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Wayang Kulit Purwa Classic

Hikayat Wayang Kulit

Most popular among other types of wayang kulit, wayang kulit performances purwa always awaited his fans, especially those from ethnic Javanese. The spread of shadow puppets purwa followed Javanese ethnic displacement in various parts of Indonesia, even to citizens residing Javanese in Suriname and Malaysia.

Like most other kinds of puppets, shadow puppets purwa took heart of the story from the Book of the Mahabharata and Ramayana. However, the Javanese has its own imagination of the puppet characters, totally different from what is imagined by the Indians. After experiencing changes and adjustments to the original culture of Indonesia (Java), plays in the shadow puppets based on Fiber purwa Panda, Paramayoga, and the Library of King Purwa.

Purwa leather puppet usually done on the initiative of individuals to enliven some celebration or lavatory. In some areas in Java have nanggap puppet tradition in every village clean ceremony. In the mid-1950s, President Sukarno invited several renowned puppeteer for a performer at the State Palace or Palace of Bogor. This tradition continued until the mid-1960s. Since the 1970s, several state departments and agencies also initiated a performance like that.

In the past, the puppeteer using a gamelan accompaniment slendro classy performances. However, since 1955, some fame as the mastermind Nyatacarita Ki, Warsino Ki, Ki Wignyasutama, began wearing pelog gamelan. Now, gamelan accompaniment not only the barrel of the course, but also take advantage of modern musical instruments non-gamelan, such as trumpet, keyboards, chili, drums, and others. Singer's presence in the leather puppet show of new purwa began around 1925. Besides singer, puppeteer Ki Nartasabda as using the bandit (wirasuara) around the year 1958.


Between Classical and Contemporary

Leather puppet show with the times. When used, this performance has a certain standard are now a number of puppeteers have included new elements which serves entertaining viewers. The difference shows in the past and now we can see from various aspects. Starting from design stage, background music, costumes and pengrawit puppeteer, Sanggit (working on the stage) and sequence based iringannya pieces.

Design Stage:
- Kalsik: Baku. Consists of screen equipped with offerings, puppet simpingan right and left as standard.
- Contemporary: Can raw, but there is a stage for the addition of guest stars, background music and even placed additional lighting is also supporting the stage. Simpingan puppet screen left and right still following the standard venom.

Music accompaniment:
- Classic: gender, slenthem, rebab, kendhang, demung, saron, bonang, kethuk, kenong and gongs.
- Contemporary: In addition to the above gamelan, also was added diatonic music (piano / keyboard) sometimes even complete with guitar and trumpet, drum and drum. The performance is also using the tools of the projector to create the desired image effects mastermind behind the performances.

Costumes:
- Classic: follow their customs in accordance with the style (gagrag) adopted. Solo wore Gagrak surakarta and Beskap headcloth. While wearing headcloth gagrak Yogyakarta Yogyakarta and sorjan.
- Contemporary: Bebar (can also wear clothing Surakarta, Yogyakarta or pesisiran, but working on distinguishing wayangnya).

Sangit and Gendhing accompaniment:
- Classic: sangit or working on stage as a whole to follow the existing standard (all night), including pieces in accordance with the rules. For example, in a shadow puppet stage that was held during the night can be divided into three accompaniment, namely pathet nem (row, unjal, gapuran, kedhatonan, Paseban links, calluses, kretan, prampongan, ampyak war, sabrangan, the war failed), pathet sanga ( pandhita, because, the war developed, sintren war), and pathet manyura (brubak war, Tancep Kayon).
- Contemporary: sangit or working on stage as a whole freely, do not follow the rules. Performance can be solid acting time (1,2,3 or 4 hours). Pieces still follow standard or rule (pathet nem, pathet partners, pathet manyura), but its development in a free puppet show.


Major Equipment

1. Screen
Piece of cloth spread in front of puppeteers in the background on purwa wayang leather and some other types of puppets. Size 4.5 x 1.25 meters.

2. Blencong
One of the main equipment in the puppet show. The tool is in the form of oil lamps, which are placed in the center screen and above the head puppeteer. Function, which was illuminated puppet play mastermind and lead to the occurrence of shadow puppets on the screen surface. Thus, viewers who are behind the screen can see the shadow.

3. Side
Purwa shadowgraph arrangement arranged according to rules. On the left side is 41 and on the right side there are 42 puppets.

