Rencong traditional weapon of Aceh – Indonesia

Preliminary
Art has a broad meaning, not limited to just one issue only. Before we discuss a lot so it's good we first understand the meaning of art. Art comes from the word art, according to the dictionary of art is the skill to make quality work in terms of subtlety, beauty and so on; also a work of art created with exceptional skill, such as: dance, painting, carving, which included also in it art namely craft crafts. Community activities are often not separated from the elements of art so that art becomes a significant portion and a portion of the form of culture.

Each community has its own range of art, are different from one another because it is influenced by the mindset, environment and location of its territory. Art associated with the expression, for Dilthey (1979.1986) expression is a source of knowledge about human beings, who have six characteristics: an expression always has a certain meaning, there is a unique relationship between expression and what is expressed 2. Causal relationship is not shaped and not temporal; expression is a physical trait that refers to the mental content; expression appears in a context or a portion of the configuration; have certain rules, either written (such as language), or not; expression has two contradictory properties , on the one hand are purposeful (to appear in the form of text, sound and motion intentional) 3, in particular the atmosphere can also be a deliberate act that does not yet have meaning.

There are two basic expressions of the mind and mood of life. Expression arising from the intention of the mind, for example the concept and structure of the mind. Both are an essential element in dealing with science and logic. Therefore, the expression is meant in this category are in the field of science and requires the validity of the escape from a situation that dimunculkannya. The second basis for the birth of an expression is the atmosphere and life experiences (life - expressions) 4. In this category of expression is not the intention of the mind, but is conditioned by the mind. In contrast to the expression that was born from the mind, the life-expressions show more facets of life, with emotional and psychological nature is quite prominent. Another difference from the foregoing is this expression can not be separated from its context. Understanding be very difficult because the interpretation may change depending on the atmosphere that context. Nevertheless, through the expression of this type one can understand a mental content, although the issue is not to be starting the measuring. The nature of such expressions is the same as stating the nature of the symbol but it also hides the meaning of the symbol itself.

Moving on from the characteristics mentioned above, whether by reviewing its own work of art then we can assess the mental aspects of the artist?. In this case Dilthey distinguishes two forms of art that is; works of art which he calls an authentic and inauthentic works. A work that is not authentic is not talking about mental content of the artist, because such works is only an illusion. This work can be separated from the mental content of the artist, because the interests of the artist strongly influenced by the practical things that are stronger than life experiences stored in his mental content. In these circumstances it seems we can only enter the artist's interests and not to expand on his mental content. An example is the interest of artists who work for the material needs.

Various forms of artwork is an expression of identity, a statement like this because it is influenced by two issues. First, the researchers succeeded in entering the mental content of an artist who gave birth to authentic works, such as the study of calligraphy Pirous Kenneth George. The second problem, the process of interpretation of a work of art deemed important enough that in turn works it could become a means of contestation to be a representation of identity. One of them is an example of the meaning of art expression, it is very clear to the study of Jennifer Santos about Tegallalang rural crafts, Bali.

In current conditions there is no work of art that express an identity, because let's say that the national and global identity has entered widened portion of the artwork. Understand the concept shifted into the representation of identity identity that no longer refer to one characteristic of a community group, but as a place of konstestasi. Thus the expression no longer be separated from the politics of culture. Issues arising in any move, because people began to notice a heterogeneous society with pluralistic nature of culture, which in turn become an important portion of the study of the multicultural society that emphasizes the existence of a large number of differences within a pluralistic and heterogeneous society, including his identity. In other words, the concept of multicultural acknowledge the differences in the different identities that (intra-cultural differentiations.)

In connection with the explanation that the expression of their art above the blacksmith is a portion of the expression of art, originated from the idea and set out in the forging of iron with varied models, beautiful and interesting. The tools created tools such as: agricultural tools such as hoes, machetes, lham, langai eyes and so forth. Household items such as: geunuku (coconut measuring instrument), Sundak (coconut peeling tool), Sikin (vegetable cutter), parang (wood cutter), rheun (wood splitting tool) lesong beuso (tool grinding flour), cubek (where pounding betel), cupeng (pubic cover girls tool), mandroh and so forth. The tools for hunting such as: tumbak. This equipment is the result of the blacksmith used for everyday purposes and evolved into people's livelihoods. We study the topic this time is Rencong. Rencong very famous as a weapon to defend itself and contains specific meanings that are believed by the people of Aceh. How far rencong manufacturing techniques and the meanings contained within it will be disclosed in the results of this paper.

How to Make Rencong
Technics manufacture of iron tools already developed in the region of Aceh. In addition to be made for its own purposes, also for sale to other areas inside and outside Aceh. Manufacturing techniques have reached a good level, the goods produced are often not sufficient. This can increase the desire of workers to produce more and improve the quality of its quality, so rencong shape varied and interesting carvings. Migrants from outside the area that carry many decorative rencong as souvenirs from Aceh.

Rencong-portion portion is: Hulu rencong; Engraving rencong; Stomach rencong; Edge rencong; Limitation Rencong. To beautify rencong then enriched with variations make carvings on the handle. Carvings of gold used in the upstream, the nipple and stem Rencong. This form of engraving depends on the willingness sipemakai or creator.

