SULUK | SULUK PUTU WIJAYA
KODRAT MENDUA
THE FATE OF BEING IN DUALITY A SHIFT OF VALUES
PROFIL | PROFILE
RIZALDI SIAGIAN PROVOKATOR MUSIK TRADISIONAL PROVOCATOR OF TRADITIONAL MUSIC
TEKSTIL | TEXTILE TENUN IKAT FLORES | FLORES IKAT WOVEN CLOTH
DARI SIKKA MEWARNAI NUSANTARA SIKKA COLOURS THE ARCHIPELAGO
JIWA-JIWA YANG
TERBELAH
THE DIVIDED SOULS DWIBAHASA BILINGUAL
HARGA RP 48.500,VOL. II | NO. 15 |15 MARET -15 APRIL 2012
Daftar Isi Contents
54 MEREKA YANG HIDUP DI DUA DUNIA GONG | GONG
THOSE WHO LIVE IN TWO WORLDS
Gejala penyimpangan seksual terus menghebohkan masyarakat. Sebagian sekadar gaya hidup, tetapi di Nusantara ini, keberadaan mereka punya akar sejarah spiritual yang kuat. Peran mereka dalam kehidupan tak bisa diremehkan. Symptoms of sexual deviation have continued to startle the public. Some are just a way of life, but in this Archipelago, their presence has strong spiritual roots. Their role in life is not to be underestimated.
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SULUK | ESSENCE PUTU WIJAYA
KODRAT MENDUA
THE FATE OF BEING IN DUALITY
DALAM lakon karya William Shakespeare, ada tokoh Harlequin. Badut yang kostumnya belah dua. Sisi kiri dan sisi kanan bertentangan. Yang sebelah simbol kegembiraan (komedi), sebelah lagi simbol dukacita (tragedi). IN a William Shakespeare’s play, there is a figure called Harlequin. He is a clown with a dual costume. The theme of the right and left sides are in opposite to each other. One is of joy (comedy), while the other is sadness (tragedy).
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PROFIL | PROFILE
KAMILA ANDINI
Akhirnya ke Pelaminan Juga FINALLY, ARRIVING AT THE BRIDAL DAIS
NAMA KAMILA ANDINI mencuat sejak Oktober 2011 ketika filmnya, The Mirror Never Lies, mendapat penghargaan di Mumbai Film Festival 2011, India. Namanya semakin kokoh ketika pada Desember 2011, melalui film perdananya itu, ia memperoleh Piala Citra sebagai Penulis Cerita Asli Terbaik dalam Festival Film Indonesia 2011. Pada Maret 2012 ini, ia menikah dengan Ifa Isfansyah. KAMILA ANDINI. Her name has risen since October 2011 when her debut film, The Mirror Never Lies, won an award in the 2011 Mumbai Film Festival, India. She has reinforced her presence when she received Citra Award for the film as the Best Scriptwriter in the 2011 Indonesian Film Festival in December 2011. In this March 2012, she marries Ifa Isfansyah
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TEKSTIL | TEXTILE
Dari Sikka Mewarnai Nusantara
Foto Sampul |Cover Picture: ANWAR JIMPE RACHMAN
SIKKA COLOURS THE ARCHIPELAGO
DI BALIK SAMPUL | BEHIND THE COVER
Proses mewarnai benang yang memakan waktu hingga 2 tahun membuat tenun ikat dari Desa Sikka, Flores, memiliki warna yang khas dan abadi. Bercirikan warna-warna gelap: hitam, coklat, biru, dan hitam-biru, tenun ikat Sikka ikut mewarnai ragam corak kain Nusantara.
SAMPUL majalah Warisan Indonesia edisi kali ini menggunakan foto sosok seorang bissu. Seperti kita mafhum, bissu dikenal sebagai pendeta pada masa Bugis kuno—pra-Islam. Bissu yang sebenarnya berjenis kelamin lelaki ini berwajah licin dan penampilannya menyerupai perempuan.
The Process of colouring the thread – for making the tenun ikat (woven cloth) of Sikka Village, Flores – of which colours are unique and long-lasting takes time up to 2 years. It has distinctive dark colours: black, brown and deep-dark blue, the Sikka ikat woven cloth also colours the varieties of patterns of the Archipelago. KESEHATAN | HEALTH Cantik dengan Tusukan Jarum Punctures for Beauty
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UPACARA ADAT | TRADITIONAL CEREMONY PESTA GEMERLAP PENGANTIN MELAYU PONTIANAK The Glittering Party Of Pontianak Malay Wedding
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PERMAINAN TRADITIONAL | TRADITIONAL GAME NOSTALGIA DOLANAN SEKATEN Nostalgia of Sekaten Toys
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ARSITEKTUR | ARCHITECTURE RUMAH TONGKONAN RUMAH BERKEPALA PERAHU The House with a Boat-shaped Roof
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TOKOH | FIGURE RIZALDI SIAGIAN: PROVOKATOR MUSIK TRADISIONAL Provocator of Traditional Music
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WAWANCARA | INTERVIEW
48
DR. DANNY HILMAN NATAWIDJAYA
Gali Peradaban Nusantara Digging the Archipelago Civilization MUSEUM | MUSEUM MUSEUM PERUNDINGAN LINGGARJATI | THE LINGGARJATI NEGOTIATION MUSEUM
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Bissu dan tradisi transvetism atau dikenal juga sebagai transgender—seseorang yang secara sukarela melakukan kontraseksual—sudah ada di kalangan masyarakat Bugis sejak ratusan tahun lampau. Kata ‘bissu’ sendiri bertolak dari akar kata Bugis, bessi yang artinya bersih karena kaum bissu ini tidak berdarah, suci, tidak berpayudara (maaf), dan tidak haid. Dalam tradisi Bugis kuno, bissu diyakini memiliki kekuatan supranatural yang tidak saja memiliki kuasa kodrati, tetapi sekaligus adikodrati. Mereka yang hidup dalam kondisi mesu-budhi ini diposisikan sebagai pengantara atau penghubung “kuasa langit” dengan “kuasa bumi”. Konon, ketua komunitas bissu yang disebut sebagai Puang Matowa atau Puang Towa mampu mencegah bencana seperti angin topan dan banjir, meski awan tebal bergayut di sebuah daerah yang terancam bencana. Selain itu, bissu juga diyakini mampu mengobati segala macam penyakit yang dipicu serangan ilmu hitam. Bukan itu saja, pada masa Kerajaan Bugis kuno bissu memiliki peran sentral dalam dunia spiritual. Mereka diberi kuasa untuk menjaga benda-benda pusaka kerajaan dan mampu mengundang roh leluhur raja yang telah berpulang untuk melindungi benda-benda pusaka tersebut saat akan digunakan. Dalam berkomunikasi dengan “jagat dewata” ini kaum bissu memiliki bahasa khusus yang disebut bahasa Torilangi, atau bahasa suci. Bahasa yang diajarkan secara lisan ataupun tertulis oleh para leluhur bissu ini juga meliputi norma hingga kosmologi kehidupan Bugis kuno. Naskah klasik I La Galigo secara rinci mengungkap kehidupan kaum bissu ini. EP
On the cover of this Warisan Indonesia edition is a bissu. As we know, a bissu is known as the priest of the ancient Bugis era—before Islam arrived. The bissu is actually male, with a fine complexion and woman-like appearance. The bissu and tradition of transvestism, also known as transgender—a person who deliberately go through cross-sexual life—had been around in the Bugis society since hundreds of years ago.
Kepingan Linggarjati Fragments Linggarjati
KOMUNITAS | COMMUNITY Gerombolan Pemburu Batu A Bunch of stonehunters
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MUSIK | MUSIC Keroncong dari Toegoe Keroncong from Toegoe
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In the tradition of ancient Bugis, the bissu is believed to have powers that not only have human authority but supernatural as well. Those who live in this mesu-budhi condition is regarded as the liaisons or connection between the “power of the skieslangit” with “the power on earth”.
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Legend has it that the leader of bissu community called the Puang Matowa or Puang Towa could prevenet natural disaster as storm and flood, although a dark cloud is already hanging over an area. Besides, the bissu is also believed to be able to cure all kinds of diseases caused by black magic attacks.
FESTIVAL | FESTIVAL Lirak-Lirik Kain Nusantara Glimpsing through the Archipelago’s Cloths
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And that is not all. During the Kingdom of ancient Bugis the bissu has a prominent role in the spiritual world. They are given power to guard the heirlooms of the kingdom and they had the ability to invite ancestral spirits to protect those heirlooms when they were used.
