a variety of fossils which is

has other facilities such as laboratories,

The Sragen Tourism Office, which is the manager, designs the museum as a fossilbased site which means the collection will continue to grow in line with the discovery of fossils by members of the

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VOL. 13, 2022 INDONESIANA 51

The complexity of DNA - Syefri Luwis

The fragmented fossil of Mastodon skull - Syefri Luwis

fossil warehouses, and rooms for playing

Elephas namadicus (elephant), Stegodon

through the exhibited

the films. In addition, there are also

trigonocephalus (elephant), Mastodon

rocks, such as meteorite

neatly lined stalls that sell various trinkets

sp (elephant), Bubalus palaeokarabau

or tektite, chalcedony,

from rocks, clothes, hats, and food.

(buffalo), Felis palaeojavanica (tiger), Sus

diatomite, agate, and

sp (pig), Rhinocerus sondaicus (rhinoceros),

amethyst.

The Krikilan cluster contains collections of human fossils including Australopithecus Africanus, Pithecanthropus Mojokertensis

and sheep).

Bukuran Cluster Bukuran Cluster is built

(Pithecanthropus Robustus), Meganthropus

Fossils of aquatic animals are a sign that

around 27 kilometers from

Palaeojavanicus, Pithecanthropus Erectus,

the Sangiran region was once part of

Sragen City. When entering

Homo Soloensis, Homo Neanderthal

the ocean. No wonder that crocodilus sp

the main exhibition hall of

Eropa, Homo Neanderthal Asia, and Homo

(crocodiles), fish and crabs, shark teeth,

Sapiens. Stone tools such as flake, bilan,

Hippopotamus sp (hippopotamus), Mollusa

plane, auger, square axe, stone ball,

(Pelecypod and Gastropod

and Chopper are also presented in the

class), Chelonia sp (turtle), and

exhibition hall.

foraminifera are stored there.

The cluster that was inaugurated in 2011 also stores a collection of fossils of vertebrate animals such as

The current show-off style - Syefri Luwis

I

Bovidae (cow, bull), and Cervus sp (deer

52 INDONESIANA VOL. 13, 2022

Sangiran

– Syefri Luwis

In this museum, there are also memories of the formation of the earth that can be read

The long history of mankind is here - Syefri Luwis

Sangiran – Syefri Luwis

the Bukuran museum,

Ngebung Cluster

Dayu Cluster

visitors are invited to

A large diorama depicting an excavation

This cluster is developed as a cottage

see the track record

process welcomes the visitors. The

of information about the results of

of human evolution.

exhibition hall in the museum in this

recent research, the discovery of the

Visitors are invited to

Ngebung village, Kalijambe District,

oldest flake tools in Sangiran and even

travel and enjoy the

Sragen Regency contains the early history

Indonesia which originated from early

reconstruction of three

of G.H.R. Koenigswald’s research with W.F

river deposits that flowed between

types of Homo erectus

Tweedie who found several flake tools

swamp environments 1.2 million years

that marked three

related to fossils of vertebrate fauna with

ago. Discovery after discovery since 2002

Panel of sites where humans’

levels of evolution,

characteristics of fauna Trinil and Mid-

have continued to roll until now including

early tools and relics were found

namely Homo erectus

Pleistocene Epoch. “These are flake tools,

the opening of two sites for excavation.

archaic (1.5 million to

early human culture. Here, someday, will

Visitors can descend to the excavation

1 million years ago),

– Syefri Luwis

be found fossils of early humans such

site and observe early river deposits

Homo erectus tipik

as in Trinil and Ngandong,” Koenigswald

along with stratigraphy and artifact finds.

(0.9 million to 0.3

said, as quoted by Harry Widianto

million years ago),

and Truman Simanjuntak in Sangiran

and Homo erectus

Menjawab Dunia (2011). The prediction is

progresif (200,000 to

proven.

100,000 years ago).

Adding richness to the collection of this cluster, downstairs are displayed replicas of early human fossils that have been found around the world.

Museum visits to the clusters of Sangiran Ancient Museum; Krikilan, Bukuran, Ngebung, and Dayu bring visitors to experience the ancient atmosphere in the

Another exhibition hall, that is no

present. Museums make a million-year

less interesting, presents scientific

distance feel close.

conversations between Teuku Jacob,

(Alfian S. Siagian: Indonesiana Crew)

Raden Panji Sudjono, and Sartono Sastromidjojo. The bones of early elephants or stegodon are also exhibited here. The ancestors of elephants during this historical period are said to have lived five million to ten thousand years ago.

The boat from the pas – Syefri Luwis

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VOL. 13, 2022 INDONESIANA 53

VILLAGE

Pujananting Harmony Through

Genrang Riwakkang Sound

T

here is a lot of cultural wealth in Indonesia that until now we still find in the midst of society. One of

them is a traditional music called genrang riwakkang. This traditional musical instrument becomes the prima donna music of the people of Pujananting, Barru Regency, South Sulawesi. Genrang (another dialect sometimes calls it ganrang) is derived from the Bugis language which means drum. As for riwakkang, it means on the lap.

Hence, the genrang riwakkang is a drum that is played on the thigh or played on the

Mandaoling - Arlin

lap. In short, the drum that is on the lap.

Doing art with friends – Arlin

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54 INDONESIANA VOL. 13, 2022

Training with the maestro – Arlin

The adults, who the next day have to start plowing the padi fields, at night sing together for fun. This is to provide entertainment and burn the spirit before starting to plough the padi fields. Similarly, after harvesting, they also play genrang riwakkang to restore energy and It is said that the idea of playing a musical

riwakkang is made into a pair (two sets),

tired minds after working hard in the padi

instrument was only for leisure behind

then combined with gambus, drum,

fields.

weariness. Once upon a time, one of the

tambourine, rinci (a type of tambourine),

problems at the residents’ plantation in

flute, and mandailing, thus producing

Pujananting Village was pests destroying

harmonious music. In addition, genrang

plants, pigs and monkeys. Therefore, they

riwakkang is also modified so that it can

had to guard the garden day and night.

be played without always having to puy it

When guarding the garden, they were

on the lap.

attacked with drowsiness and boredom.

