Jaipongan, The Traditional Dance from Sundanese Indonesia

Jaipongan is a kind of traditional Sundanese dance, Karawang, West Java, which is very popular in Indonesia.

History

Jaipongan was born through the creative process of the cold hands of H Suanda around 1976 in Karawang, Jaipongan is a cultivation that combines several elements of traditional art karawang such as pencak silat, wayang golek, mask banjet, ketuk tilu and others. Jaipongan in karawang rapidly growth began in 1976, marked with the emergence of recording jaipongan SUANDA GROUP with a simple instrument consisting of drums, tap, kecrek, goong, rebab and sinden or interpreter kawih. With the tape recorder media without the label (indie label) jaipongan began to be distributed independently by H Suanda in the region karawang and surrounding areas. Jaipongan unexpectedly received a warm welcome, then jaipongan become a means of entertainment community karawang and get a considerable appreciation of all society karawang and become a new phenomenon in the art space of karawang culture, especially art entertainment folk. Jaipongan position at that time became the art of alternative entertainment performances of traditional arts that have grown and developed earlier in karawang such as penca silat, banjet mask, ketuk tilu, tarling and puppet show. The existence of jaipong gives new and different colors and patterns in the form of packaging, ranging from the arrangement of the musical composition to the form of the composition of the dance.

Maybe among us only know the origin of jaipong dance from Bandung or even not yet know where it came from. Quoted from the speech of the Head of Culture and Tourism (Disbudpar) Karawang, Acep Jamhuri "Jaipong is original Karawang. Born since 1979 which comes from tepak Topeng. Then taken to Bandung by the artist there, Gugum Gumilar. Finally packed with recording. Karawang artists were brought along with Suwanda. When successful, a good one even Bandung. Falkirk is known only drum or nayaga (music player). So now we at Disbudpar will try to dig back Jaipong dance art that this art that actually comes from Karawang ". This dance was brought to the city of Bandung by Gugum Gumbira, circa 1960s, with the aim to develop dance origin karawang dikota bandung which created a kind of music and social dance excavated from the wealth of art traditions of the people of Nusantara, especially West Java. Although the art of dance creations are relatively new, jaipongan developed based on the art that has been developed before, such as Ketuk Tilu, Kliningan, and Ronggeng. Attention Gumbira on folk art which one of them is Ketuk Tilu make it know and know very well the dance pattern of traditional dance that exist in Kliningan / Bajidoran or Ketuk Tilu. Movements of openings, pencugan, nibakeun and some mincid motion of some art to inspire to develop art jaipongan.

Read to : Kecak Dance, The Traditional Dance from Bali Indonesia

Before this form of performance arts, there are some influences that lie behind the formation of this social dance. In the urban area of Priangan for example, in the elite society, social dance influenced Ballroom dance from the West. While in folk art, social dance influenced local tradition. Traditional dance performances are not separated from the existence of ronggeng and pamogoran. Ronggeng in social dance no longer functions for ceremonial activities, but for entertainment or how to get along. The existence of ronggeng in the performing arts has an attraction that invites sympathy of the pamogoran. For example, in the Tuku Ketuk dance that is so well known by the Sundanese, it is estimated that this art was popular around 1916. As the art of folk performances, this art is only supported by simple elements, such as waditra which includes rebab, kendang, two kulanter, three tap , and gongs. Similarly, the movements of his dance that does not have a standard motion pattern, a simple dancer costume as a reflection of democracy.

Along with the waning of the above art types, the former pamogoran (an audience that plays an active role in the performance art of Ketuk Tilu / Doger / Tayub) turns its attention to Kliningan's performing arts, which are in the North Coast of West Java (Karawang, Bekasi, Purwakarta, Indramayu, and Subang ) is known as Bajidoran Clinic whose dance pattern and its performance events are similar to the previous art (Ketuk Tilu / Doger / Tayub). In the meantime, the existence of dances in Topeng Banjet is quite popular, especially in Karawang, where some Bajidoran motion patterns are taken from the dance in this Banjet Mask. Choreographically, the dance still features traditional patterns (Ketuk Tilu) which contain elements of movement of openings, pencugan, nibakeun and some mincid movements which in turn become the basis of Jaipongan dance creation. Some basic movements of Jaipongan dance apart from Ketuk Tilu, Ibing Bajidor and Topeng Banjet are Tayuban and Pencak Silat.

This dance began to be widely known since the 1970s. The emergence of dance by Gumbira Gugum was originally called Ketuk Tilu development, which was because the dance base was the development of Ketuk Tilu. The first work of Gugum Gumbira is still very thick with the color of ibing Ketuk Tilu, both in terms of choreography and accompaniment, which then became popular with the dance of Jaipongan.

Development

The first Jaipongan work that became known by the community was the dance of "Pulus Keser Bojong Leaves" and "Rendeng Bojong" which are both female dance and paired dance (son and daughter). From the dance appeared some of the names of reliable dancers such as Jatipongan Tati Saleh, Yeti Mamat, Eli Somali, and Pepen Dedi Kurniadi. Early appearance of the dance could be a conversation, ulgar. But from the exposure of some printed media, the name Gugum Gugum began to be known to the public, what else after Jaipongan dance in 1980 staged at TVRI Jakarta central station. The impact of this popularity further increases the frequency of the show, both in the television media, celebrations and celebrations held by private parties and the government.

The presence of Jaipongan makes a considerable contribution to the artists of dance to be more active in digging the kind of folk dances that previously lacked attention. With the emergence of Jaipongan dance, exploited by the dance artists to organize Jaipongan dance courses, also used by night pub entrepreneurs as a lure of invited guests, where further development of such business opportunities is formed by the dance activists as an effort to empower the economy with the name of Sanggar Tari or groups in some areas of West Java, for example in Subang with Jaipongan style "kaleran" (north).

Read to : Saman Dance, a Unique Dance Performed Originated from Aceh Indonesia

Characteristic of Jaipongan calender style, namely cheerfulness, erotic, humorous, spirit, spontaneity, and simplicity (natural, what it is). This is reflected in the pattern of presentation of dance in the show, there are given the pattern (Ibing Pattern) as in Jaipongan art that exist in Bandung, there are also dance that is not dipola (Ibing Saka), for example in Jaipongan Subang and Karawang art. This term can be found in Jaipongan style kaleran, especially in Subang area. In its presentation, this Jaipongan style of tangling, as follows: 1) Tatalu; 2) Flower Gadung; 3) Gopar Kawung Fruit; 4) The Opening Dance (Ibing Pattern), usually performed by single dancer or Sinden Tatandakan (sinden attack but can not sing but dancing sinden song / interpreter); 5) Jeblokan dan Jabanan, is part of the show when the audience (bajidor) sawer money (jabanan) while greeting outboard. The term jeblokan defined as a couple who settled between sinden and spectator (bajidor).

The next development of Jaipongan dance occurred in 1980-1990s, where Gugum Gumbira created other dances such as Toka-toka, Setra Sari, Sonteng, Pencug, Mangule Egg, Iring-iring Puring Leaves, Rawayan, and Kawung Anten Dance. From the dances, some of Jaipongan dancers are powerful, among others Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepy, Agah, Aa Suryabrata, and Asep.

Today Jaipongan dance may be referred to as one of the identity of West Java, it appears on several important events related to guests from foreign countries who come to West Java, then greeted with Jaipongan dance performance. Similarly, the arts missions to foreign countries are always equipped with Jaipongan dance. Jaipongan dance influences many other arts in West Java society, both in wayang art performance, degung, genjring / terbangan, jaipong jaipong, and almost all the folk performances as well as in modern dangdut music that collaborated with Jaipong into Pong-Dut art. Jaipongan that has been diplopolized by Mr. Nur & Leni.

Javan Hawk, a bird species that is almost extinct

Javanese eagle (Nisaetus bartelsi) is one of the species of medium-sized eagle that is endemic in Java. This animal is considered synonymous with the symbol of the Republic of Indonesia, namely Garuda. And since 1992, this bird is designated as the mascot of Indonesia's rare animals

Identification

Medium-bodied eagle, slim, with body length between 60-70 cm (from tip of beak to tip of tail).

The head is reddish-brown (kadru), with high-prominent crest (2-4 feathers, long to 12 cm) and a yellowish brown neck (sometimes golden when exposed to sunlight). Black top with white tip; crown and black mustache, while dark brown back and wings. The whitish throat with the black line (actually stripes) stretches out in the middle. Down, toward the chest, the black streaks spread over a pale brownish yellow color, which at the bottom end again turns into a red cross-cut pattern of sawa tree until brownish over pale whitish color of abdominal hairs and feet. Feathers on the legs close the leg to close to the base of the finger. Brownish tail with four dark lines and wide transverse visible on the underside, the tip of a thin white striped tail. Females are similar in color, slightly larger.

Iris yellow or brown eyes; blackish beak; sera (meat in the base of the beak) yellowish; yellow fingers. Young birds with head, neck and lower side of the body are light-brown cinnamon, with no graffiti or lines.