To beautify the art found on a rencong then compounded by the making of the scabbard. Rencong Gloves are usually made of wood or buffalo horn and some of elephant ivory. Wood is used among other things: tub keupula (flower cape), Tub arrow (shaft jackfruit), bak mee (tamarind rod) and other motifs sebagainya.6 The sheath consists of motifs rencong fauna and flora motifs. Motif fauna are: carving snake, dragon, rooster, parrot, butterfly and floral motifs, while others are: the drawings of flowers, fruits and leaves.

Production of these goods are made in the forging of iron, called pandei beuso. Each pandei beuso (blacksmith), led by a utoh beuso (carpenter / blacksmith) and an assistant as well as the workers.

The tools used by pandei beuso (blacksmith), among others: the furnace (where the turn on the fire), wind to blow the fire pump is made of goat skin, where water for electroplating iron, iron hammers, hacksaw, miser, the base for a hit iron and form the object to be forged, clamp and others. The raw materials used: ordinary iron, steel, iron debris, brass and white iron with iron notes should not rust.
Iron to make iron rencong be a good choice and free from rust, usually white iron to prevent rust, but may also be other irons, this will depend on the willingness-doer or sipembeli. White iron is more expensive than ordinary steel. There is also rencong made of iron mixed with a little copper or brass or gold. It is important that if there are people who have supernatural knowledge (magic) against weapons of iron, hence the presence of copper or gold at the then estimated immunity rencong his knowledge will be reduced. As with the iron to create a kitchen knife, this is enough iron anything. To make this machete require iron for the machete is hard not soft or broken (usually by motor or railway iron) and later it can result in a sharp machete

Art Rencong
Rencong including one of the traditional art, since ancient times berfungi rencong in its use as follows: As a jewelry; rencong is used daily for accessories (clothing) is tucked at the waist; As art (sculpture) and as a tool of art as used in Seudati dance performances; Rencong as a tool used as a tool pelobang midrib thatch and so on; Rencong as a weapon of war to face enemies who want to colonize Aceh war such as Britain, the Netherlands and so on. According to historical records rencong came into use during the reign of Sultan Ali Mugayatsyah Kingdom of Aceh in the years 1514-1528. At that time was still oriented toward the Islamic faith who are very influential in social and cultural life of society in the region of Aceh. So the position rencong are as follows: the handle is curved and thickened at the elbow portion Ba is the Arabic script; Bujuran grip shaped handle of the Arabic script Sin: The forms that taper downward in the base metal near the handle is an Arabic script Mim; lane-lane iron from the base of the handle until near the end is the Arabic script Lam and the pointed tip of the upper flat and lower portion which is slightly curved upward Arabic script Ha. Thus a series of letters BA, MIM, HA LAM and realize that the sentences "BISMILLAH". It deals with a heroic spirit in the form of sharp weapon that was used as a weapon of war to defend Islam from the colonization of people who are against Islam. At present this to the Aceh Besar district where there rencong forging in the village of Temple (Sibreh) and village Lamblang (Darul Emirate). In ancient times where the forging is spread across all of Aceh Besar, among others: Kampung Pandee; Seuneulop; Lam Blang; Baid; Ulee Kareng; Lam Pakuk; Indrapuri; Seulimeum; Lhong and so forth. But for now there is now the place is still empowered and many are already no longer empowered. This is caused by a factor of human resource capacity because of limited capital and business.
Rencong types include: Rencong Meupucok, Rencong Meucugek, Rencong Meukuree and Rencong Pudoi.

1. Rincong Meupucok
Rencong that use gold engraving on the handle portion above. The handle looks small on the bottom portion and enlarged on a portion expands upon it. The surface of the portion of the carved gold. Form of carvings, among others: Flower chain, leaf Flower, Flowers roses and there is also a form of Arabic script. Hulu rencong Meupucok is covered with gold engraving on the upper portion, a portion is wrapped with gold nipples and are usually made of horn and ivory.

2. Rencong Meucugek
This Rencong use cugek (curved-handled 90%). Cugek curved rear portion rencong eyes approximately 15 cm so as to form right-angled. Cugek this point effectively is not easy to escape from the hands when performing self-defense, so it can mmenerkam and stabbing your opponent in repeatedly and easily removed again despite its axis in a state of bloody because cugek as retaining the rear portion of the wrist.

3. Rencong Meukuree
Rencong who have kuree on the eye. Kuree form various shaped something like: flowers, snakes, centipedes, root wood, leaves, and woody. This image is not intentionally created, but it formed itself rencong time it was forged. Rencong is different from the others, the longer kept kureenya and increasingly more expensive and increasingly magical.

4. Rencong Pudoi
Pudoi secondary meaning (usually). It can be seen from the handle. The handle is not the same rencong rencong meupucok, meucugek or meukuree. Hulu rencong pengangan Pudoi is without variation, complain (wrapping a portion below the upper and nipples which are sometimes raised slightly so as not covered by a simple receiver when plugged into the target. Handles rencong Pudoi there is no arch. Rencong history began in 1904 Pudoi Netherlands not allowed to use it. So the ban is extremely hurt people of Aceh and contrary to the customs prevailing at that time. The other way is to fool the Dutch regulation is a way to change the shape rencong meucugek (meucangee) Else kebentuk rencong rencong Pudoi. With the changes in shape then the people of Aceh still wear it without being noticed by the Dutch unless checked his whole body. As for hiding the existence of rencong then tucked under the waist sarong pants ataupu without known by the Dutch, so they do not comply with the ban on Dutch.