At that time, the ancestors beat pieces of wood as a way to entertain themselves in resisting drowsiness and became a marker for the destructive animal to stay away from the garden.

a forum to strengthen the solidarity of the local community. When the genrang and directions, the community then spills

the garden, genrang riwakkang then

out to gather, sing, or just be a spectator.

transformed into a part of customs and traditions, until it became people’s entertainment. Genrang riwakkang is down to the padi fields, maddoja bine

rhythm of the wood they hit. In the end,

(preparing padi seeds), harvest parties,

there came the idea of looking for wood

and various other cultural activities. At

that has a beautiful clinking sound.

that time, they sing various kinds of songs

From various experiments, it wass found

that they created situationally using Bugis

a type of wood known to the Bugis

or Makassar language.

journey, to complete this music, genrang

place of togetherness, harmonization, and

riwakkang music is played, without orders

then appeared. They found a charming

called genrang riwakkang. On its

is not only an entertainment, but also a

to get rid of boredom while guarding

often played when people are going

is then used as a musical instrument

as a complement in customary activities

Although at first it was just a routine

From that activity, the soul of their art

community as daja-daja wood. This wood

The tradition of playing genrang riwakkang

In addition, in the decade of the 1980s until 2000s, genrang riwakkang was one of the main entertainments among the Bugis tribe. This group of genrang riwakkang players was often invited at events in Pangkep Regency, Soppeng, to Bone. The invitation to perform at that time was so booming. They traveled from village to village to entertain residents who were holding a wedding party, a thanksgiving

In agricultural rituals, such as when

party, occupying a new house, or other

people are about to start the cultivation

parties. It can be said that those years were

of padi fields, genrang riwakkang serves

a golden period of genrang riwakkang as

as pakuru sumange (encouragement).

people’s entertainment.

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VOL. 13, 2022 INDONESIANA 55

Learning the genrang – Arlin

Dive into the Meaning Behind the Music

from night to morning by composing

from village to village is always welcomed

songs continuously without stopping.

with joy by the local community. It can be

Genrang riwakkang is not only an

However, in their performance, they

said that the genrang riwakkang actually

entertainment, but in it, there are also

always instill the ancestral message “aja

unites people to sing together for fun

meanings. Through genrang riwakkang,

muelongi anu salae” (never sing a song

behind the sound of traditional music.

people can learn about harmony and

that means no good). The meaning of

plurality. This music is a blend of various

the message is that never make a song

musical instruments, including musical

on stage that can offend the feelings and

instruments from other regions such as

self-esteem of others.

rinci (tambourine) and mandailing. Those

As a culture in the form of traditional art, genrang riwakkang is a legacy that

Then, as an entertainment that often

must be maintained. Activists and music

surrounds from village to village, it also

artists, who are now at the age of 50-60,

prioritizes safety. Hence, the era when

are trying to pass on their artistic talents

they often performed (1980-2000s) is

and abilities to their children. This is as a

One of the interesting things about

an era when fights and conflicts always

cultural strategy so that this traditional

these genrang riwakkang activists is that

existed in a party. Therefore, before they

musical instrument remains in the midst

they only have a few patented songs.

left, they sang together a song containing

of society.

For the rest, they wrote the song while

messages of safety — they sang as well

performing. They can continue to sing

as prayed. Interestingly, their presence

instruments are played together. From the playing of those different instuments, there comes a very distinctive music.

I

The Present and Future of Genrang Riwakkang

56 INDONESIANA VOL. 13, 2022

that is ready to continue the art estafet from activists who have begun to be very old. They start from the family.

The performers of this art inherit the prowess to their grandchildren. This young generation is then encouraged and facilitated by the government to continue to work through the performance with the basic principles of cultural cooperation to build harmony in the Genrang Riwakkang

community of Pujananting Village.

– Arlin

(Arlin, Teacher and Cultural Activist in The Pujananting Youth, Student, College Student Community (KPPMP)

In addition, the Pujananting Village

riwakkang was invited specifically to

government also provides full support for

appear as a performer at the peak night

the empowerment of traditional music.

event.

At least, there are currently three efforts made by the government, activists, and youth organizations to preserve traditional music genrang riwakkang.

Third, encourage regeneration. Although it has not been able to be played yet by everyone, there has been a generation

First, encourage efforts to repair and rejuvenate traditional musical instruments. Through village funds and empowerment funds from the Ministry of Education, the musical instruments for supporting genrang riwakkang and procurement for other infrastructure needs are provided.

Second, the government encourages genrang riwakkang as an empowered art.

Almost all village activities, formal or nonformal, should present genrang riwakkang as a characteristic of the village. The Pujananting Village Government even targets this genrang riwakkang to become

Gambus – Arlin

a traditional art that can attract tourists to visit Pujananting Village. Even at the “Barru Local Fest 2021” event, genrang

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VOL. 13, 2022 INDONESIANA 57

CULINARY

Taste Angler - Mufida Afreni B. Bara

u st tJ No

A

ceh hy si N o o d l cal e s Nutri

P

tion

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58 58 INDONESIANA INDONESIANAVOL. VOL.13, 13,2022 2022

A

meal is more than just a nutritional

There are no historical data regarding

Aceh, there is an area that is specifically

dish or a source of bodily pleasure.

the origin of this culinary presence in

created for ethnic Chinese and the safety

Food is a collective identity that

Aceh or who first mixed the spices and

is guaranteed by the Sultan, namely

manifests social and cultural trends

then combined them with the basic

Gampong Peunyong, which still exists

in the human timeline. Food carries a

ingredients of noodles. A provisional

today. It is possible that during this

strong and clingy cultural meaning. Some

hypothesis which can be proposed is

period the Acehnese were familiar with

traditional dishes become snacks that

that the noodles which are the main

the land of noodles and curry sauce.

must be served in certain traditional

ingredient are not authentic Acehnese

ceremonies or rituals to become ethnic markers. Call it na niura from Batak Toba, tumpeng from Java, and pa’piong from Toraja. However, there are also local foods that are not totally born from traditional ceremonies, but are strong in taste to become a characteristic of certain ethnic markers. One of them is Aceh noodles, a dish of yellow noodles with

creations, but come from China. The taste of the spices is similar to the taste of curry sauce from India.