When flying, the Javanese eagle is similar to a brontok eagle (Nisaetus cirrhatus) a bright form, but tends to look more brownish, with the stomach looking darker, and slightly smaller in size.

High, repetitive, klii-iiw or ii-iiiw sounds vary from one to three syllables. Or a high-pitched and fast-paced call. In a way, the sound is similar to the sound of a brontok eagle although the difference is quite clear in its tone.

Distribution, ecology and conservation

The spread of this eagle is limited in Java Island, from the western end (Ujung Kulon National Park) to the eastern end of Blambangan Purwo Peninsula. But its distribution is now limited in areas with primary forests and in forested hilllands in lowland transitions with mountains. Most are found in half of the southern hemisphere of Java Island. Presumably this bird lives to specialize on the slope area.

Javanese eagles love tropical rain forest ecosystems that are always green, in the lowlands as well as in higher places. Starting from areas near the coast such as in Ujung Kulon and Meru Betiri, up to the forests of the lower and upper mountains to a height of 2200 m and sometimes 3,000 mdpl.

In general the residence of javan eagle is difficult to achieve, though not always far from the location of human activity. Presumably this bird is very dependent on the existence of primary forest as a place of life. Although it is found that eagles use secondary forests as hunting and nesting, they are located adjacent to large primary forests.

This bird of prey hunts from its perch on the tall trees in the forest. With a swift and agile ambush various prey in the branches of trees and on the ground, such as various types of reptiles, birds like walik, punai, and even chicken. Also small to medium sized mammals such as squirrels and squirrels, bats, weasels, up to monkey children.

The egging period is recorded from January to June. The nest is a pile of high-leaved leafy branches, made on a tree branch as high as 20-30 on the ground. The eggs are one grain, which is roasted for approximately 47 days.

The nest trees are high forest tree species, such as rasamala (Altingia excelsa), pairs (Lithocarpus sundaicus), tusam (Pinus merkusii), puspa (Schima wallichii), and ki sireum (Eugenia clavimyrtus). Not always deep in the forest, there are also nests that are found only 200-300 m distance from the place of recreation.

In its habitat, the Javanese eagle spreads infrequently. So although the total area of the flight, the total number is only about 137-188 pairs of birds, or the estimated number of individuals this eagle ranged between 600-1000 tails. This small population faces a major threat to its sustainability, caused by habitat loss and exploitation of species. Illegal logging and forest conversion into agricultural land have shrunk primary forest cover in Java. In the meantime, the eagle is also constantly hunted people to be traded on the black market as a pet. Because of its scarcity, keeping this bird as its own pride, and in turn makes the price of these birds soar.

Considering the small population, its limited constraints and the high pressure it faces, IUCN's world conservation organization puts the Javanese eagle into EN (Endangered, endangered) status. Likewise, the Indonesian Government designates it as an animal protected by law.

Taxonomic note

Indeed, the existence of Javanese eagles has been known since as early as 1820, when van Hasselt and Kuhl collected two specimens of this bird from the area of Mount Salak for the Museum Leiden, the Netherlands. However, during that time until the late 19th century, the specimens of these birds are still considered a type of brontok eagle.

New in 1908, on the basis of a collection specimen made by Max Bartels of Pasir Datar, Sukabumi in 1907, a bird expert in Germany, O. Finsch, recognized him as a new taxon. He thinks of him as the kind of child of Spizaetus kelaarti, a kind of eagle in Sri Lanka. Until then in 1924, Prof. Stresemann named the new taxon with a specific epithet of bartelsi, in honor of Max Bartels above, and incorporated him as the kind of mountain eagle Spizaetus nipalensis.

Thus, the bird was later known to the world by the scientific name Spizaetus nipalensis bartelsi, until finally in 1953 D. Amadon proposed to raise his rank and put him into a separate type, Spizaetus bartelsi.

How to Live and Reproduce

Javanese eagle lives by pairing and reproducing when entering the age of 3-4 years. In addition, Javanese eagles also include monogamous animals, which only live with one partner for life.

The breeding season of Javan hawk ranged from May to September, and active nest from January to June. But in fact the Java eagle can reproduce throughout the year. But not everything can hatch, because the eggs can also be preyed on other animals or deliberately taken humans.

Threat of Extinction

Javan Hawk eagle threatened extinction not because of damage to the ecosystem. But because of egg poaching and breeding factors are also predators, the extinction rate of Javan Hawk eagles is very threatened. Although usually the nest is separated from other trees and located at an altitude of 40-50 meters, there are still hunting him.

In addition to these factors, long hatching of javan hawk eggs is also considered very long. New eggs hatch on 40-50 days after being incubated. The number of eggs produced per year is also quite low, ie only one item per 2-3 years.

Site of Mount Padang, prehistoric site of Megalithic cultural heritage that had been forgotten

Gunung Padang site is a prehistoric site of Megalithic cultural heritage in West Java. Precisely located on the border of Dusun Gunungpadang and Panggulan, Karyamukti Village, Campaka District, Cianjur Regency. The location can be reached 20 kilometers from the junction of the town of Warungkondang district, between the City of Cianjur and Sukabumi. The main complex is approximately 900 m², located at an altitude of 885 m above sea level, and the site is about 3 ha, making it the largest punden complex in Southeast Asia.

Invention

The first report on the existence of this site was published in the Rapporten van de Oudheidkundige Dienst (ROD, "Bulletin of Antiquities Department") in 1914. The Dutch historian NJ Krom has also mentioned it in 1949. After being "forgotten", in 1979 three locals, Endi, Soma, and Abidin, reported to Edi, the Cultural Observer of Campaka Sub-district, about the existence of large square stone stacks of various sizes arranged in a terraced place leading to Mount Gede. Furthermore, together with the Cultural Section Chief of the Cianjur District Cultural Education Department, R. Adang Suwanda, he made a check. The follow-up is an archaeological, historical, and geological study by the Arkenas Research Center in 1979 on this site.

Location

The location of the site is hilly and steep and difficult to reach. The complex is elongated, covering the surface of a hill bounded by large andesite rectangular stones. The site is surrounded by deep valleys. This place had previously been rescued by locals. The inhabitants considered him as the place of King Siliwangi, king of Sunda, trying to build a palace overnight.

Function

The function of the Gunungpadang site is estimated to be a place of worship for the people who settled there in about 2000 years BC. The result of Rolan Mauludy and Hokky Situngkir research shows the possibility of musical involvement of some existing megalithic stones. In addition to Gunungpadang, there are several other footprints in Cianjur which is a relic of the megalithic period / Stone Age

Research

Since March 2011, an ancient catastrophy research team set up by the Office of the Special Staff of the President of the Social Aid and Disaster Sector, in a survey to see Cimandiri's active fault activity passing from Pelabuhan Ratu to Padalarang passes Mount Padang. When the team conducted a subsurface survey of Padang Mountain, there was no magma intrusion. The research team then conducted a more detailed survey on the surface of Mount Padang with geophysical methodology, namely geoelectric, georadar, and geomagnet in the Site area. The result, the more convincing that Mount Padang a hill made or formed by man (man-made). In November 2011, the team led by Dr. Danny Hilman Natawidjaja, consisting of experts this earth is increasingly convinced that Mount Padang made by humanity of the past who had lived in the region.

Government of Indonesia Survey

The results of the survey and research were then presented at various scientific meetings both at the national and international level, even received appreciation from Prof. Dr. Oppenheimer. Then an ancient catastrophy team initiated the formation of a research team focused on further study in Mount Padang, where researchers were expanded and involved a wide range of disciplines and skills. Call it Dr. Ali Akbar is a prehistoric researcher from the University of Indonesia, who leads archaeological research. Then Pon Purajatnika, M.Sc., leads the field of architecture and territorial research, Dr. Budianto Ontowirjo led the civil structure research, and Dr. Andang Bachtiar is an expert on paleosedimentology, leading the research on layers of sediment in Mount Padang. The entire research team was incorporated in the Integrated Research Team of Mount Padang which was facilitated by the Office of the Special Staff of the President for Social Assistance and Disaster. Interestingly, all research funding was done independently by the researcher members.

The findings of the integrated research team of Gunung Padang was finally conducted carbon radiation test (carbon dating, C14). Interestingly, the results of the carbon test at the Miami Beta laboratory, in Florida USA, claim that carbon obtained from drilling at a depth of 5 meters to 12 meters is 14,500-25,000 years old. Full report results as follows:

The buildings below the surface of the Padang Mountain site are scientifically proven to be older than the Giza Pyramids. This refers to the result of carbon dating testing of Batan Laboratory (Indonesia) with LSC C14 method from paleosoil material at -4m depth at coring 1 location, paleosoil material age is 5500 + 130 years old BP last. While testing of sand material in depth -8 s.d. -10 m at the location of drill coring 2 is 11000 + 150 years.