Meaning Rencong In Aceh Community
Rencong one of the traditional weapons and is considered nutritious, not arbitrary in the manufacturing process. How to choose an iron menempanya and should not be carelessly like making other kinds of sharp weapons. The realization of a chip-shaped rencong Bismillah with Allah's name written in Arabic script. A unique feature of the handle shape looks very different from other weapons in Indonesia (like dagger in Java). Rencong at the end of the handle portion is slightly bent palm of the hand upward, so that if it had been bloodied rencong fixed grip will not be released. This is why the Portuguese army was amazed to face the Kingdom troops in Aceh (Sultan Al-Qahar) in close battles that have been used as a weapon rencong efficacy. Rencong very useful in the Kingdom of Aceh, this can be evidenced by the expulsion of the Portuguese army in the straits of Malacca and mengahalau Portuguese soldiers who want to grip his nails on the island of Sumatra.

The Acehnese people have confidence that there are efficacious rencong and this is usually a legacy to the next maintained and well guarded. Rencong heritage should not be used carelessly or if you do not need to correct the condition may be to use a new urgency. Therefore rencong have certain powers, as well as to maintain the honor. Keep it should not be carelessly sipemakainya place must be kept secret.

In addition it also has properties rencong if we go wandering or walking at night in the dark it will be a friend or friends, because such creatures:

Jin, Devil and Tulueng Dong7 (literally meaning the bones or skeleton man standing), then rencong to protect that person. This is caused by supernatural powers contained in rencong heirloom tucked in his waist.

Another issue that can help with the rencong heritage is when someone possessed, by soaking in water and water rencong given a drink to the sick will soon recover with the permission of Allah. Rencong portion of the knife should not be bergores in the human body because it will cause infection contain toxins and soon that person will die.

Rencong also has a taboo that should not be dilanggarkan them if we want to show to friends rencong blade should not we remove from the holster. Moreover, we get to trick-or menyentik nyentik the pointed tip of it before friends or in public, it is strictly prohibited. Because the consequences will be disastrous for sipemiliknya.

Such benefits and dangers rencong, therefore rencong should not be used by random people especially for those who can not wait. However rencong in ancient times became seizure, each wanting to possess it. Due to their social status has changed rencong because he would be feared, respected and revered by friend and foe alike.

In addition to these issues has the advantage for sipemakainya rencong to be respected and have good fortune wherever he goes and when he is in a difficult situation or have an accident then there is only going to help and help her so that she be separated from the misfortune or misery. This is a belief shared by the people of Aceh in times of old, these beliefs today has shifted in accordance with the shifts of time and knowledge, and besides this rencong not a haphazard thing but has become a rare thing.

The existence of a combination of art and Islamic culture in the creation of a form of Arabic script rencong (Bismillah) with the name of Allah is a very sacred power to control the behavior of mankind lives with God as the creator. According to historical records mention rencong has provided enthusiasm and encouragement for the ancient fighters to expel the Dutch from Aceh, so many Dutch soldiers who were killed with guns Rencong.

Cover
From the description above, several conclusions can be formulated as follows:
1. Art is not limited to one scope only, but will cover various aspects of art: dance, painting, carving, and including in it the art of craft. So also with traditional rencong Aceh, carving the handle and model variants contain a mix of art and culture of Islamic Aceh. Rencong have a beautiful shape, for the Acehnese past rencong very useful, efficacious and also expensive. For now this traditional rencong has become a rare item, only on certain people and in the storage-storage of cultural heritage such as the Museum and in other documents.
2. Not all the people of Aceh can make rencong, This is caused by the technique of making the difficult, often by using special techniques that include materials and equipment.
3. At the time maintaining the independence of Indonesia, rencong become a useful weapon to drive out the occupation in Aceh.
4. Rencong making business should be preserved and provided motivation for the development of its business.

Mandau, Special Weapons Dayak

In earlier times in case of war, ethnic Dayaks in general use their unique weapons, namely Mandau. Mandau is a heirloom that generations used by the Dayak tribe and diaanggap as a sacred object. Besides being used at the time of the battle Mandau is also commonly used by the Dayak tribes to accompany them in their daily activities, such as slashing or cutting meat, herbs, or other objects that need to be cut.

Usually, the layman will often confusion between Mandau and the threshold. Lay people or people who are not accustomed to seeing or even holding the Mandau will be difficult to distinguish between Mandau with a threshold because when viewed by naked eye are both almost the same. However, both are very different. But if we look in more detail it will show very striking differences, namely the Mandau are carved or inlaid with gold, copper, or silver and Mandau more powerful and flexible, because the Mandau made of volcanic rock that contains iron and processed by an expert. While the threshold is only made of ordinary steel, such as besu per car, chainsaw blades, discs vehicle or other iron rods.

Mandau or Threshold Birang Bitang Pono Adjunct Kajau should be kept and treated with either a special place to honor. Because of the Dayak tribe believes that the Mandau has a spiritual power that can protect the owner from attacks or malicious intent of his opponents. And the Mandau is also believed to be guarded by a woman, and if the owner of the Mandau is a dream to meet with women who inhabit the Mandau, then the owner will get a fortune.

