Angklung

Angklung is a traditional musical instrument of Indonesia came dar Land of Sunda, made of bamboo, which is sounded in a way shaken (noise caused by the impact weight of bamboo pipe) that produces a sound that vibrates in the composition of tones 2, 3, and 4 tones in every size, both large and small. Barrel (tone) musical instrument angklung as traditional music of Sunda mostly Salendro and pelog.

In a grove of art that uses musical instruments from bamboo known type of art called angklung. The type of bamboo used as the instrument is awi wulung (bamboo black) and awi temen (bamboo white). Purwa way angklung instruments; each note (barrel) produced from the sound of bamboo-shaped tube wilahan (bars) of each segment of bamboo from small to large sizes.

Angklung is an instrument which originated from West Java. Angklung gubrag in Jasinga, Bogor, is one who is still alive since more than 400 years ago. Appearance begins with the rite of rice. Angklung created and played to attract Dewi Sri, down to earth so that the rice crop of the people flourish.

Known by the public sunda since the kingdom of Sunda, among them as penggugah spirit in battle. Function angklung as pumping people's spirit still felt until the period of colonization, that's why the Dutch Government had banned the use angklung, this ban could create a popularity angklung decreased and only played by children at that time.

The origin of the bamboo musical creation, such as angklung based view of Sundanese people who live with the source of the agrarian life of the rice (pare) as the food is. This gave rise to the myth of trust in Nyai Sri Pohaci as a symbol of Goddess of Rice giver of life (breathe-Hurip).

Reflection Sundanese people used in processing agricultural (tatanen) especially in the fields and huma has spawned the creation of poetry and song as a tribute and an offering to Sri Pohaci Nyai, as well as efforts nyinglar (starting reinforcements) to fit their crops did not invite disaster, both pests and disasters other nature. Buhun song to honor those Nyi Sri Pohaci example:

The next offering songs of Dewi Sri is accompanied by the sound of percussion accompaniment made from bamboo stems simple packed structures which later emerged the bamboo musical instrument we know today called angklung. Further development in the tradition of the game Angklung accompanied by elements of motion and ibing (dance) rhythmic (to wirahma) with patterns and rules = rules in accordance with the needs of a memorial service at the time of paddy rice paraded to the barn (ngampih pare, nginebkeun), also at times mitembeyan, began planting rice in some places in West Java called ngaseuk.

Similarly, when the harvest party and dedicated seren taun angklung game. Especially in the presentation related Angklung rice ceremony, this art became a nature show or pageant helaran, even in some places into the convoy Dongdang and Rengkong and Jampana (stretcher food) and so on.

In the process, Angklung to develop and spread throughout Java, then to Kalimantan and Sumatra. In 1908 recorded a cultural mission from Indonesia to Thailand, among others, marked the transfer of angklung, and bamboo music of this game could also spread there.

In fact, since 1966, Udjo Ngalagena angklung figures who developed the technique based on the barrel-game pelog, Salendro, and madenda-start teaching how to play angklung to many people from various communities.
[edit] Angklung Baduy

Angklung Baduy area (we often call them Baduy) is used primarily because of its relationship with the rites of rice, not solely for the entertainment of people. Angklung is used or is sounded when they grow rice in huma (fields). Angklung beat when planting rice than just blowing free (dikurulungkeun), especially in Kajeroan (Tangtu; Baduy Jero), and there is a certain rhythm, which is in Kaluaran (Baduy Overseas). However, still can be displayed outside the rice rites but still have the rules, for example, may only beaten to the ngubaran pare (treating rice), about three months from the time planted rice. After that, during the next six months all the arts should not be played, and can be played again on the next rice planting season. Angklung closing ceremony conducted by musungkeun called angklung, namely nitipkeun (left, save) angklung after use.

In serving the entertainment, Angklung usually held during a full moon and no rain. They play in the game angklung (yard in rural area) while singing various songs, among others: Javan Kasarung, Yandu Aunt, Yandu Sala, Ceuk Arileu, Oray-orayan, Dengdang, Yari Gandang, Oyong-Oyong Kuhl, Kula Agency, Kokoloyoran, Sway-swing, Pileuleuyan, Gandrung Manggu, Rojak Bluebird, mulung MUNCANG, giler, Ngaranggeong, Aceukna, Marengo, Salak Sadapur, Rangda Ngendong, Celementre, Keupat Reundang, Papacangan, and Culadi Dengdang. The drummers angklung eight people and three drummers drum small size makes the standing position while walking in a circle formation. Meanwhile, the other one ngalage (dancing) with certain movements that have been fixed but simple. Everything is done only by men. This is different from the community Daduy in, they are limited by the customary rules pamali (abstinence; taboo), should not be doing things too much worldly pleasures. Art made solely for the purposes of ritual.