Miami Beta Analytic Laboratory Results

The surprising and consistent results were released by the Miami Beta Analytic laboratory, Florida, where the ages from layers from a depth of about 5 meters to 12 meters of drill bit 2 were about 14500 - 23000 BC / or older. While some samples are consistent with what is done in Lab BATAN. We know the laboratory in Miami Florida is an international standard that is often the reference of various world research, especially related to carbon dating.

Both of these laboratories answered many doubts about the sample test in BATAN's laboratory. Previously, a self-contained integrated research team has conducted tests related to the age of Mount Padang in the BATAN laboratory, but not many positive responses, even doubts. Yet the results obtained by the two laboratories are not much different, It is time we believe in the ability and quality of scientists and national laboratories such as BATAN, following test results in both laboratories:

The age of the soil layer near the surface (60 cm below the surface), about 600 years BC (carbon dating results from archaeologist's sample, Dr. Ali Akbar, member of an integrated research team at the National Atomic Body Laboratory (BATAN).

The age of the sand-gravel layer at a depth of about 3-4 meters at Bor-1 which underlies the Padang Mountain Site above it (so it can be considered the age when the Padang Mountain Site in the upper layer was made) about 4700 years BC or older (taken from the analysis BATAN.

The age of the soil layers at a depth of 4 meters is thought to be man made stuctures with sand filled space (at a depth of 8-10 meters) below Terrace 5 on Bor-2, about 7600-7800 BC (BETA Miami Laboratory , Florida).

The ages of the sand fill the cavities at depths of 8-10 meters in Bor-2, about 11,600s years old BC or older (Lab Batan).

Age from layer from depth about 5 meters to 12 meters, about 14500 - 25000 BC / or older (BETA lab Miami Florida).

Earlier, an ancient catastrophic research team and continued by an integrated team of independent research on Mount Padang found some important things

Further Research

The opening of the bushes on the Southeast side of the 5th terrace downwards found 20 levels of terraces of punden terraces arranged by a civilized community of gotong royong having advanced technological capabilities. This terraced punden terraces break the previous research hypothesis that the Padang mountain site consists of only 5 terraces on an area of 900 m2. With the opening of 20 levels terracing shows that the site of Mount Padang is very large. It is estimated that the main core zone of Padang mountain site is greater than 25 hectares.

The opening of bushes and earth scans with Georadar on the East side of patio 2 downward finds the man-made gate structure. The results of sampling with coring drill 1, ensuring man-made structures up to -27m depth from the surface of the terrace 3. The sampling results by coring drill 2, found the structure of large man-made cavities containing sand with very uniform grains. Meanwhile, the results of geomagnetic measurements find a large magnetic field anomaly on the terrace 2.

The presence of signs in the form of drawings or man-made basins on each stone on the terrace 1 s.d. 5. Research on the meaning of image form and script that formed on andesite breccia is the latest thing.

In addition to research and surveys, literature review continues to be done. The Bujangga Manik manuscript of the 16th century mentions a place of "kabuyutan" (a place of ancestors revered by the Sundanese) in the upper Ci Sokan, a river known to have been in the vicinity of this site. According to legend, Gunung Padang Site is a regular meeting place (annual possibilities) of all traditional leaders of Ancient Sundanese society. Currently this site is also still used by groups of indigenous Sundanese to perform worship.

Research on the existence of buildings under the surface of Mount Padang has been done by several teams of experts. The team from the Geological Agency of ESDM, Kemenristek, and the National Archeology Team have concluded that there are no buildings below the surface of the mountain. The extent of the padang mountain is 900 square meters as it was discovered since NJ Krom. This final conclusion is officially the result of his research is written. The fourth team, the Integrated Research team concluded differently and has found solid evidence as the initial fact that there is a building beneath the surface of Mount Padang, and the extent is much larger than the present one as the other three teams concluded. With the principle of respecting differences and maintaining research ethics, it becomes an integrated team's duty to prove further the whole hypothesis.

When viewed from above, the mountain of the padang looks very exactly shaped with the pyramids in Egypt. Age is estimated much older than the pyramids of Egypt around 10,000 BC. Because the real mountain is not mountain but the building shaped like a pyramid that has been exposed to volcanic dust so that it looks like a mountain that has been overgrown with trees. Inside the padang mountain is believed to have a space in it that has now buried the ground.

In the mount site padang found a musical instrument in the form of rectangular rocks wavy at the top, if each wave beaten, it will issue different sounds between waves one with another.

Controversy

There are some people who believe that the padang mountain site has links with pyramid sites in Egypt, because the shape is similar to the space in it and because its age is much older than the pyramids in Egypt. Currently the padang site is still under review period.

Browse the mystery of Mount Padang site. The age of "pyramids" of Mount Padang is estimated to be 4,700-10,900 years before Christ-compared to the Giza pyramids in Egypt, which is only 2,500 BC. But the proof is not maximized, and this causes geologists still doubt about the "pyramid" it. Too early to be announced. Therefore, the Integrated Research Team for Independent Mountain Padang continues its research in 2013. Until now Mount Padang has become a byword after the Ancient Catastrophy Team examine the earthquake fault Cimandiri fault, about four kilometers to the north of the site.

Controversy broke out after Andi Arief released a kind of pyramid under Mount Padang at the beginning of last year. He mentioned the site has space and is like man-made. His suspicions started from the shape of Mount Padang, which is almost an equilateral triangle when viewed from the north. Previously, the team also found a similar form in Mount Sadahurip in Garut and Bukit Dago Pakar in Bandung when researching Lembang Fault. Andi Arief and his team are continuing to conduct research and surveys to find out more below the surface of Mount Padang with a variety of methodologies, including geophysics, archeology, paleatchimentation, architecture and areas, until March 2014. However, for excavation is not done because it costs the big one.

Toward the end of 2012, the researchers of Mount Padang Independent Integrated Research Team held a meeting to evaluate research and survey results in 2012 and to plan further research on Mount Padang. The meeting, which was held at the Office of Special Staff of the President on December 18, 2012, resulted in new views from experts incorporated in the Integrated Research Team Mandiri presented and discussed the research findings and the steps forward. The Geology Team considers that the survey and study conducted has reached 99% has obtained complete data both geoelectric, georadar, and geomagnetic survey results, as well as and other geophysical tools. In addition to the satellite imagery, the IFSAR photo, the contour and the elevated digital model map (DEM). From the various data produced, plus the proof of paleosedimentation in some sampling drill points, and petrographic analysis, scientifically it can be concluded that there is indeed man-made structure beneath the surface of Gunung Padang site.

These subsurface structures are also confirmed to have chamber and other structural forms (alleged caves or tunnels), as well as the tendency of magnetic anomalies in various trajectories of geophysical instruments. The findings are further reinforced by the findings of archaeological teams who managed to find artifacts in the west and east of Mount Padang's buildings are also exposed, especially beyond the current definitive site. Even the early findings of artifacts in the form of a curved stone on the eastern side of the site, show a strong suspicion as an "entrance" into the subsurface building of Mount Padang. This archaeological find, the latest finding since the site was first discovered.

In addition, civilian teams and architects have advanced, in addition to exposing various types of stone pieces (which show human interference and technology of the day), also exposes the area of the site is much larger than the present. The team has found a structure similar to that found in Sumba Nusa Tenggara Barat.

In the near future a more detailed imaginary structure will be created based on the existing comparison. While the astronomy team will complete the findings of the timeline of manufacture that can be scientifically done outside the radio-carbon dating results that have been done until validation in two labs namely the National Atomic Energy Agency's labpratorium and radio-carbon laboratory in Miami Florida, USA.

For the future, researchers will concentrate on locations outside the site so that the form and content inside will open at once.

Advanced Research

Beginning January to March 2013 Independent Research Team led by Dr. Danny Hilman Natawidjaja (earth genius), Dr. Ali Akbar (archaeologist), Dr. Andang Bachtiar (paleosedimentolog) resumed further research and surveys, stating that, beneath the surface of Mount Padang: There is an unnatural geological structure, with a hypothetical advanced technology of ancient times. To prove this, archaeological excavations and detailed geo-electric surveys around the excavation of the eastern slopes of the hill, beyond the fence of the cultural heritage site.

Dr. Tim. Ali Akbar finds evidence that confirms the team's hypothesis that under Padang Mountain there is a man-made structure consisting of andesite columns, the same as the stone structure that has been exposed, and made a cultural site on the hill. Seen in the surface trench feature box, the arrangement of andesite stone columns are already buried in layers of soil half a meter to two meters mixed with bits of andesite column fragments. The team's archaeological digging box shows the surface of the building composed of andesite column stones that have been covered by a layer of soil with rock-bending chunks. This column stone is elongated in parallel layers.