Mandau except made of iron and carved volcanic rocks, returned or upstream Mandau (a place for holding) made carved using buffalo horns to the back of his black. And using deer antlers for return of the white. Making home can also use wood kayamihing. At the end of the home were given or placed animal fur or human hair. To be able melengkatkan a Mandau with a return can use the sap wood which proved to be very strong sambun kerekatannya.Setelah was then tied up again with jangang, but if jangang hard to find to use uei (rattan).

Mantikei iron used to manufacture raw materials can be found in the area Shellfish Mandau Gambir, Jangkang Karo river, a tributary of the river Mantikei Samba deviation Katingan River, and Tumbang Atei.

Incomplete presumably if the Mandau does not have kumpang. Kumpang is called glove for Mandau, Mandau kumpang Mandau is a place for the entry of the eye is usually covered with deer antlers. In kumpang Mandau given tempuser Act, namely made of woven ties uei (rattan).

At the front of the kumpang made a glove save langgei puai small place. Langgei puai is a type of small knife as a complement Mandau. Long stem about 20 cm from the eye anggei, the shape is smaller than the stalk. The function of langgei puai is to smooth or clean objects, for example rattan. Sarong or kumpang langgei always attached to the kumpang Mandau. So it can be said that between Mandau and langgei puai is a unity that can not be separated.

Special Weapons Kujang West Java

Most people know Kujang West Java. However, not many of them are able to know in depth the history or background behind the symbol Kujang. Kujang kind of weapon known only to the extent typical Sundanese with a tapered shape. The rest may be, Kujang known only as a symbol of the government of West Java Province. Most people know Kujang West Java. However, not many of them are able to know in depth the history or background behind the symbol Kujang. Kujang kind of weapon known only to the extent typical Sundanese with a tapered shape. The rest may be, Kujang known only as a symbol of the government of West Java Province.

Not only that, although people believe Kujang West Java as a symbol of the greatness of Sundanese people and tend to be seen to have magical powers, not much literature that gives an explanation of this tool

So the limitations of the information can be bridged by a virtual space that is no longer bounded space and time.

Coat West Java

Kujang according SundaNet.com is a unique weapon in terms of both form and historicity. Kujang generally been recognized as belonging to indigenous Sundanese. Is characteristic, both as weapons, farm tools, symbol, decoration, or souvenirs. More than that Kujang is a symbol of the Regional Government of West Java. What exactly is so special about Kujang? Why would he have suggested sacred and magical power? Why choose Kujang West Java as a symbol and not other objects? Some interesting questions for further examination. Although not many sources (literature) that can provide information about it.

Nevertheless, data or information about Kujang some of which are listed in Pantun Bogor, Terah Wawacan Pasundan, Keris and Other Weapon of Indonesia, including oral sources in Bandung, Sukabumi, Panjalu (Ciamis), Sumedang, Cirebon and Garut.

Other written data can be obtained from Djatisunda Anis, a fieldworker Kanekes expert who lives in Sukabumi. Anis has developed a paper (1996) titled "The Story Pantun Kujang Bogor" that prepared for a gatrasawala about cleaver but canceled implemented. Other information can be obtained from the book Discourse essay Nonoman Terah Pasundan Rohmat and HS levels Ranggawulya. This data was obtained from books and orther Keris Weapons of Indonesia essay Mubirman Profile, Province of the Republic of Indonesia (West Java), and Devotion Parliament DT. I Jabar that all three are found in the library administration Jabar.

While the brochure from the Bayu-led Gosali Pamor Siliwangi S. Hidayat can be complementary, because crafters Tosan Aji is one that is consciously intended to preserve the cleaver as a classy souvenirs. Clothes from the writings obtained information about cleaver-making techniques that have been using modern day technology.

Sharp and critical

When referring to the description SundaNet.com, then it can be a common thread that Kujang is a tool that in fact reflect critical acumen and power in life. Mainly when applied as a symbol of West Java, Kujang become a symbol that the community of West Java (Sunda) is a society which is also sharp and critical in looking at life and live every trip.

Looking at the form, function, and "certification" of the users of these tools, proving Kujang is not merely ordinary tools. But a typical weapon that designation is only used by certain people with certain criteria. Instead, it can be interpreted, that the people of West Java with Kujang as pelambangnya is a heroic society, and not a haphazard or ordinary people. Whether it's in the character of individual and collective society Kesundaan. As contained in the philosophy pangadegna.

Not only that, with Kujang as pelambang, Sundanese and other international community to find a groove Pajajaran search history of the kingdom. As in the writings of Kujang who write them or implies about it. A "road" which of course requires strengthening, support, and analysis of other sources of Kujang. So that sort of moved through Kujang search effort origin. Moreover Kujang not only unique weapon known as the Sunda or souvenirs

from a gift shop that purchased upon leaving Parahyangan but also a symbol of the community named West Java. Coat Sundanese.

Specific Groups

Though synonymous with the existence of the kingdom Kujang Pajajaran in the past, but the news Pantun Bogor (PB) did not describe the instrument used by the entire society in general Sundanese. These tools are used only certain groups such as the kings, King anom, class pangiwa, panengen, clerical group, the princess and certain women's groups, and the kokolot. Meanwhile, ordinary people using other paraphernalia such as machetes, congkrang, sinduk, and so forth. Even if there are using Kujang, limited type of trimmer for farming purposes.

