Indonesiana Vol.12 The Sparkling of Indonesian Culture

12 VOLUME

2021

THE SPARKLING OF INDONESIAN CULTURE

Gathering of “Ngabudayan”

Sangiran Residents Rupa Prayer and Zakat Nasirun Cultur Prayer Strands on Each Toraja Sheet of Weaving Cloth ISSN 2406-8063

9

772406

806005

Let us Find and Recognize the Potential of the Village to Be Empowered

Indonesia One, One Indonesia Zul Lubis

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2 INDONESIANA VOL. 12, 2021

INTRODUCTION

RESTU GUNAWAN Director of Culture Development and Utilization

Foreword Praise be grateful, Alhamdulillah

the Sangiran Preservation Center for

the activities were carried out by involving

Indonesiana Magazine Volume 12, 2021

Ancient Human Sites (BPSMP), the

the physical aspect. In addition, the public

can be present in front of esteemed

Sragen District Government, and the

is also expected to get to know and give

readers. Still in the midst of a pandemic,

Karanganyar District Government,

further appreciation to the Sangiran Site

the editorial team of Indonesiana

as well as the Outer Box Community

as a world heritage, as a place that stores

Magazine continues to strive to

Group, this activity was successfully

flashback stories about the process of

present quality readings about culture

held on 19-21 November 2021. A total

human evolution

from various parts of Indonesia. This

of 100 runners from various regions

certainly cannot be separated from the

throughout Indonesia participated in

The presence of Indonesiana Magazine

appreciation from the public both at home

this activity. It was carried out while still

vol.12 is expected to be a medium of

and abroad for Indonesiana magazine.

complying with health protocols and

cultural diplomacy, which continues to

Currently, all aspects ranging from social,

making new rules such as releasing

faithfully introduce and disseminate

economic, to education are adapting to the

runners through 5 stages. The

information on cultural wealth from

conditions of the New Normal, including

SangiRUN 25K Night Trail was held to

various regions in Indonesia. Various

Indonesian culture. This adaptation is

commemorate the 25th anniversary

cultural stories in the archipelago that

carried out through the implementation of

of the Sangiran Site which has been

have been recorded and illustrated in

hybrid cultural activities, both online and

designated as one of the world heritages

2017 are a form of commitment from

offline. SangiRUN Night Trail, Meet Cultural

by UNESCO

the Directorate General of Culture,

Advancement Villages, Development of

Ministry of Education, Culture, Research Not just running, participants can enjoy

and Technology, through programs that

various cultural performances at several

are supervised by the Directorate of

points in the village which is also part of

Cultural Development and Utilization

the priority program of the Directorate

in carrying out cultural missions that

General of Culture, namely the Cultural

refer to the Law of The Republic of

Advancement Village. This activity is

Indonesia Number 5 of 2017 Regarding

Entering the New Normal era, the

expected to be a positive trigger for

Advancement of Culture. Hopefully this

Directorate General of Culture continues

the economy of rural communities in

reading will be an inspiration for every

to fulfill its commitment by maintaining

the Sangiran area. The narrative that is

reader, especially the Indonesian people,

the flame of culture in the midst of a

built through this activity is also a good

to continue to contribute in advancing

pandemic. Various activities, such as

reflection for us, that past communities

culture, appreciating works and helping

the SangiRUN Night Trail, are held at

or ancient humans once lived in

to preserve it anywhere and anytime.

the Sangiran Site. In collaboration with

Sangiran, in which at that time most of

Cultural greetings!

Super Priority Destinations as well as National Culture Week are some of the adaptations of the Directorate General of Culture in the midst of an unfinished pandemic

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VOL. 12, 2021 INDONESIANA 1

12 VOLUME

2021

T H E S BUDAYA P A R K L I NINDONESIA G OF INDONESIAN CULTURE KILAU

ADVISOR Pengarah HILMAR FARID DirectorJenderal GeneralKebudayaan of Culture Direktur Penanggung Jawab PROJECT DIRECTOR RESTU GUNAWAN GUNAWA N Direktur dan Director ofPengembangan Culture Development Pemanfaatan Kebudayaa n and Utilization Koordinator Umum && MANAGING DIRECTOR Pemimpin EDITOR INRedaks CHIEF i BINSAR SIMANULLANG SIMANULLANG BINSAR Redaktur Pelaksana MANAGING EDITOR SUSI IVVATY IVVATY SUSI Redaktur Naska h EDITORS MARTIN SURYAJAYA MARTIN SURYAJAYA ALFIAN S. SIAGIAN ALFIAN S. SIAGIAN Redaktur Fot o PHOTO EDITOR SYEFRI LUWIS SYEFRI LUWIS Tata Letak DESIGN & LAYOUTER ZUL LUBIS Fotografer PHOTOGRAPHERS JESSIKA NADYA OGESVELTRY JESSIKA YUDHINADYA WISNUOGESVELTRY ARYAND I Sekretariat PROJECT ADMINISTRATORS POKJA PENGEMBANGAN DIREKTORAT PPK WORK TEAM DIRECTORATE of CULTURE DEVELOPMENT and UTILIZATION

Greetings The Covid-19 pandemic is still overshadowing the steps, but that does not mean we give up and lose. It is difficult to stay at home all the time when various activities require us to meet together. It is not easy. But in the midst of various limitations, we must remain trustworthy, even though ideas abound.

Over the past two years, the pandemic has taught us many things, one of which is adaptability. Many activities that were initially thought to be difficult to do without face-to-face meetings have actually been implemented. Activities, which at the beginning of the pandemic could only be held online with internet connections that were not all stable, were gradually being held in a hybrid manner, some participants being online and some participants being able to meet face-to-face. Currently, even though activity restrictions are mandated, more and more people “dare” to gather and hold activities quite lively. It is said that he important thing is to obey the health protocols. OK. A number of programs from the Directorate General of Culture of the Ministry of Education and Culture, Research, and Technology, from events such as the National Culture Week, SangiRUN Night Trail 2021, film and video production, to the arrangement of the Borobudur Temple area, are impossible to do online.

Luckily, the percentage of vaccine implementation in Indonesia is relatively high and positive cases of Corona have decreased, so that the competent authorities allow face-to-face activities. A number of the programs of the Directorate General of Culture can be read in the Indonesian Magazine Volume 12 which is in front of you.

At the end of 2021, Indonesiana Magazine will be published with more interesting topics to explore. The main topic of the village for the advancement of culture is still being chosen, considering that the program is a sustainable priority, as well

Ministry of Education, Culture,Kebudayaan, Research Technology, Kementerian Pendidikan, Riset, and Technology Indonesia dan Teknologi Republic Republik of Indonesi a Director of Culture Development and Utilization Direktorat Pengembangan dan Pemanfaatan Kebudayaan Gedung Lt. 9, 9, Gedung E. E. Lt. Jl. Jenderal Sudirman Kav. 4-5 Senayan, Jakarta 10270 (021) 5725534

as the spice route. Articles regarding objects of advancement of culture according to the Law Number 5 of 2017 Regarding Advancement of Culture photograph themes and stories from various regions in Indonesia which are rich in diversity and deserve to be protected, fostered, and utilized for their potential.

The fantastically beautiful Wastra (traditional weaving) from Toraja is guaranteed

(021) 5725534

to make us proud to own not only because the colors and motifs are like vitamins

indonesiana.diversity@gmail.com

to the eye, but also because they are rich in meaning. Wearing it makes us feel

http://kebudayaan.kemdikbud.go.i d http://kebudayaan.kemdikbud.go.id

comfortable and confident. The culinary wealth of the archipelago is recorded in

Indonesiana Magazine at promoting Indonesian Culture, Majalahaims Indonesiana bertujuan and is not fordan sale. untuk promosi budaya Indonesia, tidak diperjualbelikan.

KomentarComments atas artikel, dan lain-lain ditujukan onfoto articles, photographs etc. kepada: indonesiana.diversity@gmail.co m can be sent to: indonesiana.diversity@gmail.com

Sampul depan: GayaWomen bertenagafrom buruhThe pabrik genteng Jatisura .

Front Cover: Strong Village - Syefri Luwis (foto: Pandu Rahadian )

Back Cover : Play Together - Syefri Luwis Sampul belakang: Penari Caci dan kain Songke. (foto: Dodi Sandradi)

articles about traditional soy sauce and cheese which are very useful. The oral tradition of the Ulu Ambek from West Sumatra, the performing arts of the people from Sukabumi, to the stories from the kris museum in Solo are fun to follow. Do not forget to open the figures page, which this time features the artist Nasirun whose prestige and dedication has surpassed his work.

Let us keep the spirit in working and useful for others. We hope that Indonesiana Magazine will always inspire readers. Regards…

Editor in Chief

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INDONESIANAVOL. VOL.12 12,2021 2021 222 INDONESIANA INDONESIANA VOL. 10, 2021

GRETTING

HILMAR FARID Directorate General of Culture Ministry of Education and Culture, Research, and Technology Republic of Indonesia

Message Pandemics show the world that there

passed the test of time and laboratory

menu from rice to other food alternatives

are problems in the human life system

of survival so that it continues to be

such as sorghum, sago, and so on. In the

today. The problems surrounding this

brought into modern times.

field of clothing, we can start by choosing

outbreak are a direct result of the Old Normal manifested in a development model that sacrifices social integration and environmental sustainability for economic growth only. The climate crisis due to global warming, the strengthening of sectarian sentiment due to social inequalities, and the outbreak of zoonotic diseases such as COVID-19 are consequences of our way of life so far.

Therefore, to get out of today’s global crisis and tackle the pandemic, it is not enough just to vaccinate as the virus continues to mutate. What it takes is a lifestyle change. The question is, where to start?

This cultural resource is the capital to build a stronger future order and be resilient to the risks of modernity.

We have a traditional food source processing system that values the natural life cycle and the dignity of every living thing. We have an ancestral heritage processing system that is organic and does not pollute the

other and helping each other at the village level

the surrounding environment but are

real work, then comes the change that we

sensitive to the peculiarities of local

expect together.

geography. The variety of local wisdom should be our source of inspiration to

it does not cover all the cultural resources

Normal.

and cultural expressions that we have

revive the habit of taking care of each

actions together. From real action, from

culture that is the guide to the New

situations. Various knowledge, institutions

dwellings such as wood and bamboo and

programs and plans, but rather from small

That is not wrong and very important, but

resilience and durability to deal with crisis

housing, we can start by choosing natural

realize dwellings that are not hostile to

towards the New Normal. It should be

which are tangible or intangible, have the

away and buying new ones. In the field of

knowledge and technology that can

understood as art and cultural heritage.

down over time. Various cultural objects,

much as possible rather than throwing

Lifestyle changes will never start from big

formulate the direction of the steps

artifacts, and institutions that are passed

global trends, and improving clothes as

environment. We also have traditional

During this time, culture is often

we have. There are many values and ideas,

local fashion rather than following endless

Thus, I welcome the publication of Indonesiana Volume 12 Magazine which lifts the richness of the nation’s cultural heritage by delving back inspirations from villages, youth, maritime cultural practices, and various expressions of local

The new lifestyle is not an abstract

culture. All of which presents inspiration

motto that needs to be awaited through

for us to reorder a more sustainable New

complicated planning, but a practice that

Normal. Hopefully through this reading,

can be started right now. In the field of

we can all be more steadfast in taking local

food, we can start by changing our daily

cultural inspiration as a solution to today’s

consumption patterns, choosing local

problems as well as a guide to create the

foodstuffs, enriching the variety of our

future.

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VOL. 12, 2021 INDONESIANA 3

CO N T E N T S MASSAGE 1

2

Foreword Director of Culture Development and Utilization Restu Gunawan Greetings Editor

3

Massage by Director General of Culture Hilmar Farid

INFOGRAPHIC 40

INDONESIAN TRADITIONAL TEXTILE 44

MAIN TOPICS 6

Let us Find and Recognize the Potential of the Village to Be Empowered

10

Gathering of “Ngabudayan” Sangiran Residents

14

Race of Flying Duck, Wisdom from Rice Fielders

18

Enjoying the harmony in Bayan Beleq Village

22

Muara Kaman Ulu, Civilization in The Land of Birth of Kutai

26

Comic Strip: Cool Singosaren Village

EVENTS 28

National Culture Week: Spirit for New Normal, Nusantara’s Brilliant Spirit

32

Running Through the Passage of Time in SangiRUN

36

Conservation: Borobudur, Super Priority Tourist Destination

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Prayer Strands on Each Toraja Sheet of Weaving Cloth

PERFORMING ARTS 48

Rayak-Rayak Sukabumian, Gaul Dance Form Gratitude

CULTURAL PROPERTIES 50

Sangkulirang - Mangkalihat Prehistoric Rock Art in the Heart of Kalimantan

MANUSCRIPTS 54

Track Record of Children’s Dolanan in Ancient Manuscripts

MUSIC 58

Hunting for Sound in Tana Humba

TRADITIONAL KNOWLEDGE 62

4 INDONESIANA VOL. 12, 2021

Culture and Sports

Indonesian Cheese, Local Potential International Potential

CULINARY

LIFE STYLE 66

When Ancient and Present Share in Philatelic Buildings

86

ORAL TRADITION 70

Ulu Ambe, Crown of Authority of Ninik Mamak

SPICE ROUTE 90

Walking through the Biboki Kingdom Trail in Tamkesi Village 94

FINE ART 78

Human Facial Expressions in Masks

RITES 82

Diplomacy Of The Spice Route To a Cultural Superpower

MUSEUM

JOURNEY 74

Seeing Indonesia through Soy sauce Cap Sapi

Padepokan Keris Brojobuwono...........

FIGURE 98

Rupa Prayer and Zakat Nasirun Culture

PHOTO GALLERY

Song of Macapat Penghayat Society 104 Exotic Sounds from the East

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VOL. 12, 2021 INDONESIANA 5

MAIN TOPIC

Let Us Find and Recognize the Potential of the Village to Be Empowered

Light in Bantar Agung Asep Amirudin

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6 INDONESIANA VOL. 12, 2021 12 2021

Preening -

I

n the midst of the Covid-19 pandemic,

of Cultural Development and Utilization,

development, and utilization. In the three

the cultural advancement program

began with the preparation of a

stages, each initiative was initiated by

for villages through community

policy framework. The community

Daya Warga through assistance by Daya

empowerment was successfully

empowerment manual was compiled by

Desa. Daya Desa is a companion of village

implemented. This program is intended

M Panji Kusumah, I Gusti Agung Anom

culture as a facilitator that facilitates and

to strengthen the village’s efforts in

Astika, and Kusen Alipah Hadi, while the

allows the increase of the power in the

exploring the potential of local culture

preparation of technical instructions

village community (subject) as well as

as a solution to answer actual problems.

of village culture advancement was

an increase in the cultural power of the

Although the pandemic intensifies in mid-

compiled by the Empowerment

village (object).

2021, the active role of rural communities

Working Group, Directorate of Cultural

in this program is not receding but is

Development and Utilization. The manual

getting more massive. The enthusiasm of

and technical instructions are very

the villagers is worth appreciating.

important because they are a reference

The program, launched by the Director General of Culture of the Ministry

for the implementation of the village cultural advancement program.

Daya Desa is equipped with training to understand the development methodology of village culture in a participatory and experiential-based learning so it will increase the power, ability and confidence of the community

of Education, Culture, Research and

The program is divided into three

in knowing the cultural potential and

Technology, Hilmar Farid in April 2021

stages, namely the stage of finding

condition of the village. Meanwhile,

and managed through the Directorate

and recognizing cultural potential,

Daya Warga is a group of empowered

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VOL. 12, 2021 INDONESIANA 7

local villagers who are the subject of the

Although equipped with workshops,

villages, especially those that are remote.

promotion of village culture that is very

Village Power and Daya Warga still have

Another problem is the unstable internet

instrumental in finding and recognizing

difficulty in understanding the potential

network, even though the data on the

the potential of the village.

of culture in the field. This obstacle

page is important for material analysis of

arises due to the pandemic situation

promotion policies for the village culture

that encourages many villages to cancel

that can be accessed by the village,

various cultural activities or apply

district, and central governments.

The work of promoting village culture began with the assistance of ‘Daya Warga’ by ‘Daya Desa’ with the aim of finding and recognizing the cultural potential and condition of the village through participatory mapping. After that, Daya Desa together with Daya Warga reviewed the findings through gathering, discussion forums, shared learning forums, participatory map alignment

restrictions on activities. For this reason, the Directorate of Cultural Development and Utilization facilitates ‘Daya Warga’ by ‘Daya Desa’ to consult with online sources through training clinic forums that improve understanding and get solutions to problems in the field.

With all the limitations due to the pandemic and a relatively short time, 320 villages managed to realize the potential of the village and input the results to the cultured village page and the results were verified. At this stage, there are still a number of challenges, such as

and formulation of village problems to

The problems faced by each village are

the withdrawal of some villages from

produce idea maps along with village-

different, ranging from the absence of

the program because they are unable

level cultural activity designs. After

village government support, the existence

to carry out the role of facilitator in the

the development stage, they realized

of a ban on holding meetings, limited

midst of various technical difficulties

the ideas that had been discussed

power of citizens to meet potential,

in the field. In Liyu village, for example,

through the widespread involvement

to difficulty in accessing information

‘Daya Desa’ was asked to step down

of all villagers with one of the goals of

sources. One solution provided by the

because it was considered unable and

improving the welfare of the community.

source is to hold a limited number

replaced with others so that the village

This is called the utilization stage. That

of meetings, looking for information

continued the cultural advancement

is a general idea of how each of these

through books and the internet,

program to the utilization stage. Of the

stages is implemented.

although communication networks

320 villages in the finding-recognizing

and the internet are also a problem for

stage, 271 villages progressed to the

Culture Village -

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8 INDONESIANA VOL. 12, 2021

Big Mask -

No

STATUS OF OBJECTS OF ADVANCEMENT OF CULTURE AND CULTURAL PROPERTY

Absorbing -

STATUS OF OBJECTS OF ADVANCEMENT OF CULTURE AND CULTURAL PROPERTY

Growing

Still Surviving

Been Reduced

Endangered

Extinct

Broken

Destroyed

Dissapear

1

Oral Tradition

23

131

58

64

12

-

-

-

2

Manuscripts

10

32

4

12

3

-

-

-

3

Customs

77

533

104

75

14

-

-

-

4

People’s Game

25

100

110

84

35

-

-

-

5

Traditional Sports

19

64

64

43

12

-

-

-

6

Traditional Knowledge

153

459

130

81

11

-

-

-

7

Traditional Technology

64

237

89

60

15

-

-

-

8

Art

182

393

123

119

20

-

-

-

9

Language

10

35

13

15

2

-

-

-

10

Rite

32

207

34

33

8

-

-

-

11

Cultural Heritage

63

281

24

54

1

22

4

3

Table: Objects of Advancement of Culture and Cultural Property development and utilization stage, while

cultural properties obtained from the

System, which is a national-level data

the rest were still constrained in the

cultured village page from the finding and

system that collects all cultural data from

creation of an action plan. Results at the

recognizing stage of cultural potentials in

various sources. The more villages that

development stage were also verified and

320 villages.

include their potential data, the more

it turns out that many action plans still put forward the festival. Verifiers suggest that the action plan that was made meets the aspects of possible sustainability, the interrelationship between its potential, problems and actions, aspects of independence, the participation of villagers, as well as its development potential such as training, making process videos, and creating books.

Here is the data on the number of village culture potential based on 10 Objects of Advancement of Culture (OPK) and

In addition to village culture potential data and Objects of Advancement of Culture, there are also data on village history, cultural actors, village infrastructure facilities of community expectations, problems, photos and videos of village potential. This program is designed with a system that allows the data to be continuously updated and the application continues to be refined

accurate the basis of cultural policy making in Indonesia. In addition, the data is also useful for the respective village, namely as a mirror to read development opportunities that are sensitive to the local context, and can further support the socio-economic life of the community (Dewilisa Finifera, Directorate of Cultural Development and Utilization of Kemdikbudristek). Kemdikbudristek).

according to needs.

The data collection results are part of the Integrated Cultural Data Collection

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VOL. 12, 2021 INDONESIANA 9

MAIN TOPIC

Gathering of “Ngabudayan” Sangiran Residents

I

“Ayo nyanyi maneh…. Wis dibayar lho

Ngadek sigrak-sigrak nyandak kunca nuli

The folk song about a buto or a giant with

iki (ayo menyanyi lagi, sudah dibayar

tanjak/ Bali ngadek maneh rupamu ting

big bulging eyes and unkempt and scary

lho ini),” kata seorang penampil dalam

celoneh/ Kuwi buron opo tak sengguh

thick hair sounded very original and was

hajatan pasar budaya di Desa Manyarejo,

buron kang aneh/ Lha wong kowe we we

sung together by dozens of villagers. A

Plupuh, Sragen. Warga bergegas

sing mara marai/ Lha wong kowe we we

different impression will appear if we

bergerak setelah rehat sejenak. Mereka

sing mara marai/ Rupane kok ngono aku

listen to the Nella Kharisma version of

membentuk lingkaran, bernyanyi

wedi hi hi ayo konco podo bali/ Galo kae

the song with the dangdut koplo music.

mengelilingi lesung yang dipukul oleh

galo kae rupane terak-terok rok rok rok/

Around the art stage, there are bamboo

para perempuan tangguh desa itu.

Matane plerak-plerok rok rok rok/ Yo kulite

tents for selling soto, tempe mendoan,

“Buto buto galak solahmu lunjak-lunjak/

ambengkerok”.

market snacks, fruits such as bananas

10 INDONESIANA VOL. 12, 2021

a drama with the classic theme of the people’s struggle against the invaders.

Joko Purwanto, a retired teacher, played a valiant fighter against the Dutch, coincidentally Pak Joko is a man of tall stature so he looks good. Uniquely, the role of the captain from the Netherlands is actually small and short. Residents and visitors were made laughing. The cultural market is only noisy and lively if there are supporting activities, as said by Retno Anjarwati, who that afternoon was selling yellow rice. “If there are no events, it’s usually quiet here. Still selling, but yes, there is no art,” said Sutarman, a seller of boiled corn.