4. Puppeteer
Leader, director, director, and conductor of an exception to the puppet show puppet stage and puppets of the mask. Puppeteer must play the entire movement played a character display.

5. Puppet

6. Box Puppet
container made of wood that becomes a place to put the puppet and can be moved anywhere.

7. Fiddle
Stringed instrument which has 2 functions as a melody string.

8. Gender
Instrument consisting of metal blades with a rope tensed over the tube-tube resonator.

9. Slenthem
Based on the construction of this instrument accompaniment including gender families. Saron instruments in the group, this tool has the lowest octave.

10. Siter
This instrument has 11 pairs of strings are stretched on both sides of the resonator box.

11. Bandit
Wirasuara, which began spearheaded by puppeteer Ki pata Nartasabda year 1958.

12. Gong
Instruments hanging medium or large and drums played in the middle of bundarannya (pencu) with a round percussion.

13. Saron
Common tool to instrument-shaped keys with six or seven blades are superimposed on a wooden frame, which also functions as a resonator.

14. Kethuk
Gong type instruments superimposed on the horizontal plays a tensed string in a wooden frame.

15. Kendang
One of the instruments that set the rhythm of its main functions and sertta rung by hand without tools.

16. Demung
Instruments belonging to the group saron with large size and middle octaves.

17. Bonang
Sound device in the form of a small gong.

Cut Finger, Dani people of Papua


Is the expression of grief displayed by someone who lost family members. Crying, goods times that we most often encounter. For the general public and especially mountian community center Wamena expressions of sadness due to loss of a family member not only to cry alone.

Cut Finger
Normally they would smear themselves with mud to a certain period. But what makes them different cultures with many tribal cultures in other areas are cut off their fingers.

Almost the same as what the Yakuza (the famous hard-line orangasasi in Japan) if they had violated rules set by the organization or fail in their mission. As an expression of remorse, they were obliged to cut off one of their fingers. For mountian community center, the cutting finger is conducted if the nearest family members such as husband, wife, father, mother, son, brother, or sister died.

This symbolizes the cutting finger pain and the pain of losing a beloved family member. The phrase is so profound, even to lose limbs. For the central mountains, the family has a very important role. For IDR Balim community togetherness in a family has its own values. "Węne opakima dapulik welaikarek mekehasik" or basic guidelines to live together in one family, one family name / clan, one honai (home), one tribe, one ancestor, one language, one history / origins, and so on "(When Looking Balim Life - it 7 - Hisage, Julian Joli, 2005). That is why they had to cut his finger if the family had died.

According to other information we collect, that the cutting finger is generally done by the mother. But do not close the possibility of cutting the finger by family members of the parent male or female. Cutting finger can also be interpreted as an attempt to prevent the 'recurrence' doom that has claimed the lives of someone in the grieving families.

A mother from Moni (a tribe in the area Paniai) we met explained that her little finger bitten by his mother when he was born. It had to be done by the mother for some children who were born before always died. With the right pinkie finger decided to have just the child she gave birth, the mother hopes that what happened to the children had not happened to the baby. This sounds very eksrim, but in fact this is so, Moni home mom we met have given many grandchildren and great-grandson to his mother.

Cutting finger done in various ways. There was a cut finger by using sharp instruments like knives, machetes or axes. Another way is to tie the finger with a rope for some time until the network becomes bound to die and then cut.

But now the culture of 'cut the finger' has now been abandoned. We rarely meet someone who did a few decades. Which we can still find today are those who never do tempo first. This is caused by the influence of religion who has signed up to a remote area in Papua.

source : many source

Ngaben, The cremation ceremony in Bali

Ngaben is that cremation ceremony in Bali, especially by the Hindus, where Hindus are the majority religion in this Pura Thousand Islands. In the Panca Yadnya, the ceremony is included in Yadnya Pitra, the ceremony dedicated to the spirit lelulur. Ngaben ritual meaning in essence is to restore the spirit of ancestors (the dead) into place. A man has Pedanda said Bayu, Word, Idep, and after death Bayu, Word, Idep was returned to Brahma, Vishnu, Shiva.

Ngaben ceremony is usually conducted by family relatives of the deceased, as a manifestation of a child respect for parents. In this ceremony once the funds typically spend 15 million until 20 million rupiah. The ceremony is usually performed by festive, no sobs, because in Bali there is a belief that we should not weep for those who have died because it could hinder the journey toward the place of the spirits.