Aceh noodles itself is not the name given by the people of Aceh. If you visit Aceh and want to eat this food, the buyer only needs to mention the type of dish, such

From this hypothesis, it can be stated

as: noodle soup (gravy or lots of gravy);

temporarily if “Aceh noodles” are

wet noodles (little gravy); or fried noodles

culinary recipe from Aceh as a result of

(without sauce), without the need to

acculturation from India and China. This

mention the word “Aceh” after the word

hypothesis is also supported by historical

“noodles”. Presumably this is similar to

data at the time of the Aceh sultanate,

“Sate Padang” outside the Minang Kabau

when merchants from India and China

area. Isn’t it true that if we buy satay in

were busy trading in Aceh. Even in Banda

the city of Padang, we simply say “sate”

special spices from Aceh.

From the sea to the land - Mufida Afreni B. Bara

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VOL. VOL.13, 13,2022 2022 INDONESIANA INDONESIANA 59 59

Cooking process - Mufida Afreni B. Bara

noodles used are self-processed without preservatives and must be used up within

without the word “Padang” after it?

Likewise, on the contrary, the term Aceh noodles is given by people who come from outside the Aceh region. As in the city of Medan, which is the locus in this paper, the term “Aceh noodles” becomes a sign that the noodles in question are

a day, if there is leftover, it cannot be sold

of foreigners from Sigli Regency, namely

for the next day.

(the late) Fuadi Yusuf and his wife when they first opened their noodle shop in

Condiments such as red chilies, onions,

1996. Now this simple stall has become a

candlenuts, scallions, celery, dried chilies

magnificent restaurant managed by the

are not difficult to find in the market,

second generation, brothers and sisters

including the perfecting spice, namely

who are called Bang Mirza and Kak Tasya.

oen temuruy (curry leaves). Beef broth is important to add flavor. The combination

not other noodles which are also well

Aceh Noodles culinary outlet “Titi Bobrok” ​​

known in Medan such as Mi Basah, Mi

of processed spices that give a savory

requires 300 kilograms of noodles every

Balap, Mi Gomak, and so on.

flavor combined with a mixture of meat

day, from 11.00 AM to 10.00 PM Western

or various seafood is complemented by

Aceh Noodles Titi Bobrok

Indonesian Time. The taste of the spicy

Not only magnificent in the rencong earth, Aceh noodles are also famous in the land of Malay Deli, Medan City, such as Aceh Noodles “Titi Bobrok” which ​​ is located on a bridge on Jalan Setia Budi, Medan City.

In the past, the bridge was damaged so that people called it “titi bobrok” (broken ​​

I

bridge). That name was used by a pair

60 INDONESIANA VOL. 13, 2022

curry spices and the soft yellow noodles are quite suitable for the people of Medan. Moreover, Aceh Noodles are served with an additional menu in the form of beef, shrimp, and crab. The

chips and Acehnese pickles (chopped

creation dish that not only offers physical

commitment, even as if it were the

onions, chili pepper, and cucumber),

nutrition but also provides psychosocial-

original menu for the host of the Malay

making the flavor of “Mi Aceh” more

cultural nutrition. Customers from

Deli Land.

perfect.

various backgrounds are momentarily

(Mufida Afreni B. Bara, S. Sos, MKM,

engrossed in a plate of spice-rich

Center for Health Research and

noodles.

Development, Ministry of Health of the

The various variants offered include wet Aceh noodles (gravy), fried, and nyemek (wet fried). The variants of processed

The bustling visitors to Mi Aceh around

Aceh noodles do not just adjust to

Jalan Setiabudi and expands to various

customer appetite, but represent the

locations in Medan City. However,

multiethnic and multicultural harmony

Mi Aceh Titi Bobrok remains a prima

of the people in Medan City. A culinary

donna because it is able to maintain

Republic of Indonesia and Pangeran Pangeran P.P.A. Nasution, Lecturer at Malikussaleh University of Aceh)

Causing to drool - Mufida Afreni B. Bara

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VOL. 13, 2022 INDONESIANA 61

TRADITIONAL KNOWLEDGE

Sanadi, a teenager who is taught melak for the first time (learning to plant) accompanied by his teacher - Niduparas Erlang

Melak (planting) rice, men line up, doing ngaseuk (menugal) - Niduparas Erlang

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62 INDONESIANA VOL. 13 2022 62 INDONESIANA VOL. 13, 2022

Casting

Baduy Village - Cahya Nugraha/shutterstock.com

A Spell

Planting Padi I

n Kanekes (Baduy), planting padi is

they adhere to. Farming, especially

by sent by his parents to learn from

not just a physical activity, but also a

planting padi, is an obligation.

Anirah’s father because his father felt

mental activity. Physically, the process

of planting padi in the huma or dry fields of the Kanekes people, indeed begins with nyacar, narawas, nukuh, ngahuru, ngaseuk/melak (planting). However, behind these various physical activities, farming is a sacred ritual and part of the Slam Sunda Wiwitan religion that

For this reason, a teenager in Kanekes— usually before they get married or at the latest in the first year of marriage—

unable to teach the various jempe (mantras) that must be recited at every stage of the padi planting process.

must go to a paguruan or the house of

There are so many jampe, rajah or

a qualified teacher to be diajar melak

rarajahan, and tawa or tatawaan, which

(learn to plant). It is said that innner

must be memorized in order. That is

Baduy, teenagers will learn directly from

what makes farming activities not just

their parents. However, in Outer Baduy,

physical work, but also a sacred spiritual

not all parents can teach their children,

activity.

or in some cases, not all children want to learn from their parents directly. Like Sanadi, who chose to go to study from his uwa (sister from his mother’s line) rather than study from his own father.

