Karapan Sapi, A unique Competition from Madura Indonesia

 

Madura is an island located in the northeast of East Java. If you want to visit the island of Madura, you will pass the Suramadu National Bridge which is the main door of the island. Famous for its culinary tourism, namely the typical Madura satay. However, not only that, it turns out that Madura also has a unique tradition that is popular to foreign countries, namely the Karapan sapi tradition.

The Karapan Sapi tradition is a cow racing competition that is held every year between August and September. This tradition has an important meaning for the Madurese community.

In addition to being a cow racing competition, this tradition is a prestigious event that can elevate the social status of the Madurese. Because the cows in the competition must be of high quality and have a healthy and strong body.

Karapan sapi (Madura language: Karapan sapèh) is a term to refer to a cattle race originating from Madura Island, East Java. In this race, a pair of cows pulling a kind of wooden cart (where the jockey stands and controls the pair of cows) is raced in a fast race against other pairs of cows. The track is usually around 100 meters and races can last anywhere from ten seconds to one minute. Several cities in Madura hold karapan sapi in August and September every year, with the final match in late September or October in the former City Residency.

The background of the origin of the bull race was the Madura land which was less fertile for agricultural land, instead the Madurese shifted their livelihoods as fishermen to coastal areas and raising cattle which were also used for farming, especially in plowing fields or fields.

History

Once upon a time a Sumenep cleric named Syeh Ahmad Baidawi (Prince Katandur) introduced a way of farming using a pair of bamboos known to the Madurese as "nanggala" or "salaga" pulled by two cows. The original purpose of holding Karapan Sapi was to get strong cows to plow the fields. The Madurese raise cows and cultivate them in their fields as soon as possible. This idea then gave rise to the tradition of karapan sapi. Karapan sapi soon became a routine activity every year, especially after the harvest season was over. Karapan Sapi is preceded by parading pairs of cows around the racetrack to the accompaniment of saronen music.

Implementation of Karapan Sapi

The implementation of Karapan Sapi is divided into four rounds, namely: the first round, all cows are competed for speed in two pairs to separate the winning group and the losing group. In this round, all the winning and losing cows can compete again according to their group.

In the second round or re-election round, the pairs of cows in the winning group will be contested again, as well as the cows in the losing group, and in this round all pairs from the winning and losing groups may not compete again except for a few pairs of cows who occupy the winning order. top in each group.

Third round or semifinal. In this round, each winning cow in each group is contested again to determine the three pairs of winning cows and three cows from the losing group. In the fourth round or final round, it is held to determine the first, second, and third place winners from the losing group.

History of Mendut Temple - Development, Relief, and Arca

 

The history of the temple is a topic that is also interesting to discuss. Mendut Temple is one of the Buddhist temple that is quite popular in Indonesia. Mendut temple is located in Central Java, precisely in Mendut Village, District Mungkid, Magelang District. Located about 38 km from the city of Yogyakarta. This temple is also not far enough from other famous temple, Borobudur Temple. Viewed from the history of the temple mendut, Borobudur temple has a fairly close relationship with the Borobudur Temple and Pawon Temple. When you look from the map, the location of these three Buddhist temples form a straight line from north to south. This article will give an overview of the history of the temple and the story behind the architecture contained in it.

As mentioned earlier, Mendut Temple is a Buddhist temple that is quite famous both in the national scale or abroad. The word self is derived from the word Venu, Vana, Mandira which means the temple is in the middle of the bamboo forest. The early history of temple development still has several versions and can not be ascertained.

The famous historian named J.G. de Casparis explained that the temple mendut built during the reign of Syailendra dynasty in 824 AD This is based on the contents of Prasati Karangtengah per year 824 AD In the inscription mentioned that Indra King built a sacred building and named it Wenuwana. Wenuwana or bamboo forest is defined by de Casparis as Mendut Temple. By using the assumption, then the history of the shrine has begun before the temple of Borobudur. Temple mendut has an older age than the Borobudur Temple, one of the largest and famous temple in the world that had entered into the 7 Wonders of the World.

Rediscovery of Mendut Temple

The rediscovery of the temple took place in 1836. At that time, it was found that all parts of the temple shrank except the roof of the temple. The Dutch Indies government at that time did the restoration since 1897 until 1904. The result of this effort is good enough to successfully restore the foot and body of the temple through reconstruction. Even so, there are some parts of the temple that still can not be reconstructed again. Four years later, Van Erp became the leader for the reconstruction activities of Mendut temple stage two. The team performed the activity of returning the roof shape of the temple, the installation of stupa stupa and repairs at some roof top of the temple. The purpose of this reconstruction is quite good only had time constrained funds in the middle of the process. This reconstruction activity just started back in 1925. Thanks to this reconstruction effort, we can now enjoy the uniqueness of temple mendut while studying the history of temples mendut and the message behind every architecture.