ZOOM | ZOOM Ironi Hidup Petambang Emas The Ironic Life of the Gold Miners
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Within their conversation with “the gods” the bissu has a distinct language called Torilangi, or sacred language. It is taught orally and in writing by the ancestors and covered the whole system of norms and cosmology of ancient Bugis life. the classical manuscript of I La Galigo reveals the life of the bissu in details. EP
KALAM | WORD TO PONDER
WAHYU SUSILO
Budaya Migrasi dan Budaya Migran The Migration Culture and the Migrant Culture
The word bissu itself is derived from the Bugis word bessi which means clean, because the bissu has no bleeding, pure, have no breasts (please excuse us), and no menstruation.
Cantik dengan Tusukan Jarum PUNCTURES FOR BEAUTY Ribuan cara untuk menjadi cantik. Pada era modern ini, banyak yang ingin kembali ke langkah tradisional, dengan harapan jauh dari efek samping. Salah satunya yang sedang populer adalah akupunktur—dikenal juga dengan sebutan tusuk jarum—ditandai dengan kemunculan banyak klinik akupunktur di kota-kota besar di Indonesia.
Ibnu Setiadi
There are thousands of ways to be beautiful. In this modern times, many return to traditional way, with hopes to reduce side effects. One popular method is acupuncture—known also in this country as needle puncture—obvious from the mushrooming of acupuncture clinics in Indonesia’s big cities.
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Kesehatan Health
“A
walnya terasa seperti digigit nyamuk,” kata Andini yang baru pertama kali menjalani paket kecantikan dengan akupunktur, khususnya menghilangkan jerawat membandel. Menurut dia, memang ada rasa pegal di sekitar tangan, tetapi langsung hilang sesaat setelah jarum dicabut. Jarum yang ditusukkan selama 20 menit, sedikit lentur. Panjangnya ada yang 3 sentimeter (cm), 5 cm, dan 7 cm. Menurut Juliana Tjandra, pemilik Klinik Akupunktur Juliana Tjandra yang berlokasi di Jalan Kartini, Jakarta Pusat, dalam ilmu akupunktur, langkah menuju cantik dibagi menjadi beberapa bagian. Wajah, kantong mata, jerawat, keriput, rambut rontok, pori-pori, flek hitam, albino, melangsingkan, dan menggemukkan badan. Saat melakukan paket kecantikan wajah, biasanya pasien diminta untuk datang sekitar 12 kali. Dengan proses yang berkelanjutan selama kurang lebih dua bulan, akupunkturis dapat melihat perkembangan sel-sel kulit sekitar wajah.
Titik-titik Meridian Sebagai akupunkturis, biasanya langkah paling awal yang dilakukan Juliana adalah memilih titik-titik meridian akupunktur sesuai keluhan pasien. Jika ingin menghilangkan jerawat, misalnya, daerah sekitar jerawat yang menjadi fokus tusuk jarum. Kemudian untuk memperlancar kelenjar endokrin yang mengaktifkan hormon-hormon, ujung daun telinga juga ditusuk. Titik tersebut tertuju pada kelenjar pineal untuk pertumbuhan hormon, haid, dan pertumbuhan sel. Selain di wajah dan sekitar telinga, titik meridian yang perlu diperhatikan dalam menjalankan program kecantikan wajah adalah titik di antara jari telunjuk dan ibu jari. Sekitar telunjuk dan ibu jari ternyata salah satu fokus untuk mengurangi kecemasan. Dengan ketiga fokus tersebut, metabolisme tubuh akan kembali normal. Ditambah lagi bagi perempuan yang menjadi pasien akupunktur untuk kecantikan juga dianjurkan untuk meminum jamu atau ramuan tradisional lain. Pria yang minta ditusuk untuk mengobati kebotakan juga dianjurkan mengonsumsi taoge untuk mempercepat proses tumbuhnya rambut kepala. Untuk menghilangkan jerawat, harus menjauhi makanan yang berlemak—seperti kacang tanah yang digoreng, es krim, atau makanan pedas—sebab, menurut Juliana, keringat yang menempel di wajah akan membuat poripori semakin terasa panas. Jika ingin menghilangkan flek hitam, pasien sebisa mungkin tidak terkena sinar matahari secara langsung. Juliana menyarankan untuk memakai krim antisinar matahari dan mengenakan payung dan topi.
“I
t felt like a mosquito bite in the beginning,” said Andini, who just had her first acupuncture experience. She started with a treatment for acne. She said, there were some stiffness around her hand, but it disappeared immediately just after the needle was removed. The flexible needle was inserted for about 20 minutes. Acupuncture needles vary in sizes, from 3 centimeters, 5 cm to 7 cm. According to Juliana Tjandra, owner of Juliana Tjandra Acupuncture Clinic in Central Jakarta, in the science of acupuncture, there are a number of steps on the road to beauty. The face, eyebag, acne, wrinkles, falling hair, skin pores, blemishes, albino condition, slimming, and weight gain. During the beauty treatment, the client would be asked to plan for 12 visits. In a continual program for about two months, the acupuncturist would have seen progress on the face cells.
Meridian Points As an acupuncturist, the first measure Juliana takes is selecting the acupuncture meridian points according to the client’s needs. For example to get rid of acne, the area around the acne will be the point to work on. To tone the performance of the endocrine glands, the end of the earlobe is the point to puncture. This point is directed to the pineal glands for hormone development, menstruation, and cell growth. Apart from the face and the ears, the meridian points to focus during a beauty treatment are those between the thumb and the index finger. This is the area to reduce anxiety. By paying attention to these areas, the body metabolism will be back in good order. Furthermore, women patients who are having acupuncture treatment for beauty are encouraged to take herbal medicine. While male clients having treatment for hair loss are suggested to consume bean sprouts to help the growth of the hair. To diminish acne, patients have to stay away from fatty food—including fried peanuts, ice cream, or hot spicy food. Juliana said, the sweat on the face will heat up the skin pores. To remove blemishes, the patients should avoid direct sunlight. She suggested to use sunblock cream and to wear a hat and umbrella.
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Muhlis Suhaeri
PESTA GEMERLAP
PENGANTIN MELAYU PONTIANAK THE GLITTERING PARTY OF PONTIANAK MALAY WEDDING OLEH/BY MUHLIS SUHAERI (PONTIANAK) Pernikahan, selalu dianggap sakral. Termasuk pada masyarakat Melayu di Pontianak, Kalimantan Barat. Karenanya, beragam ritual dan adat istiadat mesti dilaksanakan. Ada tari persembahan, alat musik tradisional, berbalas pantun, pencak silat, dan banyak lagi. A wedding is forever viewed as sacred, as is also the case with the Malay people in Pontianak, West Kalimantan. Many rituals and customs have therefore become requirements. A welcoming dance, traditional musical instruments, rhyme performance, martial arts, and many more fill up the list of obligatory traditions in the celebration.
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Muhlis Suhaeri
Upacara Adat Traditional Ceremony
P
ernikahan Melayu Pontianak merupakan pesta besar, penuh gemerlap, dan warna-warni terlihat di Festival Arak-Arakan Pengantin Melayu Pontianak, belum lama ini, yang diikuti oleh enam kecamatan di Kota Pontianak dengan jumlah rombongan masingmasing sekitar 30 orang. Sore itu, ratusan orang berpakaian adat Melayu Pontianak, berjalan beriringan dalam barisan di Jalan Gajah Mada, Pontianak. Warna kuning dan hijau, yang identik warna Melayu – bermakna keagungan dan kesejahteraan – mendominasi peserta karnaval. Warnawarna itu rata-rata dipadu dengan batik bermotif “corak insang”, motif khas Melayu Pontianak, atau dengan kain kuning atau hijau bermotif garis miring. Sementara pengantinnya mengenakan pakaian yang terlihat megah dan menawan karena dipenuhi hiasan sulaman dan manik-manik. Hiasan perak dan tembaga di kepala pengantin perempuan, menambah semarak suasana. Ada kemilau bercampur keanggunan saat hiasan itu diterpa sinar mentari.
A
Pontianak Malay wedding is one grand, glittering, feast. Just recently, a vibrant and colorful atmosphere was felt in the Festival of Pontianak Malay Bridal Procession, with participants from six districts of Pontianak city with groups of about 30 people each. It was a bright afternoon with hundreds of people wearing traditional Pontianak Malay in a procession along the Gajah Mada Street in Pontianak. Yellows and greens dominated the scene of the carnival. The colors are associated with Malay tradition—they mean majestic and prosperous. They used the colors on batik of “gill pattern” typical of Pontianak Malay, or on clothes with a motif of sloped, parallel lines.
Prosesi pengantin diiringi tanjidor, yang terdiri atas drum dan terompet The bridal procession was accompanied by tanjidor orchestra, concisted of drums and trumpets
The groom and the bride wore glorious costume studded with sequins and embroidery. The silver and copper head ornaments of the bride brought more sparkles to the celebration. A glistening glow combined with such grandeur when the ornament was illuminated with sunlight.