The cultural markets in the villages around Sangiran are indeed a means for residents to gather, share stories with each other, sometimes tell complaints, and occasionally come up with ideas for the progress of the village. As stated by Mother pounding with a pestle Syefri Luwis

the Head of the Sangiran Early Human Site Preservation Center, Iskandar Mulia Siregar, the communal and harmonious

archaeological site and included in the administrative areas of Sragen Regency and Karanganyar Regency. The eight villages include Krikilan, Ngebung, Bukur, Manyarejo, Somomorodukuh, Pungsari,

life of the villagers should be appreciated and considered as a good example. “In this place where the Javanese were born, the people are communal and solid.

Peace,” he said.

Brangkal, Rejosari, and Dayu. In addition

Iskandar’s statement may need to be

to singing and dancing, the attractions and mangoes which were planted by the

added, does not like to have prejudice.

displayed are traditional arts such as

residents themselves and happened to

We proved this when we visited the

reog and jathilan as well as folk theater.

be harvesting, as well as batik cloth and

house of a village head. The house turned

The cultural market is usually held every

handicrafts.

out to be empty and the door was left

Sunday although it is not always routine,

open with the key still hanging in its lock

but due to the 2021 SangiRUN Night Trail,

outside. The motorbike was parked in the

the cultural market was held for two

yard without being locked. On a whim

days, November 20-21, 2021.

we checked a few other houses, and they

Cultural markets facilitated by the Directorate General of Culture of the Ministry of Education and Culture, Research, and Technology are held

In Brangkal Village, Gemolong Sragen

in eight villages around the Sangiran

District, a number of residents performed

were the same. The house was left vacant by the occupants without being locked.

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VOL. 12, 2021 INDONESIANA 11

Was it –maybe-- because they were in

the recesses of the soil layer during the

mean that the life of the villagers do

a hurry to come to the cultural market

rainy season. Once 50 fossils were found

not intersect with modernity, apart

event?

in a month. Fossil discoverers are also

from being strongly influenced by

rewarded as a form of appreciation,

the teachings of Islam. When I saw

rather than selling them illegally. If the

that almost all mothers put lipstick

fossil is unique and rare, the reward can

on their lips and wore cloth, kebaya,

reach 10 million rupiah, for example

and headscarves as head coverings, I

an elephant head fossil. The crocodile

didn’t think too far to worry that their

head fossil is valued at 5 million rupiah.

traditional values had been eroded.

(Kompas, April 30, 2014).

There are many reasons why people

Fossil Discoverers The communal life is not only built between residents, but also between residents and employees of the Sangiran site, the majority of whom are not from Sragen or Karangayar. The closeness of residents to the Sangiran site along

wear the hijab, not only because of fiqh

with its archaeologists, researchers,

In 2007, for example, residents found

and site employees has existed for a

crocodile teeth, tiger teeth, and shark

long time, so that residents can easily

teeth in soil layers that were between 1.8

and quickly identify fossils of ancient

million and 800,000 years old, found

animals. Residents are actually the

in the Pucangan formation. The

main discoverers of ancient animal

discoverer was Ngadino and he

and human fossils since the Dutch East

discovered the fossils in his field

Indies era, and that is natural because

in Ngebung, Kalijambe, Sragen.

their livelihood demands to always be in

Then in 2014, residents

the padi fields every day. Paleontologist

found pieces of the skull

and geologist GHR von Koenigswald

and jaws of an ancient

Wadon: Social

discovered the first ancient human

elephant in the Dayu

Representation

artifacts in Sangiran in 1932, and after

area, Sragen.

that, local residents found fossils of the

Living in Harmony

right jaw of ancient humans in 1936.

Since then, Sangiran continues to show its wealth. The last discovery of the roof of a human skull was recorded in

With the old women who in their daily life wear cloth and kebaya, it does not

reasons. They still dance and sing in the local language rhythmically, mingling with fellow citizens, men and women of all ages.

I agree with Risa Permanadeli who wrote in her book, Dadi Wong

of Javanese Women in the Modern Era (2015).

Modernity is defined as a

1997, but animal fossils still appeared.

Suddenly shark teeth popped out in

A short break Syefri Luwis

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12 INDONESIANA VOL. 12, 2021

representation of Javanese maturity to

how he used to be frustrated with a

maintain harmony or the principle of

fast-paced job when he worked as a

harmony. The thought of modernity

record keeper in an institution. “His

does not separate or disconnect

salary also runs out to pay the rent. Better

Javanese society from its past, from

go back to the village, ha-ha-ha,” said the

its traditions. They still maintain the

man who still had a sharp memory. I think

balance of Java in real life.

this is an example of a real slow living, not

The cultural gathering of the Sangiran residents continued, until evening came and inched towards night.

They persisted because the cultural market was indeed held in a series of “competitions” running as far as 25 kilometers to commemorate the 25th anniversary of Sangiran being designated as a world heritage.

However, they basically do live in a slow world, without having to care about the world of haste out there, which creates a gap between

a slow living movement as Osbaldiston calls it, which people do as a reaction to life being rushed. The slow living movement is not only seen in practical activities such as cooking, embroidery, walking, gardening, and meditation, but in concepts or perspectives to instill ethics in everyday life. And, without having to make a movement, ethics can be found in the lives of villagers. Hopefully it will be sustainable (Susi Ivvaty, founder of alif.id).

space and time, as sociologist Nick Osbaldiston calls it in Culture of the Slow: Social Deceleration in an Accelerated World ( 2013). Time is not simply compressed, but has exceeded the limit.

We listened to Hadi Sriyono (84), a resident of Ngebung Village, about

Enjoying the Afternoon Syefri Luwis

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VOL. 12, 2021 INDONESIANA 13

MAIN TOPIC

Flying - KiwiGraphy Studio - https://www.shutterstock. com/g/rkiwisudarso

Race of Flying Duck Wisdom from Pematang Sawah I

14 INDONESIANA VOL. 12, 2021

U

nlike years ago, before the pandemic, today, Rahmad Hidayat (37) who is usually called Dayat

doesn’t seem eager to talk about ducks.

In fact, usually, if provoked even a little to talk about ducks, he will immediately fix his seat. Like being fanned by a duck’s wing, a bright change of hue is instantly felt on his face. Once we speak, then ten or even more in reply. Talking about ducks, he might just forget that Abaknya has asked him

to buy tobacco. He

also will not care about his wife’s nagging who has been waiting for the eggs he bought at the shop. In fact, he can also forget that soon he has to take his son to the Koran recital.

Why not? Because evidently it is the ducks that made his status slightly ele-

vated in social interactions in the village.

It started from a farmer and duck

It is also because of the duck that he can

breeder named Jamin who lives in Jorong

stand with his arms akimbo when he is

Padang Panjang. About 90 years ago,

maota or boast in lapau-lapau or taverns.

one afternoon, when Jamin was about to

No! He is not a duck herder. The success-

drive his ducks back to the cage, suddenly

ful herder lays many eggs every morning.

some of the ducks flew away from their

He is also not a poultry entrepreneur who

flock. In fact, this had happened several

produces kilograms of meat every day.

times. Every time they wanted to drive

Rahmad is a reliable jockey. Jockey that is

home the cage, some of the ducks flew

hard to be

away from their herd. It certainly caught

beaten in every duck race.

Yes! For the people of the Nagari or Tanjung Haro village, Sikabu-Kabu Padang Panjang, Luak District, Fifty Kota Regency, West Sumatra,

his attention. Until then he could not help but tell the people he met. Especially when drinking coffee in lapau.

At first, people just laughed a little. How come a duck can fly? Even though they

ducks are not only pets. Ducks are also

have thick wings, the ducks prefer to walk

racing animals in a game. Like horses,

around in the rice fields. At most, if in a

ducks can also be driven like that. A game

dangerous situation, they will flutter their

of hindrance or solace that brings good

wings while running.

luck to the owner and the jockeys. Race of flying Duck is a wisdom that starts from the rice fields.

Not Only from Rice Fields KiwiGraphy Studio - https://www. shutterstock.com/g/ rkiwisudarso

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VOL. 12, 2021 INDONESIANA 15

However, he did not stop there. He just

Apparently, not many know the special-

After ducks with these criteria are ob-

kept on telling what happened. From the

ty of a field duck. Especially knowledge

tained, keeping them is also not easy and

continuous story, people finally believed

about feathers, body, scales, and wings.

should not be careless. The best ducks

it. Then, they caught the ducks that be-

Dayat really understands that. Ducks that

need special treatment such as; bathing

came the topic of the conversation. Then,

can fly are ducks that have neat eagle

them every morning and evening, taming

they flew it. From a high place to a low

wings (small wings on the top layer of

is by rubbing their fur and “squeezing”

place. Straight away, the ducks marked by

the flap). Not all ducks with neat eagle

their ass every night, adjusting their diet

Jamin flew far away. Even disappeared to

wings face up, in the same direction as

so that they find the ideal weight. Of

the village heads. Flying in circles follow-

the duck’s wings. If the eagle’s wings are

course, what is needed is knowledge to

ing the hills and rice fields. From there, of

twisted and facing downwards, do not

determine nutritional intake, pudding,

course, the story got worse.

expect it to get luck in the arena.

and natural medicines that can stimulate

Become a Duck Race Jockey

Dayat said, ducks that can fly like a “jet”

Perhaps it was the story about Jamin that

are ducks that have thick wings. The

inspired Dayat. Presumably, Jamin has

body is rather long, and the neck is short.

The Race of Flying ducks and their features

become a kind of role model for him.

Ducks that can fly are ducks that have

The race of lying duck has actually be-

Therefore, in his family, starting from his

fully loaded scales on both legs. Then a

come a small community-owned festival

brother until he himself, they are never

requirement that is no less important is

whose management grows from the com-

absent from participating in the duck

feathering. A good duck is a duck that has

munity and whose financing is sought by

flying event every year.

matching fur from the beak, body, to legs.

the community itself. Only recently has

Such ducks are hunted by the jockeys.

there been a form of guidance from the

the movements of the wing muscles.

district tourism office.

Young and Old Competing KiwiGraphy Studio - https://www. shutterstock.com/g/ rkiwisudarso

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16 INDONESIANA VOL. 12, 2021

This flying race has three special features,

set up as bazaar locations. Also, small

Now, two years after the Covid-19 pan-

namely, first, prior to its implementa-

traders will organize themselves to find a

demic attacked the duck race, it will not

tion, this festival is a mutual cooperation

safe place to sell.

be held yet. Perhaps, the spread of the

between the organizers, supporting communities, and the community of flying ducks. The three stake holders unitedly and compactly prepared everything, from cutting bamboo to create a committee secretariat, making stalls selling for the community, cleaning the road shoulders, to making a start/finish line.

Second, when it comes to the day of the event, usually it will be difficult for us to find residents in their homes. The day becomes a kind of national holiday for the community. All people, both small and large, young and old, are all present on the racetrack. The left and right of the street will be filled with spectators.

In certain locations, impromptu stalls are

Third, this festival is unique because there is a janang or master of ceremony with typical “field” jokes or jokes that add to the liveliness of the event. He will not stop inviting addicts to fly ducks to register their ducks.

virus can be prevented by shielding the health protocols. However, are the effects and impacts of a pandemic economically unavoidable? The only thing that can be done by duck racing activists like Dayat is to think. Contemplating while counting steps from the coffee table to his wife’s

The duck racing competition consists of

kitchen, occasionally, imagining Jamin, the

a short distance duck race; i.e. distance

idol, who drives ducks from one rice field

of 800 meters to 1000 meters. This com-

to another (Roni Keron: Cultural West

petition runs from morning until noon.

Sumatra)

Then, in the afternoon, a special distance duck race is held, which is 1400 to 1600 meters. This duck race is called the long way duck race. This is the pinnacle of all racing. This top winner will later be rewarded with special prizes, usually one cow and goat.

Maneuvering KiwiGraphy Studio - https://www. shutterstock.com/g/ rkiwisudarso

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VOL. 12, 2021 INDONESIANA 17

MAIN TOPIC

Lombok is not known just for its beautiful and enchanting beaches and nature, or for Mandalika, a circuit event that is considered successful in organizing the recent Word Superbike (WSBK). Talking about Lombok means also talking about religion and culture. That Lombok is also known as “Pulau Seribu Masjid” is because so many mosques are easily found in every corner of the city and village. In Lombok there are also pockets of cultural communities and indigenous villages.

A

mong many mosques, there are several ancient mosques that are still standing and used even in

limited circles. Some of them have been designated as cultural reserves, such as bayan baleq mosque in Bayan subdistrict, North Lombok, West Nusa Tenggara, which is known as the oldest mosque in Lombok. There is also an ancient Rambitan mosque in Pujut Subdistrict, Central Lombok, and Gumantar mosque in Kayangan Subdistrict, North Lombok which is no less charming and magical.

To get to the location of Gumantar mosque, travel time from Zainudiin Abdul Majid international airport to the location of the mosque is about 2.5 hours by driving a four-wheeled vehicle.

The Ancient Mosque of Bayan beleq is located not far from Gumantar. The location of the two mosques is not far from the main road of the village so it is not difficult to find it. When I visited North Lombok in 2018, it appeared that some people’s homes were being renovated because they were damaged by the earthquake that destroyed most of the concrete-brick-walled or brick-walled residents’ houses. The walls of Gumantar and Bayan Beleq mosques were made of bamboo webbing or bedek. The roof was also made of bamboo webbing and dry reeds. I saw at the top of the roof of Gumantar mosque there was an iron slab that resembled a chicken carving.

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18 INDONESIANA VOL. 12, 2021

Enjoying

the harmony in Bayan Beleq Village

Bayan Beleq Ancient Mosque in West Nusa Tenggara Susi Ivvaty

Long-lasting - Susi Ivvaty

Daily life and worship activities of the surrounding residents are very closely related to customs. Nearby residents also abide by rules and prohibitions that have lasted decades from generation to generation. The village is bound by awig-awig or provisions that govern the manners of living in the surrounding community. According to the information of the village head Gumantar, the mosque was used at a certain time and should only be used by the beleq village system consisting of: - Penghulu, which is a social institution responsible for religious rituals - Pemangku, which is a social institution that is responsible for rituals related to nature, the earth with all its contents.

- Pemekel, which is a social institution that regulates the applied customary law that applies in Beleq Customary Preserving culture and religion - Susi Ivvaty

Village - Raden, the social institution responsible for circumcision - Turun, social institutions related to administration and responsible for investigating problems related to the application of customary law which is then decided by the pemekel.

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VOL. 12, 2021 INDONESIANA 19

Architecture in harmony with nature - Susi Ivvaty

Customary Village

Straw, and ground-floored. The shape

occurred in 2018. As stated in the

Beleq Customary Village is not as

of the door of the house looks unique

above paragraph, this is related to the

famous as a tourist village such as

because it is short in size. It means

construction of house buildings that have

Sade tourist village in Central Lombok.

that when entering a house by ducking

a lightweight building structure.

Sade Customary Village has been well

is a form of respect for the Creator,

managed as a tourist spot that maintains

and when the occupant comes out by

Sasak Customs, in addition to also selling

ducking, it means that the occupant

souvenirs made by their own residents.

must be polite to his guests. For lighting

The village of Beleq is surrounded by a fence of live plants. Outside the

I

in the house, they still use traditional lighting.

Tourists who want to visit and enter the Beleq Customary Village are allowed to comply with some of the regulations applied, and must wear a cloth that is lent and has been prepared by local guides from local residents. There is no

traditional village fence, there are several

Traditional buildings in traditional

provision of the entrance fee, only make

houses with modern house buildings.

villages, when the earthquake occurred,

a sincere donation. Regulations that

While the buildings in the traditional

did not suffer damage, in contrast

must be obeyed by tourists are installed

village are all traditional buildings

to permanent house buildings that

on the information board in front of the

consisting of wood or bamboo, roofed

suffered damage when the earthquake

customary village gate. The rules are:

20 INDONESIANA VOL. 12, 2021

There are taboos that cannot be violated Susi Ivvaty

- Not carelessly entering the traditional house - Not being allowed to bring motor vehicles into customary villages.

The times can change from time to time, modernization can change people’s lives, but the citizens of Beleq hereditarily and involuntarily remain obedient to customary rules. They are sure that

Beleq Customary Village is inhabited by

life will be saved and live the days with

people whose main livelihood is gar-

dignity (DeYe, Directorate of Cultural

dening. All village life is governed by the

Protection).

five institutions above, such as how to grow crops, or even land processing. The social system also has a service house. In the area of the customary village stands several buildings, including bale-bale, - Having to be accompanied by a tour guide.

- Wearing cloth lent by the managing citizens. There is no entrance ticket counter, only make appropriate donations to local resident guides who are in the entrance area of the customary village. This local guide will accompany tourists who want to look around and explain about the existing social institutions, the shape and function of buildings in the village.

- Being polite

berugak, sambe, and traditional kitchens that each have a different function. There are several rooms that serve as meeting rooms for citizens.

To sit in a beruga building, every citizen must comply with the applicable rules, cannot carelessly sit when there is a meeting of citizens. The seats of women in the building are separate from the men. This building has not changed for a long time and is forbidden to be changed. If there are residents who want to build houses with permanent buildings from the wall, residents are allowed to build outside the fence of the customary

- Not carelessly taking pictures

village.

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VOL. 12, 2021 INDONESIANA 21

MAIN TOPIC

Muara Kaman Ulu

Civilization in the Land of Birth of

Kutai Why does the vamsakreta (founder of the kudunga dynasty) and its successor kings, namely Mulawarman and Aswawarman, tend to choose Muara Kaman in Kutai Kartanegara Regency as the capital of kadatwan or his kingdom until a very long period (fourth century to XVII century AD)? It may be because the area of the kadatwan is in Benua Lawas, on the hilly ground called Brubus (the meaning of the word “brubus” is “early growth,” resembling the meaning of the word “trubus”) along with the surrounding ancient swamps.

One of the Early Civilizations in the Archipelago Zul Lubis

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22 INDONESIANA VOL. 12, 2021

the former ancient swamps in the 1980s, the remains of a sinking river ship were found. The local legend “Aji Bidara Putih” also revolves around the sinking of a Chinese ship in Lake Lipan.

Geo-strategic Dimensions The geographical position of Muara Kaman located in the estuary of Kedang Rantau and Kedang Kepala at the Mahakam Central Watershed plays a strategic role that explains the reason for the establishment of the Kutai Kingdom there. Muara Kaman plays an important role as a link between the area on Hulu Mahakam and its tributaries and grandchildren of the river abundant in natural resources. This is recorded in Yupa inscriptions that mention the existence of gold, oil, and forest crops (especially agarwood). In addition, in Hilir Mahakam, there is access to the opposite islands as well as foreign countries. By occupying a position in the “branching of the three corners”, Muara Kaman arguably has important geo-strategic properties. Many natural resources in Hulu and Tengah Mahakam cannot be delivered through the waterway without crossing the Muara Vanua Zul Lubis

T

Kaman area in the Middle of Mahakam.

Muara Kaman’s strategic position is what makes it a “crossing area” of goods in Mahakam business history.

he designation element “benua”

ancient village (wanua) which is said to be

comes from the Sanskrit Language

the “center of settlement” Muara Kaman

Thanks to its geo-strategic nature and the

“vanua” which means village. The

residents in the past. The relocation

existence of waters in the form of rivers,

toponymic element “benua” (as in the

of settlements from Benua Lawas (Old

swamps and lakes (in local oral tradition

designation “Benua Lawas” in Muara Ka-

Continent) area to the edges of Mahakam

narrated about the existence of “Lake

man Hilir Village, the designation “Benua

and Kedang Rantau only took place in

Lipan”), in the waters of Muara Kaman,

Tuha” in Sabintulung Village, and the

the early 1900s. Therefore, it can be

once a type of a river port, transito

designation “Benua Puhun”) becomes an

understood if in this area many marine

(interport), was built. Through the port,

indicator of the archaic nature for these

artifacts (past) are found, including seven

natural products from the interior in Hulu

places.

yupa inscriptions, Lesong Batu, ruins of

and Central are delivered by boat, dis-

a number of temples, old tombs, traces

mantled at the transito port, then loaded

of ancient fortifications, remnants of

onto the buyer’s ship from outside the is-

swamp architecture type stage buildings,

land and foreign countries to be then tak-

and so on. It is understandable that in

en downstream, then forwarded to the

As for the designation element “lawas (old)”, it becomes a clue that the area in the Kedang Rantau Watershed is an

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VOL. 12, 2021 INDONESIANA 23

Main Transportation Zul Lubis

buyer’s place of origin. Although Muara

clergy willingly traveled more than 100

Kaman which was then under the orders

Kaman is not on the coast, it is located

kilometers to hunt for natural resources

of King Darmasetia under the auspices

quite far in the interior of the island of

that used to be marketed in the transito

of kasultanan kutai kartanegara since the

Kalimantan, but because of its geo-stra-

port of Muara Kaman.

XVII century until the 1950s.

On the basis of that understanding, it became clear that whoever controlled

Dynamics of River Maritime Civilization

Muara Kaman proved to have, since the

Muara Kaman, he was the one who held

Thus, from the beginning of AD until the

beginning of the date AD, acted as a

hegemony over business in Mahakam. It

1950s, two monarchies grew and devel-

potential producer of crops, and at the

was also a trigger for the Deployment of

oped in Mahkam. The first is the Kingdom

same time as a market for merchandise

Sinum Panji Mandapa from Kasultanan

of Kutai which was domiciled in muara

with a barter transaction model. Many

Kutai Kartanegara to expand power by

Kaman Uku village for 1.3 millennia

traders outside the region or outside the

expanding the military to Muara Kaman

(4th-XVII century AD) and dominated the

island (Bugis, Makasar, Buton, Banjar, Ma-

in the XVII century AD. Nusa Martapura

Central and Upper Mahakam areas. The

lay) and from foreign countries (including

which is located opposite Mahakam be-

second is the Kingdom of Kutai Kartaneg-

India, China, the Middle East) arrived at

came his base of operations. Therefore,

ara in the Downstream area and in parts

the transito port of Muara Kaman. In fact,

according to the library Salasilah Kutai, in

of the Mahakam Central region.

since the second century and later the

his title it was added the word “ing Mata-

fourth century AD, Indian traders and

pura” after he successfully placed Muara

tegic characteristics the area is visited by traders from far-distance places.