Angklung names in Baduy of the biggest is: ovarian, ringkung, Dongdong, gossip, engklok, ovarian leutik, torolok, and Roel. Roel which consists of 2 pieces held by a angklung. The names of the longest drum are: drum, talingtit, and tap. The use of drum instruments there are differences, namely in the villages they used drum Kaluaran of 3 pieces. In Kajeroan; Cikeusik village, just use the drum and talingtit, without a knock. In Kajeroan, Cibeo village, just use the drum, without talingtit and beats.

In Baduy the right to make angklung are Kajeroan (Tangtu; Baduy Jero). Kajeroan consists of 3 villages, namely Cibeo, Cikartawana, and Cikeusik. In these three villages not everyone can make it, only to have offspring and the right to do just that in addition to the ritual requirements. Angklung makers in the famous Cikeusik Father Amir (59), and in Cikartawana Father Tarnah. Kaluaran People buy from people in three villages Kajeroan it.

Kolintang

Kolintang is typical instrument Minahasa, North Sulawesi. Kolintang made from local wood, but strong light such as eggs, bandaran, arbitrary, kakinik cempaka wood, and which has a parallel fiber construction.

Kolintang name comes from her voice: a barrel (low tone), ting (high tone) and pliers (normal tone). In the local language, the invitation "Let's do TONG TING TANG" is: "Mangemo kumolintang". This invitation was eventually turned into kolintang said.

Some of the group known as Kadoodan, Tamporok, which already exist Mawenang more than 35 tahun.Pembuat kolintang spread in Minahasa and on the island of Java, one of the famous maker Peter kolintang Kaseke

Traditional Balinese Children Song

Back in my childhood days, my friends and I used to play traditional Balinese children game called “meong-meongan” or “the cat” game. It is a simple game, derived from the well known theme of a cat chasing a mouse. But this time I will not talk about the game but the song that accompanied this game. The game is accompanied by a simple a joyful traditional Balinese children song entitled “meong-meong” (free translation into English: “cat, oh cat”)

The song runs as follow:

Meong-meong alih je bikule (cat, oh cat, please catch the mice)
Bikul gede-gede buin mokoh-mokoh (the mice are big and fat)
Kereng pesan ngerusuhin (always making troubles)
Juk meng, juk kul, juk meng, juk kul (catch the cat, catch the mice, catch the cat, catch the mice)
Dije nengeng ditu nengkul (where the eyes open widely, there crouching)

Yes, a plain and simple song, but we sung it with a lot of joy back in those days. There were other traditional Balinese children songs like “goak maling taluh” (crow stealing egg), “Dadong Dauh” (grandma Dauh), Made Cenik (little Made), etc, that we used to sing during our playtime. Until now the memories of those songs keep coming back whenever I see my nephews, nieces and other children play together.

Unfortunately, they are no longer singing these old, plain and simple songs. They have a lot of toys now to play with. I believe their Balinese language teachers teach them this song at school, but since they do not play traditional Balinese children game the songs lose its significance. They just old, plain and simple songs that have to be sung in front of the class in order to get a good mark on Balinese language lesson. They do not sing them on the playground anymore.

Oh, how I long to hear those songs echo on the playground of my nephews and nieces once more.

Gamelan Angklung

Gamelan angklung uses an orchestra of 4-key metallophones. The angklung orchestra tends to have lighter and more delicate sound than the gamelan gong, but can be just as complex in its interlocking patterns and interweaving melodies, and hypnotic, repeating loops. The gamelan angklung uses a 4-note slendro-derived scale.

The 4-tone instruments played by Gamelan Anak Swarasanti are tuned roughly to the western notes G, A, B, D. In keeping with the duality that runs thoughout much of Balinese culture, the instruments are paired, with male and female instruments of each type, the male tuned slightly higher, and the female slightly lower than the nominal pitch, which generates a beautiful shimmering or beating effect at the difference between the frequencies of the male and female instruments.

This photograph shows the angklung instruments played by Gamelan Anak Swarasanti. At the back are the three large gongs, with the smaller kempul gong in front of them. In front of the kempul are the two jegogan which carry the bass melody. Three different types of gangsa instruments are arranged in front of the jegogan - these represent a range of three octaves above the jegogan pitch, and are used to play the more complex interlocking melodies. These instruments may be physically arranged in different ways, depending on the performance situation. To the far right is the large reyong instrument, which is played by four players.