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NOSTALGIA OF SEKATEN TOYS OLEH/BY IYAN DWI S (SOLO)
Upacara sekaten (konon berasal dari kata ‘syahadatain’ atau dua kalimat syahadat), perayaan tradisional di Solo dan Yogyakarta dalam rangka memperingati Maulid Nabi Muhammad SAW selalu saja disambut masyarakat dengan antusias. The ceremony of Sekaten (said to be originated from the word ‘syahadatain’ or the two sentences Islamic creed), a traditional feast to celebrate the birthday of Prophet Muhammad SAW, has always been jovially welcomed by the people.
K
endati digelar setiap tahun sejak masa kerajaan Islam pertama di Jawa, yaitu kerajaan Demak— dulu digunakan oleh Sultan Hamengkubuwono I untuk mengundang masyarakat memeluk agama Islam—sampai sekarang masih selalu ramai. Selain turis yang sama sekali belum pernah menyaksikan, yang datang banyak juga masyarakat Solo dan Yogyakarta di rantau. “Banyak kekhasan tradisi yang belum punah dan mengundang nostalgia,” begitu alasan beberapa pengunjung. Setiap tahun, perayaan yang digelar di 22
D
espite it being celebrated annually since the era of the first Islamic kingdom in Java, namely the Kingdom of Demak—functioned by the Sultan Hamengkubuwono I to invite people to embrace Islam— it has always been a joyous occasion. Beside the tourists who often have just experienced it for the first time, many Solo and Yogyakarta migrants return to their hometown to celebrate. “We will always find thriving traditions that instill nostalgia,” was the common reason of many visitors. Every
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Yanuar Dwi Sarjono
Nostalgia Dolanan Sekaten
Permainan Tradisional Traditional Games
Seperti umumnya bermain gangsingan, anak-anak menyukainya karena bisa diadu dengan gangsingan lain
Yanuar Dwi Sarjono
As any spin tops game, kids love it since they can play it against other spin tops
Alun-Alun Utara Keraton Solo ini selalu menghadirkan gunungan sekaten, gamelan sekaten, prosesi nyirih, hingga pasar malam dengan beragam hiburannya. Yang paling menarik, di balik ingar-bingar Pasar Malam Sekaten, sejumlah mainan tradisional masih bertahan, bahkan sangat dirindukan masyarakat. Sebut saja kodokkodokan, perkakas pasaran, gangsingan, hingga kapal othok-othok. Permainan-permainan itu sangat legendaris karena konon sudah ada sejak puluhan tahun silam dan hanya bisa dijumpai saat perayaan sekaten.
year, the festival held at the North Alun-Alun (the city plaza) of Solo Palace brought colorful gunungan sekaten (food offerings), gamelan sekaten, the betel chewing tradition, and the night market with many kinds of entertainment. Included in the merriment of the Sekaten Night Market, are many traditional toys which still survive and even being missed of. Let us say the frog toy, cooking tools set, spinning tops, and the othok-othok toy ship. These are indeed legendary toys. They have been around for tens of years and can only be found in the sekaten celebration.
Karena itu, pembelinya bukan cuma anak-anak yang ingin memainkannya, melainkan juga menjadi buruan orang dewasa. Mereka mengaku mainan tersebut sebagai benda klangenan (obat rindu). “Apalagi kan kita bisa mendapatkan permainan tradisional ini cuma jika ada sekatenan,� kata Slamet, warga Grogolan Solo.
Thus the buyers are not only kids wanting to play them. Adults are also keen buyers. To them, the toys are klangenan, reminiscence of the good old days. “Moreover with the fact that we only can find these traditional toys in sekaten ceremony,� said Slamet, a Grogolan, Solo, resident.
Dari Gerabah
Earthenware Toys
Permainan kodok-kodokan dibuat dari gerabah atau tanah liat dan dicat warna-warni. Di bagian bawahnya diberi potongan batang bambu kecil yang dilengketi kertas semen. Jika ditekan, menimbulkan suara lucu seperti kodok.
The frog toys are made of earthenware or clay and colorfully painted. It has a small bamboo stem on its bottom attached with cement paper. It will emit funny noise like a frog when it is pressed.
Anak-anak suka membeli mainan itu dan akan membawa ke mana saja karena bentuknya yang kecil, mudah dibawa ke mana-mana. Tak jarang mereka membawa pula ke sekolah lalu bersama teman-temannya yang juga membawa kodok-kodokan membunyikan barengbareng saat istirahat sekolah. Hal ini sudah menjadi kebiasaan anak-anak di Solo dan Yogyakarta sejak puluhan tahun silam. Sri (65) mengaku sudah 30 tahun berjualan mainan kodok-kodokan. Meskipun begitu, kini pun harga kodok-
It is no surprise that children love to buy the toy and will take it anywhere they go for it is very small and easy to carry. They would bring it to school and during the break, they play it together with their friends making loud noises. It has been a tradition of Solo and Yogyakarta children since decades ago. Sri (65), a toy vendor, said she has been selling the frog toys for 30 years. Even so, now she sells the frog toys only Rp 1,000 a piece (about 10 US cents). She is delighted to see that her toys are often sold out. Warisan Indonesia I Vol. II I No. 15 I March 15 - April 15 2012
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TONGKONAN
Rumah Berkepala Perahu
THE HOUSE WITH A BOAT-SHAPED ROOF
Dua arsitek Australia, Ronald Lewcock dan Gerard Brans, dalam buku mereka berjudul Boat as An Architectural Symbol menyebutkan bahwa rumah asli Toraja, tongkonan, adalah abstraksi dari bentuk perahu. Atap tongkonan, yang menyerupai “perahu yang disimpan di darat” sering digunakan untuk upacara adat. Two Australian architects, Ronald Lewcock and Gerard Brans, stated in their book Boat as An Architectural Symbol that the native Torajan house, the tongkonan, is an abstraction of a boat. The roof of tongkonan, resembling “a boat kept on land”, is often used for traditional ceremony. 26
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Hardy Mendröfa
Arsitektur Architecture
K
onon, nenek moyang orang Toraja datang sekitar 2000 SM, dengan membawa perahu saat banjir melanda kepulauan lain. Mereka merantau dari selatan dan ditengarai berasal dari Suku Bugis dan Makassar, datang dalam bentuk kelompok yang dinamakan arroan, dipimpin ambe’ arroan atau bapak kelompok. Diceritakan pula adanya penguasa baru yang dikenal dengan puang lembang (artinya ‘pemilik perahu’) karena mereka datang dengan menggunakan perahu menyusuri sungai-sungai besar. Pada waktu perahu tidak dapat diteruskan karena derasnya air sungai dan bebatuan, mereka membongkar perahu untuk dijadikan tempat tinggal sementara. Tempat mereka menambatkan perahu dan membuat rumah pertama kali, dinamai bamba puang (artinya pangkalan pusat pemilik perahu). Inilah sejarah kehadiran tongkonan (berasal dari kata tongkon artinya duduk bersama), yang semua menghadap ke utara, sebagai arah sumber kehidupan.
P
eople say, the descendants of Torajans arrived around 2000 BC, taking along with them their boats when flood struck the island. They travelled from the South and were suspected to originate from the ethnic Bugis and Makassar, arriving in groups called arroan, headed by a ambe’ arroan or ‘father of a group’.
Tongkonan adalah abstraksi dari bentuk perahu The tongkonan is an abstraction of a boat
It is told also about the new ruler referred to as puang lembang (meaning ‘owner of the boat’) because they arrived using boats treading along big rivers. When the boats were no longer able to move on due to the powerful current and rocks, they disassemble the boats and use them to make temporary roof over their heads. The place where they built the first abode is then called bamba puang (meaning the head quarter of the boat owner). This is the history of the presence of tongkonan (originating from ‘tongkon’ meaning ‘to sit together’), all facing the North, towards the direction of the source of life.