What is learned in diajar melak is not how to nyacar (clearing the forest to make fields) or ngahuru (burning dry leaves and twigs) or ngaseuk (hollowing out the ground with an aseuk stick),

During last year’s planting season,

but learning various jampé that must

around October – November 2021, I

be recited at each stage of the physical

also met another teenager named Anda

activity. Therefore, in diajar melak, the

who was diajar melak with his father’s

main thing that a Kanekes teenager

relatives. However, unlike Sanadi, who

learns is the mental affairs in carrying

was reluctant to learn from his parents

out their obligations in farming.

directly, Anda on the contrary was

“Because physical activies in farming

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VOL. 13, 2022 INDONESIANA 63

can be learned by watching and following

Kanekes people, because farming is part

student’s name, naptu the day of the

the farming process, while mental activies

of their obligation to carry out pikukuh

week, the year, and so on.

can only be learned seriously from a

and carry out the “pillars” of the Slam

teacher,” said Kang Jamal, Sanadi’s father.

Sunda Wiwitan religion.

For this reason, at Kanekes, someone

There are five general stages in the

before melak, people who want to

who has never been diajar melak is never

ngaseuk/melak ritual that I have observed

melak will look for and prepare various

considered to have his own huma. Even

and been involved in.

kinds of plants needed as sambara

if, for example, a person does physical activies by planting his own field and reaping his own harvest. However, as long as he is not able to perform mental activities (by casting spells on all farming activities), as long as he only entrusts (ngaherokeun) padi seeds to others without being able to cast a spell on them himself, then he is forever considered unable to feed his own family. It is considered a “despicable” act, because it is equivalent to always hoping for the mercy of others. Hence, the process of diajar melak is an obligation for the

First, ask for widi. Before melak, a student will first ask for widi or blessing from the teacher who will teach him during the process of diajar melak. In this case, the student asks his teacher for help to calculate the most appropriate good day for him to plant the field. The student usually brings seupaheun (betel nut) as an offering to the teacher. Then the teacher will calculate the date and good day as

I

equipment. About five or seven days

pungpuhunan. The number of plants to be used in this pungpuhunan must be odd (seven, nine, or eleven). These include: barahulu, hanjuang, seel, sarai, kihura, bingbin, tamiang, pacing, sereh, jawer kotok, pepek, penuh, kituha or bintenu, and so on. A number of those plants will be tied up and in the morning before melak will be planted in the middle of the field.

ngaseuk/melak day for the student. The

Third, tapa. For three days before melak,

calculation method for determining the

a person who wants to do melak must

melak day is quite complicated because

perform tapa by fasting for three days

it must match the student’s birthday, the

in a row. In this tapa, he or she is only

Ngaseuk - Niduparas Erlang

64 64 INDONESIANA INDONESIANAVOL. VOL.13, 13,2022 2022

Second, prepare pungpuhunan

allowed to eat white padi and water,

manner, because each stage has its own

Fifth, ngabanten, which is to give

without salt let alone side dishes. Usually,

mantra. Likewise with the facing direction

offerings to supernatural beings who are

the tapa begins in the afternoon/evening

which must be in accordance with the

considered to be residents of the field

and ends the night before melak.

day of implementation. For example,

or are around the field. Offerings for

if planting is done on Monday, then a

ngabanten only contain a small side dish,

person who ngajampe binih will face east.

sakuren (two grains) of padi, betel nut

Fourth, ngajampé binih (casting a spell on padi seeds). In Kanekes, there are various

for one chew, a few drops of water, and

types of huma padi that are cultivated.

The practice of ngajampe binih itself is

However, in the case of ngajampé binih,

carried out three times, namely at night

only paré konéng (yellow padi) is required

in the saung or at home, in the morning

to be spelled. The paré konéng will be

in the saung and at home before being

placed in a sahid or container made of

taken to the field, and in the field when

woven bamboo along with various other

the pungpuhunan has been plugged in.

After carrying out the ngajampe binih

equipment such as a wooden comb,

Although the practice of ngajampé binih

stage, then the planting of the field

coconut oil, mirror, keris, cloth mérong

in the fields is the same as that of the

will begin, along with relatives and

(popularly called batik baduy). The

previous ngajampé binih, there are some

neighbors. Usually, because it is done

practice of ngajampé binih can take about

additional practices and jampé, such

together by many people, padi planting

20-30 minutes. Starting with ngalemar

as dripping the eye, seeds, and a set of

only takes about 30-40 minutes. The

(chewing betel nut), applying coconut oil

other ritual objects, with drops of water

whole activity ends with a meal together.

to the hair then to the sahid, combing,

coming out from the pointed end of the

[Niduparas Erlang, Writer and

and so on. The sequences in ngajampé

kituha or binteunu stem.

Researcher of Oral Tradition]

wrapped in banana leaves. This Banten is made in four packs and placed in the four points of compass in the fields, not too far from the pungpuhunan.

binih must be carried out in an orderly

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VOL. VOL.13, 13,2022 2022 INDONESIANA INDONESIANA 65 65

ART

War dancers - Zul Lubis

Reyog Bulkiyo

Combating Tyranny

R

eyog Bulkiyo is a traditional art from Blitar, East Java, in the form of a war dance performance. The war dance performances in Reyog Bulkiyo are intended as a war between the good against the evil. The good is represented by the figure of Anoman who destroys the figure of Rahwana. Then the other good in Reyog Bulkiyo is the Bulkiyo character who conquers the tyrannical

King Karungkolo.

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66 66 INDONESIANA INDONESIANAVOL. VOL.13, 13,2022 2022

The story of Anoman destroying Rahwana

comes from the Book of Ambyo which

Reyog Bulkiyo Show

emerged from the popular folktale of

contains stories of prophets and great

Like the common dance performances in

Ramayana in the Hindu tradition. Hindus

scholars in the Islamic tradition.

Java, the Reyog Bulkiyo is accompanied

does not explicitly appear in the show.

Anoman defeats Rahwana only appearing on the flag that is under one of the dancers. The flag appears just before the Reyog Bulkiyo show ends. The dancer is dressed in Javanese costumes in the form of blangkon, a coat without a neck cover, batik wrapped around the waist. This dancer also functions as a closing for the Reyog Bulkiyo performance. This dancer is called a rontek dancer.

The story of Bulkiyo’s heroism in destroying the the tyrannical King named Karungkolo does not appear in the show. This Bulkiyo figure is a seeker of the Prophet Muhammad who in his

The book of Ambyo is well known among traditional Muslims in Blitar and Javanese culture in general. The Book of Ambyo is the story of the prophets and great Islamic scholars in Javanese written in hijaiyah letters (Arabic pegon). This book was composed in the form of Javanese poetry such as megatruh, sinom, asmaradana, and others.