The instruments played by Gamelan Anak Swarasanti are described in more detail below. Gamelan instruments in general are considered sacred and are treated with the utmost respect. They must not be stepped over, and players must remove their shoes when sitting at the instruments.

The instrument cases are highly decorated in red and gold, and are made up of three main parts - the foot, the body, and the head. The foot (base) is the part that connects with the earth and is carved with plant symbols, roots, snails and flowers. The middle section or body contains the bamboo resonating tubes which are situated beneath each of the keys to amplify the sound. The body is also decorated with elaborate carvings, including the sacred bird Garuda at each corner, who protects the space occupied by the player and ensures that he or she is not influenced by evil forces while playing. The upper section, or head, of the instrument, again elaborately carved, arches up as if to the heavens.

REOG DANCE PONOROGO

Reog is an Indonesian traditional mask dance where the dancers carry a very heavy, ornamented tiger head with peacock feathers in wide winged. This dance depicts a fight between a tiger and two noblemen on horseback. These masks are almost 50 kg heavy, worn by one man (called warok) by biting the wood inside the mask. It is impossible to normal teeth, that’s why all waroks are on trance conditions when dancing with this big heavy mask.

Reog originated from the glorious era of the Kediri kingdom around the l5th century. The performance re-enacts a legendary battle between Pujangga Anom, a minister from the court of Ponorogo, and Singa Barong, guardian spirit of the forest of Lodoyo. The former had aroused the anger of Singa Barong when he stole 150 tigers from the forest, apparently to be offered as a dowry payment for a princess of Kediri, whom the king of Ponorogo wished to marry.

A typical reog troupe, then, usually consists of the principal characters; Singa Barong, wearing an enormous tiger head and peacock feather mask, and his adversary Pujangga Anom. They are accompanied by one or more masked clowns/acrobats, as well as a number of hobby horse dancers, who are said to represent the troops of Pujangga Anom.

The people of Ponorogo have a reputation for being tough, both physically and mentally. The qualities of bravery and daring are fully displayed in a reog performance, where the focus of attention is on a trance dancer supporting a giant mask, often weighing more than 40 kg, between his teeth. The mask is a ferocious, snarling tiger’s head, covered in real tiger skin and crowned with a gigantic three meter fan of peacock feathers.

The success of a performance, including the ability of the principal dancer to bear the weight of the mask, is said to depend upon the magical power of the leader of the dance troupe. Known as warok, these men are believed to possess special talents, gained through years of training. One of the unique features of the reog dance is that the hobby horse (jaran kepang) dancers are invariably young boys dressed as women. Known as gemblak, they accompany the warok, who are forbidden close association with females, in their travelling performances.

A tiger’s head and a wide-winged peacock are the principal features of the traditional Reog Ponorogo dance. The weight of this pair, called Dhadhak Merak, may reach 40 kg or even 100 kg, carried by one man, moving around, up and down. The tiger’s head symbolizes a hero. The man, warok, who bears it must have a magic power.

Dhadhak Merak, often known as Singobarong, is performed as a welcoming dance for honorable guests, or as attractions, complete with its attributes. For instance, the player of the role of Prabu (King) Kelana Sewandono, with his supernatural power, always carries an inhabited, holy whip.

Another man plays the role of a dancer, Bujangganong, a governor under the rule of King Kelana Sewandono. He is a hero with a bad face, bearing a mask with a red, long nose, untidy hair and tusked teeth.

The team of players is completed with riders on horses made of bamboo plaitwork or skin of animal. They symbolize the escorting soldiers of King Kelana Sewandono on his trips. Formerly these horse-riders were played by men called Gembak. But now they are generally women.

The total number of a Reog team is between 20 and 40 members, including the magical heroes (waroks) with open breasts and waist band, symbolizing their magic power.

Tembang sunda

Tembang sunda, a sung poetry and classical vocal music, was originated in Cianjur (West Java) in the Dutch colonial era. One of the renowned composers of tembang sunda is R.A.A. Kusumahningrat, the ruler of Cianjur in the mid-nineteenth century. Tembang sunda is also known as cianjurian. The instruments that accompany with tembang sunda are suling or bamboo flute, rebab (violin type) and kacapi (zither). Kecapi suling is a type of instrumental music of West Java, which is related to tembang sunda. To be more precise, tembang sunda without vocals is kecapi suling. It is very popular in other countries like China and Malaysia.

Javanese Gamelan

Javanese gamelan music is widely performed and heard in Java today; in live presentations, in radio broadcast, on cassette tapes and on TV. Instruments for the gamelan are predominantly metal, brass and iron are used, but bronze is preferred. The instrument makers are professionals who are traditionally highly regarded and associated with ritual and magic. Bronze instruments are not simply cast; they are also forged. The making of a large gong may take a month or more.