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“IKET IS NOT JUST A BUNDLE”
Ciri khas suku bangsa yang utama kelihatan pada hiasan kepala. Di Indonesia, di antara sekian banyak macam penutup kepala dari Sabang hingga Merauke, ada ”iket” yang jadi ciri khas Sunda. Komunitas Iket di Bandung, belakangan ini banyak mengadakan lokakarya tentang iket dan ternyata peminatnya banyak. The most prominent characteristic of various peoples are their headdress. In Indonesia, of all the headdresses found from Sabang to Merauke, “iket” is the characteristic headdress of Sunda. Iket community in Bandung, recently have held quite a lot of workshops on iket and have mustered quite a number of enthusiasts. 32
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Hardy Mendröfa
IketSekadar Bukan Ikat
Gaya Hidup Lifestyle
Lain motif, lain harga, dan lain derajat bagi yang memakai iket. Semakin bagus, semakin mahalz
Hardy Mendröfa
A different motif, different price, and different status for the wearer of the iket. The more beautiful it is, the more expensive it gets
Mochamad Asep Hadian Adipradja, Ketua Komunitas Iket Sunda di Bandung, menjelaskan bahwa ”rupa iket” ada tiga. Yang pertama, iket buhun, yang biasa dikenakan sehari-hari di kampung-kampung adat— Kanekes, Kampung Naga, Kampung Dukuh, Kampung Kuta, Kampung Cikondang, Kampung Cireundeu, dan lain lain—tanpa tercampur budaya dari luar. Yang kedua, iket rekaan (kreasi baru), hasil karya pribadi, tetap menggunakan kain juru opat (segi empat) ditambah dengan imajinasi pemakainya. “Tidak tertutup kemungkinan, iket rekaan ini adalah hasil dari rupa iket buhun, yang terkuak kembali setelah bertahun-tahun tidak diketahui, dan hal ini bisa dibuktikan dengan metode saksi hidup atau berdasarkan ingatan seseorang dari generasi penerusnya,” ujar Asep (35), yang banyak mengadakan penelitian tentang iket ke pelosok-pelosok Jawa Barat.
Repro_Hardy Mendröfa
I
ket adalah selembar kain yang berbentuk segi empat dengan motif kotak di bagian tengahnya, diikatkan di kepala lelaki. Kain ini merupakan kelengkapan seharihari pria di Pulau Jawa. Dulu, pada 1900-an, hanya dipakai pada saat berbusana adat. Namun, pada masa sekarang ini, khususnya di perkotaan Jawa Barat, Bandung misalnya, para pemuda sudah mau menggunakan iket dalam kesehariannya.
I
ket is a piece of clothing rectangular in form with a square motif in the middle, worn like a headband by man. The piece is a daily attribute of man in Jawa Island. In the old times, around 1900s, it was worn only as a part of the traditional dress. However, nowadays, particularly in the urban of West Java, such as Bandung, the youth are willing to wear them on daily bases. Mochamad Asep Hadian Adipradja, the Head of Iket Sunda Community in Bandung, explained that there are three “rupa iket”. Firstly, iket buhun, commonly worn daily in traditional villages—Kanekes, Kampung Naga, Kampung Dukuh, Kampung Kuta, Kampung Cikondang, Kampung Cireundeu, and others—without any interference from outside culture. Secondly is iket rekaan (new creation), of individual creation, maintains the use of juru opat (rectangular) fabric coupled with the imagination of the wearer. Warisan Indonesia I Vol. II I No. 15 I March 15 - April 15 2012
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Hardy Mendrรถfa
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Warisan Indonesia I Vol. II I No. 15 I 15 Maret -15 April 2012
Profil Profile
KAMILA ANDINI
Akhirnya ke Pelaminan Juga FINALLY, ARRIVING AT THE BRIDAL DAIS
Nama Kamila Andini mencuat sejak Oktober 2011 ketika filmnya, The Mirror Never Lies, mendapat penghargaan di Mumbai Film Festival 2011, India. Namanya semakin kokoh ketika pada Desember 2011, melalui film perdananya itu, ia memperoleh Piala Citra sebagai Penulis Cerita Asli Terbaik dalam Festival Film Indonesia 2011. Pada Maret 2012 ini, ia menikah dengan Ifa Isfansyah. Kamila Andini. Her name has risen since October 2011 when her debut film, The Mirror Never Lies, won an award in the 2011 Mumbai Film Festival, India. She has reinforced her presence when she received Citra Award for the film as the Best Scriptwriter in the 2011 Indonesian Film Festival in December 2011. In this March 2012, she marries Ifa Isfansyah
P
erjalanannya menjadi sineas muda selalu dikaitkan dengan ayahnya yang sudah sangat dikenal karya filmnya, yaitu Garin Nugroho Riyanto (50). Buah hati Garin Nugroho dengan Riani Ikaswati (47) ini sadar betul akan hal itu. Maka, awalnya gadis bernama lengkap Kamila Andinisari ini selalu berusaha menghindari karier di film.
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eople always associate her journey to become a young moviemaker to her father, the director Garin Nugroho (50), whose films have been renowned for long. Beloved daughter of Garin Nugroho and Riani Ikaswati (47) is fully aware of this fact. Hence Kamila Andinisari, her full name, has been always avoiding any career in the movie world.
Dini, begitu sapaan akrabnya, selalu mengatakan tak bercita-cita menjadi sutradara. Apalagi, sejak duduk di bangku sekolah menengah pertama sudah banyak yang menebak bahwa kariernya kelak akan menjadi sutradara, seperti ayahnya. Dalam pemikirannya, tidak semua anak menyamai jalan hidup ayah mereka.
Dini, as she is warmly called, has always said that she has no wish to be a movie director. All the more so with the fact that people have been predicting that she would be a director one day, just like her father. In her mind, not every kid will follow their father’s path.
Acara menonton film memang menjadi kebiasaan rutinnya bersama sang ayah, tetapi ia berkeras tidak tertarik dengan cara membuat film. Upayanya menjauhi dunia film adalah dengan menekuni bidang lain. Semasa kecil ia sudah diberi kebebasan untuk mempelajari iniitu, seperti menari, membaca puisi, menyanyi, bahkan menyelam. Tanpa disadarinya, justru dunia selam yang membawanya ke dunia film.
Film watching has become her routine agenda with her dad, but she insisted that she never fall in love with the way film was made. She attempted to stay away from the world of films by concentrating on something else. Since she was young she has been free to choose to learn what she likes, such as dancing, reading poetry, singing, even diving. And being unaware, it was diving that brought her closer to films.
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Tokoh Figure
RIZALDI SIAGIAN:
PROVOKATOR MUSIK TRADISIONAL
PROVOCATOR OF TRADITIONAL MUSIC
Musik tradisi bukan musik jalanan. Tiap suku punya konsep keindahan bunyi yang berbeda. Demikian pula konstruksi alat musik dan olah vokalnya. Inilah yang mesti dikenal agar kita semua paham terhadap kekayaan musik tradisi.
Ibnu Setiadi
Traditional music is not street music. Every ethnicity has its own different concept of sound beauty. So does their construction of musical instruments and singing. This is what must be acknowledged so we would all be perceptive on the richness of traditional music.