Thus, Reyog Bulkiyo is a combination of two great faith traditions, namely Hinduism and Islam. The concept of belief that comes from these very different traditions is composed in a harmonious dance movement in Reyog Bulkiyo.

by music. The music in the Reyog Bulkiyo performance consists of two groups, namely a gamelan set and a tambourine set. This gamelan set consists of one kenong, one kempul, one bende, one slompret, and a pair of pecer. Then a set of tambourines consists of two gae, one thrinting, one gedhug telu, and one glenyoan.

A set of simple gamelan is played by four special musicians who are next to the performance of the dancers. How to play kenong, kempul, and bende by hanging them on the wood, or it could be the players holding the strings of musical instruments tightly with their left hand

wandering meets various bad people,

and then hitting them with their right

including the most evil King Karungkolo.

hand. The slompret or trumpet is played

In his search, the Bulkiyo character

by blowing.

cannot find the Prophet Muhammad because at that time the Prophet has not yet been born.

The tambourine is played by hitting it with the palm of the hand. However, there are three tambourines that are

The story of the wandering and

beaten by using sticks, namely the

adventure of the Bulkiyo character

trinthing and gae tambourines, totaling

appears as an off-stage story told by the

two. These five tambourines are played

late Mbah Supangi, always the leader of

by five warrior dancers along with a pair

this traditional art group as the core of

of pecers played by a warrior dancer.

the story told by Reyog Bulkiyo. Because the name “Bulkiyo” in Reyog Bulkiyo

The late Mbah Supangi, Leader of Reyog Bulkiyo - Zul Lubis

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VOL. VOL.13, 13,2022 2022 INDONESIANA INDONESIANA 67 67

Moving quickly during the fight - Zul Lubis

Thus, the six warrior dancers of Reyog

a four-by-four formation. Meanwhile,

Bulkiyo, apart from dancing in the middle

Rontek is out of line with the position as

of the performance, also play musical

the leader of the dance.

instruments.

and soldiers build dance formations.

music is played from the beginning to

The eight dancers perform movements

the end of the show. The rhythm of the

in the following sequence: hormat, aba-

music played has a slow rhythm and

aba, iring-iring prajurit, lincak gagak,

a fast rhythm. At the beginning of the

langkah seoran, gagahan ndhodok/ngasah

performance, the music is played slowly,

gaman, nantang, hormat kedua, rubuh-

in the middle of the performance, the

rubuh gedhang, untir-untir, singget, solah,

rhythm of the music changes a little

bacokan, nggorok, hormat.

faster, then fast, then towards the end of the performance, the music is played slowly again. Fast music rhythms exist during war dances performed by pengarep dancers. Music is played with fast beats.

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In the soft sound of music, the dancers

Throughout the Reyog Bulkiyo stage,

Structurally, the movement continues to build a unit of movement that is spread out on the stage by a total of eight dancers. In each type of movement, the speed of movement is different from one another. In terms of plot, the movement

In terms of dancers, Reyog Bulkiyo is

at the beginning and at the end is slower

performed by nine dancers consisting

than the movement in the middle. The

of rontek, pengerep, and soldiers who

fastest middle movement is the bacokan

perform uniform dance movements.

movement which means war, a battle of

Eight dancers and warriors line up in

arms, between the good and the evil.

68 68 INDONESIANA INDONESIANAVOL. VOL.13, 13,2022 2022

Inspired by the prophetic story from the book Al Anbiyun - Zul Lubis

Each of these movements has its

child birth, padi harvesting, circumcision,

all existing beliefs. The function and

own meaning. Overall, the variety of

khaul performances for the fulfillment of

meaning of this performing arts are in

movements builds a story (narrative)

the owner’s wishes, and marriage. These

line with the sustainability of human life,

about the war that took place between

rituals accompany the journey of the

not only to fulfill the physical needs of

the righteous and the evil. As for the

human life cycle.

clothing, food, and housing, but also to

story, it contains the story of the victory of the righteous and the destruction of the evil.

Reyog Bulkiyo’s performance at a wedding celebration is a hope that the bride and groom will become a long-lasting husband

Functions of Reyog Bulkiyo

and wife. At the Pitonan event or seven

The Reyog Bulkiyo performance has a

month of the birth of a child, the hope is

purpose and function in the community

that the child will grow up healthy, become

of its owner, namely the people of

a good child, and be obedient to their

Kemloko Village, Nglegok District, Blitar

parents. At the padi harvest, it is a sense

Regency, East Java. The functions of

of gratitude for the padi harvest the owner

Reyog Bulkiyo include ritual functions and

received. While khaul is gratitude to God for

performance functions.

the desire achieved.

The ritual functions of Reyog Bulkiyo

Thus, Reyog Bulkiyo is a traditional art

are in the form of performances in the

that contains sublime local wisdom in

Pitonan or seven-monthly celebration of

the form of gratitude to God, respect for

sustain the cultural order that encloses the human life itself. Therefore, Reyog Bulkiyo should be preserved for the life of future generations.

(Imam Muhtarom, Lecturer at Singaperbangsa Karawang University)

Accompaniment of Reyog Bulkiyo - Zul Lubis

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VOL. VOL.13, 13,2022 2022INDONESIANA INDONESIANA 69 69

DOCUMENTARY FILM

Promo poster of Balada - Yuda Kurniawan

BUILDING PLURAL MARKET DOCUMENTARY FILM After watching the documentary of Pesantren (Shalahuddin Siregar) at the opening of the Madani Film Festival, 27/11/2022, I asked the producer, Suryani Lauw, when this film would be shown in theaters. Suryani answered unsurely, I have no idea. Later, said Suryani, we will have a chat with Udin (the director’s nickname). Then Suryani said a closing statement, after all, this film has just joined Lola Amaria, later she will take care of the distribution.