Each user Kujang, have the convention division of shapes. It was determined the social status of each. Kujang form to the king will not be the same as or ranks Kujang Balapati pratulap and so on. Through these distribution functions are drawn stages officials listed in the structure of the Middle Pajajaran State Government positions, such as King, stepped down and Brahmesta, Prabu Anom, Bojapati; Bopati Panangkes or Balapati, Geurang Seurat, Bopati Pakuan outside Pakuan; Patih including Patih Tangtu and Mantri Paseban; Lulugu; Kanduru; sideline; Jero including Jero Tangtu; Bareusan, teachers, and Kokolot Pangwereg.

Position Prabu Anom until Berusan, Master also Pangwereg, incorporated in the class of pangiwa and Panengen. But in Kujang usage is determined by the alignment of tasks and their respective functions, such as Kujang Ciung Eye-9 is used only by kings.

Angklung is a Genuine Traditional Musical Instruments of West Java, Indonesia

Angklung is a famous traditional music instrument made from bamboo and is an original musical instruments of West Java, Indonesia. Formerly, angklung holds an important part of the activity of certain ceremonies, especially at harvest time. Angklung voice believed to invite the attention of Dewi Sri (Nyi Sri Pohaci) which will bring fertility to the rice farmers and will give you happiness and prosperity for mankind.

Angklung the oldest extant in history called the Angklung gubrag made in Jasinga, Bogor, Indonesia and has reached 400 years old. Today, some are stored in the Museum angklung Sri Baduga, Bandung, Indonesia.

Over time, Angklung is not only known throughout the archipelago, but also spread to various countries in Asia. At the end of the 20th century, Angklung Daeng Soetigna created based on the sound scale diatonik. After that, angklung has been used in the entertainment business since this instrument can be played combined with a variety of other musical instruments. In 1966, Udjo Ngalagena, a student of Mr. Angklung Daeng Soetigna developed based on the sound scale Sundanese musical instruments, namely salendro, pelog, and madenda.

Various kinds of Angklung

1. Angklung Kanekes

Angklung Kanekes area (we often call them Badui) is used primarily because of its relationship with rice ceremony, not solely for the entertainment of people. Angklung is used or is sounded when they grow rice in shifting cultivation (field). Angklung Kanekes sounded when people grow rice, there are only rung Commons (dikurulungkeun), especially in Kajeroan (Tangtu, Bedouin Jero), and anyone with a certain rhythmic, namely in Kaluaran (Outer Baduy). However, angklung still can be displayed outside the rites of rice and keep memunyai rules, for example, may only beaten until his ngubaran pare (treating paddy), about three months from the time planted rice. After that, during the next six months all the arts should not be played, and can be played again on the next rice planting season. Closes angklung implemented with event called musungkeun angklung, namely nitipkeun (leave, keep) angklung after use.

In the presentation of entertainment, usually held during angklung bright moon and no rain. They play in the game angklung (page widespread in rural areas) while singing various songs, among others: "monkey Kasarung", "Yandu Aunt", "Yandu Sala", "Ceuk Arileu", "Oray-orayan", "Dengdang" , "Yari Gandang", "Oyong-Oyong Bangkong", "Body Kula", "Kokoloyoran", "Swing-swing", "Pileuleuyan", "Gandrung Mangosteen", "Rojak Gadung", "Mulung Muncang", "Giler" , "Ngaranggeong", "Aceukna", "Marengo", "Salak Sadapur", "Rangda Ngendong", "Celementre", "Keupat Reundang", "Papacangan", and "Culadi Dengdang".

The drummers angklung eight people and three drummers drum small size make the standing position while walking in a circle formation. Meanwhile others had ngalage (dance) with a specific movement that has been raw but simple. Everything is done only by men. This is different from the Bedouin community, they are limited by custom with the various rules pamali (taboo, taboo), should not be doing things excessive worldly pleasures. Art solely for ritual purposes.

Angklung names in Kanekes of the largest are: ovarian, ringkung, Dongdong, gossip, engklok, ovarian leutik, torolok, and Roel. Roel which consists of two pieces held by a angklung. The names of the longest drum are: drum, talingtit, and percussion. The use of drum instruments there is a difference, namely in the villages they wear bedug Kaluaran three pieces. In Kajeroan, Cikeusik village, just use the drum and talingtit, without percussion. In Kajeroan, Kampung Cibeo, just use the drum, without talingtit and percussion.

In Kanekes who is the person entitled to make angklung Kajeroan (Tangtu, Bedouin Jero). Kajeroan consists of three villages, namely Cibeo, Cikartawana, and Cikeusik. In all three villages is not everyone can make it, only that have offspring and have the right to do just that in addition to the requirements of ritual. Angklung makers in the famous Cikeusik is Amir's father (59), and in Cikartawana father Tarnah. People buy from people Kajeroan Kaluaran in three village.

2. Angklung Dogdog Lojor

Art is available at the community dogdog lojor Kasepuhan Pancer Pangawinan or customs union Banten Kidul scattered around Mount Mist (adjacent to Sukabumi, Bogor and Lebak). Although this art is called dogdog lojor, the name of one of the instruments in it, but there is also used angklung because the connection with the ritual of rice. Once a year, after harvesting the whole community held an event or seren Serah Taun Taun on traditional village center. Traditional village center as a place of residence kokolot (elders) the place always on the move as directed supernatural.