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DR. DANNY HILMAN NATAWIDJAYA
Gali Peradaban Nusantara DIGGING THE ARCHIPELAGO CIVILIZATION
Selama ini orang beranggapan bahwa peradaban di Tanah Air ini mulai saat ada kerajaan-kerajaan tua , seperti Kutai Kartanegara di Kalimantan dan Tarumanagara di Jawa Barat. Pengetahuan itu sendiri sarat dengan spekulasi. Semua pada tahun Masehi. Bila ada pertanyaan, di mana letak ibu kota Kerajaan Mataram Hindu atau Sriwijaya, kita bakal kelabakan menjawabnya. Masa sebelumnya dianggap gelap, tak ada kehidupan atau prasejarah. People have been assuming that civilization in this country started during the era of the old kingdoms, say the Kutai Kartanegara in Kalimantan and Tarumanagara in West Java. This knowledge is still laden with speculation though. Everything is still calculated in solar year. When a question pops up, where was the capital of the Mataram Hindu Kingdom or Sriwijaya, then we would have a hard time to answer it. The period earlier is regarded as dark, no life before, no prehistory. 48
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Ari Yordan Mendrรถfa
Wawancara Interview
Mereka yang Hidup di Dua Dunia Gejala penyimpangan seksual terus menghebohkan masyarakat. Sebagian sekadar gaya hidup, tetapi di Nusantara ini, keberadaan mereka punya akar sejarah spiritual yang kuat. Peran mereka dalam kehidupan tak bisa diremehkan Symptoms of sexual deviation have continued to startle the public. Some are just a way of life, but in this Archipelago, their presence has strong spiritual roots. Their role in life is not to be underestimated. 54
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Hubert Januar
THOSE WHO LIVE IN TWO WORLDS
A. Budi Adi Santosa
Gong Gong
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ASIH ingat Very Idham Henyansyah (29) alias Ryan yang menghilangkan 11 nyawa dalam kasus pembunuhan berantai dua tahun lalu? Pembunuhan yang dipicu persoalan asmara sesama jenis itu semula membuat masyarakat terperanjat dan nyaris tidak percaya, pria gemulai seperti Ryan tega bertindak layaknya seorang psikopat. Perbuatan Ryan belum sepenuhnya hilang dari ingatan kita. Awal tahun ini, masyarakat kembali terperanjat dengan kabar perilaku menyimpang pria homoseksual. Mujianto (24), pemuda Nganjuk, Jawa Timur, yang ditangkap polisi dengan sangkaan meracun belasan pasangan homoseksualnya hingga empat orang tewas— kabar lain menyebutkan hingga belasan tewas. Lalu tak kalah mengejutkan adalah pengaduan sejumlah santri terhadap guru mereka, Al-Habib Hasan bin Jafar Assegaf. Pemimpin Majelis Taklim Salawat dan Zikir Nurul Musthofa, Ciganjur, Jagakarsa, Jakarta Selatan, itu disangka melakukan pelecehan seksual terhadap priapria muda yang jadi muridnya. Mingguan Detik edisi 12, 20 Februari 2012 menguraikan perilaku menyimpang ini dengan cukup rinci. Jauh hari sebelumnya, seorang pemuka agama di pesisir utara Jawa Tengah divonis bersalah setelah didakwa melakukan pelecehan seksual kepada enam murid prianya. Pemuka agama yang konon disebut-sebut berperan penting dalam Pilpres 2004 ini juga tersohor
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emember Very Idham Henyansyah (29), or Ryan, who two years ago had taken 11 lives in the case of chained murder? The murder was triggered by a romance between people of the same sex and it had the society in shock. A graceful man like Ryan had the heart to act like a psychopath. What Ryan did probably has not gone completely from our memory. Earlier this year, the public is once again shocked with what a homosexual man committed. Police have arrested Mujianto (24), from Nganjuk, East Java, for an allegation of poisoning more then ten people—his homosexual partners—with four dead. Other news said more than that. What is also startling was the report of a number of santri (Islamic school students) on their teacher, Al-Habib Hasan bin Jafar Assegaf. The leader of Nurul Musthofa Prayers Council from Ciganjur, Jagakarsa, South Jakarta, was suspected to commit sexual abuses to his young students. Detik Weekly edition 12, February 20, 2012 describe in details the deviant behavior. Long before this is happening, a religious leader at the north coast of Central Java was found guilty after being charged witih sexual harassment toward six of his male students. The religious leader was said to be playing a significant role in the presidential election in 2004 and also renowned as the spiritual advisor for a number of officials in a famous state owned enterprise. Warisan Indonesia I Vol. II I No. 15 I March 15 - April 15 2012
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Saman
dalam Tradisi dan Budaya Jawa THE SAMAN IN JAVANESE TRADITION AND CULTURE OLEH/BY SINGGIR KARTANA
Pada masa kerajaan Hindu, Saman memiliki posisi kuat. Lalu tergusur gelombang perubahan yang dibawa Islam. Mereka pun bergerilya berada di balik berbagai karya seni tradisi di desadesa. During the period of Hindu Kingdom, the Saman has a strong stand in society. They had been marginalized by the waves of change brought by Islam. They would then proceed to covered activities, moved behind various forms of art and tradition in the village.
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Dodo Hawe
Gong Gong
A. Budi Adi Santosa
Gong Gong
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aman punya sebutan universal, yakni travesty. Sifatnya terbatas, tidak massal, karena amat sarat dengan nilai spiritual. Oleh karena itu, saman jauh dari ingarbingar. Menurut Wisma Nugraha Christianto Rich, M.Hum., istilah itu menunjuk pada laki-laki yang memerankan perempuan. “Orang yang disebut saman dianggap memiliki kemampuan spiritual yang mampu menjadi perantara dunia profan dengan yang sakral sehingga dia dibutuhkan dalam setiap kegiatan ritual pemujaan pada sesuatu yang dianggap sakral. Kebanyakan kesenian yang berakar pada tradisi, secara historis berkaitan dengan keberadaan saman. Kesenian lengger di Banyumas, gandrung di Banyuwangi, dan lain-lain, awalnya ditarikan oleh laki-laki,” kata Wisma Nugraha saat ditemui Warisan Indonesia, awal Maret 2012. Jejak saman saat ini masih ditemukan pada berbagai tradisi budaya masyarakat, tentu wujud yang pragmatis ataupun profan. Beberapa ritual yang merujuk pada eksistensi seorang saman juga masih ada, misalnya, beberapa dukun di Jawa Timur kabarnya ‘berkelamin’ waria.
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here is a universal term for Saman, which is travesty. It has a limited scope, individual, since it is laden with spiritual values. Thus, saman is far from all the uproar. Wisma Nugraha Christianto Rich, M.Hum, said the term refers to a man plays a role as a woman.
“Those referred to as saman are perceived as having spiritual endowment capable to bridge the profane world with the sacred hence they are essential in every activity of worship rituals on something sacred. Many art forms that have roots in tradition are historically related to the presence of saman. Lengger in Banyumas and gandrung in Banyuwangi, among others, are danced by men,” said Wisma Nugraha when Warisan Indonesia interviewed him early March 2012. Today, traces of saman can be found in cultural tradition of the people, manifested in both pragmatic and profane forms. There are also several rituals that relate to the existence of a saman, as an example the medicine men—or shamans—in East Java, who some said are androgynous.
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Junaidi Sudirman
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Gong Gong
PUANG UPE’
Bissu Penjaga Rakkeang Kuning
PUANG UPE’, THE GUARDIAN BISSU OF THE YELLOW ATTIC
OLEH/BY ANWAR JIMPE RACHMAN Kendati telah surut, peran bissu masih ada di masyarakat Bugis. Mereka menjadi tempat berlindung bagi para wadam agar dapat diterima dalam kehidupan. Warga masih kerap datang untuk memohon agar keinginannya terkabul. The role of bissu still prevails among the Bugis community, albeit having receded. They are the haven for wadam (transgender) wishing to be accepted into life. People still come to them to have their wishes granted.
Lelaki itu bernama Puang Upe’. Umurnya sekisar 50 tahun. Ketika mendiang Puang Matoa Saidi memimpin komunitas Bissu Dewatae, Puang Upe menjadi Puang Lolo—bahasa Bugis yang berarti ‘pemimpin muda’—sebutan untuk jabatan wakil Puang Matoa. Ia mengemban tugas ini sejak 2001, bersamaan dengan saat Puang Saidi dilantik menjadi Puang Matoa. “Tadi, yang putih itu adalah bedak, untuk mencegah karat, Nak,” kata Puang Upe’ dalam bahasa Bugis yang cepat di kediamannya pada akhir Februari 2012. ‘Nak’ merupakan panggilan yang sering meluncur dari bibir Puang Upe’ ketika bercakap dengan siapa saja. Alameng, pedang pusaka pemimpin komunitas Bissu Dewatae, kini tersimpan di rumah panggung sederhana Puang Upe’ di Bonto Te’ne, Kecamatan Segeri, Pangkajene Kepulauan, sekitar 60 kilometer sebelah utara Kota Makassar. Kendati Puang Upe’ kini sebagai pemegang alameng, tetapi kenyataannya ia belum resmi menyandang gelar “Puang Matoa” karena belum melalui upacara pelantikan. Selain alameng, di rumah Puang Upe’ juga ada tanda kebesaran dan perlengkapan upacara bissu lainnya: [1] Paccoda’, sebatang kayu bersegi delapan yang terbungkus kain kuning cerah yang dibawa oleh Puang Lolo; [2] Tolousu dan arumpigi berupa kayu berongga atau bambu berujung kepala ayam berisi butiran dan mengeluarkan bunyi bila diguncang yang dibalut kain merah—keduanya dibawa oleh anak bissu— mengingatkan pada hewan peliharaan sang pencipta jagat I La Galigo, Patoto’e (Sang Penentu Nasib), dan [3] Lellu Patara, pemayung dari kain cinde segi empat yang setiap sudutnya berbatang penunjang.
T
he slender man drew slowly the alameng from its brass-plated, white clothed sheath, presenting a sword coated lightly with white dust. The man, who stood inclined, kissed the sword with his eyes closed before putting it back inside the sheath.