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70 70 INDONESIANA INDONESIANAVOL. VOL.13, 13,2022 2022

Promo poster of the Nyanyian Akar Rumput film - Yuda Kurniawan

Film Pesantren is a compelling

awareness of the existence of a camera

In-Docs (2002) focuses on improving the

documentary on the subject of Pesantren

in recording the subject’s behavior. This

quality of documentary films in Indonesia

Kebon Jambu, Cirebon, led by “Nyi”

genre emerges as part of the growing

through various capacity building

Masriyah Amva. Like in the Negeri di

of documentary film culture after

programs for prospective documentary

Bawah Kabut, Shalahuddin’s work which

Reformation, as stated by Eric Sasono

filmmakers in the form of screenings

I consider one of the best Indonesian

in his thesis, Publicness and the Public in

at local film festivals, to workshops

films of all time, used the observational

Contemporary Indonesian Documentary

to adequate or strong documentary

documentary approach that emerged in

Film Culture (2019).

filmmakers. This non-profit organization

the post-Reformation 1998 period. Films like The Flaneurs #3 (Aryo Danusiri), Denok & Gareng (Dwi Sujanti Nugraheni), and You and I (Fanny Chotimah) are noted

Eric explains that there are three important actors in the growth of documentary film culture after

was born from the womb of JIFFEST (Jakarta International Film Festival) (19992014).

reformation, namely In-Docs, the

Eric notes that JIFFEST is very

Yogyakarta Documentary Film Festival,

instrumental in creating a new film

and production houses specially for

culture in Indonesia after reformation;

documentary, Watchdoc. Those three

playing documentary films, local or

As a genre, observational documentary

pioneers have something in common,

international, in theaters. JIFFEST initially

is characterized by the elimination of

namely attention to publicness in the

held a special screening program for

voice-overs, interviews, and minimizing

form of awareness to engage with the

documentaries under the name House of

to use the same approach and receive attention when they were broadcasted on the Online Cinema platform.

public.

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VOL. 13, 2022 INDONESIANA 71

One of the scenes in the Nyanyian Akar Rumput film Yuda Kurniawan

Doc. During the New Order era, almost

conditions of the three subjects and the

were the ones which played the film

all documentary films were played on

villages-cities where they ate, bathed,

Dongeng Kancil untuk Kemerdekaan (Garin

television and until the 1990s TVRI was

and washed clothes from river water

Nugroho, 1995) for the art public in

the only television station in Indonesia.

full of garbage in Jakarta. This film also

Jakarta.

Then, in the 1990s, alternative screenings were developed. At that time, the media were no longer alone because some

and became one of the pioneers of observational documentary.

There is one more aspect of Air dan Romi, namely when the secret service tried to ban and destroyed the original film which

private television stations emerged,

However, what escapes from Hanan’s

were considered dangerous because

although almost all of them were owned

analysis is that this film is a project of the

it displayed a “bad” face of Jakarta and

by the children and relatives of Soeharto,

Goethe Institute; one of the predecessors

slandered the authorities. Censorship

the military-president who had been in

of a production pattern with funds from

and state pressure colored the creative

power for 30 years. Anak Seribu Pulau

donor institutions in Indonesia which

world in Indonesia, including hindering

series (supervised by Garin Nugroho

are usually international and channeled

the growth of documentaries that were

and Mira Lesmana) was played on a

through local or international NGOs.

“serious” and not merely educational or

private TV station. Previously, Garin was

Garin developed this production pattern

propaganda.

considered to have made a breakthrough

by establishing the SET Foundation. In

when making Air dan Romi (1991). Budi

Jogja, there is also the Kampung Halaman

Irawanto, researcher and founder of the

collective, which makes film-making as a

Jogjakarta Asian Film Festival (JAFF) which

social movement action for the residents

is also the most important platform for

of villages in Java.

cinema culture after JIFFEST, as quoted by Eric, called this film a pioneer of the antiaesthetics of the New Order.

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eliminated the voice-over narration

After reformation, censorship shifted from the state (via LSF (Film Censorship Institution) to mass organizations.

Fiction films had been protested by mass organizations several times, asking

This pattern of production leads to the

to remove the films from circulation.

opening of alternative playing spaces

In the film Balada Bala Sinema (Yuda

for documentary films: culture and

Kurniawan, 2017), the Pemuda Pancasila

David Hanan (film researcher) said that

art centers such as Goethe, Erasmus

organization is depicted bringing the

this short film deviated from the norm

Huis, Kineklub TIM (1970), and Teater

people into action against the screening

by highlighting the very poor living

Utan Kayu (1990s). These public spaces

of a documentary film made by a local

72 INDONESIANA VOL. 13, 2022

One of the scenes in the Balada - Yuda Kurniawan

high school student. The reason? Because

Trail (Jay Subiakto ; shown on Netflix).

channel. Watchdoc “success” brought

the subject is about the former PKI.

Previously, Abduh also collaborated

The Act of Killing (Oppenheimer) from the

with Nia Dinata, producing an omnibus

Youtube channel to the community room

documentary with a theme about

as a social movement to watch together

women, At Stake/Pertaruhan (2008).

throughout Indonesia.

LSF (Film Censorship Institution) as a

The main problem in building a market

Out of Watchdoc, most documentary

condition for showing the film in theaters

for Indonesian documentaries in

filmmakers’ market space is still limited

in Indonesia. Salahuddin is based

commercial cinema networks, apart

in OTT (Vidsee is the main choice),

not only on aesthetics, but on ethics.

from the issue of censorship, is that

the official platform of the Ministry of

Unfortunately, the film becomes difficult

our cinema exhibition and distribution

Education and Culture (TV Indonesiana

to meet the public who often identify

infrastructure is designed for a singular

and Budaya Saya channel). At best,

“watching a film” with “watching at the

market and not a plural market so that

documentary films can try the path of

cinema”. Meanwhile, Yuda Kurniawan

there is a struggle for allotted shows

international film festivals. Domestically,

chose the other path. His second film,

in cinemas. Commercial films and

in fact, the cinema/theater market is not

Nyanyian Akar Rumput, which raised a

alternative documentary films compete

widely available for documentary films.

vulnerable subject, namely children and

freely on the same ground. Nyanyian Akar

So far.

the poems of Wijhi Tukul, a poet who was

Rumput has to compete with the newest

(Hikmat Darmawan: DKJ Film

eliminated by the New Order, was shown

Marvel Cinematic Universe films.