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24 INDONESIANA VOL. 12, 2021

When referring back to the past, in the Upper and Central mahakam area, traces of prehistoric life were also obtained, namely relics from the Era of Hunting and Food Gathering at Advanced level until the beginning of the Expertise Era. The transition from Prehistoric Times to the Age of Mahakam History took place

Beginning of History Zul Lubis

in the Muara Kaman area. The discovery of Yupa inscriptions in Muara Kaman becomes the proof that “Beginning of History” and “Early Milestones of Literal Tradition” in Archipelagi gradually occurred in the Muara Kaman area.

From here, it can be seen that there is a kind of local wisdom from the ancestors to choose and make the Muara Kaman area as the center of government. This local wisdom rests on familiarity with the geo-strategic value of the region as a center of trade and intercultural interaction space. Because the location for the development of the archaic civilization of the two kingdoms / Kasultanan Kutai is in the mahakam river flow area and it was there for the first time that the oldest preliterature was found in the archipelago, the site deserves to be remembered as the womb of Archipelago civilization.

(Cindy Jacquelline, Daya Desa Muara Kaman Ulu and Dwi Cahyono, Archaeologist and Historian Researcher in Muara Kaman) Eternal Legacy Zul Lubis

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VOL. 12, 2021 INDONESIANA 25

TOPIK UTAMA

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26 INDONESIANA VOL. 12, 2021

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VOL. 12, 2021 INDONESIANA 27

NATIONAL CULTURE WEEK

The Spirit for New Normal

Titi Dj-

Nusantara’s Brilliant Spirit

T

he world’s citizens are now working on various ways out to answer the question of how to restore the “new normal” life before the Covid-19 pandemic. Adaptation efforts are carried out in all aspects. The Ministry of Education, Culture, Research and Technology through the Directorate General of Culture in 2021 again held the National Culture Week (PKN)

online as an adaptation to the life of the “new normal” in the midst of a pandemic. National Culture Week is present as a mandate of the 2018 Indonesian Cultural Congress to create an “inclusive interaction space for the promotion of culture.” National culture Week 2019 and 2020 raised the theme “Happy Indonesia Common Space”, while the theme of National Culture Week 2021 is “Brilliant Archipelago, Future Guide.” The theme was raised to answer the challenges of today’s life, especially in the field of meeting basic living needs: clothing, food, housing. By harnessing the rich potential of local culture, activities in National Culture Week are expected to be a sustainable solution to the problems of the world today.

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28 INDONESIANA VOL. 12, 2021

Local wisdom from all our cultural heri-

of rice, wheat, corn. Land management

Determining the national culture week

tage is expected to be a light that guides

that pays attention to the balance of

theme was carried out after the imple-

the way the Indonesian nation creates

ecosystems and the use of alternative

mentation of discussion forums involving

new fairness that does not just repeat the

foodstuffs such as sorghum and sago has

experts in their fields, namely Samuel

old reasonableness. Creating a new life-

been part of the practice of the archipel-

Wattimena (clothing sector), Helianti

style means abandoning unsustainable

ago community since thousands of years

Hilman (food sector), and Gregorius Antar

practices in clothing, food, and housing.

ago. Even in the context of architec-

Awal (housing sector). These sectors are

Here, culture offers valuable inspiration.

ture. Our vernacular housing treasures

the foundation for the implementation

In terms of clothing, we have a treasure

strongly emphasize the peculiarities of

of main programs for national culture

trouser of sustainable clothing contained

local geography and the public nature

week, namely competitions, conferences

in various traditional weaving practices.

of the settlement. Through the pattern

and workshops, exhibitions, events and

The use of fiber and natural dyes without

of communal archipelago occupancy,

Regional Culture Week as a forum for

waste has long been practiced by indige-

there contains valuable social technology:

cultural interaction from village to center

nous peoples of the archipelago.

the search for common solutions to the

that will net “Brilliant Archipelago” from

problems faced by individual citizens.

each region in Indonesia.

In terms of food, we also have a traditional food processing model that prioritizes the principle of permaculture (without waste) and diversity of foodstuffs outside

Cultural diversity is a means to solve various problems of the nation, providing guarantees of life safety for all citizens of the nation.

Slank-

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VOL. 12, 2021 INDONESIANA 29

Indonesian cuisine for the world -

The Nation with Defense

the peak of National Culture Week 2021.

that raises the potential of local wisdom

Hilmar Farid, Director General of Culture

In its implementation, the Directorate

as well as the rich cultural heritage of

said that the entire treasure of tradi-

General of Culture cooperated with

clothing, food, archipelago housing such

tion today is the result of adaptation,

70 local governments along with 3000

as fashion shows, documentaries from

innovation, and hybridization that make

cultural actors who actively organized

nature to plates, traditional architecture,

us as a nation who is getting stronger in

the Regional Culture Week which is also a

involving local communities and Indone-

facing various challenges in life. National

series of National Culture Week prelimi-

sian artists.

Culture Week has a mission to make

nary activities.

culture as a guide to the new normal.

This cultural event is held in a hybrid way; online and offline. The peak of National Culture Week was held for 7 days, 19-26 November 2021. The series of events aired through various platforms, namely Indonesiana TV cultural channels on Indihome channel 200 (SD) and 916 (HD), PKN.id page, and also the Cultural Youtube channel. Opening and closing activities were broadcasted live through TVRI. 17 cultural competitions, 23 workshops, 11 symposium sessions, 60 performances, exhibitions and no less than 20 conference sessions enlivened

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30 INDONESIANA VOL. 12, 2021

A number of famous directors with repu-

The performance of “Napas Jiwa” by Ati-

tations and achievements that have been

lah Soeryadjaya, Jay Subiakto, and Rama

recognized by the community also took

Soeprapto became the opening presen-

part in the production process of this

tation of the 2021 National Culture Week

Cultural Variety, including Riri Riza (Alam

series of Indonesian President Joko Wido-

Takambang Jadi Guru: Serambi Minangk-

do accompanied by Minister of Education

abau); Hanung Bramantyo (Lingsir Wen-

Nadiem Makarim. A number of musicians

gi); Eugene Panji (Dulu x Hari Ini); Buyung

such as Slank, Andien, Dere, Diskoria,

Reza (Sumba Waingapu: Permata dari

Shine of Black, Godbless, Viky Sianipar

Indonesia); Priagita Ariangeara (Sandar

and Voice of Baceprot took part in this ac-

di Semenanjung Para Daeng); Adrianto

tivity. One of the mainstay programs car-

Sinaga (Nyanyian Danau); Robby Ertanto

ried out at the National Culture week this

(Cinta Ditanam, Negeri Dijunjung); Ismail

year was Ragam Budaya. This program

Basbeth (Banda Dari dekat Sekali); Lasja

was a variety show and star jamming

Susatyo (Lost Story Nias: Kisah Pulau Batu

Besar and Napas Bumi: Kalimantan); to Jay

Shows are wrapped in a modern way

of inspiration that will not be exhausted.

Subyakto, Rama Soeprapto, Hartati and

but not out of the existing tradition.

Archipelago culture contains experience

Atilah Soeryadjaya (Napas Jiwa).

How the work can show that tradition is

from countless generations of prede-

cool, how tradition and history can be

cessors who inhabited this archipelago

used as a contemporary show. We often

thousands of years ago. Nusantara cul-

place tradition as a thing of the past, and

ture is a kind of laboratory where various

National Culture Week 2021 shows that

survival strategies and problem solving

tradition can be presented in a modern

are designed and piloted. Each of us in-

way, because tradition must always be

herits that living laboratory. It is time we

worked on, because tradition is the root

look back at that hereditary laboratory in

of the culture that must be preserved.

formulating the steps forward. The imple-

Adaptations of cultural shows during the

mentation of National Culture Week as a

pandemic in fact gave rise to the positive

cultural-based performance in the midst

side – even though they were aired

of a pandemic situation is expected to

online. Directors and cultural actors can

ensure that the flame and spirit of culture

present all the details of the show with

are maintained in the midst of Indone-

the help of visualization through video.

sian society (Jessika Nadya Ogesveltry,

The production of Ragam Budaya shows takes place in a number of locations that are already known by the public as destinations that have cultural treasures such as: South Solok, South Sulawesi, South Nias, East Kalimantan, Borobudur, Banda Neira, Lake Toba, East Sumba, Muarajambi, Tana Toraja, and Labuan Bajo. Through the show of cultural wealth summarized into variety shows and also star jamming that talks and tells stories, it is expected to be an alternative show that can stir and foster people’s interest to know and love local wisdom in their respective regions. The work outlines how young people love their culture.

The culture of the nation is indeed a well

Directorate of Cultural Development and Utilization).

Collections from the Secretariat of the Directorate General of Culture

Endah N Rhesa -

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VOL. 12, 2021 INDONESIANA 31

FOOTPRINTS

W

hat happens if the word ‘ran’ in Sangiran is changed to ‘run’? Of course, this can lead to different thoughts and raise the possibility of other purposes to visit the site located in Sragen Regency, Central Java, in addition to learning about human evolution. It may have been unthinkable before

20-21, 2021 in Sangiran. About 100 runners raced across five museum clusters as well as six villages around the site with a total of 25 km of track routes.

SANGIRUN

Running Through the Passageway of Time in

that one of the purposes of coming to sangiran site was to run. However, this is what happened on November

Ir. Suharti, MA, PhD Secretary General of the Ministry of Education and Culture, Research and Technology running in the “time tunnel”Syefri Luwis

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32 INDONESIANA VOL. 12, 2021

SangiRUN Night Trail 2021 is an activity

SangiRUN Night Trail 2021 activities

course can not only spur the leg muscles

initiated by the Ministry of Education,

are unique compared to other running

of participants, but also able to trigger

Culture, Research and Technology

competitions, one of which is because

the imagination of participants.

through the Directorate of Development

it is held at night with a starting and

and Culture in collaboration with Office

finishing point at the Krikilan Museum.

of Sangiran Early Man Site Preservation,

Participants passed through six points

Sragen District Government, Karanganyar

around the site, namely Ngebung Village,

District Government, and the Luar Kotak

Manyarejo Village, Brangkal Village –

community. This event was held in

Poerba Market, Bukuran Village, Dayu

commemoration of the 25th anniversary

Village – Sumur Emas, and Krikilan

of Sangiran as a world heritage. UNESCO

Village – Punden Tingkir. The nighttime

designated Sangiran Site on world

situation became a major proponent of

heritage list number 593 in 1996 under

forrest mapping videos and ornaments

the name “Sangiran Early Man Site”.

depicting the evolution of early humans.

The situation on the route of the track of

The SangiRUN Night Trail 2021 activity starts at around 19.00. The Sragen Regent, Kusdinar Untung Yuni Sukowati, was present to give a speech, followed by the Director General of Culture, Hilmar Farid, who at the same time hit the gong to mark the official opening of the event.

Runners were divided into four groups.

Each group ran following the signal in the form of flag waving from officials within the Ministry of Education, Culture, Research and Technology, respectively

Ready to run Asep Amirudin

I

VOL. 12, 2021 INDONESIANA 33

the Secretary General of the Ministry

future and could be in other areas that

Research and Technology, Hilmar Farid

of Education, Culture, Research and

also have the same potential.” said Abdul

said this activity is not just a running

Technology, Suharti; Director General of

Aziz Permana, 2nd winner in the men’s

race but also an effort to encourage

Culture, Hilmar Farid; Director of Cultural

category.

Sangiran to be more widely known and

Development and Utilization, Restu Gunawan; and the Regent of Sragen, Kusdinar Untung Yuni Sukowati.

Development and Utilization of Sangiran

can benefit the surrounding community in Karanganyar and Sragen Districts. In addition to showing the ability of humans

Based on Law Number 5 of 2017,

Around 22.00, the first runner managed

to adapt to the environment, the activity

development is an effort to revive the

to reach the finish line, followed by other

also seeks to combine cooperation

cultural ecosystem and improve, enrich,

runners until it ended at 02.00 in the

between governmental organizations to

and disseminate culture. While utilization

morning. Happy faces radiated from the

support the welfare of sangiran people.

is defined as the efforts to utilize objects

faces of the participants even though

of cultural promotion (OPK) to strengthen

Among the many archaeological remains

they were running in the middle of the

ideology, politics, economy, social,

that were later listed as national

dark night. “This event is very memorable,

culture, defense, and security in realizing

cultural sites and reserves, perhaps the

different from other running events. This

national goals.

prehistoric site of Sangiran belonged to

is my first time to Sangiran, so I really add insight and experience about the history and tourism potential of Sangiran. The response from local residents was also extraordinary. In my opinion, this kind of event needs to be continued in the

a site that is quite rarely utilized, both by SangiRUN activities are organized as an

the government and communities and

effort to develop and utilize Sangiran

society. So far, Sangiran development

site to be more widely known by the

and utilization activities are still centered

community. Director General of Culture,

on educational and research activities

the Ministry of Education, Culture,

only.

Officer of the Ministry of Education and Culture, Research, and Technology participate in sangiRUN Syefri Luwis

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34 INDONESIANA VOL. 12, 2021

Efforts to develop and utilize a site in a

community. The activity also integrates

other fields. However, of course, such

broader context, for example can take

the cultural potential of the village

utilization efforts must also pay attention

the example of Borobudur Temple. In

around the site. Thus, it can be said

to the negative impact aspects on the

addition to being used for educational,

that the utilization of a site or cultural

site as well as its important values, which

research, and tourism purposes, the use

properties can not only focus on the

in this case are referred to Outstanding

of Borobudur also reaches a wider layer

utilization of the object, but also need

Universal Values (OUV). Therefore, do not

of society through various activities such

to pay attention to the ecosystem that

let the efforts to preserve the site actually

as borobudur writers and cultural festival,

supports the existence of the site, as

become contrary to the impact of its

Borobudur Jazz Festival, or becoming

contained in sangiran site. At least

utilization efforts.

a filming location for Hollywood films.

around the Sangiran site, there are six

(Anny Veradiani, Directorate of

Therefore, SangiRUN Night Trail is an

villages that become buffer villages of the

Culture Development and Utilization,

effort to use prehistoric sites in a broader

site. The villages also have tremendous

the Ministry of Education, Culture,

context, not only reaching the runner

cultural potential. For example, Bukuran

Research and Technology).

community, but also creating a new

Village which has Rodad art and became

impression that talking about Sangiran is

one of the performers on the SangiRUN

not only about museums.

Night Trail.

Talking about the use of the site

By utilizing Sangiran site as a marathon

also cannot be separated from the

running route is also expected to be

empowerment of the surrounding

a lighter for utilization activities for

Medals are achievements Syefri Luwis

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VOL. 12, 2021 INDONESIANA 35

CONSERVATION

Merapi eruption mitigation in Borobudur Syefri Luwis

Borobudur, Super Priority Tourism Destination

B

orobudur Temple is one of the

century AD), uses a description of the

strategic area, national vital object and

main tourist destinations in

shape of temples and stupas, sculptural

as one of the super priority tourism

Magelang, Central Java, which

motifs, reliefs and gallery hallway. The

destinations. Super priority tourism

attracts domestic and foreign tourists

temple is vertically divided into 3 and

destinations are part of the “10 New Bali”

to visit. In the shape of a lotus, the

follows the Buddhist philosophical

program launched by the government

sacred flower of Buddhism, Borobudur

concept of attaining nirvana. Now

which is expected to drive a creative

Temple is an exceptional reflection of

Borobudur is 1200 years old.

economy that is beneficial for local

the combination of the original idea

I

residents.

of ancestor worship and the Buddhist

Borobudur as a single tourism concept

concept of achieving nirvana. The ten

seems to have weakened its great

Therefore, the Ministry of Education,

terraces of the whole structure are the

potential, namely economic potential and

Culture, Research, and Technology

stages that the Bodhisattva must attain

spiritual potential. Until 2019, Borobudur

through the Director General of Culture

before attaining Buddhahood.

is the single most visited tourist attraction

initiates coordination between relevant

in the country, so it holds the following

ministries so that the determination of

The Buddhist monument, which was built

statuses: world heritage, nationally

Borobudur Temple as a Super Priority

during the Sailendra dynasty (8th–9th

ranked cultural properties area, national

Tourism Destination run well while

36 INDONESIANA VOL. 12, 2021

still prioritizing temple preservation. The initiative was then responded positively with coordination by the Coordinating Ministry for Maritime Affairs and Investment. Various meetings between relevant ministries and

Borobudur during the pandemicSyefri Luwis

institutions have been held and have resulted in an agreement to review the development plan for the Borobudur Temple Area.

The commitment of these various agencies is a solution to the main challenge faced by Borobudur Temple, namely maintaining the sustainability of the temple structure as a national cultural heritage. This is due to the increasing number of tourists, which reached 8000 people per day in 2019. Meanwhile,

Minister of Tourism and Creative Economy Sandiaga Uno, Director General of Culture Hilmar Farid, Minister of Education and Technology Nadiem Makarim, Coordinating Minister for Maritime Affairs and Investment Luhut Panjaitan - Dir. PPK

the results of a study from the Borobudur Conservation Center show that the top area of the temple should ideally only be able to accommodate a maximum of 128 visitors per visit each day.

In March 2020, Ministry for Maritime Affairs and Investment, Luhut Binsar Pandjaitan; Minister of Education, Culture Research and Technology, Nadiem Anwar Makariem; Minister of Tourism and Creative Economy, Sandiaga Salahuddin Uno; Deputy Minister of Tourism and Creative Economy, Angela Tanoesoedibjo; Governor of Central Java, Ganjar Pranowo; Director General of Culture, Hilmar Farid; Director General of Copyright of Ministry of Public Works and Human Settlements, Diana Kusumastuti; and Director General of Highways of the Ministry of Public Works and Human Settlements, Hedy Rahadian made a field visit to the Borobudur Area in the context of developing the Borobudur Super Priority Tourism Destination (SPTD).The development sites which were visited consisted of the Borobudur Authority Land, Samigaluh

Reduction of tourists to Borobudur Temple Syefri Luwis

Field, Borobudur Art Village or Kujon Field, Kembanglimus Community Center, Palbapang Gate, Manohara Study Center and the Borobudur Temple Concourse in Magelang.

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VOL. 12, 2021 INDONESIANA 37

Intan Soekotjo sings with the background of the Borobudur.

This activity is part of the utilization of the Borobudur area Deny Eka Setiyawan

Matters related to the integrated management plan of Borobudur Temple;

-

Development

as Outstanding Universal Value and

Increasing the potential value,

the culture that surrounds it. Various

information, and promotion of

development and utilization activities

cultural properties and its utilization

have been carried out; such as the

through research, revitalization, and

Spiritual Culture Workshop for the

adaptation in a sustainable manner

Borobudur Temple Area, the Nusantara

and does not conflict with the

Spice Earth Festival for the World,

purpose of preservation.

the creation of variety show content

-

Utilization

“Lingsir Wengi (Borobudur)” by Hanung

Utilization of cultural properties for

Bramantyo which will be one of the treats

the greatest benefit of the people’s

at the 2021 National Culture Week.

such as improving the quality of the environment and natural resources, improving interpretation facilities and information on the important value of the Borobudur Temple Complex, increasing cultural properties conservation activities in the area, improving governance, the development of sustainable tourism that also supports the protection of the Borobudur Temple Complex and the improvement of community welfare will be regulated by the Ministry of Education and Culture, through the Director General of Culture. This is in accordance with Law No. 11 of 2010 concerning Cultural Conservation.

-

Protection

Efforts to prevent and cope with damage, destruction, or destruction by means of saving, securing, zoning, maintaining, and restoring cultural properties.

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38 INDONESIANA VOL. 12, 2021

welfare while maintaining its sustainability.

Until November 2021, the government is in the process of sharpening and

Regarding development, various

implementing the Borobudur-Yogyakarta-

supporting attractions at a number of

Prambanan Integrated Tourism

points in the Borobudur Temple Complex

Master Plan for the development of

actually aim to spread tourist visits so

the Borobudur Super Priority Tourism

that they focus not only on the top point

Destination into quality tourism by

of the temple. This is aligned with the

actively involving the community to

spirit of protecting the cultural landscape

ensure the sustainable impact of

of the Borobudur Temple Complex, one

Borobudur Temple conservation. One of

of which is to develop and strengthen

the active participants is expected to be

the great narrative of Borobudur Temple

a student who in this case is expected to

deepen the study of the Borobudur area.

of an art market and parking area, the

attraction is Borobudur Temple, then the

In addition, students can also cultivate

construction of a science park and a 2 km

destination is only Borobudur Temple.

a sense of belonging, increase a sense

boardwalk that stretches from Mendut

Now, it is our duty – the government and

of responsibility to participate in caring

Temple to Borobudur Temple and across

the people of Indonesia – to make Pawon,

for and preserving this heritage for

the Elo Progo river. In addition, in every

Mendut, and the dozens of temples in the

generations to come.

tourist village there will be a monthly folk

Borobudur Temple Area as an additional

art festival.

attraction in our tourism destinations

The master plan for infrastructure

so that Borobudur is no longer a single

development has been planned in

Director General of Culture, Hilmar Farid,

tourism that has to bear the pressure

an integrated manner, starting from

said that in the context of structuring the

alone. The goal is that Borobudur can be

connectivity, supply of raw and clean

Borobudur Temple area, the main focus

enjoyed for hundreds or even thousands

water, waste management, sanitation,

is conservation. Heritage-based tourism

of years (Jessika Nadya Ogesveltry,

to repairing residential residents by

and sustainable development are the

Directorate of Cultural Development

taking into account environmental,

strengths of Borobudur and the Central

and Utilization).

social, economic, and cultural aspects

Java region. There is a very important

– which are the starting points for the

difference between attractions and

“Let’s make Borobudur Temple a stage

development of the Borobudur Temple

destinations. Borobudur Temple is an

for Indonesia’s cultural wealth and

tourist area. Infrastructure development

attraction, not a destination. Destinations

diversity.” – Nadiem Makarim.

has been done; such as the construction

are very dependent on our ability to

of Eco-Cultural Tourism covering an

create and create attractions that attract

area of 309 hectares, the construction

domestic and foreign tourists. If the only

Field visits of ministers and officials from the Ministry of Education and Culture, the Ministry of Tourism and Creative Economy, the Coordinating Ministry for Maritime Affairs and Investment, the Ministry of Public Works and Public Housing, and the Governor of Central Java Ganjar Pranowo – Directorate of Culture Development and Utilization Dir. PPK

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VOL. 12, 2021 INDONESIANA 39

INFOGRAPHIC

Indonesian Sports, Hobbies and Culture.