The man is 50 something Puang Upe’. When the late Puang Matoa Saidi had been leading the Bissu Dewatae community, Puang Upe had been the Puang Lolo—which in Bugis language means ‘young leader’—who is the deputy of Puang Matoa. He had assumed the position since 2001, at the same time when Puang Saidi became Puang Matoa. “The white substance was powder, to prevent rust, Nak,” Puang Upe’ explained in brisk Bugis language in his residence last February. ‘Nak’ is a call he often uses when communicating. Alameng, the sword of heritage for the leaders of Bissu Dewatae community, is now stored in Puang Upe’s simple platform house in Bonto Te’ne, Segeri Subdistrict, Pangkajene Islands, around 60 kilometers north of Makassar. Although Puang Upe’ is now the official keeper of alameng, he is still yet to hold the “Puang Matoa” title because he has not gone through the inaugurating ceremony. Puang Upe’s house also stores several bissu symbols and ceremonial equipments: [1] Paccoda’, an eight-sided log wrapped in a bright yellow fabric brought by Puang Lolo, [2] Tolousu and arumpigi in the shape of hollow wood or bamboo with a chicken’s head as the tip, wrapped in red fabric and filled with noise-making grains—these two are brought by the anak bissu and they serve as a reminder of the pet of the creator of the I La Galigo universe, Patoto’e (He who Determines Fate), and [3] Lellu Patara, a shade made of a square-shaped cinde fabric with a supporting pole at each corner. Hardy Mendröfa
S
I pria langsing menghunus pelan alameng dari sarungnya yang berlapis kuningan dan berbalut kain putih. Sebilah pedang berlapis serbuk putih yang tipis muncul. Lelaki berdada rata yang tampak doyong itu segera mencium pedang tersebut seraya memejamkan mata kemudian memasukkannya lagi ke sarungnya.
The Segeri replaces its bissu each time a leader dies. When Puang Saidi died in June 28, 2011, there had been pros and
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A. Budi Adi Santosa
Gong Gong
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Gong Gong
DIDIK NINI THOWOK
Tarian Lintas Gender Itu Mistis A CROSS GENDER DANCE IS MYSTICAL
OLEH/BY SINGGIR KARTANA (YOGYAKARTA) Dalam dunia seni tari, nama Didik Nini Thowok amat fenomenal. Modalnya tak cuma kemampuan meliukkan anggota badan dan tubuh bak gemulai perempuan, seniman kelahiran Temanggung, Jawa Tengah,13 November 1954, ini juga hebat dalam menggarap koreografi tarian populer. Diam-diam dia piawai main pantomim, komedi, dan menyanyi. Kadang, ia sengaja tampil dengan ketiga kemampuan itu. Pasti hasilnya luar biasa. In the world of dance art, the name Didik Nini Thowok is highly phenomenal. His marvel is not just being able to sway his limbs and body gracefully as a woman, the artist born in Temanggung, Central Java,November 13, 1954, is also brilliant to compose choreographies of modern dance. Quietly, he is well versed in pantomime, comedy, and singing. Occasionally, he intentionally performs all three of his talents. The results are definitely astounding.
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utra pasangan Hadiprayitno dan Suminah itu sejak kecil lekat dengan seni. Hobi menggambar ia tekuni di bangku sekolah dasar (SD) hingga sekolah menengah pertama (SMP). Saat itu ia pun rajin berlatih menyanyi, terutama tembang Jawa. Namun, tarilah yang benar-benar menenggelamkannya di kubangan seni. Untuk mencapai kemajuan, setamat sekolah menengah atas (SMA), ia menimba ilmu di Akademi Seni Tari Indonesia di Yogyakarta, cikal bakal Jurusan Tari Institut Seni Indonesia (ISI). Awal dekade 1980-an, namanya melambung. Hal ini berkat penampilannya pada pentas fragmen tari nini thowok. Nini thowok atau nini thowong adalah semacam permainan rakyat jalangkung yang biasa dimainkan masyarakat Jawa tradisional. Nini thowok sejak itu terus melekat ke mana pun Didik berkarya dan meraih kesuksesan. Tak ada yang ragu atas dedikasinya di dunia tari. Ratusan penghargaan pernah ia terima. Beberapa karya garapannya, seperti tari Topeng Walang Kekek (1980), Dwimuka (1987), Kuda Putih (1987), Dwimuka Jepindo (1999), dan Topeng Nopeng (1988), jadi bukti keempuannya. Seniman bernama asli Kwee Tjoen Lian itu menerima kedatangan Singgir Kartana dari Warisan Indonesia di Sanggar Tari Natya Lakshita miliknya di Green Plaza Kav. 7 Jalan Godean Km. 2,8, Yogyakarta, akhir Februari 2012. Berikut petikan wawancaranya.
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he son of Hadiprayitno and Suminah has been closely related to art since he was a child. He developed a hobby of drawing from elementary school to junior high. By then he was already diligently practicing singing, particularly Javanese songs. However, dance is the one that sunk him deep in the pools of art. At the early 1980s, his name soared high thanks to his performance in the dance fragment of nini thowok. Nini thowok or nini thowong is a folk game of magic, some kind of jalangkung game played by traditional Javanese people. From then on, the nini thowok label was stuck on him whatever he worked and succeed. Nobody doubts his dedication in the world of dance. He has received hundreds of awards. Some of his masterpieces, such as the Topeng Walang Kekek (1980), Dwimuka— or Two Face (1987), Kuda Putih—White Horse (1987), Dwimuka Jepindo (1999), and Topeng Nopeng (1988), are evidences of his mastery. The artist, whose real name is Kwee Tjoen Lian, received Singgir Kartana from Warisan Indonesia at his Natya Lakshita dance studio at Green Plaza Kav. 7 Godean Street Km. 2.8, Yogyakarta, at the end of Februari 2012. Here is the passage of the interview.
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Hardy Mendrรถfa
Hardy Mendrรถfa
MUSEUM PERUNDINGAN LINGGARJATI | THE LINGGARJATI NEGOTIATION MUSEUM
Kepingan Linggarjati FRAGMENTS LINGGARJATI
Gedung berwarna putih di kaki Gunung Ceremai itu mula-mula hanya sebuah gubuk sederhana milik seorang janda. Letaknya yang strategis membuat orang kaya tertarik membeli dan mengubahnya jadi bangunan besar untuk hotel. Sejarah republik pun bergulir dari sana. The white structure at the foot of Mount Ceremai was originally a simple cottage belonged to a widow. Its strategic location attracted the interest of a rich man to purchase and changed it into a big building for a hotel. This is where the history of the republic has evolved.
Hardy MendrĂśfa
Museum Museum
D
esa itu bernama Linggarjati. Entah apa maksud sesungguhnya. Ada yang mengaitkannya dengan Sunan Gunungjati. Linggar berarti linggih atau duduk. Di situlah sunan itu pernah beristirahat saat menempuh perjalanan untuk menyebarkan Islam. Mungkin saja hal itu benar, tetapi yang jelas, dulu di sanalah para sunan sering berkumpul untuk membicarakan kemajuan penyebaran ajaran nabi di tanah Jawa. Tak hanya bagi sejarah Islam, bagi Republik Indonesia desa itu juga penting. Di sanalah perundingan penyelesaian pertikaian antara kaum republiken dan tentara kolonial Belanda pernah berlangsung.
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he village is called Linggarjati. Nobody knows its exact meaning. Some linked it with Sunan Gunungjati. Linggar means linggih or sitting. This is where the sunan (holy men) used to take a rest on his travels to propagate Islam. Maybe there is some truth in it, but one thing is clear that all the sunans often gathered there to discuss the propagation progress of the prophet’s teachings throughout Java. This village has a great historic significance not only for Islam, but also for the Republic of Indonesia. This is where the concluding negotiations between the so-called republicans and the Dutch colonial army took place.
Gedung bekas tempat perundingan itu kini menjadi sebuah museum. Letaknya paling ujung Desa Linggarjati tak jauh dari jalan raya. Kondisi gedung tersebut kini cukup terawat, ada pepohonan rindang, juga rerumputan tumbuh subur di sekitar lahan seluas 2,4 hektar itu.
The former building used for the negotiations has now become a museum. It is located at the far corner of Linggarjati Village, not far from the main highway. At present, the building’s condition is quiet well-maintained, with shadowing trees and fertile grass-land around the 2.4 hectares of land.
Desa Linggarjati ini berada di wilayah Kecamatan Cilimus, Kabupaten Kuningan, Jawa Barat. Desa ini berada di ketinggian 400 meter dari permukaan laut. Desa ini diapit oleh tiga desa, yaitu sebelah selatan berbatasan dengan Desa Linggasana; sebelah timur ada Desa Linggamekar; lalu sebelah utara berbatasan dengan Desa Lingga Indah; dan sebelah barat berbatasan dengan Gunung Ceremai.
The Linggarjati Village is precisely located in the Cilimus District, Kuningan Regency, West Java. It is located at 400 meters above sea level. Three other villages are encircling it, namely Linggasana Village in the South, Linggamekar Village in the East and Lingga Indah Village bordering the Northern side; and the Western side touches the fringes of Mount Ceremai.