Committee, Critics)

Salahuddin’s reluctance to distribute his films in theaters was due to his refusal to get permission to pass censorship from

in theaters.

Plural markets are barely developed,

Since 1998, there have been several

except for a small number of alternative

documentaries that have been shown in

cinemas such as Kineforum, cultural

commercial theaters outside of festivals

centers, or community initiative spaces.

or outside alternative cinemas such as Kineforum-DKJ, namely several Tino Saronggalo’s films, Jalanan (Daniel Ziv, 2013), and Banda, The Dark Forgotten

After two years of the pandemic, hopes depend on digital-online platforms, such as Youtube, as an alternative broadcast

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VOL. 13, 2022 INDONESIANA 73

FIGURE

Aries Mukadi who preserves art and history through Wayang Orang Bharata - Akhmad Fahri

Wayang Orang Bharata The Story of Survival

T

he atmosphere of the Wayang Orang Bharata Performance Building

in Jakarta looked lively that afternoon, February 23, 2022. The musicians: Kadar, Bayu, Samsi, and others beat the gamelan, lightly, just to strengthen the accompaniment for the later performance. Towards evening, the performers, including Dewanto, Mudjo Setyo, Haryadi, Susilo, Angga, and Rani began to change costumes and apply makeup.

The crew such as Joko H, Trio Marino, Rahman, Ujang, and Hanok immediately decorated the stage, prepared gunungan wayang, and checked the lights and microphones. That afternoon, the Wayang Orang Bharata Association with Production Leader Teguh Kenthus A performed the play of Palguna Palgunadi.

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74 INDONESIANA VOL. 13, 2022

Aries Mukadi: Place/Date of Birth: Surabaya, 29 April 1947 Activities and Achievements: 1.

Since 1957 he has been a performer of wayang and ketoprak for Darmo Carito Surabaya.

2.

Since 1967 he has been a director and writer for wayang and ketoprak.

3.

Since 1972, he has actively participated in the arts missions of the Ministry of Education and Culture at home and abroad.

4.

Chairman of the Wayang Orang Bharata (1975).

5.

Jakarta Arts Institute theater teacher for traditional theater (1992-2000).

6.

Founder of the Adhi Budaya Foundation.

7.

Activists of the Adhi Budaya Association

8.

Involved in the films of Selir Adipati Gendra Sakti (1991) and Jaka Geledek (1983)

9.

Won a gold medal in pencak silat for DKI Province in PON VII (1972).

10.

Recipient of the Cultural Award from the Provincial

Aries Mukadi - Akhmad Fahri

Government of DKI Jakarta (2007) 11.

Ketoprak humor director on RCTI in the 2000s

As usual performing art performances in the Covid-19 “era” since early 2020, the Wayang Orang performances by the Wayang Orang Bharata association have also been held without official audiences (the committee did not sell tickets), and have only been broadcasted via the YouTube channel. The stage of

How can traditional arts groups continue

Talking with Aries Mukadi (75 years

to perform? PWOB (Wayang Orang

old) in the lobby of the Wayang Orang

Bharata Association) is one of the few

Bharata Building, Jalan Kalilio Senen,

wayang groups that continues to breathe,

Central Jakarta, is like opening a memory

even though – as said by PWOB advisor

gate, especially when accompanied by

Aries Mukadi – half-dead. “You could say,

boiled carbohydrate snacks: taro, sweet

we are orphans,” he said.

potato, cassava, and corn. For a moment, we traced PWOB’s journey since the

performances during the pandemic can

Periodic performances during the

indeed be enjoyed by more audiences

pandemic are made possible because

from all over the world. However, for

of sponsors. The grant from the DKI

some audiences, it feels very different.

Jakarta Provincial Government are not

How have you been involved since the

The performers cannot even see the

sufficient for the operation of the stage

establishment of Wayang Orang Bharata

audiences, who at the end of the story

and to pay 140 association members.

Association and have been loyal to this day?

will be clapping and cheering. What can

However, they are still grateful that they

we do, apart from the pandemic, time

do not think about the cost of electricity,

flies very fast and it cannot be denied.

water, and building maintenance because

The speed of time is impossible to be

the building belongs to the DKI Jakarta

expelled.

Provincial Government.

beginning of its birth in the 60s until now, as well as the challenges of the future.

I have been in the arts since childhood.

I was born in 1947 to an art family in Surabaya. Even since I was in the womb, I have been invited to perform. Because my mother is a ludruk artist, and happens

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VOL. 13, 2022 INDONESIANA 75

to often perform a male role, so, when

stage are in this building (formerly the

we performed every week with other

she was carrying me, she still performed.

Rialto Theatre). At that time, beside Panca

groups in Jakarta. Art life is dynamic. But

In Surabaya, my family joined the

Murti, there were several wayang orang

there are times when wayang orang is

Dharmo Carito group, a popular Chinese

groups who often performed, such as

entered by other interests. Until the 70’s,

arts group in East Java at that time. With

Adiluhung and Ngesti Wandowo. During

management was ridden by people who

the various dynamics that existed, in

our heyday, we could perform every day,

made our group a model of gambling,

1960, it was bought by the Dutch and

in Cijantung, Pasar Rebo, Bogor, and had

at that time, gambling was very popular.

changed its name to Sri Katon. It only

time to be filmed.

Consequently, internal conflict happened.

lasted one year, then in 1961 it was bought by the army and the name was changed again to Sri Wandowo. We often play at THR (Public Amusement Park) Surabaya.

I moved to Jakarta in 1963, then joined a wayang group called Panca Murti which was founded by five soldiers. Panca

I also once built my own group called Warga Muda Birawa Jaya on Jalan Percetakan Negara. But in the end, I stayed with Bharata. Everywhere I go, I carry the name of the association.

The group was split into two, some were still here, some had moved to Tanjung Priok, near Tanjung Priok Station.

Then?

For me, the important thing is doing

How is the process for the establishment of

art, because, from art, I can live. At that

the Wayang Orang Bharata Association?

time, the social and political conditions

Murti is the pioneer of the Wayang Orang

When we were Panca Murti, there

Bharata Association, its headquarters and

were approximately 60 members,

were less stable, but fortunately we were supported by someone from the Department of Information, his name was Pak Harsono, together with his wife.