Because of the nature of gamelan music, it can be experienced within one session, but again mastery is achieved at the first level within 5-10 sessions, depending on the student's previous experience.

By the very nature of the music, beginners and advanced students of gamelan are entirely compatible since different techniques are learned on different instruments and progress is made by moving from one instrument to another. We focus on distinctly east Javanese music, but certain Central Javanese pieces are learned as well. Students are given the opportunity to perform as often as possible.

In Indonesian traditional thinking, the gamelan is sacred and is believed to have supernatural power. Both musician and non-musicians are humble and respectful to the gamelan. Incense and flowers are often offered to the gamelan. It is believed that each instrument in the gamelan is guided by spirits. Thus, the musician have to take off their shoes when they play the gamelan. It is also forbidden to step over any instrument in a gamelan, because it might offend the spirit by doing so. Some gamelan are believed to have so much powers that playing them may exert power over nature. Others may be touched only by persons who are ritually qualified. In Javanese gamelan, the most important instrument is the Gong Ageng. The Javanese musicians believe that Gong Ageng is the main spirit of the entire gamelan.

Each gamelan is slightly different from the other; however, they all have the same organization, which based on different instrumental groups with specific orchestral functions. The instruments in a gamelan are composed of sets of tuned bronze gongs, gong-chimes, metallophones, drums, one or more flute, bowed and plucked string instruments. Gamelan orchestras also feature a sinden or singer. In some village gamelan, bronze is sometimes replaced by iron, wood, or bamboo. The most popular gamelan can be found in Java, and Bali.

The word gamelan is derived from the low Javanese word gamel, meaning a kind of hammer, like those used by blacksmiths. True to its name, most of the instruments are made of beaten metal and are played with mallets. The ensembles can vary from small village groups comprised of a handful of instruments to the grand court emsembles with as many as 75 bronze instruments in addition to the rebabs, drums, and singers.

Gamelan originates from Indonesia but, as this is one of the most culturally diverse nations in the world, it is hardly surprising that there are many different types of gamelan ensemble. The gamelan offers a rich experience for all the senses. Beaten bronze instruments glow softly in frames of intricately carved wood. The honey-like smoothness of the tones and the intense rhythm intertwine to produce a mood that is at once tranquil and dynamic; the music’s complexity encourages meditation. A tradition with a long history, the gamelan still thrives as an art form today in Java, Bali, Madura, Surinam, and other areas influenced by Indonesian culture.

Dance

Dance is accessible to anyone with or without prior dance experience. East Javanese dances are usually chosen for instruction but the students may choose which dances they'd like to learn. Dance is taught in the traditional Javanese way, e.g. by example. The student follows behind the instructor and imitates his movements until they become fluid and second nature. Students are given the opportunity to perform in costume as often as possible. This is a source of enormous pride to the instructors and to the art center.

There are many different dance options available from very short and simple, to very long and complex dances. For performance classes like dance, the beginning student can expect to master one short dance within five sessions. Students often take one complete semester of dance and in 10 weeks master two dances. Students resident at the Art Center can expect to learn (however roughly) one dance within one week.

Traditional Malang style dances:

* Beskalan Putri: Beskalan is said to mean beginning dance, for the dance that originated all other female style dances in East Java. The dance depicts a female warrior called Proboretna whose beauty and skill cause men to fight over her. Proboretna was considered the flower of all Malang women warriors. The music used for beskalan is also called Beskalan, played in the tuning system called pelog. The dancer also sings during the dance to welcome all the guests to the performance. Traditionally beskalan was performed as part of fertility rites to thank the earth and the gods for their gratiousness. The dance was performed at neighborhood temples and the gravesites of important ancestors.
* Beskalan Putra: Beskalan was traditionally performed as the opening dance for any event in East Java. The male style of Beskalan was lost for many years, but is now recovered and via workshop sessions and a recording and vcd, the dance has found new life.
* Gunungsari Masked dance
* Bapang masked dance: With his big long red nose and his cheerful disposition, Bapang is one of the favorite mask dances in Malang. Although he is related to the evil King Klono, and often partakes in his nasty deeds, Bapang is too full of life to ever be truly on the wrong side.
* Klono masked dance
* Remo putri
* Remo putra
* Srimpi Limo: this is danced by five young girls, one positioned in each corner of a square and one in the center. The moves focus particularly on the hands, head and upper body, with the dancers changing places periodically. This dance is traditionally performed before ritual purification ceremonies or other spiritual events.
* Tandhakan
* Jaran kepang dor
* Caplokan