Di sinilah perundingan penyelesaian pertikaian antara republiken dan tentara kolonial Belanda pernah berlangsung This is where the concluding negotiations between the so-called republicans and the Dutch colonial army took place
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Seni Art MUSIC THEATRE LEGEND DANCE TEXTILE CRAFT WORD TO PONDER
Guna Dwi
MUSIK TEATER LEGENDA TARI TEKSTIL KRIYA KALAM
Guna Dwi
Keroncong dari Toegoe KERONCONG FROM TOEGOE
Walau tertatih-tatih, perjalanan Krontjong Toegoe—yang dianggap sebagai simbol kelahiran keroncong di Indonesia—tetap menunjukkan eksistensinya. Bahkan, telah terjadi proses metamorfosis pada generasi ke-11 dari Krontjong Toegoe yang turun-temurun di Kampung Tugu sejak 1661. Hobbled, the life journey of Krontjong Toegoe—deemed as the birth symbol of keroncong in Indonesia—still proves its presence. In fact, there has been a metamorphosis process in the 11th generation of Krontjong Toegoe established in Kampung Tugu since 1661.
P (BBJ).
ada 12 Januari 2012, The Mardijkers Jr., yang terdiri dari anak-anak Tugu, Jakarta Utara, asli mengisi pentas musik di pelataran Bentara Budaya Jakarta
Malam itu, mereka terlihat rancak dan piawai memainkan alat-alat musik keroncong, walau usia mereka baru belasan tahun. Mereka membawakan lagu “Ibu Pertiwi Menangis”, “Naik Delman”, “Kereta Hitam”, serta dua lagu berbahasa Portugis—“Gato de Mato” (artinya kucing melihat) dan “Jan Kagalete”—yang mengisahkan keadaan Batavia ketika terjadi wabah kolera pada 1700an. 88
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n January 12, 2012, The Mardijkers Jr., consisting of the youth native of Tugu, North Jakarta, performed in a musical event in the yard of Bentara Budaya Jakarta (BBJ). That evening, they look delightful and skillful in playing the keroncong musical instruments, though they were still in their teens. They perform songs including “Ibu Pertiwi Menangis”, “Naik Delman”, “Kereta Hitam”, and two Portuguese songs—“Gato de Mato” (the seeing cat) and “Jan Kagalete”—telling stories on Batavia when it was struck with cholera epydemic in 1700s.
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Yanuar Dwi Sarjono
GOA KREO
Petilasan Sunan Kalijaga CAVE OF KREO THE SANCTUARY OF SUNAN KALIJAGA
OLEH/BY IYAN DWI S (SEMARANG) 96
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Yanuar Dwi Sarjono
Legenda Legend
Di ujung selatan Kota Semarang, Jawa Tengah, terdapat sebuah tempat wisata yang indah sekaligus keramat, yakni Goa Kreo. Di goa ini banyak orang yang menyempatkan diri bersemadi. At the southern edge of Semarang city, Central Java, rests a tourism site both beautiful and sacred, the Cave of Kreo. Many people have reserved their time to meditate in this cave.
G
oa Kreo terletak di daerah Talunkacang, Kandri, Kecamatan Gunungpati, Semarang. Dari pusat kota berjarak sekitar 8 kilometer, bisa ditempuh dengan angkutan umum ataupun kendaraan pribadi. Meskipun berada di perbukitan, jalan menuju lokasi tersebut relatif mulus, dengan melewati sebuah jembatan darurat dari kayu karena jembatan yang lama sudah ambrol. Berbagai legenda atau cerita rakyat tentang keberadaan Goa Kreo masih berkembang hingga kini. Konon, goa itu adalah petilasan salah satu wali, yakni Sunan Kaliaga. Diceritakan, dalam upayanya membangun Masjid Demak, Sunan Kalijaga menyusuri hutan-hutan di wilayah Kota Semarang.
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ocated at Talunkacang, Kandri, Gunungpati District, Semarang, about 8 kilometers from center of the town, we can reach Kreo Cave by car or public transportation. Despite its location being on the hills, the road to get there is quite smooth, and we have to take a temporary wooden bridge since the old bridge has collapsed. Legends and folklores on the Kreo Cave have still been spreading. Legend has it that the cave was the sanctuary of one of the nine saints of Islam, namely Sunan Kalijaga. It was told that the Sunan was looking for woods around the city of Semarang when he started building the Mosque of Demak. He started his search from the Forest of Gombel, famous
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TARI RANUP LAMPUAN
Bagaimana Memuliakan Tamu HOW TO HONOR THE GUEST
OLEH/BY HOTLI SIMANJUNTAK (ACEH) 100
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Hotli Simanjuntak
Hotli Simanjuntak
Tari Dance
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ait lagu tersebut, yang dinyanyikan oleh penyanyi lokal Aceh yang mendunia, Rafly, mengisyaratkan pentingnya ranup (sirih) dalam perjalanan adat Aceh. Sirih merupakan bagian penting untuk memuliakan tamu. Dalam adat-istiadat Aceh, sirih—tanaman merambat, berdaun lonjong dengan ujung agak lancip—ini, merupakan lambang pemadu adat dan budaya dalam interaksi masyarakat. Itu sebabnya sirih, yang dalam ilmu biologi dikenal dengan nama Piper betle linn dan masuk dalam keluarga Piperaceae, ini selalu disuguhkan dalam pembukaan acara, upacara perkawinan, sunatan, selamatan, dan acara-acara lain.
Piyoh….piyoh…piyoh… Neucok ranup nyoepat hai Ranup neu pajoh tanda mulia Peunajoh Aceh meumacam bagoe Peunajoh jameun sampo ino hai Ranup seulaseh ngon pineung mawoe Gapu ngon gambe leungkap keu syarat
Piyoh….piyoh…piyoh… Neucok ranup nyoepat hai Ranup neu pajoh tanda mulia Peunajoh Aceh meumacam bagoe Peunajoh jameun sampo ino hai Ranup seulaseh ngon pineung mawoe Gapu ngon gambe leungkap keu syarat
Ranup lam bate peumulia jamee Adat geutanyo keu jamee teuka Neuci pajoh sie gapu ile Ie ranup klat jeut keu peunawa Piyoh… piyoh… piyoh… piyoh… piyoh Neu cok ranup nyopat hai Ranup neupajoh beu jeut keu ubat.
Ranup lam bate peumulia jamee Adat geutanyo keu jamee teuka Neuci pajoh sie gapu ile Ie ranup klat jeut keu peunawa Piyoh…piyoh…piyoh…piyoh…piyoh Neu cok ranup nyopat hai Ranup neupajoh beu jeut keu ubat.
(Singgah… singgah… singgah Silakan ambil sirih ini Cicipi sirih ini sebagai tanda mulia
(Drop in…drop in…drop in Please take this betel Taste this betel as an honor
Makanan Aceh bermacam rupa Makanan dari zaman dahulu hingga sekarang Susunan sirih dengan pinang yang enak Kapur dan gambir sebagai pelengkap syarat
Acehnese Foods are myriad Cuisine from the past to the present Composition of delectable betel and areca nut Lime and gambir leaves to complement
Ranup dalam puan sebagai pemulia tamu Adat kita memuliakan tamu yang baru tiba Silakan cicipi sekapur sirih lebih dahulu Air sirih kelat bisa jadi obat Singgah… singgah… singgah… singgah… singgah Silakan ambil sirih ini Cicipi sirih ini sebagai obat)
Ranup in puan to honor the guests Our tradition to respect the visiting guests Please taste the betel and the lime first Betel water can be a cure Come by…come by..come by..come by..come by Please take the betel Taste the betel as remedy)
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he phrases of the song, sang by Rafly, a local Acehnese singer who is going global, indicate the significance of ranup (betel) in the evolvement of Aceh traditions. Betel is an essential part to honor the guests. In Acehnese custom, the betel plant—a climbing vine, with pointed oval leaves—is a symbol of unifier of custom and culture among the society. The betel—known in biology as Piper betle Linn, under family of Piperaceae—thus is always served in an opening ceremony, a wedding, ceremony of circumcision, celebrations of gratitude, and other events.
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TENUN IKAT FLORES | FLORES IKAT WOVEN CLOTH
Sikka Mewarnai Nusantara Dari
SIKKA COLOURS THE ARCHIPELAGO
Proses mewarnai benang yang memakan waktu hingga 2 tahun membuat tenun ikat dari Desa Sikka, Flores, memiliki warna yang khas dan abadi. Bercirikan warnawarna gelap: hitam, coklat, biru, dan hitam-biru, tenun ikat Sikka ikut mewarnai ragam corak kain Nusantara. The Process of colouring the thread – for making the tenun ikat (woven cloth) of Sikka Village, Flores – of which colours are unique and long-lasting takes time up to 2 years. It has distinctive dark colours: black, brown and deep-dark blue, the Sikka ikat woven cloth also colours the varieties of patterns of the Archipelago. 106
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Hardy Mendröfa
Tekstil Textile
S
A
EPINTAS nyaris tidak ada yang membedakan ragam corak dan motif tenun ikat yang menjadi “pernyataan budaya” sub-etnis di Flores. Seluruhnya dikerjakan secara manual, mulai dari menyortir kapas dari biji, memintal menjadi benang, mewarnai, mengikat motif, hingga menenun dengan alat tenun bukan mesin (ATBM).