The andesite column stones are arranged in a horizontal approximate position with an almost east-west direction (about 70 degrees from north to east - N 70 E), similar to the direction of the column stone arrangement on the east-west wall of the one terrace, and the steep slopes of the connecting one terrace with two terraces. From the horizontal position of the andesite column stones and the direction of the layers, it can be concluded with certainty that the column stones or "columnar joints" are not in natural conditions. Rock columns resulting from cooling and weathering of lava rocks / volcanic intrusions in nature then the longitudinal direction of the column will be perpendicular to the direction of the layer or flow as found in many places in the world. The appearance of the stone-column arrangement revealed in the digging box does look very neat and natural conditions.

At the end of 2012, another team of archaeologists working separately and already digging concluded the andesite column stones in the ground of Mount Padang is a source of natural rocks; perhaps because they have not considered the geological aspect completely, and also do not know the data of subsurface structures as shown by geoelectric survey results.

The ancient cement

Among the column stones, found filler material called ancient cement. This material arranges and unites broken column rocks to pieces.

The development of research site Gunung Padang

The Mandiri Integrated Research Team is still continuing to excavate (drilling) to prove the existence of building structures and spaces below 4-5 meters deep. In addition, the estimated age of the site is also under investigation by examining samples from this site. Temporary suspicion is the site of Mount Padang is not built in one period, but it involves several cultures. For example, which makes the column stones become menhir-menhir, not necessarily the same as the people who make the arrangement of stone columns with ancient cement. Likewise, the building of andesite column stones on the surface, or already buried several meters below, is not necessarily built one period with the structure of the building underneath it again. This site can be evidence of the oldest human civilization unnoticed lost from the prehistoric information of Indonesia.

Angklung, The Tranditional Musical Instrument from Sundanese Indonesia

Angklung is a multitonal musical instrument (pitched double) traditionally developed in Sundanese society in western part of Java Island. This instrument is made of bamboo, sounded by shaking (sound caused by bamboo pipe body collision) to produce a vibrating sound in the tone of 2, 3, to 4 tones in each size, both large and small. Jonathan Rigg's Dictionary of the Sunda Language, published in 1862 in Batavia, writes that Angklung is a musical instrument made of bamboo tubes, cut into the edges, resembling pipes in an organ, and tied together in a frame, vibrated to produce sound. Angklung is listed as Masterpiece of Oral and Non-Angelic Cultural Heritage of UNESCO since November 2010.

The origin of angklung

There is no clue since when angklung was used, but it is suspected that its primitive form has been used in the Neolithic culture that developed in the archipelago until the beginning of modern calendar, so that angklung is part of pre-Hinduism relics in Nusantara culture.

Notes on the new angklung appear referring to the time of the Sunda Kingdom (12th century to 16th century). The origin of the creation of bamboo music, such as angklung based on the view of life of the agrarian Sundanese with the source of life from rice (pare) as a staple food. This gave birth to the myth of belief in Nyai Sri Pohaci as the symbol of the life giving Goddess of Rice (inhalation). The Baduy community, regarded as the remains of the original Sundanese people, applied Angklung as part of the ritual of initiating rice cultivation. The angklung gubrag game in Jasinga, Bogor, is one that has survived more than 400 years ago. Its emergence starts from the rice rite. Angklung was created and played to entice Dewi Sri down to earth for the people's rice plant to flourish.

Types of bamboo commonly used as a musical instrument is black bamboo (awi wulung) and bamboo ater (awi temen), which if dried yellow white. Each tone (barrel) is produced from the sound of its bamboo tube in the shape of a blade (wilahan) of each bamboo segment from small to large.

Known by the Sundanese people since the time of the Sunda kingdom, among them as an inspired spirit in the battle. The function of Angklung as a pumping spirit of the people still continues to be felt until the colonial period, that is why the Dutch East Indies government had banned the community using angklung, the ban had made the popularity of Angklung decline and only played by the children at that time.

Furthermore, the songs offerings against the Goddess Sri is accompanied by a companion of the sound of percussion made from bamboo stems are packaged simple which later was born structure of bamboo musical instrument that we know now called angklung. Similarly, at the time of harvest festival and seren taun dedicated angklung game. Especially in the presentation of Angklung associated with the rice ceremony, this art becomes a show that the nature of the procession or helaran, even in some places into the convoy of Rengkong and Dongdang and Jampana (stretch of food) and so forth.

In its development, Angklung developed and spread throughout Java, then to Kalimantan and Sumatra. In 1908 recorded a cultural mission from Indonesia to Thailand, among others marked the delivery of Angklung, then this bamboo music game had spread there.

Type of Angklung

Angklung Kanekes

Angklung in Kanekes area (we often call them Baduy people) is used mainly because of its relation to rice rites, not solely for the entertainment of the people. Angklung used or sounded when they planted rice in huma (fields). Anchoring angklung when planting rice is only free (dikurulungkeun), especially in Kajnia (Tangtu, Baduy Jero), and some with a certain ritmis, namely in Kaluaran (Baduy Luar). However, it can still be displayed outside the rice rite but still has rules, for example, it can only be beaten until the time of pare ngararan (curing rice), about three months from the time of planting rice. After that, for the next six months all art should not be played, and may be played again in the next rice-growing season. Closing angklung carried out with an event called musungkeun angklung, namely nitipkeun (deposit, save) angklung after use.

In the entertainment show, Angklung is usually held at moonlight and not rain. They played angklung in the quarry (wide yard in the countryside) while singing a variety of songs, among others: Lutung Kasarung, Yandu Bibi, Yandu Sala, Ceuk Arileu, Oray-orayan, Dengdang, Yari Gandang, Oyong-oyong Bangkong, Badan Kula, Kadooyoran, Ayun-swunan, Pileuleuyan, Gandrung Manggu, Rujak Gadung, Mulung Muncang, Giler, Ngaranggeong, Aceukna, Marengo, Salak Sadapur, Rendang Ngendong, Celementre, Keupat Reundang, Papacangan, and Culadi Dengdang. The drummer angklung as many as eight people and three drummers of small size drum make a standing position while walking in the formation of the circle. Meanwhile, others have ngalage (dancing) with certain movements that have been raw but simple. Everything is done only by men. This is different from Deep Daduy society, they are limited by custom with various rules of pamali (taboo), can not do excessive mundane pleasures. Art is solely for ritual purposes.

The names of angklung in Kanekes of the largest are: indung, ringkung, dongdong, gunjing, kongkok, indung leutik, torolok, and roel. Roel consisting of 2 pieces of angklung held by a person. Bedug names from the longest are: bedug, talingtit, and tap. The use of bedug instrument there is a difference, that is in the kampung Kaluaran they use 3 pieces of drum. In Kajeroan; Cikeusik village, using only bedug and talingtit, without tap. In Kajnia, Cibeo village, use only bedug, without talingtit and tap.

In Kanekes who have the right to make angklung are Kajarga people (Tangtu; Baduy Jero). Kajeroan consists of 3 villages, namely Cibeo, Cikartawana, and Cikeusik. In these three villages not everyone can make it, only those who have offspring and the right to do it in addition to the conditions of ritual. The famous angklung in Cikeusik is Amir's father (59), and at Cikartawana Ayah Tarnah. Kaluaran people buy from Kajaran people in the three villages.

Angklung Reyog

Angklung Reyog is a musical instrument to accompany Reyog Ponorogo Dance in East Java. Reyog's angklung is characterized by a very loud sounding sound, has two tones and an attractive rattan arch (unlike angklung generally cubic-shaped) with beautifully framed tassels. in telling angklung is a weapon from the kingdom bantarangin when fighting the kingdom lodaya in the 9th century, when victory by kingdom bantarangin the joyous warriors are no exception angklung holder, because the extraordinary strength of the rope lenggang up to produce a distinctive sound that klong- klok and klung-kluk when heard will feel the spiritual vibration.

Historically this Reyog angklung is used in movies: Warok Singo Cobra (1982), Kick From Heaven (2011)

And the use of angklung Reyog in music such as: tofu opo tempe, oath palapa, kuto reog, Resik Endah Omber Girang, and campursari smack ponorogoan.

Angklung Banyuwangi

Angklung banyuwangi has a form like calung with the tone of banyuwangi culture

Angklung Bali

angklung bali has typical Balinese shapes and tones,

Angklung Dogdog Lojor

Angklung Gubrag

Angklung gubrag is located in Cipining village, Cigudeg sub-district, Bogor. Angklung is old and used to honor the rice goddess in the activities of melak pare (rice cultivation), ngunjal pare (transporting rice), and ngadiukeun (put) to leuit (barn).

In mythical angklung gubrag began to exist when a period of Cipining village experienced a famine season.

Angklung Badeng

Badeng is a type of art that emphasizes the musical aspect with angklung as its main musical instrument. Badeng is in Sanding Village, Malangbong Sub-district, Garut. It used to function as entertainment for the benefit of Islamic da'wah. But allegedly badeng has been used by society since a long time before Islam for events related to rice planting ritual. As an art for da'wah badeng believed to develop since Islam spread in this area around the 16th century or 17. At that time the residents of Sanding, Arpaen and Nursaen, studying Islam to the kingdom of Demak. After returning from Demak they preach propagate the religion of Islam. One means of spreading Islam that he uses is with the art of badeng.