Mendut Temple Architecture

In general, the temple mendut has a floor plan with a square shape. Temple mendut has an overall height of 26.4 m. The body part of the temple is on a rock with a height of 2 m. On the surface of the stone has a wide hallway. In the walls of the temple mendut, there are approximately 31 panels featuring some relief stories, tendrils and flower sculptures that indicate the pattern of the temple mendut. When you visit this temple, you will see several channels to dispose of water from the hallway along the outer wall of the ledge. This section of the channel is called jaladwara. Jaladwara is a characteristic of temple temples located in the region of Central Java. This type of jaladwara can be found on the famous temple temples in Central Java & Yogyakarta such as Borobudur Temple, Prambanan Temple, Ratu Baka Site and Banyuniba Temple. Even so, the form of jaladwara is not the same and has its own characteristics in accordance with the characteristics of the temple.

The staircase of the temple is located on the west side of the temple which is also located in front of the entrance into the body of the temple. At the entrance of this temple, you can see the viewing chamber that juts out. This display booth has a height similar to the roof of the temple so it looks blend with the body of the temple. The entrance of the body of this temple has no garupa or door frame as other temples. This chamber has the shape of how many hallways with a hollow cavity extending cavity with a triangular cross section.

Mendut Temple Relief

As with other temples, the temple also has a relief shrink with a distinctive style. Here are some reliefs that are in the temple mendut:

Relief Kuwera & Hariti

Relief kuwera or Ayataka is a relief engraved on the northern wall in the display booth. Kuwera itself is a human-eating giant who is told to do repentance after meeting with Buddha. This Kuwera has a wife named Hariti. Hariti himself has the same life story with Kuwera. He is a man-eating giant who also ended up repenting after meeting Buddha. Hariti then became a protector for his children with Kuwera.

In addition to the temple mendut, reliefs Kuwera and Hariti is also widely found in other temples such as Sewu Temple, Kalsan Temple and Banyuniba Temple. In the reliefs engraved in the temple mendut, kuwera symbolized sitting on a bench. Around him a child of kuwera is seen playing. Under Kuwera's seat was a purse of money. This picture describes Kuwera as the god of wealth. While in Hariti relief, you can see a similar picture. Hariti is seen sitting in a chair with her son on her lap. There are also some Hariti and Kuwera children who are also playing.

Relief of the Bodhisattva Ayalokitesvara

This relief describes the life of Buddha. The relief is located on the south wall of Sewu Temple. In this relief, the Buddha is pictured sitting on a padmasana or throne from a padma flower. Budha sits under the kalpataru tree. In this relief, Dewi Tara is also seen sitting on padmasana on the left side of Buddha. While on the right side there are also women who sit also on padmasana. On the left and right side of the cloud is visible. In the cloud, the man reading the book. While on the left and right siis this relief painted stone pillars stacked.

Above the pillar is depicted Gana who is crouching and supporting something. In front of Budha sitting, there is a pond with lots of lotus flowers. The water of this pool is represented as the tears of Buddha due to the sadness of Buddha who is thinking of his miserable people in the world. In front of this pool are also seen two women who emerged from the lotus pond.

Bodhisattva Relief

This relief is located on the east wall of Mendut Temple. Inside this relief, it is seen Buddha with a figure having four hands standing on a phallus. In this relief, Buddha uses the king's great clothes. Buddhas emit the rays of the gods from their heads. The left hand behind the Buddha is seen holding the book while his right hand holds a beads.

The Buddha's forehead depicts the attitude of the yaramudra. Yaramudra is a Buddhist attitude cross-legged with a hand grace form. To the left of the Buddha is seen a lotus flower that seemed to come out of the vessel.

Relief of Tara Goddess

On the north side of Mendut Temple, there is a relief depicting the goddess Tara. Inside this relief, it is seen Tara Goddess who sits on padmasana with both men on her left and right side. Tara's goddess in this relief is depicted as having eight hands. Tara's hand holds some items such as oysters, wajra, chakras, prayer beads, axes, sticks, books and saucers.

Relief Sarwaniwaranawiskhambi

In this relief, depicted Sarwaniwaranawiskhambi standing under the umbrella. This relief is located on the west side of Mendut Temple. Inside this relief Sarwaniwaranawiskhambi is seen wearing royalty greatness.