Traditional sports are all sports activities that have been recognized as hereditary traditions in a certain tribe, ethnicity, or cultural group in Indonesia. Traditional sports usually rely on strength, flexibility, speed, and accuracy of reaction from the game. Indonesia is a country consisting of various tribes, languages, and cultures. This diversity of cultures contributes to the wealth of traditional sports in the archipelago. Traditional sports in Indonesia are not only for entertainment or part of physical activity, but also become part of the culture for the local community so it is very important to continue to be preserved. Here are 5 traditional sports in Indonesia.

PENCAK SILAT

Darussalam, Singapore,

D

esignated by UNESCO as

an Intangible

Cultural Heritage at the 14th Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, which took place in Bogota, Colombia, 9-14 December 2019, pencak silat is a traditional martial art originating from Indonesia. Martial arts are widely known in various countries in Southeast Asia, including Malaysia, Brunei

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12, 2021 40 INDONESIANA VOL. 11,

the southern Philippines and southern Thailand, according to the spread of the Malay Archipelago ethnic group.

The parent organization of pencak silat in Indonesia is the Indonesian Pencak Silat Association (IPSI). The organization that accommodates the martial arts federations in various countries is the Association of Pencak Silat Between Nations (PERSILAT).

Pencak silat is a selfdefense sport that requires a lot of concentration. In Indonesia, each region has a distinctive martial arts tradition.

Among them are the Cimande and Cikalong school in West Java, the Merpati Putih school in Central Java, and Perisai Diri school in East Java. Pencak silat has been competed regularly in the SEA Games since 1987. Until 2018, Pencak Silat was included as a sport that was competed at the XVIII Asian Games. At the national level, pencak silat has become one of the tools for unifying the archipelago, making the nation proud, and even becoming a national identity. “Pencak silat is not only about self-defense, but also survival” – Cecep Arif Rahman.

y r e h c Ar

Archery or formerly known as Jemparingan originates from Yogyakarta, which has been preserved from generation to generation since the 17th century. This sport emerged since the reign of Sri Sultan Hamengku Buwono I. Unlike archery in general, the jemparingan sport is done in a cross-legged sitting position. In this position, the archer does not aim in sight, but positions the bow in front of the stomach, so that the shot is based on the feeling of the archery. The one who shoots the most arrows on target is the winner. Archery is not only seen as a hobby.

Archery

sport, but also rich in traditional and

philosophical values.

itself has become popular since Indonesia participated in the 1952 Olympics, where the Indonesian Women’s Archery team at the Seoul Olympics (1988) became

A

the first to win a medal in this event.

rchery is one of the most popular

Three “Srikandi” from Indonesia, namely

sports in Indonesia. Archery is a

Nurfitriyana Saiman, Kusuma Wardhani

sport that challenges our ability to

and Lilies Handayani, who were trained

use a bow to shoot arrows. In the past,

by Donald Pandiangan, managed to

this skill was mostly used by archers and

get silver medals. The association that

soldiers who fought on the battlefield,

accommodates archery in Indonesia

but now many people make archery a

is the Indonesian Archery Association (PERPANI).

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VOL. 12, 2021 INDONESIANA 41

E

grang, or Stilts in English, is a sport

Egrang

using a long stick whose function is similar to the foot. This traditional

Indonesian sport requires strong physical strength and skills. Although it looks easy, it takes focus and practice several times to be able to master this sport. If the stilts are too upright but the body does not have time to adjust, it will wobble.

On the other hand, if you lean too much

from the Lampung language, which

forward, the stilts that you can initially

means stilts, because they are made of

control within a few seconds may lose

long round bamboo. Stilts themselves

your balance and fall. This game has

have several other names depending on

been recorded in the book Javanesse

the area, such as ‘tengkak’ (limping) in

Kinder Spellen which was compiled by

West Sumatra, ‘ingkau’ (bamboo shoes) in

an observer of children during the Dutch

Bengkulu, ‘jangngkang’ in Central Java or

colonial era. The sticks used are made

‘batungkau’ in West Kalimantan’.

of a pair of bamboo or wooden reeds of varying lengths, according to taste and need. On one side of the stick is given a place for a footrest. Egrang is derived

the kaleles flew into the air several times, while the jockey tried to control and show his shrewdness. That is Karapan Sapi, a traditional cultural

W

ith slices of saronen,

a typical Madurese gamelan orchestra,

Karapan Sapi Cow Race)

I

for the Madurese community, East Java.

Cows themselves have an important meaning for the Madurese. The Madurese believe that cows have a king.

The female cow king is in Gadding Village, Manding District, Sumenep Regency.

Meanwhile, the king of bulls is on Sapudi, an island on the east side of Madura.

cows are paraded in and around the racetrack. Relax the muscles while

confidence and strength to

showing off the beauty of clothes

cows. After that, the race starts. A pair of

(ambhin) and colorful accessories. After

cows wearing kaleles, a complementary

the parade, clothes and all accessories

means to be ridden by a tongkok/jockey

are removed except for the headdress

driver, goes fast. Quick race against

called ‘obet’. Obet serves to give

other pairs of cows. Speeding away,

42 INDONESIANA VOL. 12, 2021

and sporting attraction

Since hundreds of years ago, female cows in Gadding have been well cared for and known for their quality. Meanwhile, Sapudi is known to produce superior bulls that are used as frequent cows or cattle for bulls.

Pacu Jalur

P

acu Jalur is a traditional Indonesian

Pacu Jalur is a sport that has been passed

sport originating from Kuantan

down from generation to generation

Singingi Regency, Riau Province.

for hundreds of years. Before there is

This sport is part of the culture of the

the Pacu Jalur Festival which is aimed to

Kuantan Singingi community. This sport

celebrate the Independence Day of the

does not use boats randomly. The length

Republic of Indonesia, this sport was

of the boat for about 25-40 meters and

held to commemorate major Muslim

made of wood. Each boat consists of a

holidays such as Eid al-Fitr, Maulid Nabi

team of about 50 to 60 men and women,

or Muharram New Year. Until now, Pacu

aged 15-45 years. Team members are

Jalur is not only enjoyed by villagers on

called ‘anak pacu’ with their respective

the Kuantan River, but also by foreign

duties according to their designation,

tourists who are interested in watching

such as ‘carpenter’, ‘tukang concang’ who

the match.

becomes the commander or giver of the signal, ‘tukang pinggang’ who becomes the helmsman, ‘tukang onjal’ who tasked with applying pressure to keep the boat balanced and teetering regularly and rhythmically.

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VOL. 12, 2021 INDONESIANA 43

INDONESIAN TRADITIONAL TEXTILE

Twisting the unuran, traditional yarn spinner - Sakti Karuru

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44 INDONESIANA VOL. 11, 12, 2021

Prayer Strands on Each

Toraja Sheet of Weaving Cloth W

hen entering To’barana’ Village,

using pineapple fiber, Toraja people

it resembles weave. Each strand of weft

North Toraja Regency, South

used bark fiber as the main material for

thread is inserted back and forth into

Sulawesi Province, village guests

weaving. The resulting cloth is more often

the warp threads, pressed up and down

were greeted by the activities of women

used as a wrapper for corpses because

alternately so that the threads are tightly

from various ages who sit in a wooden

of its excellent absorbency. According to

interwoven to produce a cloth of better

house with slats while leaning on a

Michael Frederik Sosang, after traders

quality.

hammer or waist support device while

from India and Gujarat began to enter

weaving, their hands swinging to form a

South Sulawesi, cotton fiber began to

Toraja weaving has been widely known

neat and beautiful strand of cloth with a

be used as a mixture of pineapple fiber

as a form of local wisdom that is worth

blend of typical Toraja colors. Meanwhile,

because the material is softer.

selling. However, only a small number

other women are seen busy spinning an

understands the function and meaning

Unuran or a traditional yarn spinner with

The dyes used are sourced from plants

of traditional Toraja fabrics which are

one hand while the other is holding a

such as tree trunks, roots, bark, and

generally worn during traditional or

cotton bandage that will be shaped into

fruits. The red color is obtained from

religious ceremonies such as Rambu Solo’

thread as the main material for making

teak and henna leaves, the yellow color

(a mourning ceremony) or Rambu Tuka’

woven fabrics.

is from turmeric, the green color is from

(a thanksgiving ceremony).

pandan leaves, the reddish-brown color is This weaving is a souvenir that is very

from the mahogany tree, the soil brown

In addition to weaving, there is also

popular for tourists, apart from the

color is from tamarind seeds and the

Toraja wastra that uses wax-resist

unique combination of colors and

dark brown color is made from rotting

(wax resistance) in its manufacturing

motifs, the traditional manufacturing

banana stems. The color of the basic

technique. This species also has a very

process is also an added value. Toraja

fabric is red which comes from the roots

significant role in the implementation

woven cloth is basically the main raw

of the noni fruit and areca nut, and the

of traditional ceremonies in Toraja.

material for clothing, sarongs, as well as

black color comes from the bark of the

The type of maa’ cloth, for example,

pasappu or a type of headgear used by

Bilente tree.

has a sacred value so it is often only

traditional and religious figures in Toraja

used by traditional priests in Toraja as

traditional rituals and parties. Certain

The women weavers in the village of

a headband when leading ceremonies.

types of woven fabrics are even used as

To’baranna’ use cotton fibers that are

In the Rambu Solo’ ceremony, maa’ is

markers of social status during traditional

spun into yarn using unurans made of

usually used to wrap the corpse.

ceremonies.

bamboo. After the threads are dyed, the threads are arranged and tightened one

The type of cloth that resembles maa’

Toraja weaving generally uses

by one using ballads to form the desired

although it is wider and shorter is the

manufactured yarn and yarn from cotton

motif. This process is done by inserting

sarita which has a distinctive long and

spun and pineapple leaf fiber. Before

the weft between the warp threads until

narrow shape, and is generally brown

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VOL. 12, 2021 INDONESIANA 45

Weaving in the village of To’baranna’Sakti Karuru

I

or dark blue and white. Both maa’ and

maa’ and sarita are also often told in the

language. Tau-tau is a replica or statue

sarita are generally hand painted using

oral narratives and litanies of the Toraja

of a dead Toraja person and is usually

the wax barrier technique. This technique

people, which are important evidence of

placed around the place where the body

is a local adaptation of the batik dyeing

their presence for this indigenous people.

is buried. The tau-tau motif is widely used

method and sometimes uses mud – on

The Toraja people document and

by Toraja nobles.

plain fabrics, woven locally or, often by

transmit their oral narratives through

machine from India.

symbols and motifs that are often

The buffalo motif or pa’tedong is a

found on their traditional fabrics, such

symbol of strength, prosperity and

Generally, this type of cloth is used as

as hieroglyphs. For example, several

welfare because of its role as the

decoration or banners in Tongkonan

motifs are attached to female figures,

highest offering sacrifice in traditional

houses to be held for ceremonies,

such as the pa’sekong kandaure motif

ceremonies. Having a woven cloth with

because it is considered a symbol of

which is a symbol of the greatness of

a pa’tedong motif is a matter of pride

blessing. Both maa’ and sarita are

Toraja women. This motif is the hope

because of the presence of buffalo in

considered as valuable heirlooms from

that every descendant, the children and

the life of the Toraja people as pets,

the ancestors of the Toraja people, which

grandchildren who are born, always

which are generally very loved. Even in

are passed down from generation to

live in happiness. Another motif that is

the passomba tedong oral tradition, the

generation. The older the age of this

also widely known is tau-tau, a motif

ancestors of buffalo are told to meet

cloth, the more valuable its presence in

that resembles a human, according to

human ancestors in the forest and

every traditional ceremony. Stories about

the meaning of tau-tau in the Toraja

were asked by Puang Matua, who in the

46 INDONESIANA VOL. 12, 2021

Kain sarita menghiasi atap Tongkonan Sakti Karuru

religion of the ancestors of the Toraja

Each motif that tries to be displayed

people is believed to be the creator of the

conveys a series of diverse stories about

first humans, plants, animals, and even

people’s lives including the role and status

tools made of metal to give themselves.

of the wearer in adat and about hopes

as sacrifices to the gods and ancestors.

and prayers for prosperity. Each sheet of

The most common motif found in Toraja

cloth that is woven becomes a medium

woven fabrics is the pa’bannang motif,

to represent the social and cultural life of

which is a motif of straight lines like

the Toraja people. For these indigenous

threads. This motif can be found on the

peoples, weaving is not just a work of art,

pa’borong-borong woven fabric, where

more than that its presence as a messenger

straight lines of color fill the fabric. In

to future generations in the process of their

the meantime, the pa’bannang motif on

social interaction in traditional life. (Susia

the pa’miring woven fabric is only found

Kartika Imanuella, South Sulawesi Oral

at the ends or edges of the fabric. The

Tradition Activist)

Sarita cloth adorns the roof of Tongkonan Susia Kartika Imanuella

straight lines on the woven fabric are a reminder that every human being is equal, so it is important to be able to live side by side with mutual respect and appreciation for one another.

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VOL. 12, 2021 INDONESIANA 47

PERFORMING ARTS

Rayak-Rayak Sukabumian

Gaul Dance The Manifestation of Gratitude

The city of Sukabumi looked boisterous that morning, October 14, 2021, although in fact it could be even more hectic and even more frenetic if there were no restrictions on activities due to the Covid-19 pandemic. The cheerful and happy expressions of the performers brightened the face of the city. A number of artists, performers, members of the Gaya Gita Sukabumi community, as well as art practitioners from the City of Sukabumi joined in the Rayak-rayak Sukabumian show which was held in the context of regional economic recovery with the title “Rayak-rayak Sukabumian Present a Positive Image of Sukabumi City”, as a part of the traditional art treasures of West Java. The performing arts which are held in an open space are also part of the big celebration of the 2021 National Culture Week, organized by the Directorate General of Culture of the Ministry of Education and Culture.

the agrarian culture of the Sukabumi community which maintains modesty.

The word Sukabumi itself confirms the existence of reugreug pageuh pepeh rapih.

We are always grateful for all His gifts in the forms of abundant harvests, healthy and prosperous communities, mukti (successful) farmers, happy traders, safe, peaceful communities, towong rampog (no robbers), and suda bégal (no theft).

As we understand, culture is an important aspect of human life, and culture is the result of the thoughts or minds of cultured humans. We also remember the words of Edward Burnett Tylor (2016:4) which limits the term culture as “the total complexity”, which includes knowledge,

T

he celebration was indeed an effort to preserve West Java’s traditional arts which are included in the ten Cultural Objects of Cultural Promotion, namely art, especially traditional performing arts, whose existence has “slid down” due to

the Covid-19 pandemic. Traditional art performers, in this case in Sukabumi, were greatly affected, or more specifically, did not receive any performance offers. Therefore, with the existence of small, albeit limited, performances, the artists are quite helped. For a broader purpose, this artistic celebration is documented, as well as a means of socialization for today’s young generation.

The Rayak-rayak Sukabumian is the mainstay of the city with the motto reugreug pageuh repeh rapih (happiness and inner peace).

The word rayak comes from the word ‘réak’, which is originally from éak-éakan (Sundanese), which means cheering. As a form of gratitude and happiness, the pair dance or the rampak wanoja dance is a form of social dance that is not erotic. This is also related to

Dancing, Socializing, and being grateful Dr. H. Barkah

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48 48 INDONESIANA INDONESIANAVOL. VOL.11, 12,2021 2021

Preening Dr. H. Barkah

Through conservation carried out by the

acquired by humans as members of

West Java and Indonesia Assets

society. Therefore, we cannot “play” with

The Rayak-rayak Sukabumian, one of

of the Cultural Sector of the Sukabumi

culture.

the cultural treasures of the City of

City Education and Culture Office, the

Sukabumi, are an asset of West Java as

Gaya Gita Studio community, supported

well as an Indonesian asset that needs

by art practitioners in Sukabumi City, had

to be ‘guarded, fostered, and preserved’.

the opportunity to reconstruct the dance.

As part of the artistic treasures, Rayak-

This is a real effort of concern for art

rayak Sukabumian has high artistic

policy makers who are supported by the

values and ​​ is rich in wisdom and noble

Sukabumi City government to preserve

character, especially how to get along

traditional arts that are almost extinct.

belief, art, law, morals, skills and habits

From our experience as actors of traditional arts in particular, which is part of culture, culture cannot be separated from human who lives in groups, socializes in this world. Culture is an identity that is closely related to human social life. Culture also reflects the life, guidance, customs, arts and teachings that are firmly held by the social group.

with young boys and girls. If this dance is not appreciated, even extinct, then the cultural arts wisdom that exists in the

This country is rich in cultural treasures.

Rayak-rayak Sukabumian Dance will also

Even Indonesia is dubbed a cultural

be lost.

superpower. This is reflected by thousands of islands and hundreds of ethnic groups, becoming a museum of high value civilization. This condition is not just pride, but a task that must be carried and done, namely a real task to explore, revitalize, foster and develop this potential. Cultural wealth that is not ‘guarded, fostered, and preserved’ will be lost in time, buried in the exposure of other cultures that come from outside Indonesia.

Art and Institutional Development Section

The form of the performance that we present certainly develops from the previous one, and adapts to current conditions. This Rayak-rayak Sukabumian dance is to present a positive image of

The 200-year-old Rayak-rayak

Sukabumi City and we present it in a

Sukabumians have become the prima

show that is included in the West Java

donna of performing arts on stage

activity calendar, regional economic

celebrations, wedding celebrations,

recovery in 2021 (Dr H Barkah, Lecturer

circumcisions, plantation events,

at Nusa Putra Sukabumi University

and others. The dance was still often

and Sundanese Art Conservationist).

performed until the 1980s. However, as television broadcasts entered various parts of Sukabumi, this dance gradually could no longer be found on the entertainment stages.

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VOL. 12, 2021 INDONESIANA 49

CULTURAL PROPERTIES

Tewet Atas niche Edy Gunawan

SangkulirangMangkalihat A

Prehistoric Rock Art in the Heart of Kalimantan

I

50 INDONESIANA VOL. 12, 2021

sig

fc no

ivili

zation - Edy Gunawan

wa n

un a ourge of time - Edy G c the s ing Fac

K

arst Sangkulirang - Mangkalihat

With the distribution of caves and rock

is a karst landscape located

shelters, Sangkulirang Mangkalihat is

in East Kalimantan, precisely

thought to have been used as a place

in East Kutai Regency, and stretches

to live by humans in the past. The use

to Berau Regency. Karst is an area

of caves and niches in the past has left

consisting of porous limestone so

traces of residence and cultural remains

that water on the ground surface

that are diverse and have their own

always seeps and disappears into the

uniqueness, including rock drawings

ground. Sangkulirang - Mangkalihat

made by prehistoric people. Rock images

is surrounded by steep walls,

or rock art are usually expressed on

underground caves with beautiful

cave walls and are often found in the

natural carvings, and wide green hills.

Americas, Africa, Europe, Australia, to

This karst is rich in historical relics

Asia.

which are also important information regarding the existence of prehistoric humans and their activities at that time. All of that is recorded in seni cadas or rock art, namely paintings on the walls of caves or niches, cliffs, and rocks.

Rem

aining pictures Edy Gu na wa n

In Asia, rock images are found in Malaysia, Thailand, the Philippines, and Indonesia. Rock images in the Sangkulirang - Mangkalihat karst became one of the rock image area sites that had been registered on the UNESCO Tentative List on January 30, 2015. It

I

VOL. 12, 2021 INDONESIANA 51

in one co

rner

of t he Te we tA

ta s

N he ic -

Ed

yG an aw un

was recorded with Ref No. 6009 with the title Sangkulirang-Mangkalihat Karst: Prehistoric Rock art Area.

east of East Kalimantan, lies a karst area

that depict everyday life. Of all the rock

called Sangkulirang - Mangkalihat. This

art, hand painting is the most common

There are more than 50 locations of

karst area is located upstream of five

element.

various caves in the Sangkulirang -

major rivers that flow into the Sulawesi

Mangkalihat Karst that have rock art.

Sea. In the area there are also seven

From the results of archaeological

giant karst mountains (Batu Aji, Stone

research, it is known that the paintings in interpretation of the area indicates

Maxime Aubert, an archaeologist and Saws, Batu Tondoyan, Kulat Hunchback

the cave in areland tenscover. of thousands of years changes This change

professor at Griffith University Autralia, Stone, Stone Tutunambo-Pemulin, Batu

old.

This the karst area has information affected Austronesian way of life,about

the paintingand that is believed beRaya) a wild Pengadan, Batu Tabalarto Ara

ancient human that be seen from hunting totraces fishing, forcan example, and

bull is 40,000 years old. There alsokarst a and the vast Tutunambo Batu is Putih

from hand paintings, drawings, and is clearly illustrated inboat the rock images

rock image in the form of a giant honey courtyard.

paintings found. of various types of animals that

mainland in Southeast Asia paintings was also found in thousands Liang Karim

bee nest which has a size of 1.5 meters.

Thousands of prehistoric rock art In addition to beehives, there are also paintings and carvings are found here, negative handprints which, unfortunately, spread over 48 inland caves in seven have begun to be damaged and have different karst mountainous regions. been reached by human hands. Liang Rock art painted on the ceilings, walls, Karim Cave is only one of dozens of and cavities of caves depends on the prehistoric sites in the Sangkulirang meaning. They depict forms such as Mangkalihat Karst area. spiritual images (zoomorphic and

of years is the largest Cave andago), Lubang Jeriji Salehisland Cave in in the the

anthropomorphic) and images of social

Indonesian Archipelago. the middle area of ​​Mount Batu Sawi.InAccording to

phenomena (equipment and weapons)

are clearly depicted on cave walls and are Based on the results of research that has said to have existed tens of thousands of been done, it is known that in addition years ago. to rock drawings, various artifacts and

Prehistoric eco artifacts were also found which are

The island to of have Borneo, which inthe ancient estimated come from period times was part Sundaland (a large 4000 years ago.ofOne of the oldest animal

I

Pindi Cave - Edy Gunawan

12 2021 52 INDONESIANA VOL. 12,

Radiocarbon dating shows that rock art at Tewet Cave in Sangkulirang Mangkalihat is 40,000 BP. This is much earlier than the Lascaux Caves (35,400 BP) and Chauvet Caves (32,000) in France previously known to be the earliest in the world.