The tradition of respect for rice in this community is still carried out because they included people who still adhere to old customs. By tradition they claim to be descendants of the officers and soldiers in the palace Pajajaran Baresan pangawinan (soldier armed with a lance). Kasepuhan community has embraced Islam and somewhat open to the influence of modernization, as well as entertainment things worldly pleasures can be enjoyed. This attitude also affects the function of art in terms that since about the 1970s, dogdog lojor has been progressing, which is used to enliven the circumcision of children, marriage, and other festive events.

The instruments used in the arts dogdog lojor is dogdog lojor two and four great angklung. These four fruit this angklung memunyai name, which is called the bark, then panembal, Kingking, and inclok. Each instrument is played by one, making a total of six people. Lojor dogdog Songs include: "Bale Agung", "Samping Hideung", "Oleng-oleng Papanganten", "Si Tunggul Kawung", "Adulilang", dan "Adu-aduan". These songs form of vocals with rhythmic dogdog and angklung tend to remain.

3. Angklung gubrag

Angklung gubrag located at Kampung Cipining, District Cigudeg, Bogor. Angklung has old age and used to honor the goddess of rice in the activities carry pare (rice), ngunjal pare (transporting rice), and ngadiukeun (put) into leuit (barn). In the myth angklung gubrag began there when a period of Kampung Cipining having a bad season.

4. Angklung Badeng

Badeng is a type of art that emphasize the musical aspect with angklung as the main instrument. Sanding there Badeng Village, District Malangbong, Garut. Used to serve as entertainment for the benefit of the Islamic da'wah. Badeng allegedly been used since the old society from the pre-Islamic for events associated with the ritual of planting rice. As an art to preaching trusted Badeng developed since Islam spread in this area around the 16th century or the 17th. At that time the population Sanding, Arpaen, and Nursaen study Islam to the Kingdom of Demak. After returning from Demak they preach spread the religion of Islam. One of the means of spreading Islam with the arts used was Badeng.

Angklung used as many as nine pieces, namely two angklung Roel, one angklung intelligence, four ovarian and Angklung Angklung father, two children angklung, two dogdog, two fruit fly or gembyung, and one kecrek. The text uses the Sundanese language mixed with Arabic. In its development is now also used the Indonesian language. The contents of the text contains Islamic values and good advice, and according to the purposes of the event. In addition to the show presented songs, well presented attraction supernatural powers, such as slicing the body with sharp weapons. Badeng Songs: "Lailahaileloh", "Ya'ti", "Kasreng", "Yautike", "Lilimbungan", and "Solaloh".

5. Bean

Beans is a performance art that is entertainment, of which there are at Baros (Arjasari, Bandung). At first the beans used at events related to rice farming. But at the present time beans are used as an entertainment art. This is related to the changing view of society that began less heed to the things smelled of old beliefs. In the 1940s can be regarded as the end of the ritual function in respect of rice beans, because since then beans turned into a show of entertainment. In line with that of rice storage places too (leuit, barn) began to disappear from people's homes, places replaced with a more practical bag, and easy to carry everywhere. Rice even now many are directly sold, not stored in the barn. Thus art beans that had been used for events ngunjal (carrying rice) is not needed anymore.

The name of art relating to a text string beans famous song among the people, ie "cis beans nyengcle ...". The text included in arts beans, so the art is called beans.

The instruments used in the arts beans: two angklung ovarian, two angklung ambrug, one angklung panempas, two angklung pancer angklung enclok one, three dogdog (one talingtit, one panembal, and one badublag). In its development, then added with tarompet, kecrek, and goong. Angklung beans barreled salendro with song vocals can barreled madenda or gamelan. Beans Songs include: "Badud", "Beans", "Renggong", "Senggot", "Jalantir", "Jangjalik", "Ela-ell", "Mega Beureum". Now the songs beans have used also the songs of the gamelan, with the singer who was the man angklung players, now by a special lady to sing.

Of the several types of bamboo to music in West Java (Angklung) above, are some examples of the performing arts angklung, namely: angklung beans (Priangan / Bandung), angklung Badud (East Priangan / Ciamis), angklung bungko (Indramayu), angklung gubrag (Bogor), angklung ciusul (Banten), angklung dog dog lojor (Sukabumi), angklung Badeng (Malangbong, Garut), and angklung Padaeng identical with national angklung with diatonic scales, developed since 1938. Angklung is derived from typical Indonesian Sundanese angklung development. Angklung Sunda who pitched five (salendro or pelog) by Daeng Sutigna aka The Etjle (1908-1984) changed his tone became Western scales (solmisasi) so that it can play a variety of other songs. Investment results and then taught to school students and played a big orchestra.

History Reog Ponorogo

Basically there are five versions of the popular story that developed in the community about the origins and Warok Reog, but one of the most famous story is the story of the rebellion Ki Ageng Kutu, a royal servant during Bra Kertabumi, the last king of Majapahit in power in the century -15. Ki Ageng Kutu will anger the powerful influence of the Chinese colleagues in the government and its king, king of the corrupt behavior, he also saw that the power of the Majapahit kingdom will end. He then left the king and established the college where he teaches young children martial arts, science self immunity, and the science of perfection in the hope that these young children will be the seed of the resurrection of the Majapahit kingdom again later. Realizing that his forces are too small to fight the royal troops, the political message conveyed by Ki Ageng Flea Reog performing arts, which is a "satire" to King Bra Kertabumi and his kingdom. The performance becomes a way of Ki Ageng Reog Flea build local resistance using Reog popularity.