Angklung used as many as nine pieces, namely 2 angklung roel, 1 angklung kecer, 4 angklung indung and angklung father, 2 angklung child; 2 pieces of dogdog, 2 pieces of flying or gembyung, and 1 kecrek. The text uses the Sundanese language mixed with Arabic. In its development is now also used Indonesian language. The contents of the text contain Islamic values and good advice, as well as the need for the event. In the show in addition to presenting the songs, also presented a miraculous attraction, such as slicing the body with a sharp weapon.

Songs of badges: Lailahaileloh, Ya'ti, Kasreng, Yautike, Lilimbungan, Solaloh.

Bean

Beans is a performing arts that is entertainment, including Baros (Arjasari, Bandung). In the beginning beans are used on agricultural events related to rice. But at the present time the beans used as an entertainment art. This is related to the increasingly changing views of people who began to ignore the things that smell of old beliefs. The 1940s could be regarded as the end of the function of the bean ritual in the honor of the rice, since it has since transformed into an entertainment show. Similarly, the storage of rice (leuit, barn) began to disappear from people's homes, replaced with places more practical sacks, and easy to carry everywhere. Rice was now many are directly sold, not stored in the barn. Thus the bean art that was used for events ngunjal (carrying rice) is not needed anymore.

The name of the bean art is related to a popular song text among the people, ie cis nut beans nyengcle ..., and so on. The text is contained in the art of beans, so this art is called beans.

The instruments used in the art of beans are 2 angklung indung, 2 angklung ambrug, angklung panempas, 2 angklung pancer, 1 angklung enclok. Then 3 pieces of dogdog, consisting of 1 talingtit, panembal, and badublag. In its development then added with tarompet, kecrek, and goong. Angklung beans barreled salendro with vocal songs can be barreled madenda or degung. Bean songs include: Badud, Beans, Renggong, Senggot, Jalantir, Jangjalik, Ela-ela, Mega Beureum. Now beans songs have also used songs from the gamelan, with singers who had been male angklung players, now by a special woman to sing.

From some types of bamboo music in West Java (Angklung) above, are some examples only about angklung performing arts, which consist of: Angklung Beans (Priangan / Bandung), Angklung Badud (East Priangan / Ciamis), Angklung Bungko (Indramayu) Angklung Gubrag (Bogor), Angklung Ciusul (Banten), Angklung Dog Dog Lojor (Sukabumi), Badl Angklung (Malangbong, Garut), and Angklung Padaeng are identical with Angklung Nasional with diatonic scales, developed since 1938. Angklung typical Indonesia this comes from the development of angklung Sunda. The five-pearl Sunda Angklung (salendro or pelog) by Daeng Sutigna aka Si Etjle (1908-1984) changed its tone into a Western scale (solmization) so it can play various other songs. The results of the development are then taught to school students and played in large orchestras.

Angklung Padaeng

Angklung oneng is angklung introduced by Daeng Soetigna since about 1938. The breakthrough in angklung keeng is the use of Diatonic tone barrel which is in accordance with western music system. Thus, angklung can now play international songs, and can also play in Ensembel with other international musical instruments.

Angklung Sarinande

Angklung sarinande is a term for angklung keeng which only uses rounded tones alone (without chromatic tones) with basic tone C. The small unit of angklung sarinade contains 8 angklung (Do Nothing tone to Do High), while the sarinade plus contains 13 angklung (Low Sol tones Mi High).

Angklung Toel

Angklung toel was created by Kang Yayan Udjo around 2008. In this tool, there is a waist-high frame with some angklung lined up with the position upside down and given rubber. To play it, a player just toel the angklung, and angklung will vibrate for a while because of the rubber.

Angklung Sri-Murni

Angklung is the idea of Eko Mursito Budi specially created for the purposes of angklung robot. As the name implies, one angklung uses two or more voice tubes of the same tone, which will produce a pure (mono-tonal) tone. This is different from angklung padaeng multi-tonal. With this simple idea, robots easily play a combination of several angklung simultaneously to simulate the effects of angklung melodies and angklung akompanimen.

Game technique angklung

Playing a angklung is very easy. A person lives holding the chassis in one hand (usually the left hand) so that the angklung is hanging free, while the other hand (usually the right hand) wags it until it sounds. In this case, there are three basic techniques to shake the angklung:

Curl, is the most commonly used technique, where the right hand holds the base tube and vibrates left and right many times as long as the tone is about to be played.

Centok (jerk), is a technique in which the base tube is pulled rapidly by the finger to the right hand palm, so the angklung will sound just once (stacato).

Tengkep, similar to elderly but one of the tubes on hold did not participate vibrate. In angklung melody, this technique causes angklung to release a pure tone (one melodic tone only, not two as usual). Meanwhile, in angklung akompanimen major, this technique is used to play the major chord (3 tones), because if it is not played it is the dominant chord septim (4 tones).

Meanwhile, to play one unit angklung to bring a song, will be required many musicians led by a conductor. On each musician will be distributed one to four angklung with different tones. Then the conductor will prepare the song particles, with the writing of the strands of the tones that must be played. The conductor will give a signal, and each musician must play his angklung exactly as the tone and duration of the tap the conductor asks. In playing this song the players must also pay attention to the continuous technique, ie the tone that is being sounded should only be stopped as soon as the next tone starts to sound.

Practicing Angklung

Angklung will sound melodious and majestic if played rollicking with compact. For that, it takes preparation and practice long enough, led trainers who have enough understanding of general music and angklung. The stages of preparation are:

Select a song with the arrangement. Suitable songs are played with angklung generally rhythmically funny, and if there can be a bright part, so it can be improvised with the technique centok. The song then needs to be arranged specifically for angklung, with some voices. For practice, this arrangement is then written on a large piece of paper (usually in notation notes).

Prepare angklung unit according to arrangement. From angklung arrangement, can be known how many angklung required based on the range of song tone and balance intonasinya.

Gather players and distribute angklung to them. If there are players who hold many angklung, it should be noted that the player will never play two angklung at the same time. For that usually used table tonjur.

Heating. Before practice, you should first slow the feet and hands, then do the basic movements for the curl and the cock together.

Learn the song. Together, learn and track the flow of songs, where the verses and chorus to repeat. Gradually play this song under the leadership of the conductor. It is recommended that during the initial practice all the tones are centrally, do not first dikululung.

Memorize notes. Slowly the players are asked to memorize the song notes and parts of the game.

Improve the technique. This is the final polish stage, in which the conductor can begin to lead by emphasizing the simultaneity of the game, dynamics, or inspiration.

Choreography. If will appear dipentas, can begin to think of improvisation so that the players make an interesting movement, not standing rigid continuously.

Interactive Angklung

Interactive Angklung is an activity in which a conductor invites a lot of people, generally layman, to play angklung rollicking [6]. This activity can be done in a place of tourism or hospitality event. In the participants will be distributed angklung-angklung already numbered according to the tone. Then, the conductor will lead, usually by:

The conductor opens a large screen marked with a song in a number note, then invites the participants to play the right angklung by pointing the tone on the screen.

The conductor teaches hand signals for certain tones in the audience, then leads a song by giving the appropriate gestures in order for the participants to follow. This hand gesture was adapted by Mang Udjo, based on cues developed by John Curwen.

Previously, Mr. Daeng Soetigna used animal image cues to train kindergarten children.

Kecak Dance, The Traditional Dance from Bali Indonesia

For those of you who have been on holiday in Bali or just looking for information about the tour in Bali, of course you will not be foreign anymore with Kecak Dance because information about this dance is very easy to get in every search engine available on the internet and usually in every information about Bali on the internet then information about kecak dance will certainly be found there. Kecak Dance became very popular for tourists visiting Bali since this dance was developed for commercial activities during the era of 1930'an, although far earlier in the royal period in Bali, Balinese dance can only be performed and watched at certain moments only when the activities of religion in pretense all over Bali.

Kecak dance is the most unique type of Balinese dance because it is not accompanied by a musical instrument or gamelan, but is accompanied by a choir by a group of male dancer totaling ± 70 people. Kecak dance comes from a sacred dance that is often called dance Sang Hyang is a dance that performed only for certain times during religious ceremonies. In the dance of Sang Hyang, dancers who are possessing spirits will communicate with the Gods or the ancestors who have been sanctified, through the media of the dancers the ancestors and the Gods will deliver his says. At the time of possession of spirits or possessions, dancers often perform acts that are beyond what they usually do, such as doing very dangerous movements or making voices that they never used before.

Read to : Kuta Beach, The Most Beautiful Beach in Bali Indonesia

What is Kecak Dance?

Kecak Dance is a traditional art of a typical dance art from Bali. The dance depicts the story of Pewayangan, especially the Ramayana story which is performed with the art of motion and dance. Kecak Dance is one of the most famous traditional art in Bali. In addition to the cultural heritage, Kecak Dance is also one of the attractions of tourists who come there.