Rock drawings and some archaeological finds in this area also show the migration of the Austronesians. During migration, Borneo’s climate and land cover change over time. Continental climate occurs when all of Sundaland is still dry (40,000–21,000 BP), followed by tropical savanna climate and island climate (12,000–7,000 BP), then followed by Tropical Rainforest (1,000 BP). Correlatively, the geological

Cultural Heritage

To strengthen public awareness

land clearing for oil palm plantations

Karst Sangkulirang - Mangkalihat karst

about one of the oldest known rock

threaten Sangkulirang - Mangkalihat.

has many historical relics that have not

images in the world, it is necessary

Various efforts were made to

been fully researched and excavated,

to design interesting information on

preserve these sites, ranging from the

including relics in the form of culture,

the distribution of the Sangkulirang -

establishment of local regulations to the

history, and organisms that live in the

Mangkalihat rock images. This needs

big step to propose them as one of the

expanse of the karst.

to be done through the description of

UNESCO World Cultural Heritage.

Rock images as cultural resources need special attention. Conservation efforts are absolutely necessary considering the threat of massive damage. In line with this, massive conservation activities were carried out and through multisectoral collaboration involving various stakeholders, especially the Regional Government of East Kutai Regency, Berau, East Kalimantan Provincial Government and other inter-ministerial.

various aspects of these sites, namely their location and position among other world rock images, details of the location at the site, climate and geomorphological changes that occurred and their effects on current rock images, their correlation with prehistoric migration, and threats faced today by industrial activities. An integrated multidimensional representation can make this area more familiar to many parties.

It is hoped that with the designation of Sangkulirang - Mangkalihat as a World Heritage by UNESCO, efforts to preserve rock images and the environment, as well as other cultural heritage of ancient human history, can be guaranteed and thereby avoiding exploitation of extractive industries such as coal mining and oil palm plantations which are currently rampant around the area.

(Edy Gunawan, Regional Office for

This is a necessary step to realize the

Currently, as observed from satellite

Cultural Properties Preservation in

sustainable management of this area as a

imagery, industrial activities such as karst

East Kalimantan).

cultural properties site.

exploitation for cement production and

wa n

Pic

s at Sa ture

leh Cave - E dy G una wa n

T

of times - Ed reach y Gu The na

he

ho ac re

p he ft

or the future - Ed a st f yG un aw an

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VOL. 12, 2021 INDONESIANA 53

MANUSCRIPTS

UI Library Collection of Dolanan Manuscript Aswinna

Track Record of Children’s Dolananin Ancient Manuscripts

Childhood is a time of fun, joy, and full of color. The world of children’s lives is simple and unique, they are passed freely and without burden. Children are very sensitive to receive various stimuli from the surrounding environment, one of which is through singing. Javanese tradition provides this vehicle, namely children’s play. Dolanan comes from the Javanese language which means game. The children’s play in question is a traditional game that contains elements of sports, recreation, singing, and education.

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54 INDONESIANA VOL. 12, 2021

Children’s play is not only transmitted

which is a collection of the National

the SLBB script is divided into three

from one generation to the next through

Library of Indonesia. The data shows that

types of presentation: 1) children’s

oral tradition, but is also recorded in

traditional children’s play in Java is quite

play accompanied by a song, 2) only

ancient manuscripts and ancient printed

diverse.

children’s play, and 3) only children’s

manuscripts in the archipelago that stretches from the west to the east and contains a lot of information in the form of knowledge, social, culture, religion, and many more. The written tradition is more durable in storing memories of the past culture compared to the oral tradition.

One of the diversity of manuscripts and ancient printed texts that contain or children’s songs is Serat Lagu BocahBocah (abbreviated as SLBB). This SLBB is a collection of the Grhatama Pustaka of the Regional Library and Archives Service of D.I. Yogyakarta with collection code

era that is completely technology-

L 784,624 Suk S. Submission of text in

based, children’s toys are starting to be

prose written using Javanese language

forgotten by millennial society. Children

and script. R. Sukardi (Prawira Winarsa)

prefer gadgets and play in their rooms

wrote this SLBB in

while lying down rather than playing

Imogiri, Yogyakarta.

with their friends while socializing

In 1912, SLBB was

and exercising. This resulted in the

published by the

discontinuance of the preservation of

H.A. Benjamins in

traditional children’s games, especially

the city of Semarang

in Java. Just remembering the names of

with a manuscript

the children’s games is already grateful,

size of 13.5 cm x 22

especially remembering the complete

cm.

of the Indonesian people is to have an advanced written civilization in the past, so that we can still learn children’s play and relive it by opening sheet after sheet of manuscripts.

Philolog).

memories of children’s play and songs

Along with the development of an

way and the rules of the game. The luck

song (Muhammad Bagus Febriyanto,

The SLBB text contains 212 children’s songs and children’s games, equipped with rules and how to play

Dolanan Manuscript

them, as well as

There are many manuscripts or ancient

simple illustrations

printed manuscripts that store the

that describe each

memories of children’s dolanan, including

game. The children’s

the manuscript entitled Dolanan with

play collected in

collection code F31, Dolanan Bocah collection code F32, Dolanan Driji F9 and F10, Dolanan Lare-Lare collection code F8 stored at the Sonobudoyo Museum, Yogyakarta. ; Gendhing Dolanan UR25, Dolanan Bocah-Bocah ing Klathen collection code UR22-UR24, Dolanan Warni-Warni collection code UR9 and

Pages to play Aswinna

UR10 which are the library collections of the University of Indonesia; and Jongensspelen code collection KBG 926

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VOL. 12, 2021 INDONESIANA 55

The following are examples of children’s

dolanan names with song:

No.

1.

the numbering order according to the manuscript 1.

dolanan name

Gula ganthi

2.

2.

Sepet-sepet aking

3.

3.

Hanti

4.

4.

Thung-thung

5.

5.

Cublak-cublak suweng

6.

6.

Godhong-godhong sembukan

7.

7.

Emprit-emprit peking

8.

8.

Bek kung

9.

9.

bibis

10.

10.

Cempa rowa

11.

11.

Cengkir-cengkir legi

12.

12.

Blarak-blarak sempal

13.

13.

Ancung

14.

14.

Sulur-sulur kangkung

15.

15.

Sluku-sluku bathok

16.

16.

Tumbaran

17.

17.

Lepetan

18.

18.

Srek-usreke

19.

19.

Ceplok endhog

20.

20.

Lintang rembulan

21.

21.

Jamuran

22.

22.

Nini-nini katisen

23.

23.

Dhungkul

24.

24.

Kacang-kacang goreng

25.

25.

Cengkowak

26.

26.

Luru-lurus

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56 INDONESIANA VOL. 12, 2021

The following are examples of children’s dolanan names with song: No.

the numbering order according to the manuscript

dolanan name

1.

90.

Jelung umpet

2.

91.

Uthuk-uthuk

3.

128.

Genukan

4.

135.

Gobag grendul

5.

136.

Gobag gendul

6.

137.

Gobag sodhor

7.

138.

Gobag gerit

8.

139.

Koko-koko

9.

151.

Dhakon

10.

152.

Obrog (sela)

11.

153.

Obrog (kajeng)

12.

156.

Macanan, tiyang 21 sima 1

13.

157.

Macanan, tiyang 8 sima 2

14.

158.

Macanan, tiyang 3 sima 1

15.

159.

Macanan, tiyang 4 sima 1

16.

160.

Mulmulan

17.

161.

Basbasan

18.

171.

Damel gambar griya

19.

174.

Gatheng

20.

175.

Gatheng tandheg

21.

176.

Gatheng brojol

22.

177.

Gatheng rante

23.

179.

Benthik

24.

180.

Benthik maling

25.

181.

Uncal

26.

182.

Ondhel

27.

183.

Jirak byok

34.

190.

Dekepan

39.

203.

Gendeng

Keep the game, keep the civilization - Zullubis

The following are the names of 44 children’s dolanan: No.

the numbering order according to the manuscript

dolanan name

1.

35.

Pring sadul-sadul

2.

36.

Sondom belo

3.

37.

Kembang celung

4.

40.

Locici

5.

44.

Kebo brintik

6.

47.

Celeng Gonteng

7.

49.

Sang goreng sonjin

8.

50.

Sliring gendhing

9.

54.

Hurti hurta

10.

58.

Bang-abang

11.

60.

Dhungkul bobonang

12.

62.

Embleg-embleg tape

13.

63.

Jonjang lotha-lathi

14.

65.

Rujak manggis

15.

69.

Pring gadhing

16.

70.

Godhong kamitetep

17.

71.

Orong-orong bangkong

18.

73.

Bung menthalit

19.

76.

Kroto-kroto I

20.

78.

Dhoro-dhoro thik

21.

80.

Godhong-godhong sembukan

duduh

22.

87.

Ri ri welut

23.

92.

Riti-riti II

24.

93.

Titi gung

25.

95.

Kidul kono ana lintang

26.

96.

Kembang thokla-thakli

27.

101.

Ima-ima

28.

107.

Jeruk inggu

29.

115.

Pring gong-gong

30.

123.

Dhungkul dhembleng

31.

126.

Pring-pring celumpring

dhola-dhali

32.

130.

Cumplo nangka

33.

132.

Dhungkul lur galur

34.

144.

Uyek-uyek ranti II

35.

147.

Thil sarinthilan

36.

148.

Bi bibi tumbas timun

37.

154.

Pelem-pelem mentah II

38.

155.

Rujak nanas

39.

166.

Bung pring ori

40.

207.

Suri-suri dhablang

41.

208.

Anakku

42.

209.

Sulur-sulur rambate

43.

211.

Randhu-randhu cengklung

44.

212.

Jeruk gulung II

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VOL. 12, 2021 INDONESIANA 57

MUSIC

Sound Hunting at

Tana Humba

Ata Ratu is playing Jungga - Dir. PMM

Maybe many of us are not familiar with the name of a place on Nusantara called Tana Humba. However, when we hear the name Sumba Island, we will immediately understand this beautiful and exotic island from this group of islands in East Nusa Tenggara Province. Yes, Tana Humba is the name for Sumba Island for the natives there. In addition to having natural beauty, the island covering an area of 10,710 square kilometers holds a cultural wealth in the form of unique sounds that can hardly be found anywhere in the world.

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58 INDONESIANA VOL. 12, 2021

The sounds here are not just sounds

attracted the attention of musician Ivan

The way to sound dungga roro is to swipe

without meaning, but sounds that contain

Nestorman to form a Sound Hunting

the strings over the coconut shell with a

aesthetic values and even magical-spir-

Team which aims to get to know each

small bow. While singing voicing Sum-

itual values for the people of Sumba

other more closely and at the same time

banese lyrics, Ndara Katoda sandwiches

Island. The sound blends into the joints

record the sounds of Sumbanese musical

a bamboo stick between her thumb and

of the life of the Tana Humba commu-

instruments, so that the rich culture of

index finger, while her index, middle

nity, becoming part of the daily life of

Tana Humba can be better recognized

and ring fingers alternately press the

the community. The most common term

by the wider community, especially the

strings on the bamboo stalks. The sound

to describe these sounds is “traditional

younger generation.

produced is in line with the song he

music”.

sings. Meanwhile, the left hand holds a

Traditional music in Sumba (and its

First Hunt: Dungga, Dungga Roro and Dungga Kapoha

surroundings) emphasizes the beau-

The hunt begins with finding and meeting

ty of vocal and lyrical elements more

the sound maestro on the island of

than the harmonization of sounds from

Sumba. The first maestro met was Ndara

Ndara Katoda then plucked the dungga.

instruments or musical instruments. This

Katoda, a dungga player with more than

At first glance, this instrument is similar

condition -- could be -- is the cause of the

fifty years of familiarity with the Marapu

to a ukulele with three strings, but the

scarcity of musical instruments typical

musical instrument. To the Sound Hunt-

way to play it is not held in the hands of

of the island of Sumba. This situation

ing Team, he explained and demonstrat-

a guitar or ukulele. Dungga is played by

ed the use of dungga which turned out

holding it against the musicians, and the

to have various variants of forms and

strings on the dungga are plucked with

how to play it. Ndara Katoda shows three

the left and right thumbs to produce a

small bow which is used to rub the lower part of the bamboo stalk adjacent to the resonance shell.

musical instruments that he usually plays, namely dungga, dungga roro, and dungga kapoha.

Organologically, dungga, dungga roro, and dungga kapoha can be classified as chordophone musical instruments, which produce sound from the vibration of strings or strings being plucked or swiped. To produce a louder sound, these vibrations are captured and echoed by a kind of resonance tube that is attached to Dungga - Dir. PMM

the instrument body.

Ndara Katoda explains and demonstrates the musical instrument he always plays.

First, this maestro showed his skill in singing while playing dungga roro. This musical instrument is elongated like a bow made of medium-sized bamboo with a length of approximately one meter. In this bamboo, one string is stretched and

Dungga’s face - Dir. PMM

tied to a small piece of bamboo that can be rotated to get the desired tone frequency. At the bottom there is a coconut shell which functions as a resonance tube which is covered with animal skin.

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VOL. 11, 12, 2021 INDONESIANA 59

The existence of Dungga Kapoha is indeed very special. Besides the unique way of playing it, Ndara Katoda’s dungga kapoha is actually the only dungga kapoha left on Sumba Island. Ndara explained that he got the instrument from his father, who is also a dungga player.

Ndara Katoda explained that hhe could no longer make dungga kapoha. In addition to the time-consuming manufacturing process, the materials used are very difficult to obtain, especially for the manufacture of resonance tubes. The

Harmony between generations-

tube is not made from coconut shells, but from a kind of forest gourd which is now rarely found on Sumba Island. Even so, Ndara hopes that one day there will be a

rhythmic tone, as if inviting the listener to

players’ grips, while plucking the strings.

younger generation who will learn and re-

dance. The Soundhunting Team couldn’t

Ndara Katoda explained that this was

vitalize the musical instrument inherited

help to move their heads, nodding to the

done to obtain variations in the high and

from their parents.

maestro’s rhythm.

low frequencies of the tone and color of

The last musical instrument is the dungga

the voice.

kapoha. In contrast to dungga, which invites listeners to have fun and dance, dungga cathode is usually played to sing sad or melancholic songs. In size and shape, this instrument is similar to the dungga roro, but there are very striking differences. First, it is not made of bamboo, but of solid wood that is shaped lengthwise and slightly curved like a bow.

Second, the position of the resonant tube is inverted and not closed, so it resembles a dipper to take water. And third, this is the most unique, namely the position of playing dungga kapoha is the opposite of dungga roro, where the right hand plays the role of plucking the strings and the left hand plays the role of pressing the strings on the wooden stick to produce high and low notes.

Not only that, the Sound Hunting Team was also amazed by the placement of the resonant tube, which was opened and closed by loosening and tightening the

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60 INDONESIANA VOL. 12, 2021

Ndara Katoda is demonstrating how to play Dungga Kapoha -

Ivan Nestorman (right), a musician from Flores, is researching sounds from Sumba

Hearing sad songs accompanied by dung-

marriages between the people of Sumba

In addition, the limited availability of raw

ga kapoha, also knowing its existence

and Sabu played a role in introducing the

materials makes musical instrument mak-

which is almost extinct, makes our hearts

juk musical instrument in Sumba, even

ers in Sumba look for alternatives, such

feel sad.

though it was known by another name,

as jungga strings that were previously

namely jungga. The instrument was then

made using horsetail hair, now can be

commonly used by the people of Sumba

made from motorcycle clutch cable. The

to accompany song lyrics to traditional

reason is, besides being easier to get, the

Marapu ritual activities, such as weddings

sound produced is also louder. Here we

and death to liven up the atmosphere.

can find that the limited availability of raw

Second Hunt: Jungga Next, we visited the residence of Ata Ratu, the only female maestro of Jungga on Sumba Island. The poems sung to Jungga’s accompaniment contain various

materials should not be a constraint.

messages, also invite listeners to pre-

Hunting Results: Unique Sounds and

serve Sumba’s customs and culture. Just

the Future of Sumba’s Music

The efforts of the Sound Hunting Team

like dungga, jungga can also be classified

From this sound hunting in Tana Humba,

from Southern Indonesia in taking notes,

as a chordophone musical instrument. At

it was found that the unique sound of

recording, and archiving the treasures of

first glance, this instrument is similar to a

Sumba, that the musical instrument that

traditional music certainly have a major

guitar or ukulele, having a resonant tube

accompanies the singing turns out to

impact on the protection, development

that attaches to the body of the instru-

have a unique role. The sound of a musi-

and use of traditional music. The younger

ment with four strings running across it.

cal instrument is not in the form of har-

generation should not miss it.

Jungga, known by the people of East Sumba, was adapted from the traditional juk musical instrument from Sabu, a small island in the south of the East Nusa Tenggara archipelago. Cultural exchanges and

monizing tones in the form of an accord

(Denison Wicaksono, Directorate of

(as in the Western version of the guitar),

Film, Music and Media of The Ministry

but rather on a unisono accompaniment,

of Education, Culture, Research and

which sounds in tune with the vocal tone

Technology).

that is sung.

Collections of the Directorate of Film, Music and Media

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VOL. 12, 2021 INDONESIANA 61

TRADITIONAL KNOWKEDGE

Indonesian

Dali to enjoy Made, Tristy, Selvi, Sandra

Cheese International Potential Local Confectionery

I

heese is a food ingredient that

C

The country of origin of the largest

How about Indonesia? Does Indonesia

is synonymous with Western

cheese producer in the world is the

have its own traditional cheese?

cuisine, especially America and

United States, which citizens really keen

Europe. The use of cheese in internation-

of consuming parmesan and mozzarella

al menus is very common, such as pasta,

cheese. In addition, the Netherlands,

pizza, sandwiches, burgers and so on. In

Germany, France and Italy, also have

addition, cheese is also often used as the

distinctive cheeses, each of which has a

main ingredient in making cakes or as a

traditional taste with different sources of

filling for sweet bread.

milk and various processing.

62 INDONESIANA VOL. 11, 12, 2021

Raw materials in the manufacture of pastry products in Indonesia still depend a lot on imported materials, even though there are lots of local raw materials that

I

62 INDONESIANA VOL. 11, 2021

can be utilized. There are many types of cheese used, such as cheddar cheese, parmesan cheese, mozzarella cheese,

After this dangke cheese is cleaned, it looks a little yellowish in color and uneven cavities on the surface. This cheese is quite firm and leaves no flakes when cut. However, if we feel the texture of this cheese, it will feel crumbly and brittle. The aroma of this cheese is fresh and sour like a freshly cooked sticky rice tape, with a taste that tends to be bland and has a mild bitter aftertaste.

Danke to all of us Made, Tristy, Selvi, Sandra

Not a few modern pastry products that can be produced from dangke cheese.

edam cheese, cheese spread, camembert

Dangke

cheese, and cream cheese. Most of the

Dangke cheese is a typical cheese

cheese is still imported and from year to

originating from South Sulawesi, precisely

year continues to increase by 5.96% (BPS,

in Enrekang Regency. The people of

2014). The level of cheese consumption

Enrekang originally made this cheese

in Indonesia is still low when compared

from buffalo milk, but along with the

to other Asian countries, this is due to the

difficulty and expensiveness of buffalo

stigma that cheese is a luxury food that is

milk, later they also processed cow’s milk.

only consumed by the rich.

This cheese uses coconut shells as a mold

Even though in Indonesia there are lots of traditional cheeses which taste and quality are the same as imported cheeses. Various processed local cheeses, for example, are dangke cheese from South Sulawesi, cologanti cheese from Sumba, dairy cheese from Lombok, dadiah cheese from Padang and bagot ni horbo cheese from Tapanuli (Jauzan, 2011). These traditional cheeses are only known and used by local people and less known by the wider community.

Most of the works of local craftsmen are still untouched. In fact, these various products can be processed into high-value and prestigious culinary commodities. If the utilization and development of traditional cheese products is managed properly, it is not impossible that these products will also enrich the Indonesian tourism sector, especially regional culinary tourism.

Some examples of its use so far are dangke chilled cheesecake, dangke marbled brownies, dangke chocolate chip cookies, dangke baked cheesecake,

as well as a sieve to separate the whey from the cheese. In addition to absorbing the abundant production of cow’s milk, dangke cheese is more popular with the

Sharing taste Made, Tristy, Selvi, Sandra

people of Enrekang because it can be used as a side dish to eat rice and chili sauce as a complement.

Broadly speaking, the process of making dangke is the same as the process of making fresh cheese. In contrast to cheese which is generally coagulated using the help of rennet enzyme-producing bacteria, dangke is coagulated using papaya sap. The characteristics of dangke cheese have a dense cheese texture, with a fairly high water content. The cheese is covered with salt water to make it more durable in transit for orders from out of town or outside the island. This brine must be cleaned of cheese immediately so that it does not take too long to be absorbed into the cheese by soaking it briefly in hot water, then draining it.

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VOL. 11, 12, 2021 INDONESIANA 63

next process is a filtering process which will separate the whey and curd, then proceed with the curd printing process.

The next process is packaging and storage, where the bowl containing bagot ni horbo is stored in the refrigerator to make it fresher and last longer.

Some modern pastry products that can be made from traditional dali ni horbo cheese are choux with dali vla filling, donuts with dali tiramisu filling, dali tiramisu, dali cheese muffing, and dali chilled cheese cake.

Senduro The third traditional cheese comes from

Confectionary - Made, Tristy, Selvi, Sandra

Senduro Village, Lumajang Regency, East Java. Senduro cheese is made from

dangke chocolate puff, dangke butter cookies, dangke banana strudel, and many other modern pastry products.

Dali ni horbo The next traditional cheese is bagot ni horbo or dali ni horbo which comes from

Dessert Made, Tristy, Selvi, Sandra

Tapanuli, North Sumatra. This cheese is made from buffalo milk which is added with papaya leaf juice or pineapple juice to help the coagulation process and remove the fishy smell from buffalo milk.