We are also close to the military so this building remains protected.

An online performance during the pandemic

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76 INDONESIANA VOL. 13, 2022

- Akhmad Fahri

My principle, continue to do art, because

in 1971 and Wayang Orang Bharata was

If you want to get help from the local

it’s my life. Continue to process and

officially established on July 5, 1972 in the

government, you can’t take it in the form

finally have many connections. Because

form of an association.

of a foundation. Then we changed again

of the close relationship with the people who supported us, we were finally invited to meet with the Welfare Division at the

How has Wayang Orang Bharata’s journey been since then?

into a form of association in the 90s and were continuously supported by the DKI Jakarta Provincial Government, including

DKI Local Government, during the time of

We once formed a foundation, received

the use of this building. We can also find

Governor Ali Sadikin. Several attentions

funds from donors and sponsors.

sponsors for performances.

then came up, such as Pak Djadoeg

However, the audiences’ enthusiasm

Djajakoesoema (a theater director and

began to decline in the decade of the 80s.

actor). Pak Ali Sadikin wanted the wayang

Over time the connection is shrinking.

************

orang to live. This building was rebuilt

Gunungan; and one of the players of Wayang Orang Bharata who is doing their makeup - Akhmad Fahri

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VOL. 11, 13, 2021 2022 INDONESIANA 77

Towards the center of the stage - Akhmad Fahri

Since the age of 10, in 1957, Aries

Since joining various art groups including

punakawan. Punakawan must be able to

Mukadi has earned rupiah from his

Wayang Orang Bharata, what role has been

be both a commoner or a priest.

own work. He followed the ketoprak

the most challenging?

tobong performances, performing by moving from city to city. The life and art experiences in tobong are a valuable lesson. Aries chose to study at STM because vocational schools provided students with the provisions to work immediately after graduating. Aris even had time to open a motorcycle repair shop, before finally continuing to do art.

roles come out of taste. The feeling

important thing is to perform my best.

must reach the audience. In all roles, the

I once played Ontorejo, who became

demands must exist and be conveyed.

Bima was Pak Pungut Indrajaya who had

Wayang in the past was a spectacle

been the leader of Panca Murti. Can be

number two, the main thing was their

any role, but should be step by step. For

guidance. That is what we are trying to

example, the role of punawakan, it is

maintain in Bharata. If the matter of

not easy. Punakawan is like a wayang’s

duration is cut and shorter, it’s because it

professor. Starting from buto, warriors,

adapts to the times.

governors, kings, priests, gods, then

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78 INDONESIANA VOL. 13, 2022 78 INDONESIANA VOL. 13, 2022

The important thing is that all of these

I’m not a fan of playing certain roles. The

Carrying Gunungan - Akhmad Fahri

Remember the interesting experience?

Many, let me try to remember first. What

What do you think about the current state

I see, the chaotic wayang some time

of traditional performing arts?

ago was a test for us to respect our

I emphasize in this wayang association is

In my current position, I just tut wuri

its bonding and sharing the same fate. If

(follow). The dynamics of society are

we get a change from the audience, we

developing, wayang must also adapt.

buy raw materials. In the past, when the

But also don’t rely on technology, so all

prestige of wayang was declining, Pak

lose with Youtube. Now wayang is just a

Harmoko (Minister of Information under

spectacle. Guidance only appears on the

President Soeharto) was busy helping us,

surface: in costumes, movements, dance,

at that time he wanted to eat sayur lodeh

but talking about speech, it is still lacking.

with us. Then during the G30S/PKI era, we were protected by General Sukowati who always controlled the curfew.

own culture in our own homes. If there are groups who do not agree with the wayang, there will be groups who are happy. Wayang has its owner, our nation.

Even before Airlangga’s time, there were wayang, which were changed by Kalijaga for means of preaching. Do you want to throw it away? If we throw it away, it means the same as destroying the contents of our own house.

(Susi Ivvaty and Jessika Nadya Ogesveltry, Indonesia)

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VOL. 13, 2022 INDONESIANA 79 VOL. 13, 2022 INDONESIANA 79

FHOTO GALLERY

Subak

Building Bonding between Humans and Nature

An aerial photo of Subak Jatiluwih - Pong47/shutterstock.com A statue in Subak Jatiluwih - Sanatana/shutterstock.com

V

I

isiting again an area of rice fields

which cover Ujung Kulon National Park,

with a the Subak Irrigation System

Banten (1991), Komodo National Park,

in Jatiluwih Village, Penebel

NTT (1991), Lorentz National Park, Papua

District, Tabanan Regency, Bali Province

(1999), and Sumatran Tropical Rain Forest

really refreshes the mind. How are you,

(2004). Subak expert Wayan Windia once

subak? Seems to be holding up. We

said that in order to maintain subak

know that Subak is one of eight world

consistently, awig-awig was needed,

heritage sites belonging to Indonesia

namely the basic subak regulations

that are listed in UNESCO. The eight sites

that prohibited the conversion of rice

include four world cultural heritages,

fields that were mutually agreed by

namely the Borobudur Temple Complex

the members of the subak who were

(established in 1991), the Prambanan

involved. The Pekaseh or the head of

Temple Complex (1991), the Sangiran

the subak must be consistent. As long

Early Human Site (1996), and the Cultural

as there is subak, there is still emotional

Landscape of Bali Province: The Subak

bonding between humans and their

System as a Manifestation of Tri Hita

nature. If subak converts functions, then

Karana’s Philosophy (2012). The other

the bonding disappears.

four sites are world natural heritage sites

(Syefri Luwis)

80 INDONESIANA VOL. 13, 2022

Enjoying subak from the side of a dining table - Syefri Luwis

A working mother and local tourists in Subak Jatiluwih - Syefri Luwis

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VOL. 13, 2022 INDONESIANA 81

NOT FOR SALE

Ministry of Education, Culture, Research, and Technology Republic of Indonesia Directorate General of Culture Directorate of Culture Development and Ultilization

(021) 5725534

Building E. Lt. 9, Jl. Jenderal Sudirman Kav. 4-5 Senayan, Jakarta 10270

indonesiana.diversity@gmail.com

(021) 5725534

http://kebudayaan.kemdikbud.go.id

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