The Origin of Kecak Dance

According to historical sources, this Kecak Dance was created in 1930 by Balinese artists Wayan Limbak and Walter Spies, a German painter. This dance is inspired by Sang Hyang rituals and parts of the Ramayana story. Sang Hyang ritual itself is a dance tradition where the dancers are in an unconscious condition and communicate with God or the spirits of the ancestors then convey his hopes to the community. Kecak Dance name itself is taken the word "cak .. cak .. cak" which is often shouted the members who surround the dancers, So this dance is known by the name of Kecak Dance.

Read to : Saman dance, a unique dance perfomed originated from Aceh Indonesia

Kecak Dance Show

In the show, the dance begins with the incense burning, then the entourage entourage enters the stage while echoing the word "cak .. cak .. cak". Then they form a circular line, which in the middle is used for dancing. In this Kecak Dance show the dancers play the plays in the Ramayana story, such as Rama, Shinta, Rahwana, and other characters. Movement in this dance is not too fixated on grip, so that the dancers are more flexible in moving and focus on the story only. Sometimes there are also some funny scenes that are danced by the dancers. In addition, some attractive scenes are also displayed such as fire games and other attractions. this is what makes Kecak Dance has a sacred impression but also entertaining.

Dance Kecak Companion

Kecak Dance is one of the art of dance drama that is very unique. In contrast to the arts in general, in the Kecak Dance show does not use any musical instrument. Kecak Dance is only accompanied by the sound of shouting members who surround the dancers and the sound of rattle tied at the feet of the dancers. For members of the voice assistant usually consists of 50 people or more. In the companion member is also composed of members who served as, tone control, soloist, and Dalang that set the course of the story.

Kecak Dance Clothes

In the show dancers use the costume in accordance with the plays he played. This costume is almost the same as Wayang Wong, but with a typical Balinese style. While the accompanist usually only use black pants and black-and-white plaid fabric. In addition, some accessories like flowers are tucked in one of their ears.

Kecak Dance Development

Besides as a cultural heritage, Kecak Dance becomes one of the attractions for the tourists who come there. In Bali alone almost all regions have their own Kecak Dance Group. In its development, Kecak Dance is also experienced development, both in terms of performances, the number of dancers, stories and plays played. This is done as an effort of the artists to make Kecak Dance more popular and known by the public.

A lot of introduction about "Traditional Dance of Kecak dance from Bali". Hopefully useful and increase your knowledge about the variety of traditional arts in Indonesia.

Read to : Ubud, a must-visit destination if you go Bali in Indonesia

The City of Palembang, A City with the Epitome of Venesia From The East

Palembang city is the capital of South Sumatra province. Palembang is the second largest city in Sumatra after Medan. The city of Palembang has an area of 358.55 km² which is home to 1.8 million people with a population density of 4,800 per km². It is predicted that by 2030 the city will be inhabited by 2.5 million people. The construction of LRT (railway), and the plan of GP motor circuit construction in Jakabaring and F1 circuit in Tanjung Api-Api area, is the latest development project of Palembang City.

The history of Palembang, which was once the capital of the largest Buddhist monarchy of Southeast Asia at the time, the Sriwijaya Kingdom, which dominated the archipelago and the Malay peninsula in the 9th century also made this city known as the "Bumi Sriwijaya". Based on inscription Kedukan Bukit found in Bukit Siguntang west of Palembang City which states the formation of a wanua interpreted as a city on June 16, 688 AD makes the city of Palembang as the oldest city in Indonesia. In the Western world, the city of Palembang is also dubbed the Venice of the East ("Venice of the East"). Currently the mayor of Palembang is held by H. Harnojoyo, S.Sos.

History

The city is considered to be one of the centers of the Sriwijaya kingdom, the Rajendra Chola Raid of the Chola Kingdom in 1025, causing the city to become a simple harbor no longer meaningful to foreign merchants. Furthermore, based on Chinese chronicle Pa-lin-fong's name contained in the Chu-fan-chi book written in 1178 by Chou-Ju-Kua was referred to Palembang. Based on the story of Kidung Pamacangah and Babad Arya Tabanan mentioned a figure from Kediri named Arya Damar as regent of Palembang participated conquering Bali along with Gajah Mada Mahapatih Majapahit in 1343.

At the beginning of the 15th century, the city of Palembang was occupied by pirate Chen Zuyi who came from China. The pirate fleet Chen Zuyi was later crushed by Admiral Cheng Ho in 1407. Then around 1513, Tomé Pires a Portuguese pharmacist mentions Palembang, has been led by a designated patih from Java who was later referred to the Demak Sultanate as well as participated in attacking Malacca which time it has been mastered by the Portuguese.

Palembang emerged as a sultanate in 1659 with Sri Susuhunan Abdurrahman as its first king. But in 1823 the sultanate of Palembang was abolished by the Dutch East Indies government. After that Palembang is divided into two major residencies and settlements in Palembang are divided into areas Ilir and Ulu.

Geographical situation

Geographical location

Geographically, Palembang is located at 2 ° 59'27.99 "LS 104 ° 45'24.24" BT. The total area of Palembang City is 358.55 km² with an average height of 8 meters from sea level. Palembang location is quite strategic because it is traversed by Sumatra Cross road that connects between regions on the island of Sumatra. Palembang itself can be reached through flights from various cities in Indonesia such as Jakarta, Bandung, Yogyakarta, Surabaya, Bandar Lampung, Bengkulu, Pangkal Pinang, Tanjung Pandan (via Pangkal Pinang), Jambi, Lubuk Linggau, Padang, Pekanbaru, Batam, Medan Denpasar-Bali. As well as from abroad namely Singapore, Kuala Lumpur, and Jeddah (hajj season) In addition there is also in Palembang Musi River which is crossed Ampera Bridge and serves as a means of transportation and trade between regions.

Palembang climate is a tropical climate with relative humid wind, wind speeds ranging from 2.3 km / h - 4.5 km / hour. The city temperature ranges from 23.4 - 31.7 degrees celsius. Annual rainfall ranges from 2,000 mm - 3,000 mm. Air humidity ranges from 75 - 89% with 45% sun radiation average. Soil topography is relatively flat and low. Only a small part of the city whose land lies on a rather high place, in the northern part of the city. Most of the soil is a swampy area so that during the rainy season the area is inundated. Average altitude between 0 - 20 m above sea level.

In 2002 the city's minimum temperature occurred in October 22.70C, the highest 24.50C in May. While the lowest maximum temperature of 30.40C in January and the highest in September of 34.30C. Plainland not inundated: 49%, seasonally inundated soil: 15%, constantly inundated soil: 37% and number of functioning rivers 60 fruits (from the previous 108) remaining functioning as primary drainage channels.

Tropical humid relative, temperature between 220-320 Celsius, rainfall 22-428 mm / year, tidal influence between 3-5 meters and an average land height of 12 meters above sea level. Types of alluvial, clay and sandy land Palembang lay in the youngest layer, containing much oil, also known as the Palembang - Jambi valley. The soil is relatively flat and low, a rather high place lies in the northern part of the city. Some Palembang city is flooded with water, especially if there is continuous rain.

Population

The population of Palembang is ethnic Malay and uses Malay language that has been adapted to the local dialect which is now known as the Palembang Language. However, migrants often use their local language as a colloquial language, such as Komering, Rawas, Musi, Pasemah, and Semendo. Outsiders from outside South Sumatra sometimes also use their local language as a colloquial language in a family or regional community. But to communicate with other Palembang residents, the population generally uses the Palembang language as a language of daily delivery. In addition to the natives, in Palembang there are also immigrants and citizens of descendants, such as from Java, Minangkabau, Madura, Bugis and Banjar. The descendants of many who live in Palembang are Tionghoa, Arab and Indian. The city of Palembang has several areas that are characteristic of a community such as Kapitan Village which is the area of Chinese Community and Al Munawwar Village, Assegaf Village, Al Habsyi Village, Kuto Batu, 19 Ilir Kampung Jamalullail and Kampung Alawiyyin Bayas River 10 Ilir which is the Community Area Arab.

Tourism

Tourist attraction

Musi River, a river along the 750 km that divides the City of Palembang into two parts, namely Seberang Ulu and across Ilir is the longest river on the island of Sumatra. Since the first Musi River has become the economic pulse in the city of Palembang and South Sumatra Province. Along the banks of this river there are many attractions such as Ampera Bridge, Kuto Besak Fortress, Sultan Mahmud Badaruddin II Museum, Kemaro Island, 16 Ilir Market, Rakit house, Pertamina oil refinery, PUSRI fertilizer factory, Bagus Yellow beach, Musi II Bridge, Mosque Al Munawar, etc.

Ampera Bridge, a magnificent bridge along the 177 meters crossing over the Musi River that connects the area Seberang Ulu and Seberang Ilir is an icon of Palembang. The bridge was built in 1962 and built using Japanese spoils as well as experts from Japan.