Bagot ni horbo traditional cheese can now be consumed directly or with arsik, which is a typical Tapanuli food made from goldfish cooked using traditional North Sumatran spices (andaliman and kecombrang (torch ginger) fruit).

Buffalo milk contained in bagot ni horbo has more fat content than cow’s milk, but the other nutritional components are relatively the same. The specialty of this traditional bagot ni horbo cheese lies in the coagulation process that does not use chemicals and the buffalo milk used contains more protein than cow’s milk and the color of buffalo milk is whiter

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64 INDONESIANA VOL. 12, 2021

than cow’s milk because buffalo milk has

goat’s milk of the Etsen type (a marriage

more carotene.

between Etawa and Manggala) which is

Making traditional bagot ni horbo cheese begins with heating buffalo milk for 1215 minutes with the aim of eliminating bacteria in buffalo milk. The next process is a thickening or coagulant process in which buffalo milk is given juice of papaya leaves or juice of young pineapple. The

now nationally recognized as a superior livestock from East Java. Senduro cheese in 2015 began to be produced by several farms in Lumajang Regency, which aims to be able to utilize goat’s milk products into more diverse products and minimize the amount of damage to goat’s milk produced by breeders. Senduro cheese

Senduro Made, Tristy, Selvi, Sandra

is also often introduced by the Livestock

are senduro sweet bread, senduro

Service Office of East Java Province in

eggless soft cookies, senduro cheese

every livestock production event, the aim

brownies, and senduro smoked beef

is to open the market for senduro goat

bread. (Made Citra Yuniastuti,

breeders and improve the welfare of the

Tristy Firlyanie Luthfi, Selvi

people around Lumajang Regency.

Novianti, Sandra Sanggramasari)

Just like making commercial fresh cheese, senduro cheese uses rennet as a coagulant. Senduro cheese derived from senduro goat’s milk has many benefits for the body, including low fat, low calories, lactose and sodium, rich in vitamins such as vitamins D, K, B and A and rich in calcium. Senduro cheese has a creamy taste, slightly salty and slightly sour, while the aroma of goat is not too pronounced. Senduro cheese is usually consumed directly or eaten with crackers, bread, spinach or fruit. Some modern pastry products that can be produced

Indonesia’s Potential - https://www.freepik. com/free-photo/deliciouscheese-platter-blank-spiraldairy-with-pen-againstplain-background_4321htm #query=chesse&position=4 3&from_view=search

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VOL. 12, 2021 INDONESIANA 65

LIFE STYLE

From a collector to becoming more famous Syefri Luwis

When Ancient and Present Share in the Philately Building

T

he Jakarta Philately Building on

was founded in 1923 certainly requires

heritage must also provide benefits to

Jalan Pos Pasar Baru is now part

accurate planning and curation, as well as

improve the quality of life of the commu-

of the Pos Bloc, after being made

the will and determination of the building

nity. In addition, turning historic buildings

owner.

into contemporary spaces often raises

into a kind of city hall, a place for urban people to gather and eat snacks. The class A cultural properties building which is an asset of PT Pos Indonesia is now boisterous and lively. In Pos Bloc covering an area of 2400 square meters, there are coffee shops, rice stalls, art stalls, to “warungs” for recreation and relaxation.

Various activities were also held there, from book discussions to fashion shows.

Revitalizing or reviving the building which

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66 INDONESIANA VOL. 12, 2021

Why does it need a determination?

Because revitalizing cultural properties buildings must meet a number of conditions as stated in Law No. 11 Year 2010 concerning Cultural Conservation, one of

concerns, will the historical value and content gradually disappear? Will the cultural properties later only become an attractive location for instagramable photos?

which is not allowed to change the origi-

We know that cultural properties, refer-

nal shape of the outside of the building.

ring to the Cultural Conservation Law, is

Revitalization which means rearranging

cultural heritage that is material in the

the function of space, cultural values, and

form of cultural properties objects, cultur-

strengthening information about cultural

al properties buildings, cultural proper-

ties structures, cultural properties sites,

For Handoko, today’s museum or cul-

and cultural properties areas on land

tural properties must become one with

and/or water that need to be preserved

retail. With a long-term mindset, historic

because they have value. important for

buildings can become town halls, as has

history, science, education, religion, and/

happened in almost all countries. “Includ-

or culture through the determination

ing countries in Southeast Asia where

process. Therefore, changing just a few

Indonesia is actually not inferior, namely

things requires a lot of consideration.

Vietnam, Singapore and Malaysia. So,

Cultural Retail We spoke with one of the founders of Pos Bloc, Handoko Hendroyono, a brand

when PT Pos offered it, we welcomed it.

Just like at M Bloc, we were also offered

by Peruri two years ago,” he added.

expert and film producer who previously

M Bloc Place as a creative space for

revitalized the old Perum Peruri asset

urbanites which opened on 26 Septem-

building into M Bloc Space in South Jakar-

ber 2019 was immediately sensational.

ta. “We really understand and agree with

Music performances from indie groups

the strict rules regarding the use of cul-

are present every day and peak in

tural properties. Before opening Pos Bloc,

December when there are 23 days of

we, my team and PT Pos also attended

music performances. Handoko said the

several hearings with the cultural proper-

turnover reached Rp 20 billion in the first

ties and historian team,” said Handoko at

three months after opening. What started

a booth at the Jakarta Philately Building,

as a stalled building that blended with

in November 2021.

housing and factories, eventually became

Handoko Hendroyono - Syefri Luwis

Hearing the story of the maestro Syefri Luwis

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VOL. 12, 2021 INDONESIANA 67

In the middle but not embarrassed Syefri Luwis

Boxes - Syefri Luwis

a fun hangout place. M Bloc and Pos Bloc

years old. Several young women in casual

are examples of the application of cul-

clothes and international branded jackets

tural entrepreneurs (culturepreneurship)

pose for a photo in front of the door in

and creative entrepreneurs creativepre-

classic style. The cyclists relax and chat in

neurship.

front of Via Bata Via, an outlet that sells

The Charm of the Past in the Present

old and antique items.

While eating spaghetti, visitors to Pos

In today’s era, when times move so fast

Bloc can enjoy the Dutch colonial ar-

and everyone seems to be required to

chitecture which was built when Indo-

always penetrate technology, the past

nesia was ruled by the Dutch from the

– it is said – actually sells. People need

early 17th century until 1942. The most

balance in life. When the world around is

prominent feature of colonial architec-

spinning so fast, people need the brakes,

ture, according to Djoko Soekiman in

to slow down. At a time when modernity

Indies Culture from the Company Age

surrounds, some of us want to return to

to the Revolution (2011) is the facade

traditional life. Acceleration begets decel-

and a symmetrical building plan and an

eration. Acceleration breeds deceleration.

entrance gate with two doors.

When the world talks about the present, people also long for the ancient.

Pos Bloc has signed three contracts with PT Pos to revitalize three old postal build-

When modern meets the past, its charm

ings which are currently “stagnant” with

can be seen in the commotion at Pos Bloc

a partnership pattern, namely in Jakarta,

in November 2021. A number of visitors

Medan and Surabaya. PT Pos Indonesia is

are tasting gelato ice cream, leaning on

indeed rich in historically valuable assets,

the pillars of a building that is almost 100

considering its long history since it was first established by Governor General

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68 INDONESIANA VOL. 12, 2021

Mail Bus - Syefri Luwis

Sharing with pedestrians Syefri Luwis

Spaces to visit Syefri Luwis

Gustaaf Willem Baron van Imhoff under

be assisted, but provides a respectable

the name Batavia Post Office on 26

window for local brands.

August 1746, which was also the first post office of the Dutch East Indies (referring to records at the Bandung Postal Museum). Currently there are about 3900 postal buildings in almost all cities that need to be revived.

The culture business can thrive and the ecosystem grows because of public involvement, thus becoming an icon of the city and a tourism destination. Small but alive, constantly throbbing. There is no need to be anti-retail culture, as long as

Bringing museums and historic build-

we do not deny the cultural values in it.

ings closer to millennials will revive the

The Jakarta Philately Building will remain

Indonesian postal ecosystem whose

majestic and classic, not losing its traces

names are less familiar to Generations Y

and historical value.

and Z as internet “original citizens”. Post

(Susi Ivvaty, Majalah Indonesiana).

Bloc makes a great branding for the post.

According to Handoko, the good image of PT Pos Indonesia has also been lifted because it accommodates local brands that need creative space to sell. Its role is not

Sharing on Philately Syefri Luwis

like that of a ministry that facilitates small businesses as a business unit that must

I

VOL. 11, 12, 2021 INDONESIANA 69

ORAL TRADITION

ULU AMBEK Ninik Mamak’s Crown of Authority

Sitting together Wewen

O

I

ne of the oral traditions that

Ulu ambek comes from the words ulu

ulu ambek movement to attack and fend

is still alive and thriving in the

and ambek. One player acts as a palalu

off, and the female ulu ambek function

Pariaman area, West Sumatra

(attacker) and another person is called a

to accompany the ulu ambek movement

is the ulu ambek, which is a kind of

paambek (fends off attack). Alternately,

when not attacking or parrying.

silat-like performance that pits two men

the two players pit their attacking and

performing pencak movements against

parrying skills in the form of motion

Ulu ambek is performed above laga-

each other. Uniquely, in the show, the

symbols. The two forms of presentation

laga and in the context of Alek nagari or

two fighters do not have direct physical

mentioned above are accompanied by

parties organized by the community of

contact. Therefore, this type of silat is

a vowel sound called dampeang. There

a nagari which are held for example in

also known as occult silat/shadow silat.

are two types of dampeang, namely male

the context of traditional events such as

dampeang and female dampeang. The

the appointment of a penghulu (chief) or

male dampeang serves to accompany the

for social and entertainment events. The

70 INDONESIANA VOL. 12, 2021

Just before the party arrived - Wewen

laga-laga is a stage measuring about ten

mamak, alim ulamo, bundo kanduang,

In alek Nagari, representatives of the anak

square meters . On the floor, pelupuh

cadiak pandai, Kapalo mudo, and other

nagari initiated by the Kapalo Mudo, will

is installed, which is bamboo that is

communities (anak nagari). Each of

convey about the intention to carry out

flattened and arranged as a base. The

these structures has a different role and

the ritual to the niniak mamak in Nagari.

stage floor has a height of about half a

function in organizing the traditional ulu

meter from the ground, and on the side

ambek performance which is held in the

That is what is known as manyalang

there is a hallway with a width of about

alek nagari event.

suntiang (borrowing a crown). After

one meter.

getting permission from the ninik mamak, During the preparation period, there will

the organizer of the event carried out

As a show that is a traditional community,

be negotiations from the anak nagari who

manapa, namely sending invitations

the ulu ambek show is full of customary

take the initiative to carry out the alek

to ninik mamak in other villages in

values. There are customary rules

nagari which shows the ulu ambek as one

the Pariaman area. The ninik mamak

attached to the preparation and

of the agendas. Alek nagari is large, such

implementing alek nagari (sipangka) will

implementation of the ulu ambek

as the batagak (appointment) ceremony

deliver invitations directly to ninik mamak

performance. The customary rules imply

of the penghulu, which is carried out for

in other nagari (alek). Furthermore, the

a customary structure that is represented

other reasons such as for gathering in

residents of the nagari implementing the

through the management of the ulu

order to return to their hometowns for

alek nagari will work together to organize

ambek performance. The traditional

immigrants on religious holidays, such as

the galanggang, which is to prepare the

leadership in the nagari is divided

Eid al-Fitr.

laga-laga and its accessories.

into several structures, namely ninik

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VOL. 12, 2021 INDONESIANA 71

Ulu ambek is “suntiang niniak mamak, pamenan dek nan mudo” or crown for ninik mamak, a game for young people which is interpreted as a function of tradition for ulu ambek. Suntiang niniak mamak means that the ulu ambek tradition is a form of niniak mamak’s authority. In preparing the ulu ambek performance, you must get permission from the niniak mamak and follow the rules that have been determined by the niniak mamak as the traditional leader.

This proves that the ulu ambek tradition is a tool for validating cultural institutions Moving - Wewen

and institutions, in this case the niniak mamak institution. In addition, the ulu ambek has another function, namely entertainment, which is referred to as

from other villages will come to attend

Pariaman the Owner of Tradition

the host’s invitation. The guests who

Ulu ambek is played by people from

came consisted of ninik mamak, Kapalo

villages (nagari-nagari) in the Pariaman

Mudo and ulu ambek groups from their

area which administratively includes

respective villages. The arrival of this

Pariaman City and Pariaman Regency,

guests will be welcomed by the host,

West Sumatra. The Pariaman region

accompanied by the sound of dampeang

consists of a coastal landscape bordered

sitting on the terrace of the laga-laga.

by the Indian Ocean to the west and hills

On the day of the alek nagari, guests

“pamenan dek nan mudo” or a game for young people.

to the east. Pariaman is bordered by The ninik mamak, both the hosts and

Padang City in the south. Pariaman City

the arriving alek, will sit at the top of

can be reached by road for approximately

the games. This barundiang process

one to two hours.

discusses the agreement regarding the implementation of the ulu ambek, namely

Pariaman is a city/district in the pasisia

the rules and performance schedule. The

(coast) Minangkabau with a distinctive

fighter who will perform the ulu ambek

oral tradition. Pariaman is also known as

will first shake hands with the niniak

the main route for the spread of Islam

mamak who are sitting on top of the

in Minangkabau. One of the centers of

matches. Each ulu ambek silat match lasts

Islamic education and development is

about fifteen minutes.

Nagari Ulakan which is located on the west coast of Sumatra. His famous cleric to date is Shaykh Burhanuddin, who studied in Aceh from his teacher Abdur Rauf Singkel.

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72 INDONESIANA VOL. 12, 2021

Legacy for the young Wewen

Protection Effort Ulu ambek, as a performance structure, implies the structure of society, such as the customary structure, the structure of actors, as well as the structure of the natural and social environmental conditions that support it. Preservation efforts are being made targeting all of these existing structures. For example, related to customary structures, there is a need for guarantees or legal certainty to ensure their sustainability. Likewise, with the structure of actors, it is necessary to have a good transmission process from generation to generation. Likewise, the social and natural environment need to provide support for the sustainability of the ulu ambek tradition. The most important thing is that the government, both central and regional through the section in charge of culture, needs to

Games for the young Wewen

provide support and other facilitation for the survival of the ulu ambek tradition.

This preservation effort is carried out so that the ulu ambek tradition will find its functions and benefits in the midst of the community that owns it. One of these functions is as a guard and a symbol of the existence of custom in the community. In addition, the ulu ambek serves as an adhesive for the relationship between the people. The last function is the function of entertainment and art that can be used to maintain

Attacking and Parrying - Wewen

awareness and emotional patience of the community members. Therefore, the ulu ambek can be utilized and utilized as a cultural product that has a direct impact on improving the economy and tourism of the community. (Wewen Efendi, Master in UI Oral Tradition Studies)

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VOL. 12, 2021 INDONESIANA 73

JOURNEY

Tracing the Footprints of the

Biboki Kingdom inTamkesi Village

Tamkesi Traditional Village is the center of the kingdom or sonaf biboki (sonaf in the regional language meaning kingdom) which is located on Timor Island, North Central Timor Regency, East Nusa Tenggara Province. The Biboki Kingdom was built on a rocky area between two rocky mountains that symbolize women and men. This kingdom is laid out in such a way Oasis of life in the middle of the dry savanna - Kristina Ismulyani - https://www. shutterstock.com/g/ Kristina+Ismulyani

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74 INDONESIANA VOL. 12, 2021

that it resembles a natural fortress with layers that are difficult for the enemy to penetrate. The main part of the village is on a hill.

Sonaf tamkesi is an oasis of life in the

reach the area by vehicle outside the

Kingdom in the past. Tamkesi is also

middle of a dry savanna because the

highway. The journey to the center of

called the emperor’s palace. This old

Biboki kingdom still strictly maintains

this kingdom is not easy. Visitors must

village was built on a hilltop with a

its customary system. The wealth

prepare a strong heart and mentality

seven-tiered stone construction. It

of these customs is evidence of the

because the terrain is quite extreme.

is said that this village was once a

progress of the Tamkesi civilization

The journey starts from a paved road,

fortress of the kingdom’s defense.

on the island of Timor. Tamkesi

but before reaching the village there

Traditional Village is attractive to

is an unpaved road. In addition, the

Kingdom on the Hill

residents and tourists because of

road is winding, potholes, narrow, and

Geographically, the Biboki Kingdom

its strong customs and traditional

prone to hills and ravines. There is no

is located in the traditional village of

narratives wrapped in myths and

public transportation available to and

Tamkesi, Biboki District, North Central

magical stories.

from there, so it is necessary to rent a

Timor Regency. If you go there, the myth

If you want to travel to the Tamkesi

car and a local driver who understands

is that you must have good intentions

Traditional Village which is the Biboki

the local terrain.

because people believe that if you go

royal complex, visitors cannot use

Tamkesi is included in the category of

with good intentions, the journey will be

minibuses and the like, but they are

ancient villages that still survive today.

smooth. During the journey we will see

not suitable for saloon car types. It

Local people think that Tamkesi is a

the gifts of nature from God. We will be

would be nice if the vehicle used to

former palace or center of the Biboki

spoiled with open views of nature, hills,

Oasis of life in the middle of the dry savanna - Kristina Ismulyani - https://www. shutterstock.com/g/ Kristina+Ismulyani

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VOL. 12, 2021 INDONESIANA 75

Kingdom on the hill Kristina Ismulyani https://www.shutterstock.com /g/Kristina+Ismulyani

Biboki is guarded by the descendants of Usboko - Kristina Ismulyani - https://www. shutterstock.com/g/ Kristina+Ismulyani

mountains, and trees. When we stop for a moment, we will be able to see flying butterflies, horses of various colors and types passing by.

In the Biboki Kingdom, many horses are said to be used as a means of transportation by the king and the people of the kingdom. When we entered the Biboki kingdom area, there is not a single vehicle that can pass except for horses.

Towards the Biboki royal complex, there is a road like a natural-made alley that is lined with trees on either side. When we arrived at the location of the kingdom, we saw many large stones.

The Biboki Kingdom is an emperor/king palace complex shaped like an old hut which roof is made of reeds and the walls are made of wood. The Biboki palace complex has a traditional house that serves to store royal heirlooms. These heirlooms are highly guarded because they have a high historical value and

are magical. These heirlooms cannot be

The community believes that the place

seen by people who have bad intentions

will remain sustainable because of the

such as intending to take or steal from

traditional shape of the house. Buildings

the place. For example, the royal house

such as huts are local wisdom that is

cannot be seen by anyone other than the

continuously preserved and the shape

emperor. So, when visiting, we can only

of the buildings in the palace complex

see all parts of the Biboki royal complex

should not be replaced with other, more

except the traditional house.

modern buildings.

In the Biboki traditional house complex,

The Biboki Kingdom has its own rules.

there are two high hills that each have

The king had his own way of coming and

their own functions. The first hill serves

leaving the palace and no one could see

as a place for offerings and only the meo

him. The king’s eating or bathing activities

(traditional elders) and the royal family

were carried out in secret so as not to be

can climb the mountain during traditional

seen by people.

ceremonies. While the second hill is used as a place of offerings, but everyone can

Each palace or kingdom has its own rules

climb the hill, as long as of course with

and must be obeyed and it is sacred. In

good intentions.

the Biboki kingdom, there are some rules that must and must be obeyed by all. The

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76 INDONESIANA VOL. 12, 2021

Led by a king called Atupas Neno Kristina Ismulyani - https://www. shutterstock.com/g/ Kristina+Ismulyani

rules are, First, when visiting the Biboki

royal area. Local myth explains that if

authenticity of a culture needs to be

Kingdom, there must be no purpose with

anyone dares to climb the hill, he/she will

maintained and preserved and this is

malicious intent. Second, visitors must act

disappear. The royal guards of Biboki are

what the people in the area do. People

and behave politely, for example they are

not royal soldiers but the family of the

still believe that Tamkesi culture brings

not allowed to say dirty words or commit

king (female), namely the descendants of

blessings to them. This is one proof that

immoral acts. Third, items that have

Usboko.

local culture should be maintained and preserved. (Sipin Putra and Martenshy

fallen or were left behind when visiting the Biboki Kingdom complex cannot be

The Biboki kingdom is a traditional

Pitrodelsia Isu, Universitas Kristen

taken back. Therefore, if there are visitors

kingdom ruled by an emperor or

Indonesia).

who want to take back their belongings,

commonly called king Atupas Neno.

there must be a traditional ceremony by slaughtering free-range chickens and

According to information, King Biboki last

inviting some traditional elders. Fourth,

left the palace complex during the 1998

it is forbidden to take sacred items

economic crisis to seek a better life in

belonging to the Biboki kingdom.

an area called Kaubele. However, when the king died, the king was returned and

The Biboki Kingdom has a special offering

buried in the kingdom.

place that can only be visited by the King and his advisors (traditional elders)

In the midst of rapidly changing times,

which is located on one of the hills in the

the Biboki kingdom has shown that the

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VOL. 12, 2021 INDONESIANA 77

FINE ART

Human Facial Expression

in a Mask

Expression Woro Mastuti

Masks not only cover the face, but also reveal a new personality. The mask tradition cannot be separated

The characters in Peking (Beijing) opera

from the makeup tradition. Makeup or

have their own meaning in their makeup.

painting on the face makes a person’s

The makeup character in Peking opera

personality different from the original.

has 4 kinds of characters, namely sheng,

In the tradition of wayang wong or

dan, jing, chou. The four types of makeup

wayang orang from Java, the colors,

characters are divided into two parts,

lines, and decorations on the wayang

namely mocai (applying powder and

wong’s makeup show the character’s

coloring the face naturally) and goulian

character.

(drawing and painting faces). Likewise, with the tradition of make-up and masks of the archipelago.

Each region in Indonesia has its own mask vocabulary: tapuk (Old Javanese), tapel (Bali, Lombok), kedok (Javanese-Sundanese), hudoq (Dayak), toping (Batak Simalungun), gundala-gundala (Karo).

In its development, the term mask has expanded its meaning. This is reflected in the art of ondel-ondel (Batavian), ogoh-ogoh (Balinese), barong landung (Balinese), Sisingaan (Sundanese), burak or buroq (Cirebon) which not only covers the face, but also covers the whole body of the person who wears it.