Day of Ngaben determined by finding the good day is usually determined by Pedanda. A few days before the ceremony held Ngaben families will be assisted by the community to make "Bade and Ox" a very stately wooden, colored paper and other materials. "Bade and Ox" This is where the body which will be implemented Ngaben.

In the morning when the ceremony is held, the family and relatives and the community will come together to prepare the ceremony. The bodies will be cleaned or commonly called "Nyiramin" by society and family, "Nyiramin" is led by people who considered the oldest in the community. After that the bodies will put on traditional Balinese dress like a man who was still alive. Before the summit carried out, the whole family will pay their respects and give prayer diupacarai spirits may obtain a good place. Once everything is ready, then the body will be placed in "Bade" for the gang carried to the cemetery where Ngaben ceremony, accompanied by a "gamelan", "chant the sacred", and followed all the families and communities, in front of "Bade" there is a white cloth significant long as the spirit pacer to where it came from. At each junction or intersection so "Bade" is played 3 times. Arriving at the cemetery, Ngaben ceremony performed by placing the body in "The Cow" which has been prepared starting with the other ceremonies and prayers of Ida Pedanda spell, then "The Cow" burned to the Ashes. Ash is then discharged into the sea or river is considered sacred.

After this ceremony, families can still pray for ancestors of the holy places and temples respectively. This can lead to family ties in Bali is very strong, because they always remember and respect lelulur and also their parents. There is a belief that the spirits of our ancestors going back reincarnated in the family circle again, so is usually a grandchild is the reincarnation of his parents.

Social and Cultural Papua Province, Indonesia

Referring to the differences tofografi and customs, the population of Papua could be classified into three major groups, respectively:

1. Population coastal and island areas with common characteristics of homes on the pole (stage house) with a pound of sago livelihoods and fishing);
2. Rural residents who live in rivers, lakes and swamps of the valley and foothills. Generally they livelihood fishing, hunting and collecting forest products;
3. Upland area residents with gardening and livelihoods in a simple breed.


Indigenous groups in Papua consists of 193 tribes with 193 languages, each different. Tribal arts beautiful and famous in the world has been made by the Asmat tribe, Ka moro, Dani, and Sentani. Source of local wisdom for humanitarian and environmental management among the better can be found in the tribe AITINYO, Arfak, Asmat, Agast, Aya maru, Mandacan, Biak, Arni, Sentani, and others.

Papuan people generally live in kinship systems by embracing the line of the father (patrilinea). Local culture comes from Melanesia. Indigenous population of Papua society tends to use local language is strongly influenced by natural marine, forest and mountains.

In the social behavior there is a philosophy that is very unique community, such as that shown by the tribal culture of Comoros in Mimika District, which makes drums with blood. Dani in Jayawijaya District, who liked to make war, which in the Dani language called Win. This culture is a hereditary heritage and cultural festivals in the valley made Baliem. There is also the traditional home Honai, in which there is the preserved mummy with traditional herbs. There are three mummies in Wamena; Aikima Mummy 350-year-old, 300 years Jiwika mummy, mummy Pumo and 250-year-old.

In tribal Marin, Merauke District, there Sasi Planting ceremony, a type of wood that held as part of a series of funeral rites. Sasi planted 40 days after the death of a person and will be dropped again after 1000 days. Asmat culture with carvings and souvenirs from the famous Asmat up to foreign countries. Asmat carvings has four meanings and functions, respectively:

1. Symbolizing the presence of ancestral spirits;
2. To express feelings of sadness and happiness;
3. As a symbol of trust with human motifs, animals, plants and other objects;
4. As a symbol of beauty and image of the memory of ancestors.

Imeko ethnic culture in South Sorong regency traditional dance displays Imeko with Maybrat ethnic culture with traditional dances such as commemorating a specific day of harvest sugar cane, into a new house and others.

Religion is one of the most important aspect of public life in Papua and in the case of inter-religious harmony there can be an example for other regions, the majority Christian population, but nevertheless in line with the smooth transportation to and from Papua, the number of people with religious Other including Islam also growing. Many missionaries who perform religious mission in the interior-interior of Papua. They play an important role in helping the community, either through missionary schools, clinics and direct education in agriculture, teaching Indonesian and other practical knowledge. Missionaries also a pioneer in open flight path to the inland areas not reached by regular flights.

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