Sultan Mahmud Badaruddin I Palembang Sultan Mosque, located in the center of Palembang City, this mosque is the largest mosque in South Sumatra with capacity 15.000 pilgrims.

Kuto Besak Fort, located on the banks of the River Musi and adjacent to the Ampera Bridge, this fort is one of the heritage buildings Palembang Darussalam Sultanate. On the inside of the fort is the health office of Sriwijaya Kodam II and the hospital. This fort is the only fortress in Indonesia which is stone walled and qualifies fortifications / defense built at its own expense for defense purposes of the European enemy attack and not named the hero of Europe.

The mayor's office building, located in the center of the city, originally served as a water tower because it serves to drain water throughout the city so it is also known as the Ledeng Office. Currently this building serves as the Office of the Mayor of Palembang and there are spotlights at the top of the building that beautify the face of the city at night.

Kambang Iwak Family Park, a tourist lake located in the middle of the city, close to the residence of the mayor of Palembang. On the shore of this lake there are many family recreation arena and crowded visited on holiday. Also in the middle of this lake there is a fountain that looks beautiful at night.

Forest Tourism Punti Wood, a jungle city tour located about 7 km from the city center with an area of 50 ha and since 1998 designated as a protected forest. Inside the forest there is a family recreation area and a residence of a group of local monkeys.

Archaeological Park of the Kingdom of Sriwijaya, a relic of the Sriwijaya Kingdom located on the banks of the Musi River. There is a royal stone stone inscription in this area.

Archaeological Park Bukit Siguntang, located in the hills west of Palembang. In this place there are many relics and ancient tombs of Sriwijaya Kingdom.

The People's Struggle Monument, located in the center of the city, is adjacent to the Great Mosque and Ampera Bridge. In accordance with its name in this building there are objects of historical relics in the colonial period.

Balaputradewa State Museum, a museum that holds many relics of the Kingdom of Sriwijaya.

Museum of Sultan Mahmud Badaruddin II, located near Ampera Bridge and Kuto Besak Fortress and formerly one of Palembang Darussalam palace relics. Inside there are many historical objects of Palembang City.

Textile Museum, located on Jl. Merdeka this museum stores textile objects from all regions in South Sumatra Province.

Tengkurep Crater

Cheng Ho Mosque Palembang

Soei Goeat Kiong Pagoda (Oldest Pagoda in Palembang)

Kampung Kapitan

Al Munawwar Arab Village 13 Ulu

Fantasy Island

Nice Yellow

Songket Craft Center

Kemaro Island

Pertamina Oil Refinery

Pupuk Pusri Factory

Gerong River

Jakabaring Sport City (JSC)

Waterboom OPI Jakabaring

The Amanzi Waterpark CitraGrand City

Rumah Mak Bani Montok

Aisle of Asia

Art and culture

The old history of Palembang as well as the entry of migrants from other regions, has made this city a multi-cultural city. Once lost the function as a large port, the population of this city then adopted coastal Malay culture, then Java. Until now this can be seen in the culture. One of them is language. Words like "lawang (door)", "gedang (banana)", is one such example. The title of nobility is also nuanced Javanese, like Raden Mas / Ayu. The tombs of Islamic relics are not different shapes and shades with Islamic tombs in Java.

The arts in Palembang include:

Art Dul Muluk (traditional drama performances typical of Palembang)

Dances such as Gending Sriwijaya held as a welcome to the guests and dance that was exhibited in the reception Tanggai wedding

Syarofal Anam is an Islamic arts brought by Arab merchants once, and became famous in Palembang by KH. M Akib, Ki Pack H. Umar and S. Abdullah bin Alwi Jamalullail

Regional Songs such as Melati Karangan, Sangke Deck, Cuk Mak Ilang, President Director and Ribang Kemambang

Rumah Adat Palembang is Rumah Limas and Rumah Rakit

In addition Palembang City store one of the best textiles in the world that is songket. Palembang songket cloth is one of the relics of Sriwijaya Kingdom and among the family of cloth woven cloth is often referred to as Ratunya Kain. Until now songket fabric is still made by woven manually and using traditional looms. Since ancient times songket cloth has been used as a customs clothing royal. Common colors used songket cloth is the color of gold and red. These two colors represent the golden age of the Sriwijaya Kingdom and the influence of China in the past. Materials used to produce this gold color is a gold thread imported directly from China, Japan, and Thailand. This golden thread that makes the price of songket cloth soar and make it as one of the best textiles in the world.

In addition to songket cloth, Palembang community is currently actively developing a new type of textile called batik Palembang. Unlike the Java batik, Palembang batik looks more cheerful because it uses bright colors and still retain traditional local motifs.

The city of Palembang also holds various festivals every year such as "Sriwijaya Festival" every June in order to commemorate the anniversary of Palembang, Bidar Festival and Ornamental Boat celebrating Independence Day, as well as various festivals commemorating the New Year Hijriah, Ramadhan and New Year.

Typical food

The city has a fairly large Chinese community. Foods such as pempek or tekwan made from fish impressed "Chinese taste" is thick on the people of Palembang.

Pempek, a typical food of Palembang that has been famous throughout Indonesia. By using the main ingredients of fish and sago meat, Palembang community has successfully developed the basic ingredients into various types of pempek by varying the contents and other additives such as chicken eggs, fish skin, and tofu on the basic ingredients. Variety types of pempek contained in Palembang include pempek submarine, pempek lenjer, pempek curling, pempek adaan, pempek skin, pempek tahu, pempek pistel, pempek shrimp, pempek lenggang, pempek bakang, pempek split and pempek brain - brain. As a complement to eat pempek, Palembang people usually add black-colored sauce made from red sugar stew, chillies and dried shrimp that the local community called vinegar sauce (cuko).

Tekwan, a typical food of Palembang with a fish-like fish-based soup made of fish and sago formed small - similar to fish meatballs, then added shrimp broth as gravy, and soun and ear mushrooms as a complement.

Model, similar to tekwan but the basic ingredients of fish and sago meat formed resemble pempek tahu then cut a small small and added shrimp broth as a soup and soun as a complement. There are two types of models, namely Model Fish (Model Iwak) and Wheat Model (Model Gendum).

Laksan, pempek lenjer thick, cut transversely and then watered with hot coconut milk.

Dimple, like laksan, it's just dough pempek formed like bigger tekwan and doused with coconut milk.

Mie Celor, made from yellow noodle with size rather big like soba noodles from Japan, doused with soup broth sauce and shrimp meat.

Burgo, made from rice flour and sago flour formed like a rolled-up dadar which is then sliced, enjoyed with coconut milk.

Lakso, made from rice flour, similar to Burgo, but textured noodles.

Martabak HAR, is a typical food from India that is under by Haji Abdul Razak. Based wheat flour, which is given duck eggs and chicken eggs, sauce made from goat curry mixed with potatoes.

Pindang Patin, one of the typical food of Palembang which is based on catfish meat which is boiled with spicy seasoning and usually added pineapple slice to give fresh taste. Delicious eaten with warm white rice, tasty savory, spicy and fresh.

Pindang Bone, bone-based bovine with a bit of meat that is still attached and marrow in the bone, boiled with spicy seasoning, as well as pindang patin, this food is delicious eaten as a side dish with warm white rice.

Malbi, similar to rendang, just tastes a bit sweet, berkuah and tasty.

Tempoyak, a typical food of Palembang which is based on durian fried meat with chili and onion slices, it looks like a sauce and is usually eaten as a food supplement, it feels unique and tasty.

The brain, the pempek variant that has spread all over Indonesia, is similar to pempek that is dicocol with coconut sauce and then wrapped in banana leaves, cooked by baking on the embers and usually eaten with chilli / peanut sauce.

Kemplang, pempek lenjer, thinly sliced and then dried in the sun to dry. After dry kemplang can be cooked by frying or baked until fluffy.

Crackers, like kemplang, only the dough is formed circular, dried, and then fried.

Cake Maksubah, a typical cake Palembang-based main duck eggs and sweetened condensed milk. In making the required eggs can reach about 28 grains. The dough is then processed like a layer pastry dough. It tastes good, sweet and legit. This cake is believed to be one of the palace palace palembang palace which is often served as a dish for the guest of honor. But now this maximized cake can be found all over Palembang and is often served during holidays.

Cake Eight Hours with a dough like maximal cake, this cake as the name suggests because in the process of making it takes eight hours. Palembang typical cake is also often served as a dish for guests of honor and is often served in the feast.

Srikayo cake made from egg and pandan leaves, shaped like pudding. This green cake is usually eaten with sticky rice and has a sweet and legit taste.