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78 INDONESIANA VOL. 12, 2021

Joglo House Woro Mastuti

Setiadarma’s House of Masks and Puppets

The purpose of establishing this RTWSD

Joglo Bojonegoro house keeps a collection

is to introduce the community to cultural

of domestic and foreign Wayang Golek.

Setiadarma Mask & Puppet House

inspiration that can be useful for present

Meanwhile, collections of masks from

(RTWSD) located in Central Tengkulak

and future life.

abroad (Africa, Italy, Mexico, Bolivia, Ko-

Banjar, Sukawati, Gianyar (Bali) has a collection of around 1300 masks from various regions at home and abroad, including Betawi, Cirebon, Yogyakarta, Madura, Bali, Lombok, Batak , Sulawesi and Papua. The collection of foreign masks comes from Cambodia, Myanmar, Japan, Korea, China, India, Italy, Africa. In addition to masks, there is a collection of puppets which number around 6000 pieces from various regions in Indonesia and abroad. RTWSD was founded in 2006

by Hadi Sunyoto, a cultural observer and businessman with his colleague, (late) Prayitno, who is also a cultural observer.

The collection of masks at RTWSD is exhibited in various traditional houses. The

rea, Japan, China, Tibet, Sri Lanka, Nepal) can be seen at Rumah Joglo Blora.

Rumah Tembakau is used for art-cultural

Each mask has its own aura that is dif-

exhibitions and seminars/discussions.

ferent from other masks. The shape and

The collections of Balinese Barong,

mask of each region displays a unique

Barong Plok, Barong Kemiren, Chinese

character. The Cirebon Mask Dance,

Barong, Reog Ponorogo are exhibited

for example, makes the mask feel alive

at Rumah Joglo Plumpang. A collection

because it is danced by the dancer. It was

of Balinese Masks and Shadow Puppets

as if the mask had soul and spirit. A mask

on display at the Rumah Joglo Boma. At

with a smiling character will have an im-

the Rumah Joglo Senori, you can see the

pact on those who see it, thereby creating

Archipelago Mask collection. Rumah Joglo

an impression of peace and happiness in

Keben’s house has a collection of local

the heart. A mask with big, bulging eyes

and foreign shadow puppets. The Rumah

gives a different impression on everyone

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VOL. 12, 2021 INDONESIANA 79

who sees it, for example angry, spooky,

masks in the barongsay show, barong

‘mask’ during the Covid-19 pandemic is a

giving rise to a scary impression.

masks in the Reog Ponorogo game,

protective mask from the transmission of

Ondel-ondel Betawi. Masks in small

the Corona virus. Masks in the industrial

forms are generally face-sized, oval, or

world serve for safety reasons. Employ-

half-faced. Panji and Galuh Candra Kirana

ees of chemical or hazardous materials

masks are small masks.

factories are required to wear masks that

Masks are divided into various sizes.

There are full and half face masks, small masks, belly size masks. In RTWSD there are also ‘masks’ with large sizes and

are specially designed to protect their en-

about 3 meters high, namely barong

A mask is an object that functions as

landung (Bali), ondel-ondel (Betawi), masks

a work of art and decorative object. In

by ‘Newman’. The masks or ogoh-ogoh

understanding the mask, it is necessary

Animal masks are one of the wealth of

of Jaya Pangus, Kang Ching Wei, and 2

to understand the expressive, symbolic,

masks treasures. This shows the limit of

other figures adorn the Rumah Adat Joglo

structure, elements, meaning aspects

human imagination in the world of art.

Plumpang. Jaya Pangus and Kang Ching

(unity of meaning). Each aspect has a

The types of animal masks that are often

Wei are Balinese folk legends related to

different point of view, such as technical

found are bird masks, horned animals,

acculturation of Chinese-Balinese culture.

aspects, aesthetics, religious, pragmatic

wild animals, tame animals, fantasy or

functions, economics.

abstract creatures.

Variety and Function of MasksMask types can be distinguished by their

Apart from being an object of art, the

size. Large-sized masks such as dragon

mask also functions as a protector. The

tire face along with breathing apparatus.

Two faces - https://www.freepik.com/ premium-photo/mask-made-wooden-shopmask-bali-shopping-bali-indonesia_2549609. htm#page=1&query=barong&position=8&from_ view=search

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80 INDONESIANA VOL. 12, 2021

Not only from the archipelago Woro Mastuti

Mask Making Material The materials used to make masks are developed from a long tradition or custom, belief, or history. The material for making masks depends on the purpose, desire or idea of the maker, and partly on the availability of materials. The selected mask material influences and determines the type, quality, shape, character, and demands different techniques and equipment.

It is undeniable that masks are art objects that have various values, such as aesthetic values, social values, personal values, communal values, sacred and secular values, and religious values. Appreciation of the mask art also differs according to the purpose of making the mask and the history of the existence of the mask. (Dwi Woro Retno Mastuti, Studio Founder of Rumah Cinta Wayang).

Smiling Woro Mastuti

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VOL. 12, 2021 INDONESIANA 81

RITES

Devotee’s

Macapat Song

Pamuji Macapat Siti Khoirnafiya

a tax per head of local residents. His actions angered the Dutch, so he was imprisoned.

The influence of the instinctive kawruh taught by Ki Bagus Hadi Kusumo experienced ups and downs. In the chaos of the G 30/S 1965, his followers converted to Buddhism, Islam,

Coffin Siti Khoirnafiya

Christianity, and Catholicism. The number of devotees’ members decreased and split into several organizations. The G-30-S incident traumatized them and some of them did not return to the religious organization, although in

I

1978 they were urged by the central

Javanese ancestors left an impressive

Once, I participated in the ritual of the

artistic heritage, including fairy tales,

death of followers who are members of

macapat songs, gamelan music,

the Paguyuban Budaya Bangsa (PBB), a

PBB adherents have a chanting macapat

jaranan dances, ketoprak, ludruk,

community of believers in the western

tradition (singing macapat songs).

wayang, batik art, and kris. The art is

part of Cilacap. First, I will tell you a little

Chanting Macapat, for them is a prayer.

practiced in ceremonies or rituals to

about the UN, a trust organization based

In starting meditation, they will be led

maintain traditions and beliefs. There

in Wanakriya Gombong Kebumen under

by people who does nyekar (singing)

is still a negative stigma about the use

the Setyaki Foundation. Its members

before meditation. Macapat becomes an

of Javanese art in the rituals of the

are not only residents of Kebumen, but

accompaniment to their life cycle rituals,

death of the followers, such as in the

also Banjarnengara, Banyumas, Cilacap,

namely birth, marriage, pangrukti layon

Cipari area of Cilacap, Central Java.

Purworejo, and Lampung. Now, with the

(death ritual management), as well as

Cultivating a macapat is seen as bad

leader Adji Tjaroko, grandson of Ki Bagus

repelling reinforcements for babies. I

at the time of death. However, when

Hadi Kusuma, the founder of Kawulo

listened to them sing from night to dawn.

studied more deeply, the macapatan

Warga Naluri (KWN) in the Dutch era.

This chanting of Macapat usually does

(Javanese Poetry) song becomes a

Ki Bagus Hadi Kusuma is what binds

not use gamelan because it is functioned

sacred chant of prayer, uniting the

the believers. He opposed Dutch policy

as a prayer.

material universe, soul, and spirit.

in the 1920s, when they demanded

82 INDONESIANA VOL. 12, 2021

administrator in Gombong to return.

The art of chanting macapat in the ritual has a sacred meaning, as well as being used in entertainment or tourism festivals. Kidung in death rituals is also commonly performed in a number of other ethnic groups such as Minangkabau with ratok lareh penghulu or wailing penghulu, Toraja with ritual rambu solo, Sentani Papua with remahili, and Batak Toba with andung-andung.

As Arnold van Gennep states in The Rites of Passage (1960), ritual death is a system of beliefs and ideas about God and spirit that are manifested in ceremonial forms. Not only establishing a new order, death ritual traditions contain messages related to their life cycle, from death and rebirth. The ritual aims to establish social relations and communicate an intermediary spiritual entity through the soul. This is an implication of the theory of cosmogony as a process of creating a moral life, as Maurice Bloch says in Prey into Hunter: The Politics of Religious

PBB Adherents Death Ritual I witnessed the death ritual of Nini Satirah. Usually Muslim corpses are shrouded in a white cloth that is not sewn and cut, but the corpses of PBB adherents are dressed in purple clothes and are not cut. Purple or purple is a special color. Wungu means wake up.

They want to say that death is not the end of time, but waking up from a state of sleep.

Prayers are performed twice standing facing the deceased. In the first line is the core administrator who will read the song. In the next line are other devotees, both male and female. There were about 20 people praying for the deceased. At the first prayer that night, Pak Sarino started by conveying the purpose of the prayer. He said greetings (rahayu) three times and the other followers answered the same.

Furthermore, Mr. Kasan developed a gambuh of three stanzas which contained worship on the way to human perfection, so that humans should be able to bind the three universes (the three worlds), which include the material realm, the soul realm, and the spirit realm.

If the Almighty controls the universe (macrocosm), then humans must be able to control their nature (microcosm) by subduing the turmoil within themselves.

This means that desire, desire, lust and wishful thinking should be subdued or arranged to be harmonious as the macrocosm is harmonious.

Pak Sarino also reads pangeling-eling or a reminder prayer, that the corpse will go to the eternal realm, separated from family, degree, and rank. The corpse will enter a place of light without a vast limit.

The coffin was lifted by several people, some of whom were seen as young children who became the grandchildren of Nini Satirah. This tradition is known as

Experience (1992).

Praying for the corpse in a coffin Siti Khoirnafiya

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VOL. 12, 2021 INDONESIANA 83

Three gambuh stanzas sung by Mr. Kasan in the death ritual Siti Khoirnafiya

brobosan or lodosan. I saw two saplings

mijil, sinom, gambuh, asramadhana,

worship. They deliberately do not invite

of banana trees. In the funeral tradition,

durma, pangkur, pucung, and ended with

people outside the community for fear of

saplings of banana trees will later be

dhandhanggula. In principle, the macapat

conflict.

brought to the tomb and placed near the

song tells about the journey of human

tomb. It is a symbol that children remain

life.

close to their deceased parents.

I

Song Not Lament Songs are the meaning to convey the

There are several ways to save PBB

journey of the body. The body must be

There are several salvations for people

adherents whose families are Muslim.

prayed for to unite with the members of

who have died, namely surtanah (saur

Selamatan Kidung after the salvation --

the body, namely bones, muscles, skin,

tanah), pitung dina (7 days), patangpuluh

tahlilan in one house, Selamatan kidung

flesh, and hair. So prayer in the form of a

(40 days), nyatus (100 days), mendak pisan

after salvation -- tahlilan in a different

hymn is a request to the Almighty to be

(one year), mendak pindo (two years ), and

house, and selamatan kidung without

perfected. The art used in the death ritual

ends with nyewu (1000 days). During the

salvation -- tahlilan. I see the kidungan

of the devotees also remind the soul and

celebration, the pupuh macapat that were

version of salvation is only done by

does not mourn. More than sadness,

developed included megatruh, kinanti,

fellow (sometimes) followers of the

death is an instinct (nature) of humans

84 INDONESIANA VOL. 12, 2021

whose bodies have been damaged so that their family and friends must rila or accept.

Sajerone patang puluh dino

[in forty days]

Aku ninggalake nini

[I left you]

Durung adoh anggonku lungo

[I have not gone far]

Masih sajeroning karas iki

[still on this wooden board]

Ojo podo a nenangis

[do not cry]

Mundak gawe petenge laku

Macapat becomes a life cycle ritual accompaniment - Siti Khoirnafiya

Wis ke podo dedungo mring kang

kuwoso

movement, macapat readers express

[because it causes the darkness

of the journey]

Anggonku bakal jumangkah

The song in the ritual of the death of a

[in the foot step]

Ninggalake karas iki

[leaving this wooden plank]

Like the function of art, which unites

[Come on, pray to the Almighty]

devotee is not a song of lamentation.

Macapat has a function of singing to pray in one tone, not walking alone, uniting the requests of many people.

their perceptions and ask for guidance.

Songs are not only entertainment but also teaching of togetherness.

Lamentation is actually taboo (avoided), because lamenting is a sign of despair that goes against their beliefs. The process of mourning and emotional pain is natural, but they believe a good human being is one who is accepting, willing, and not afraid of death. Humans are part of the Creator and will return to Him (Siti Khoirnafiya, Directorate of PPK Ministry of Education, Culture,

Macapatan does not use gamelan, because it is used as a prayer Siti Khoirnafiya

Research and Technology)

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VOL. 12, 2021 INDONESIANA 85

CULINARY

Seeing Indonesia

through Cow Brand Soy Sauce

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86 INDONESIANA VOL. 12, 2021

Brilliant work for Indonesia - Hardian, Prasanti, Prananda

S

everal bowls of typical Bandung

soy sauce. Soy sauce is in all Indonesian

greeted and invited us to enter. It turned

chicken porridge were served in

favorite foods; Soto, meatballs, batagor,

out that, even though the factory gate

front of us. Slightly thick rice por-

to fried rice.

was small, it could only fit one car, it was

ridge, sprinkled with shredded chicken, fried soybeans, finely chopped celery and crackers in orange color. The softness of the chicken porridge accompanied our morning chat. Not long ago, one of us ordered tempe mendoan served with a special soy sauce sauce. Likewise, our Kupat Tahu was smothered in peanut sauce and soy sauce.

To learn about soy sauce, the Soy Sauce Collector Community introduced Mrs. Marin who has access to visit the oldest soy sauce factory in Bandung, “Kecap Cap

the door leading to a courtyard which was the access to the factory. The factory area inside was much wider than it looked from the main road.

Sapi”. Arriving at the location, we were

At the far end of the driveway, you can

faced with a large light brown tall metal

see the factory owner’s house which is

door welcoming us. We were amazed

directly next to the door leading to the

that the factory doors were relatively

factory. The house is quite large and has

small and could fit only one truck, so the

two sturdy pillars in front of the main

Unique indeed, in one table, three

question arose as to whether we were in

door. From a distance we could see two

breakfast menus are served with the

the right place.

people waiting for us at the door leading

same main recipe, namely soy sauce, a distinctive flavor enhancer. Food may be different, but tastes are united by

But when the door opened, the warm smile of the middle-aged man, the guide,

to the factory. The guide introduced us to people who turned out to be Mrs. Marin and Mr. Herman. Mrs. Marin, the person

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VOL. 12, 2021 INDONESIANA 87

Mr. Herman the heir of taste - Hardian, Prasanti, Prananda

we contacted to ask permission to visit

The archives supporting Pak Herman’s

The factory we are currently using is the

the “Cap Sapi” soy sauce factory, is the

words, such as proof of tax payments, are

second factory. The first factory is located

second child of Pak Herman. We were

still well documented from the era of the

in the Ciateul area, then the second facto-

greeted warmly by them. As soon as we

Dutch East Indies, Japan, to the beginning

ry is the one in Holis since the 1970s.

entered we immediately invited us into

of the Indonesian government. One thing

the factory and sat on the chairs that

that is extraordinary, one by one the tax

were already available.

evidence from time to time is shown.

Bandung Original Soy Sauce Pak Herman said that the soy sauce “Cap Sapi” is a product from the city of Bandung. “My father used to come from China and set up a soy sauce business here.

in Dutch, some are written in Japanese and in Indonesian, although they still use

Gemilang.” said Mr. Herman.

soy sauce is packaged, there is a factory

the process of making soy sauce actually

sauce factory “Cap Sapi” was not here,

opened historical archives showing the

but in the Ciateul area. At that time it was

transfer of power in the country. In fact,

still produced around the house which

the history of soy sauce if traced in se-

was still surrounded by rice fields and

quence can lead us to history.

88 INDONESIANA VOL. 12, 2021

the “Cap Sapi” soy sauce produced by Karya

Inside this factory there is a room where

bicycles from homes. In 1939, the soy

product soy sauce “Cap Sapi”.

work. Therefore, this soy sauce is officially

the year after Indonesia’s independence.

Interestingly, this study visit related to

was what inspired my father to name our

was called Kong Giap which means brilliant

blanks written in Japanese and indicate

He made it himself, sold it himself using

many cows were used for field work. That

I

Some of the tax documents are written

“Back when it was founded, this company

with four faucets underneath which shows two workers diligently pouring soy sauce from the factory into bottles.

In addition, there are several stainless tubs to filter the soy sauce liquid before it enters the refinery. In addition, there is also a cooking room which contains four giant frying pans with a diameter of

two meters. Each wok is operated by one

“We only use the best quality ingredients

worker who stirs the liquid palm sugar

to make soy sauce. Palm sugar is delivered

and mixes it with soy sauce to produce

directly from Sukabumi. Palm sugar must

sweet soy sauce. Each pan can cook 400

be chosen first, so you don’t take sugar that

kg of palm sugar to be mixed with a drum

is brown or has been crushed. So it must

of soy sauce.

be intact and good. We also use fine salt

It turns out that in the factory there is also a room for making soy sauce. Inside the room there are fermented soybean tubs the size of two ping pong tables with a depth of about 80 cm.

instead of krosok salt directly from the salt pond, so it is cleaner and standardized. Just like soybeans, we use soybeans, which are still imported, we use soybeans from Canada. So far, soybeans from Canada are of the best quality. Local soybeans have fluctuat-

Mrs. Marin said, “This is how the pro-

ing quality, sometimes they are mixed with

cess of making soy sauce is. First, the

corn, sometimes they are dirty with a lot of

soybeans are washed clean, then boiled,

sand,” said Mrs. Marin.

then given a starter so that the soybeans can be moldy and dried in the sun. Soybeans are allowed to release the fungus. Well the good mushroom is green. From there, the soybeans are put into a stainless tub and mixed with a salt solution. Then let stand at least 3 months so that the soybeans become tauco, then filtered to take the juice and become soy sauce. While some of the soy sauce is cooked with palm sugar into sweet soy

The process of making Hardian, Prasanti, Prananda

In fact, in the manufacture of soy sauce, there is a lot of wisdom, starting from an almost circular cycle, so that all soy products and byproducts can be utilized.

Many details must be considered to ensure the best quality sweet soy sauce is available on the consumer’s dining table.

(Hardian Eko Nurseto, Prasanti Widyasih Sarli, dan Prananda Luffiansyah Malasan )

sauce. So actually there is no waste from making soy sauce because everything can be used.”

The soybean fermentation room is like a green house with a transparent roof and walls so that sunlight can easily enter, and the temperature is maintained between 40°C-45°C. Next, this factory also has other rooms, green rooms, which function as stock storage for the ingredients for making soy sauce, starting from clean bottles, palm sugar, soybeans. In one of the rooms there is a storage room for soy sauce that is ready to be distributed.

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VOL. 12, 2021 INDONESIANA 89

SPICE ROUTE

Spice Route Diplomacy Towards a Cultural Superpower

Taste Invitee -

China, Iran, India, Japan, and South

South Korea plays a big role as a global

the achievement of its national interests

Korea have succeeded in carrying out

entertainment provider. The Korean wave

through cultural diplomacy (Jayanti Andi-

cultural “transcendence” so rapidly in

that started from the K-Pop and K-Drama

na, 2011).

the global world. These countries have

entertainment industry is now getting

long emerged as influential forces in the

bigger with internationalization proj-

international arena. They are aware of

ects, recruiting K-Pop stars from outside

the importance of managing cultural re-

Korea, such as Lalisa Manoban (Thailand)

sources by conducting cultural diplomacy,

and Dita Karang (Indonesia). Korean

as important as political diplomacy.

succession in the entertainment industry

China, for example, has proven to be very good at managing their cultural wealth in positioning itself as the most powerful country in the economic and cultural fields. Japan has long attracted the attention of the world by relying on kosupure

that includes values, lifestyle, social life, systems and traditions, and beliefs, is loved by the global community (koreanization). This also has a positive impact on the fashion, technology, and automotive industries there.

The achievement of these countries is due to implementing the right cultural strategy, which prioritizes culture over political and economic processes. It would be ironic if Indonesia with its cultural gold mine was not able to lift it up to compete in the international arena.

The fact that the cultural wealth of the archipelago should be the basic capital in development that has an impact on the welfare of its people. Cultural identity needs to be explored again because this

or cosplay (costume) culture, anime,

India takes advantage of the Bollywood

potential is still not, even far from being

manga, and movies. This country wins the

film industry, a number of activities that

maximized, to be maintained and used

global market competition by synergizing

play an important role in the promotion

as a cultural power. UNESCO has even

traditional wealth and technology well.

of culture, and the position of the diaspo-

long recommended the importance of

ra as an important instrument to support

culture as commander in development processes.

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90 INDONESIANA VOL. 12, 2021

Strong Women -

1920 -

Spice Culture Route

ity of Indonesia with other countries. The

The archipelago was once an import-

Spice Rute program wants to strengthen

ant player and major supplier in world

the network of cultural interactions by

trade, long before Europeans carried out

cooperating, synergizing, and taking roles

trading activities in Southeast Asia. So

in various spaces to redefine the cultural

important is the spice in human life, so

heritage of spices.

that it becomes the main commodity that is able to influence political, economic, and socio-cultural conditions on a global scale for centuries.

Efforts are needed to reconstruct world civilization in the spice trade trajectory, which has been initiated by various parties by identifying various evidences of

The Spice Route is not just a mere

connectivity between regions in Indone-

commodity trade, but also a commercial

sia and regions in other countries. This of

process that allows the exchange of val-

course requires the development of Indo-

ues and cultures that have helped shape

nesia’s cultural diplomacy systematically

the identity of the Indonesian people and

and massively. Moreover, as a cultural

shape the development of world civiliza-

route, the prospect of the Spice Route is

tion. The Spice Route is interpreted not

very large to get world heritage status by

only the connectivity of the regions of In-

UNESCO with joint proposals from other

donesia, but also the historical connectiv-

countries.

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VOL. 12, 2021 INDONESIANA 91

Benefits of the Archipelago -

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92 INDONESIANA VOL. 12, 2021

Cultural Diplomacy

Nalanda (which today is comparable to

that other countries have an interest. in

Looking at the dynamics of the Spice

world-renowned universities - say Oxford,

collaboration with Indonesia (Indonesian

Route in the past, it is very relevant if the

Harvard, or Cambridge). The Srivijaya and

Cultural Diplomacy Guidebook. 2020).