In the show Reog displayed mask lion-shaped head, known as "Singa Barong", king of the jungle, which became a symbol for Kertabumi, and above it is plugged in peacock feathers to resemble a giant fan which symbolizes the strong influence of his Chinese colleagues who manage the over all movement geriknya. Jatilan, played by a group of dancers gemblak a rocking-horse became a symbol of the power of the Majapahit Empire troops into comparison with the strength warok contrast, behind the red clown mask that became the symbol for Ki Ageng Kutu, alone and sustain weight that reached more masks singabarong of 50kg using only his teeth. Popularity Reog Ki Ageng Kutu eventually cause Kertabumi take action and attack perguruannya, rebellion by warok quickly overcome, and forbidden to continue teaching college will warok. However, students still continue Ki Ageng ticks quietly. Even so, art Reognya still allowed to be staged because the show has become popular among the public, but the story has a new channel which added characters from the Roxburgh folklore Kelono Sewondono, Goddess Songgolangit, and Sri Genthayu.

Official Version Reog Ponorogo storyline now is the story of King Ponorogo who intend applying for daughter Kediri, Dewi Ragil Yellow, but amid the journey he was intercepted by King Singabarong of Kediri. King Singabarong troops consisting of peacock and lion, while the part of the Kingdom of Roxburgh and his Deputy Bujanganom Kelono King, escorted by warok (men dressed in black in the dance), and warok has a deadly black magic. The whole dance is a dance of war between the kingdom of Kediri and the Kingdom of Roxburgh, and pitted black magic between them, the dancers in a state of 'trance' during the dance stage.

Until now people just follow what Ponorogo into their ancestral heritage as a very rich cultural inheritance. In his experience art is copyright Reog human creations that form the flow of an existing trust from generation to generation and maintained. The ceremony also use terms that are not easy for lay people to fulfill it without a clear lineage. embrace their lineage Parental and customary law which still applies.

Performance Art Reog

Modern Reog usually performed in several events such as weddings, circumcisions and National holidays. Art Reog Ponorogo consists of several series of 2 to 3 dances opening. The first dance is usually performed by a 6-8 guy valiantly with all black clothes, with faces polished red. The dancers depict the figure of a lion is brave. Next is a dance that was delivered by a 6-8 girl who climbed the horse. In reog Traditionally, the dancers are usually played by male dancers who dressed women. This dance is called the dance lesson braid, which must be distinguished from other dances that lumping horse dance. Other opening dance if there is usually a dance by a little boy who brought the funny scenes.

After the opening dance is complete, the new core scenes show the contents of which depend on the conditions in which art is displayed reog. If related to the marriage then that is displayed is romance scene. For a celebration of circumcision or circumcision, is usually a story of warriors,

The scene in the art reog usually do not follow a neat scenario. Here there is always interaction between the player and the puppeteer (usually the leader of that group) and sometimes with the audience. Sometimes a player who was the stage may be replaced by another player when the player fatigue. More emphasis in the staging reog art is to give satisfaction to the audience.

The final scene is a lion barong, where the actor wearing a mask-shaped head of a lion with a crown made of peacock feathers. Weight mask can reach 50-60 kg. This heavy mask carried by the dancers with the teeth. The ability to bring this mask in addition to the weight gained by training, is also believed diproleh with spiritual practices like fasting and penance.

Controversy

Dance Reog Ponorogo who danced in Malaysia called Dance Barongan. Description of this dance will be displayed on the official site Ministry of Culture Arts and Heritage Malaysia. This dance is also using a mask suddenly peacock, tiger-headed mask on which there are peacock feathers, which is the original artificial Ponorogo craftsmen. Another problem that arises is when danced, in this reog affixed the words "Malaysia" and diaku a Malay heritage of stone sculpting Johor and Selangor Malaysia - and this is being further investigated by the Indonesian government. This triggered protests from various parties in Indonesia, including artists Reog Ponorogo origin who say that art copyright Reog listed with the number 026 377 dated 11 February 2004 and is known directly by the Minister of Justice and Human Rights Republic of Indonesia. Thousands of Artists Reog also held a demonstration in front of the Embassy of Malaysia. Contrary to the images listed on the site of culture, where suddenly peacock from version Reog Ponorogo danced with the words "Malaysia", Malaysian Ambassador to Indonesia Datuk Zainal Abidin Mohamed Zain in late November 2007 and then declared that "The Malaysian government has never claimed Reog Ponorogo as culture native country. Reog called "Barongan" in Malaysia can be found in Johor and Selangor because Java was taken by the people who wander into the neighbor country.

History Jaipongan Dance, Dance Sundanese

Jaipongan is a genre of dance that was born from the creativity of an artist from Bandung, Gugum Gumbira. Attention to folk art, one of which is 'Ketuk Tilu' know and know well make it perbendaharan dance movement patterns that exist in the tradition Kliningan / Bajidoran or Ketul Tilu. Opening movements, pencugan, nibakeun and several kinds of motion of several arts mincid above have enough inspiration to develop a dance or art that is now known as the Jaipongan. As a social dance, dance Jaipong successfully developed by the artist dances are popular in the community of Sunda and highly favored by the people of West Java (in particular), and even popular until outside West Java.