Mendut Temple statue

One part of the history of the temple is a great statue that is unique. Part of this statue is located in the body part of the temple mendut. There are 3 pieces of great Buddha statue, which consists of:

1. Arca Dyani Budha Cakyamuni

This statue is also known as Vairocana. This statue is located in the middle of the temple by facing the west of Mendut Temple. This statue is seen in a sitting position with both legs menyiku down. Her feet tread on the ground that has a lotus shape. While the hands of the statue dyani budha cakyamuni behave dharmacakramudra. This attitude means Buddhas who are turning the wheel of life.

2. Buddha statue Avalokitesvara

Buddha statue avalokitesvara or Lokesvara terleta on the north dyani budha cakyamuni. This statue is facing to the south side of the temple mendut. In this statue, the Buddha is pictured sitting with his left leg folded inward. While his right leg dangles downward. This avalokitesvara Buddhist statue takes the attitude of the varamudra hand which means that Buddha is teaching. This statue lokesvara is wearing a royal grandeur dress with added jewelry on the neck, shoulders, ears. Not to forget there is a crown that adds to the majesty of this statue.

3. Bodhisattva statue of Vajrapani

This third statue is located on the left of the archae Budha Sakyamuni. Bodhisatva vajrapani statue is depicted facing to uata. In this statue, Buddha is depicted being in a sitting position with the position of the right leg folded with the sole of Budha touch the thigh. While his left thigh is depicted dangle down. Just as the avalokitesvara Buddha statue, the statue of the bodhisattva vajrapani is also depicted in the royal dress of greatness.

From this article, we can see that the history of the temple is quite long and has many stories in it. Temple mendut is quite unique when compared with other Buddhist temple temples in Indonesia. The uniqueness of the temple mendut can be seen from the size of the statue of Budha is somewhat large for the size of Buddhist temples in Indonesia, especially temples around Central Java. Mendut Temple also has many reliefs that explain the story of Jataka. Stories in the reliefs in Mendut Temple many explain the law of cause and effect which is certainly very useful to know together. The relief is scattered on the walls of the temple mendut. Mendut Temple is one of the temples that must be visited when you stop to the area of Central Java and Yogyakarta.

Mendut Temple was founded during the reign of King Indra of the dynasty Syailendra Buddha-patterned at an altitude of 3.70 m asl. As mentioned in the inscription Karangtengah dated May 26, 824 AD, told that the king Indra has built a sacred building wenuwana which means bamboo forest. Furthermore, the archaeologist from the Netherlands named J.G de Casparis defines the sacred building in question is Mendut Temple.

This rectangular temple is furnished with a storied roof decorated by small stupas. This temple was built earlier than the Pawon Temple and Borobudur Temple which is located in a straight line. This temple was built facing to the west different from Borobudur temple which was built facing toward sunrise.

Upon entering the courtyard and foot of the temple, you can see some reliefs that tell about turtles, birds, monkeys and birds, brahmins and crabs. This relief at a glance looks like a fairy tale aimed at children, but actually the story tells the jataka story that gives moral message to all who come to visit this Mendut temple. In the body of the temple, you will get 8 Bodhisattva reliefs that are larger than the reliefs that exist in Borobudur temple.

The smell of hio smelled mixed with fragrant flowers will accompany you as you step into the temple chamber. Next will appear in front of the eye statues as high as 3 meters amounted to 4 yellowish light illuminated. Three large-scale statues located within the cubicle of this Mendut Temple named the statue of Dyani Buddha Cakyamuni or Vairocana, Avalokitesvara statue and Bodhisatva Vajrapani statue.

Dyani Buddha Cakyamuni statue located in the center, was sitting with legs menyiku down with the hand position twisting wheel dharna. The statues are carved out of solid black material intactly so as to produce the usual masterpieces of luaar. There are rangants of fresh flowers, hiolo and hio located in front of the statues.

After you feel enough to see purwa rupa statues, it's time you leave the gate of Mendut temple by passing a row of souvenir kiosks. Next you will also see Buddist Monastery which is a quiet, open and public place. A number of stupas and lotus flowers in the pond adorn the road to Buddist Monastery.

Starting at 19:20 pm every night, this is held chanting ritual or meditation by looking to listen to music and singing. Anyone can follow the riitual chanting and not necessarily Buddhist.

Location

Mendut Temple is located in Mendut Village, Mungkid District, Magelang Regency, Central Java Province. Located about 38 km to the northwest of Yogyakarta.

Access

Mendut Temple is located 3 km east of Borobudur temple or 1.5 km to the north from Pawon temple. When you go to Borobudur Temple will pass by looking at the board to Mendut Temple. From the highway you can see where it is

Ticket price

The ticket price to enter this place is Rp. 3,000, - per person

Amenities

Facilities contained in this place in the form of parking vehicles, toilets and some food stalls are managed by the surrounding residents.

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.

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.