Spice Route becomes a reference in look-

Nalanda kingdoms in India built rela-

ing for the colors of Indonesian diploma-

tionships through education. Both send

cy that prioritizes interaction and warmth

students to each other.

of dialogue in various fields and levels

Cultural diplomacy must also be implemented in all lines, not only at the state level but also at the community level.

Likewise, the kingdom of Aceh once

For this reason, it is crucial to organize

established diplomatic relations with the

and strengthen the cultural potential in

Ottoman Empire through spice diploma-

diplomacy, both institutionally, regulato-

cy. Turkey competed with other European

ry, infrastructure and human resources.

countries in the spice trade. Acehnese

With precise international cultural diplo-

envoys came to Istanbul starting in 1562

macy, Indonesia can position itself as a

In historical evidence, in the period from

to ask for the support of the Ottoman

cultural superpower. (Mohammad Atqa,

the 10th century to the 13th century AD,

Empire against the Portuguese in Malac-

Directorate of Culture Development

Srivijaya’s role was very strategic as a

ca.

and Utilization Directorate General of

of society. The history of the spice route from time to time is a clear example that cultural diplomacy has been practiced on all fronts, both individually, in the community, to the state and nation level.

liaison for the spice trade between the Indian Sea and the South China Sea, and Nalanda. Even the King of Srivijaya, Balaputra Dewa, funded the construction of an ancient university as the world’s first center of Buddhist religious education in

Then also in his diplomacy, in 1605, Sultan Ageng Tirtayasa once wrote a letter requesting that the British were willing to sell weapons to Banten, through diploma-

Culture Ministry of Education, Culture, Research and Technology).

Collections of the Directorate of Cultural Development and Utilization

cy with the warmth of spices by slipping a gift in the form of black pepper. In the letter, it contains writings about friend-

Holding the taste -

ship accompanied by ‘100 bahar of black pepper and 100 pikul of ginger as a form of love and peace’.

By understanding various historical sources, the Spice Route can be seen as a foothold in exploring various possibilities of cooperation between nations that prioritizes intercultural understanding, equality and mutual contribution, as well as recognition of the diversity of traditions and their heritage.

The initial step taken is of course conducting a survey and a diplomatic approach to the destination countries, but a narrative is needed so that there is a common understanding of cultural diplomacy as a projection of values - “how Indonesia radiates its values” through soft power, so

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VOL. 12, 2021 INDONESIANA 93

MUSEUM

Kalis Keris at Brojobuwono Hermitage fig in baselan Syefri Luwis

T

he semi-journalistic journey that the Indonesiana team carried out around Solo, Sangiran, and Karanganyar turned out not only to produce reports on the traces of Javanese humans but also reports related to a repository of the nation’s collective memory in the field of kris. After almost an hour of walking along the main road of Solo – Karan-

ganyar, the car carrying the The Indonesiana team turned onto a narrower village road. At first glance, there was a small inscription that informed that the group had entered Wonosari Village. There is something unique about the villages in the Gondangrejo sub-district, namely clusters of teak trees planted by local people.

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94 INDONESIANA VOL. 12, 2021

About 200 meters from the main road

grejo, Karanganyar Regency, Central

is named Ki Naga Minulya which is

of Gondangrejo sub-district, the car

Java. At first glance, there was nothing

stated to be made of meteorite which

stops at a small field that can fit 2-3

special when we entered the muse-

requires special handling. How not, to

minibuses. “We have arrived, ladies

um’s collection room before Kristanto

make a kris made of iron, steel, and

and gentlemen. The building in front

explained that the oldest kris in the

nickel, it only takes combustion to

of our right is the Brojobuwono kris

museum was a keris from the VII cen-

reach 3000°C, how about a special kris

museum.” The minibus driver who

tury CE. According to the information

that is very expensive.

took us asked us to get off and direct-

given by Kristanto, the existing kris are

ed us to the joglo-shaped building on

made of a mixture of iron, steel and

the right in front of us.

nickel.

Yes! Our group was already at Bro-

However, there is a kris which is con-

Teguh Yuwono, who is actually the

jobuwono hermitage, a keris museum

sidered a masterpiece of the museum,

owner of the house that became the

located in Wonosari Village, Gondan-

which is located in a very beautiful

rare museum. For additional informa-

After investigating, this high-value and rare collection turned out to be the property of an Empu named Basuki

residential area. The masterpiece

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VOL. VOL.12, 12,2021 2021INDONESIANA INDONESIANA 95 95

tion, all the collections contained in this typical museum are the result of the “hunting” of keris carried out by Basuki Teguh Yuwono throughout the archipelago.

Baselan: Keris Living Museum While walking around appreciating the extraordinary collections displayed in glass cabinets, we are still imagining how difficult it is to process the basic ingredients into a keris. In fact, there are hundreds of kris from various

as we know, is a kris maker expert.

Legacy of the IX Century Syefri Luwis

One of the most famous Mpu is Mpu Gandring who created the magical kris used by Ken Arok to kill Tunggul Ametung.

eras that are now well-collected and

Pak Sardi, the panjak, guided us to

well-maintained in the hermitage.

the baselan or the workshop room or

While watching the kris from Brojobu-

the keris making workshop which is

wono’s collection, we imagined how

located at the back of the museum. In

hot the conditions were around the

the Baselan, it turned out that there

Even though it is only a stove, the kiln

kiln for burning the raw materials for

were already three people dressed

remains a concern for the manage-

the prospective keris. Because not only

in the same clothes as Mr. Sardi. One

ment. To add to the attractiveness of

iron is the basic material for these kris,

of them was near the furnace. That

the burning place, it is decorated with

some even come from meteorites.

person is in charge of burning the raw

carvings of the head of a kala (giant)

material before it becomes a keris

and when the burning process takes

blade and then placing it on a pad

place, sparks can be seen rising up,

to be hit with a hammer by another

throwing ashes from burning char-

panjak.

coal. Panjak must also ensure that

The shadow of the past suddenly dispersed to hear a gentle but authoritative greeting. “Good morning, ladies and gentlemen. If you wish, please stop by baselan. Mpu and panjak are

We noticed how the forging activi-

forging now. Please, while it’s still

ties that took place in Baselan gave

morning and the panjaks are still very

the impression of being in the past

powerful, they beat the hammers on

in Java. Moreover, there are many

the kris blades.” Said someone wear-

chopsticks on the walls of Besalen, a

ing a white cloth without a shirt.

type of long pliers, which are used to

The person wrapped in a white cloth name is Sardi. “I am a panjak in charge of baselan or the kitchen of making kris.” Mr. Sardi introduced himself and his profession to us. Panjak is

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Mpu’s assistant. Meanwhile, Mpu,

96 INDONESIANA VOL. 12, 2021

clamp the blade of the keris when it

the two blades of the kris receive the same handling so that they need to be turned over in hot coals. The blade of the keris is sometimes dipped into a stone cup filled with a certain liquid repeatedly, of course, to get a high quality kris.

is burned. The forging process is not

Museum and Transfer of Knowledge

an easy matter, therefore the panjak

Apart from Panjak and Indonesiana’s

in charge of burning the blade must

entourage, three young women were

concentrate on controlling the size of

present in Baselan who were very

the embers to ensure the level of heat.

enthusiastic about paying attention to the forging process. One of the three young women was named Yuni Listiani, a student of the D4 Keris and Traditional Weapons Program, Art Craft Study Program, Faculty of Fine Arts and Design, Indonesian Art Institute Surakarta. In his fourth year of study, she actually spent more time at the Keris Brojobuwono Hermitage.

After a moment of being lost in the hustle and bustle with the visitors, Yuni then withdrew and sat in a corner to the left of the basement room.

The student who came from outside Surakarta returned to handle her final assignment. She looks like she

mentors. The forging process turns

the result of a long-standing process

out to take quite a long time to arrive

of learning to make kris in Indonesia.

at the process of uniting the blade with

Fortunately, there is still the Brojobu-

the handle. In turn, the nyangklang or

wono kris museum which not only

sharpening process also continues un-

stores collections but also produces

til it is time to practice or immerse the

and passes on kris knowledge to the

keris in mud and salt. The long process

younger generation of Indonesia. (Alfi-

ends when the kris enters the warangi

an S. Siagian: Indonesiana Magazine

process or is given arsenic liquid

Crew).

and orange juice so that its prestige appears. One of the advantages of the keris is its good prestige.

Apparently, a piece kris was created from such a long and complicated process. Likewise, Ki Naga Minulya, which appears to be the most authoritative among other kris in Brojobuwono, is

is doing natah or strengthening the decoration on her homemade kris.

Yuni explained that she had been going through the process of making the keris for six months. According to her, the process of making the keris starts from the initial natah, namely making sculptures. Next, she performs the process of forging or making blades which he does with his own power, though of course with the help of the panjak and mpu who are

Together forging Syefri Luwis

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VOL. 12, 2021 INDONESIANA 97

FIGURE

Prayers and Zakat of

Nasirun’s

Culture S

everal encounters with Nasirun at his home, Yogyakarta, always gave rise to the same impression. Nasirun is a simple and friendly person. That was the first impression, when he saw him sweeping the floor, wearing a shirtless sarong, greeting his guests with a characteristic blaring laugh. Careful, diligent, and full of plans, that is the next impression, after

seeing his collections that fill the walls of the house, almost touching the ceiling (not including the thousands of collections in the museum). Spiritualist and quite sufistic, that’s a further impression, when the chat was more than an hour. Rich in spiritual and behavioral experience, it was judged three hours later, along with the sound of a satay vendor passing by.

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98 INDONESIANA VOL. 12, 2021

Lounge rooms Syefri Luwis

“You want satay, huh? It’s delicious,”

sands of collections of works by maestros

Nasirun told us, the Indonesiana team. Of

such as Fadjar Sidik, Edhi Sunarso, and

course, we would.

Nasjah Djamin, Affandi, he considers it a

Conversing with Nasirun for the ump-

“cultural zakat”.

teenth time is no longer necessary to

Does Nasirun feel lucky with all that he

discuss the creative process, let alone

got? “There is no luck without gratitude

the flow of art. Nasirun’s skills, ideas,

and tithe in culture. It is a decision of a

and commercial instincts as an artist and

route (travel),” he said. We chatted for

(also) “collector” have been tested and

a long time, in the living room, on the

presented through a track record. The

second floor, moving to the back dining

artist who was born in Cilacap, October

table, and in the side room where he

1, 1965, has explored the artistic life for

showed me a collection of coins that had

such a long time, since 1983, before be-

never been on display.

coming an art student at the Yogyakarta Indonesian Art Institute in 1987.

Can you describe the richness of feeling when you are with your mother? What

This sixth of seven children holds fast to

are the important teachings, advice, and

the principles of life that he learned from

examples from mothers that become the

his late mother and he agrees with his

spirit of life?

late father, a badal (substitute) murshid or tarekat leader in Islam. One tradition that is very important for Nahdliyin is still done by him, namely pilgrimages to his predecessors and sowan to teachers who have contributed to the work. Nasirun named it as “a prayer of form”. As for the museum he built, which contains thou-

I became very close to my mother, partly because my father died when I was little, so I don’t have much memory with my father. Mother comes from Ciamis and adherents of Sunda Wiwitan, before converting to Islam. My father’s parent was rich, and when my father married my

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VOL. 12, 2021 INDONESIANA 99

Masterpiece Syefri Luwis

mother, my father then lived separately

run out), said the mother. At that time,

The guide was very memorable because I

from Simbah because his mother who

the mother had become a Moslem, and

wanted to meet my late father who had a

was a villager was considered not an

the sentence continued to stick. I just

different dimension. So, mother used the

equal.

found the answer to the words of my late

needle as a medium to fulfill my longing. I

mother many years later, after a long

asked many questions to my mother and

process and I remain loyal and passion-

was answered through stories. I laced

ate about painting. The pocket from my

up the recording of the story, which is

mother brought me to a dream, that

endless, in visual language.

My mother loved to tell stories, and a collection of mother’s fairy tales became an invisible legacy which I later poured into a real form. Because I am a painter, then I pour it through painting. Mother’s fairy tales became a great treasure in my life.

Mother indirectly taught that inheritance

to my wife and children, keep sharing with my family and many people.

My mother once sold a door insulating a house made of jackfruit wood for Rp. 70,000 to buy uniforms. That’s it, there’s

did not have to be in the form of land,

What are some very memorable moments

no such thing as a coincidence. It’s

houses, cars, or anything tangible. The

with your mother?

impossible to be big, if you can’t do small

fairy tale from my mother was a priceless legacy that was able to support me until I had a family.

Lots. For example, once during Eid al-Fitr, my mother used a pane (bowl) filled with

things. That adage is both brake and accelerator for me.

water, then used a needle and also a

Since when did you like going to the homes

After my father died, my mother had to

lantern for a “complement” while telling

of previous teachers and artists?

raise me and my brothers and sisters.

a story. The eye of the pin is used to see

I want to go to school, but there is no

another dimension of the missed person.

money. One day, I ventured to say that

This form of offering is the mother’s

I wanted to continue my education. Tak

behavior in storytelling, and I changed it

sangoni bismillah ben ora entek (I gave you

into the language of art.

bismillah as pocket money so it will not

I

what I got while in Yogyakarta I will give

100 INDONESIANA VOL. 12, 2021

You see. I migrated from Cilacap to Yogyakarta in 1983. Almost every day I went to Malioboro to sell my paintings, such as greeting cards for Eid, Christmas, New Year. The wages are for daily meals and

paying for boarding. Every Sunday we

art teacher have been a delicacy in itself.

Our conversation with Nasirun grew even

visit the art teachers in Yogyakarta. When

We cannot directly feel the “taste” of that

more heated as the evening approached.

I entered ISI Yogyakarta, Department of

era (the era of the teachers who have

The story was about the great maestro

Fine Arts in 1987, I became more and

now passed away). Therefore, a collection

Affandi, also Soekarno, whom he values ​​

more diligent in traveling to art teachers

becomes a reference for several people

as a patron of artists, Ki Hajar Dewantoro,

or lecturers outside campus, and began

who do have a tendency to research

Walter Spies, and many other names.

collecting their works for collection. I

traditions.

Nasirun collects their works.

*****

Your assets are priceless, so what are you

found the collection at the Shopping Center (formerly the book and collection

going to use them for?

market in Yogyakarta) up to 1000’s of

Painting is a hobby and life for Nasirun,

collections, there are also 1800’s etchings.

until now he is at a stage where he no

One of the houses that Mrs. Sithoresmi

From those respecting visits came many

longer cares whether he has money or

Prabuningrat once lived in, is currently

ideas.

not. Extravagance is not impossible to

used for book discussions, dance prac-

do, but the past that is side by side with

tice, as well as being a facility for young

adversity is so imprinted, that living in

artists to carry out artistic activities.

simplicity is his way of life. However,

Another asset is a location on the west

if he currently chooses not to have a

side of Ramayana (outdoor) Prambanan

cell phone, it’s not for the “pretentious”

with an area of 4000m², ​​ which I used to

or “humble.” “I prefer to communicate

buy for IDR 12,000 per square meter. I

directly, face to face. For work matters,

bought it because I felt “resentful” and

communication can be through children,”

excited when there was an opportunity

As an artist, I feel that going to a teacher’s place is very important, because cultural work is different from artistic work. Even the track record of an art teacher or selftaught artist is rich in experiences that other artists do not have. Their consistency becomes a valuable thing that we can learn firsthand. Respecting visits to an

he said.

Kaki-kaki kala pandemi Syefri Luwis

This painting has never been exhibited - Susi Ivvaty

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VOL. 12, 2021 INDONESIANA 101

to invest in culture. I plan to use the land

rather than exchange it for money. One

level of nationalism. I rummage through

as a collection room for historical objects

famous work that I gave was the work of

archives and collect works of art not for

and also for research or studies of the

Emiria Soenassa (1895-1964), daughter

their economic value, but for their histor-

past. Focus on regenerating my artistic

of the Sultan of Tidore, to Soekarno’s

ical value. The previous people used to

heritage.

daughter, Kartika Sari Dewi Soekarno.

have finished their humanity. I am only a

At that time, I received an award from a

practitioner and get a label as a painter.

Tidore student for preserving the work of

Ha ha ha

What about art assets in museums and at home?

Thousands of my fine art collections

the most modern woman in the art world

are often viewed by many foundations,

at that time.

collectors, and curators of art exhibitions from within and outside the country.

Do you join painting auctions?

How are you going through the Covid-19 pandemic?

The painter paints every day, including when he is in bed. During the pandemic, I

They come, among others, to borrow col-

There are temptations and invitations

have been very productive, and have cre-

lections for exhibitions, for research, or

from many parties. But I believe and am

ated 900 works. Those in the form of foot

comparisons, or just to enjoy the beauty.

quite sure that there is always suste-

prints were bought by tourists from India

The collection has become a door for sus-

nance from God, and it does not have to

for Rp. 2,500,000. I need money, maybe a

tenance, not for money, but the archive

go through an auction. I am not anti-auc-

lot, but money is not my goal. This princi-

has led me to explore Austria, Belgium,

tion, once again not anti-auction, but I be-

ple is a solution and a bright spot, so that

France, and others. That trip made me

lieve that auction hall is not the solution

we are not bound by these things.

believe that the works of our predeces-

to every problem.

sors were not just paintings. There are different valued values out ​​ there that I have not even gotten into myself yet.

I love to share collections. I prefer to give

I

Emiria Soenassa, who in my opinion was

102 INDONESIANA VOL. 12, 2021

Once again about the collection of predecessors, I do not want them not to be appreciated. Those are the ones who cut down the pedestal. There is a high

(Susi Ivvaty and Jessika Nadya Ogesveltry, Indonesiana)

Awards, including:

Joint exhibitions, including:

- Second Place in Arabic Calligraphy

•

Exhibition in Jeju South Korea (2015)

Competition - Second Place in Piggy Bank Painting

•

Art Bazaar 2015 – Beijing, at CAFA Art Museum (2015)

Competition at UGM Literature Anniversary

Jeju – Asian Contemporary Art Special

•

33 Auction Singapore Exhibition and

- Best Sketches and Paintings ISI Jogja-

Auction, at Grand Hyatt, Singapore

karta

(2015)

- Mc Donald Award at the 10th ISI Lus-

•

From Koyasan to Borobudur: Nasirun & Tanada Koji, Mizuma Gallery,

trum

Singapore (2016) - Philip Morris Award 1997 Solo exhibitions, including: - National Gallery – 2000

•

at the National Gallery, Jakarta (2016) •

Edwin’s Gallery and Puri Art Space

2012

(2016)

- Breath of Nasirun at Mizuma Gallery

“I need money, but money is not my goal.” – Nasirun

•

•

•

•

Kembang Telon at Natan Galeri, Kotagede Yogyakarta (2018)

- Reading the Signs of the Times (virtual) – 2020

Phatos at Jeunbuk Museum, South Korea (2017)

- Wirid On Canvas at Natan Galeri, Kotagede, Yogyakarta – 2018

Pathos of The Fringes at Jeonbuk Museum of Art - South Korea (2017)

- Nasirun at Narta Museum: Carangan at NuArt Sculpture Park, Bandung – 2016

Allegory at Petronas Gallery, Kuala Lumpur (2017)

- RUN: Embracing Diversity, Sportorium UMY – 2016

Art Taipei 2016 “ dim World Trade Center Taipei, Taiwan in partner with

- Uwuh Art at Gallery Salihara, Jakarta –

Kyoto, Tokyo Japan – 2014

Joint Exhibition Manifesto #5 – ARUS

•

Humans & Humanities at OHD Museum, Magelang (2019)

•

Manifesto, National Gallery of Indonesia, Jakarta (2020)

•

Covid Charity Virtual Exhibition, Yogyakarta (2020)

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VOL. 12, 2021 INDONESIANA 103

PHOTO GALLERY

PHOTO GALLERY

The musical group Sanggar Benza from Sikka, Flores, under the care of musician Nyong Franco, plays the gong waning -

TMC studio music group (Mata Community Theatre) from Ende, Flores -

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104 INDONESIANA VOL. 12, 2021

Batu gong or watu go in Nagekeo, Flores.

The large stone, when struck with a small stone, can make a sound like a gong -

Dungga Roro musical instrument performed by one of the traditional music maestro Ndara Katoda -

Marselus Selu is demonstrating a typical wind instrument from Ngada, Flores, called foi doa -

Opa Filipus Tiba is demonstrating the sowito, a musical instrument made of bamboo sticks that makes a sound like a gong -

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VOL. 12, 2021 INDONESIANA 105

Hendrikus Pah is demonstrating the sasandu musical instrument -

Opa Filipus Tiba is demonstrating how to play sowito to the host of “Sound Hunting from the South”, Ivan Nestorman -

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106 INDONESIANA VOL. 12, 2021

Ndara Katoda and Ivan Nestorman are discussing the dungga roro musical instrument from Sumba -

Ivan Nestorman is collaborating with Vivian Tjung, a sasando player from Kupang -

Ivan Nestorman, Hendrikus Pah, and Vivian Tjung are recording sasando music on the mission “Sound Hunting from the South -

He’o game, a 3-stringed violinlike instrument played by Sanggar Oesena from Timor -

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VOL. 12, 2021 INDONESIANA 107

Game Zul Lubis

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108 INDONESIANA VOL. 12, 2021

Two shapes Zul Lubis

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VOL. 12, 2021 INDONESIANA 109

The Home of the Guardians of the Nation’s History Zul Lubis

CENTRAL JAVA MUSEUM RANGGA WARSITA

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110 INDONESIANA VOL. 12, 2021

Two shapes Zul Lubis

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VOL. 12, 2021 INDONESIANA 111

NOT FOR SALE

Ministry of Education, Culture, Research Technology, and Technology Republic of Indonesia Director of Culture Development and Utilization

(021) 5725534 (021) 5725534 indonesiana.diversity@gmail.com

Gedung E. Lt. 9, Jl. Jenderal Sudirman Kav. 4-5 Senayan, Jakarta 10270

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http://kebudayaan.kemdikbud.go.id