Hotel

The star hotels in Palembang include:

Aryaduta Hotel and Convention Center *****

Novotel Hotel & Residence *****

The Arista Hotel Palembang *****

Horison Hotel Optima Palembang *****

Aston International & Conferrence Hotel ****

Hotel Sandjaja ****

Hotel Batiqa ****

Hotel Sintesa Peninsula ****

The Jayakarta Daira Hotel ****

Hotel Swarna Dwipa ****

Hotel Grand Zuri ***

Rio City Hotel ***

Hotel Royal Asia ***

SwisBelin Hotel ***

Hotel Lembang ***

Hotel Princess ***

Hotel King's (burned out and will be reopened) ***

Hotel Amaris ***

Grand Duta Syariah Hotel ***

Fave Hotel ***

Hotel Emilia ***

Hotel Zuri Express **

Hotel Duta **

Maxone Hotel **

Hotel Tours **

Sriwijaya Hotel **

Hotel Budi **

Hotel Paradise **

Hotel Bumi Asih **

Hotel Arjuna **

Hotel Anugerah **

Hotel Safa Marwah

Home Inn Hotel Palembang

Hotel Alam Sutra

Denpasar City is the capital of Bali Province, Indonesia

The growth of the tourism industry on the island of Bali drove the city of Denpasar to become the center of business activity, and placed the city as an area with high per capita income and high growth in Bali Province. The government will prepare three cities, namely Medan, Denpasar, and Makassar as a new metropolitan city. Spatial three cities were included in the National Spatial Plan (Perpres 45/2011).

History

The name Denpasar comes from the word 'den' (north) and 'market' so that overall means "North Market". Denpasar was originally a park. But the park is not like the park in general, because it is a favorite park of the king badung at that time, Kyai Jambe Ksatrya. At that time, Kyai Jambe Ksatrya lived in Puri Jambe Ksatrya, which is now the Pasar Satria. This park is unique, because it comes with a place to play cockfighting. Kyai Jambe Ksatrya's hobby is playing cockfighting, therefore it is not uncommon for the king to invite other kings in Bali to play cockfighting in the park.

Previously this area is part of the Kingdom of Badung, a kingdom that had stood since the 19th century, before the kingdom was subdued by the Dutch on September 20, 1906, in a heroic event known as the War Puputan Badung.

After the independence of Indonesia, based on Law Number 69 Year 1958, Denpasar became the capital city of the local government of Badung Regency, then based on Decree of Minister of Home Affairs No. Dec.52 / 2 / 36-136 dated June 23, 1960, Denpasar was also designated as the capital city for the Bali Province which was originally based in Singaraja.

Then based on Government Regulation No. 20 of 1978, Denpasar officially became '' Denpasar Administrative City '', and along with the ability and potential of its territory in carrying out regional autonomy, on January 15, 1992, based on Law Number 1 Year 1992, and Denpasar City was upgraded to 'municipality' ', which was later inaugurated by the Minister of the Interior on 27 February 1992.

Administrative division

Administratively the city government consists of 4 districts, 43 villages or kelurahan with 209 hamlets. Currently the Denpasar City Government has developed various innovations in improving services to its people, among them starting to fix the population administration system.

The subdistricts in Denpasar City are:

West Denpasar

South Denpasar

East Timur

North Denpasar

Geography

The city of Denpasar is at an altitude of 0-75 meters above sea level, located at 8 ° 35'31 "to 8 ° 44'49" south latitude and 115 ° 00'23 "to 115 ° 16'27" east longitude. While the total area of Denpasar City 127,78 km ² or 2.18% of the total area of Bali Province. From the use of the land, 2,768 Ha is paddy land, 10,001 ha is dry land and the remaining area of 9 Ha is other land. The average rainfall rate is 244 mm per month, with high rainfall occurring in December. While the average air temperature is about 29.8 ° C with a low average of about 24.3 ° C.

Read to : Ubud, a must-visit destination if you go to Bali in Indonesia

Economy

Tourism development has a strong effect on structure change and economic improvement in Denpasar City. However, the structure of the economy of Denpasar is slightly different when compared with the economic structure of the Province of Bali in general, by placing the trade sector, hotels and restaurants dominate the formation of Gross Regional Domestic Product (PDRB) Denpasar.

Participate also boost the economy of Denpasar City is the production of handicraft items in the form of handicrafts for souvenirs, such as carvings and sculptures. However, the handicraft industry is under pressure, as well as the impact of the crisis and inter-regional rivalry, other pressures from other Asian emerging Asian rivals such as Vietnam, Thailand, India, Malaysia and China. This competitor country is more maximize the scale of production by utilizing industrial technology, while in the city of Denpasar this handicraft industry still maintain the hand skill (hand made) so that the constraints on the fulfillment of the quantity of production.

Transportation

Benoa Harbor is the entrance to Denpasar City by sea and is currently managed by PT Pelindo III. The port is located about 10 km from the city center, and has been operating since from 1924.

Land transportation facilities in Denpasar City, especially for urban transport, are now beginning to be ineffective and efficient, until 2010 only 30% are still operating, along with the reduced public interest to use the transport services, which is estimated to be only about 3% of the total population . While private vehicle ownership growth continues to increase to 11% per year, and is not comparable with the construction of new roads. So that the congestion in the city of Denpasar can not be avoided. on August 18, 2011 Trans Sarbagita was launched in response to the congestion that occurred in Denpasar City with 2 corridors namely Corridor 1 Kota - GWK and Corridor 2 Batubulan - Nusa Dua.

In addition Denpasar has Bali Mandara Toll Road which has 4 lanes and opened to certain circles on 23 September 2013. This toll road is then opened to the public on October 1, 2013, connecting the Port of Benoa, Ngurah Rai Airport and Nusa Dua. The 12.45 km road is also built with a special line for the motor.

Sports, art, and culture

The main club of football Perseden Denpasar is a soccer club pride of the people of Denpasar, and make Ngurah Rai Stadium as the headquarters and place of the match home games.

While art and culture in the city of Denpasar is largely synonymous with the arts and culture of Bali generally, although here has been the interaction of the combination with other cultures along with the arrival of the tourists from various circles. However, the traditional values inspired by the Hindu rituals still strongly colored the city.

The role of Indigenous Bali is still rooted in the people of Denpasar, Indigenous Bali which includes, values, norms and behavior in society generally on patrilineal family system. But over time some of the prevailing customary laws began to be opposed by the people, especially in matters of gender and inheritance.

Read to : Kecak dance, The traditional dance from Bali Indonesia

Tourism

The development of tourism and the attractiveness of the island of Bali, indirectly has encouraged the progress of development in the city of Denpasar. In 2000, the number of foreign tourists coming to visit reached 1.413.513 people, and put the largest number of tourists from Japan and followed by Australia, Taiwan, Europe, Britain, America, Singapore and Malaysia.

The policy of tourism development in Denpasar City focuses on the pariwasata of environmentally sound culture. As one of the centers of tourism development, Denpasar City becomes a barometer for the progress of tourism in Bali, this can be seen with the emergence of various star hotels as a means of supporting tourism activities.

Sanur Beach is one of the tourist areas of the crowded beaches visited. While Puputan Field is a green open space in the city of Denpasar as well as functioning as the lungs of the city.

Tourist destination

Denpasar has several tourist attractions that have elements of history and recreation include:

Museum of Bali - this place was originally the place of the royal family

Renon Square - the center of family activity and there is also the Bajra Sandhi Monument is a monument to the struggle of the people of Bali

Puputan Park - a performing arts venue

Pasar Kreneng

Simpang Dewa Ruci or Simpang Siur - there is Mal Simpang Siur or Discovery Mall

Puri Santrian

Sanur Beach

Ecotourism of mangrove forest or mangroves

cultural Park

Kertalangu Cultural Village

The Bird Market of Satria

Sindu Beach

Pura Agung Jagatnatha

Sakenan Temple

Culinary tour

Denpasar is also famous for its culinary tour. Some places that are well known to both local and foreign tourists are:

Nasi Ayam Kedewatan - Jalan Tukad Badung, Denpasar

Nasi Ikan Mak Beng - near the Radisson Hotel

Nasi Campur - Beach Segara, Sanur

Babi Guling Chandra - Teuku Umar Street (non-halal)

Warung Wardana - Jalan Merdeka, Denpasar

Duck Fried HT - Jalan Merdeka, Denpasar

Sate Plecing - Jalan Yudhistira, Denpasar (non-halal)

Super Crab Depot - Jalan Bypass Ngurah Rai

Bali Nikmat Resto - Jalan Raya Kuta deket Alfa

Warung Batan Waru - next to Discovery Mall

Warung Made - Kuta

Ikan Bakar - Jimbaran

Nyoman Cafe - Jimbaran

Menega Cafe - Four Seasons Jimbaran

Jebak (Jejak Bali Culinary) - Jalan Teuku Umar, Denpasar

Some of Bali's famous souvenirs include dodol bali, brem, nut rahayu, milk pie, disco bean, bali salak, peas, chicken chirping cracker, pia legong and bali coffee. Some special places that sell souvenirs are:

Shop Krisna

Shop Erlangga

Kumbasari Market

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