Calling real Jaipongan will not only remind people in a kind of attractive traditional Sundanese dance with dynamic motion. Hands, shoulders, and hips always been a dominant part in the pattern of the agile movement, accompanied by beating drums. Especially in female dancers, all of it is always accompanied with a sweet smile and cast in the eye. This is the kind of social dance in traditional Sundanese dance that emerged in the late 1970s that its popularity to this day still live in the community.

History

Before this form of performance art show, there are several forms of dance influences behind this association. In West Java, for example, social dance is the influence of the Ball Room, which is usually in a dance-dance association could not be separated from existence and pamogoran ronggeng. Ronggeng in social dance is no longer functioning for activities of the ceremony, but for entertainment or a way of hanging out. The existence ronggeng in the performing arts has an appeal that invites sympathy for the pamogoran. For example on Tilu Ketul dance is so well known by the Sundanese people, is expected this art popular around the year 1916. As the folk performing arts, this art is supported only by simple elements, such as waditra that includes fiddle, drums, two kulanter, three percussion, and gongs. Similarly, the dance movements that do not have a standard pattern of motion, a simple costume dancer as a reflection of democracy.

Along with the waning type of art above, the former pamogoran (spectators who play an active role in the performing arts Ketul Tilu / Doger / Tayub) switched its attention on the performing arts Kliningan, which in the north coast of West Java (Karawang, Bekasi, Purwakarta, Indramayu, and Subang ) known as Kliningan Bajidoran dance patterns and events that show has some similarities with the previous art (Ketul Tilu / Doger / Tayub). In the meantime, the existence of masked dances in Banjet quite popular, especially in Karachi, where some Bajidoran motion pattern taken from the dance in this Banjet Mask. In koreografis dance was still reveal the patterns of tradition (Ketul Tilu) which contains elements of the opening movements, pencugan, nibakeun and several kinds of motion mincid which in turn become the basis of the creation of dance Jaipongan. Some basic dance movements Jaipongan apart from Ketul Tilu, Ibing Bajidor and Mask Banjet is Tayuban and Pencak Silat.

The emergence of dance works Gugum Gumbira initially called Ketul Tilu development, that is because it is a basic dance from Ketul Tilu development. The first work Gugum Gumbira still very thick with color Ibing Tilu Ketul, both in terms of choreography and iringannya, who then dance it became popularly known as Jaipongan.

Typical Jaipongan kaleran style, which is fun, erotic, humorous, excitement, spontaneity, and simplicity (naturally, whatever they are). This was reflected in the pattern of presentation of dance on the show, there is a given pattern (Ibing pattern) as in art Jaipongan in Bandung, also there are also dances that are not dipola (Ibing Saka), for example in art Jaipongan Subang and Karawang. This term can be found in Jaipongan kaleran style, especially in the area of Subang. In the presentation, this kaleran Jaipongan style, as follows: 1) Tatalu; 2) Flower Gadung; 3) Fruit Kawung Gopar; 4) Dance Opening (Ibing Pattern), usually performed by a single dancer or Sinden Tatandakan (sinden attack but can not sing but dance songs sinden / interpreter kawih); 5) Jeblokan and Jabanan, is part performance when the audience (Bajidor) Sawer money (jabanan) while greeting paste. Jeblokan term is defined as couples who settled between sinden and the audience (Bajidor).

Dance Development Jaipong

Work Jaipongan first began to be known by the public is dance "Leaves Pulus Keser Bojong" and "Rendeng Bojong" both of which are types of dance girls and dance in pairs (boys and girls). From the dance that emerged a few names that are reliable Jaipongan dancers like Tati Saleh, Yeti Mamat, Eli Somali, and Pepen Dedi Kurniadi. Early emergence of the dance had become a conversation, the central issue is the movement of the erotic and vulgar. But from the few print media exposure, name Gugum Gumbira becoming known society, especially after the dance Jaipongan in 1980 staged at the central station TVRI Jakarta. The impact of the popularity of the more increases the frequency of performances, both in the medium of television, a celebration or celebrations held by the private sector and government.

Attendance Jaipongan significant contribution towards the instigators of the art of dance to more actively explore the types of folk dances that were previously less attention. With the emergence of dance Jaipongan, used by activists to organize dance courses dance Jaipongan, used also by businessmen pubs as a decoy night invited guests, where the development of further business opportunities this kind of dance was formed by activists as an effort by the economic empowerment Dance Studio names or groups in some areas of West Java, for example in Subang with Jaipongan style "kaleran" (north).


Further development occurred in taahun dance Jaipongan 1980-1990's, where Gugum Gumbira create another dance such as Toka-toka, Setra Sari, Sonteng, Pencug, Heron dazed, motorcade procession Leaf-Puring, Rawayan and dance Kawung Anten. From these dances appear some skilled dancers Jaipongan include Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepy, Agah, Aa Suryabrata and Asep.

Today the dance Jaipongan be called as one of identity keseniaan West Java, this is apparent on several important events relating to visitors from foreign countries who came to West Java, it was greeted with Jaipongan dance performances. Similarly, with art missions to foreign countries, always equipped with a dance Jaipongan. Dance Jaipongan affect many other crafts in the community of West Java, both on the art of wayang, gamelan, Genjring / Terbangan, Kacapi jaipong, and almost all public performances as well as on modern dangdut music which collaborated with Jaipong.