T A GLANCE, there is no distinct difference in the kinds of patterns and motifs of the tenun ikat making a “cultural statement” of Flores sub-ethnic. The entirety was executed manually, starting from sorting out the cotton from the seeds, spinning them into threads, colouring, binding the motifs to sewing it with non-machine weaving apparatus (ATBM).
Dari sub-etnis Manggarai dan Ngada di belahan barat hingga Lio (Ende), Sikka di tengah, ataupun Larantuka dan Adonara di timur, seluruhnya melangkah dengan tahapan yang sama dalam membuat tenun ikat. Yang membedakan hanyalah kecenderungan dalam pewarnaan dan ragam motif yang bertolak dari mitos ataupun legenda yang hidup di setiap sub-etnis.
From the sub-ethnics of Manggarai and Ngada in the Western part to Lio (Ende), Sikka in the middle, or Larantuka and Adonara in the East, all of them share the same steps in the process of creating ikat woven fabric. What sets them apart is the colouring tendency as well as the types of motifs based on myths and legends of particular sub-ethnic.
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I NYOMAN THE BUDDHA’S HEAD OF I NYOMAN
OLEH/BY ALI SUBCHI (MAGELANG) Karya seni pahat berupa replika Candi Borobudur, Prambanan, relief, gapura, dan patung kepala Buddha sudah mewarnai dunia, mulai dari Asia, Belgia, Belanda, Amerika, Australia, Eropa, hingga Afrika. Mulai Januari 2012, replika Ankor Wat (Kamboja) dibuat di Magelang. The art of sculpture such the replicas of temples of Borobudur, Prambanan, as well as reliefs, portals, and the heads of Buddha has spread globally from Asia, Belgium, Netherlands, US, Australia, Europe, to Africa. Starting January 2012, the replica of Ankor Wat (Cambodia) is made in Magelang. 112
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Ali Subchi
KEPALA BUDDHA
Ali Subchi
Kriya Craft
A
ngkor Wat, yang dibangun di Kamboja pada tahun 1100, adalah bangunan bersejarah berupa batu penuh pahatan relief, berbentuk patung dewa yang menjadi salah satu tempat suci umat Buddha. Nah, I Nyoman Alim Mustofa, pematung asal Bali, mendapat pesanan membuat replika Angkor Wat seukuran bangunan aslinya, yaitu tinggi 80 meter, lebar 10 meter x 10 meter. “Kami butuh waktu 90 hari (3 bulan) untuk menyelesaikan replika Ankor Wat. Awal Februari 2012, potongan dan pahatan batu dikirim ke Belgia untuk dirangkai di sana,” kata I Nyoman Alim Mustofa, saat ditemui di sanggarnya, Nakulo Sadewo, Jalan Raya Magelang-Yogyakarta, Desa Pabelan, Kecamatan Mungkid, Kabupaten Magelang, Jawa Tengah. Pria kelahiran Sempidi, Bali, 13 Februari 1952, ini sudah menghabiskan waktu hampir 37 tahun di bidang karya seni pahat. Ia menekuni seni pahat batu andesit Gunung Merapi sejak 1969. “Waktu itu, 1969, mendapat pesanan 1.000 patung kepala Buddha ukuran tinggi 25 cm dari Amerika Serikat. Patung kepala Buddha itu harus selesai dalam waktu 90 hari,” tutur I Nyoman Alim Mustofa. Suami Sri Widati ini mengakui, secara nalar, membuat 1.000 patung kepala Buddha dalam waktu tiga bulan terasa tidak masuk akal. Sebab, dalam hitungannya,
A
ngkor Wat, erected in Cambodia in 1100, is a historical stone building filled with reliefs, in the shape of statues of gods, and a sacred place for Buddhists. Now, I Nyoman Alim Mustofa, a sculpture of Bali, received an order to make the replica of Angkor Wat as big as the original which is 80 by 10 by 10 metres. “It took us 90 days (3 months) to complete the replica. At the beginning of February 2012, pieces and sculptures of it is being sent to Belgium to assemble,” told I Nyoman Alim Mustofa, when he received us at his studio, Nakulo Sadewo, over in Magelang-Yogyakarta highway, Pabelan village, Mungkid sub-district, Magelang regency, Central Java.
“Dalam sebuah proyek, tidak hanya bernilai uang, tetapi bisa bermanfaat yang dirasakan warga,” kata I Nyoman “In a project, it is not just about the money, but also the benefit for the people,” said I Nyoman
Born in Sempidi, Bali, February 13, 1952, the man has spent almost 37 years in the art of sculpting. His passion in sculpting andesitic stones of Mount Merapi had begun as early as 1969. “Back then, in 1969, I got an order of 1,000 statues of Buddha’s head of 25 cm tall from US. And it had to be done in no more than 90 days,” told I Nyoman Alim Mustofa. The husband of Sri Widati admits that logically such a feat was illogical: 1,000 statues of Buddha’s head in just 3 months. Because, in his calculation, making 1,000 statues of Buddha’s head in 90 days means 11 25-cm heads per day.
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Jendela Window FESTIVAL PAMERAN
FESTIVAL EXHIBITION
Festival Festival
INDONESIA FASHION WEEK 2012
Lirak-Lirik Kain Nusantara GLIMPSING THROUGH THE ARCHIPELAGO’S CLOTHS
Oh dara… Ke mana kau pergi melangkah Juwita… Tahukah kau hatiku resah Oh dara… Mengapa kau terus melangkah Juwita… Mengapa ku tak berdaya
Hardy Mendröfa
“Oh girl… Where are you walking to Beautiful… Do you know I feel uneasy Oh girl… Why are you keep walking Beautiful… Why do I feel helpless”
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Muhlis Suhaeri
Cap Go Meh Singkawang
CAP GO MEH IN SINGKAWANG
OLEH/BY MUHLIS SUHAERI (SINGKAWANG) Perayaan Cap Go Meh di Singkawang, Kalimantan Barat, selalu punya dimensi lain, betapa mulusnya akulturasi antara budaya Tionghoa, Dayak, dan kultur lokal lain di Kalimantan. Dan, stereotipe bahwa orang Tionghoa itu selalu jadi pengusaha dan kaya, patah di sini. The Festival of Cap Go Meh in Singkawang, West Kalimantan, always has a distinct side that shows the smooth acculturation process of Chinese, Dayak, and other cultures in Kalimantan. Furthermore, the stereotype of Chinese people being businessmen and wealthy, is challenged here. Warisan Indonesia I Vol. II I No. 15 I March 15 - April 15 2012
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Muhlis Suhaeri
Festival Festival
C
AP Go Meh atau hari ke-15 tahun baru Imlek awal Februari lalu selalu menyisakan kisah unik dan gebyar sebuah perayaan yang penuh gegap gempita. Seluruh masyarakat Kota Singkawang, Kalimantan Barat, dan sekitarnya, seakan tumpah menjadi satu. Bagi yang tak pernah ke Singkawang, mereka acap kali kaget dan keheranan. Puluhan orang Tionghoa, terdiri dari anak, remaja dan dewasa, berjejal dalam mobil bak terbuka. Datang dari berbagai penjuru daerah, menuju pusat Kota Singkawang. Gambaran umum Tionghoa yang identik dengan pengusaha dan kaya, tak sepenuhnya berlaku di Singkawang. 124
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here have always been exciting stories and sparkles left from the cheerful Festival of Cap Go Meh or the 15th day of Chinese New Year, which was celebrated this year in early February. The whole city of Singkawang in West Kalimantan and surrounding areas flocked into the festival. Those who never been to Singkawang would be surprised and in awe. Dozens of people—children, teenagers, and adults—of Chinese ethnicity cramped into open cab vehicles. They came from all places, directing to the city center of Singkawang. The common view that the Chinese are always wealthy and businessmen is not totally held in Singkawang.
TOBA
Batu Kursi & Sigale-Gale LAKE TOBA, STONE BENCH AND SIGALE-GALE
OLEH/BY BUDI CHANDRA
S
ekitar 70.000 tahun lalu, meletuslah Gunung Toba di Pulau Sumatera dengan dahsyat dan tercatat sebagai letusan gunung berapi terbesar. Letusannya memancarkan abu vulkanik hingga ke Afrika bahkan Kutub Utara. Bencana alam yang mengakibatkan kematian massal manusia dan hewan itu, kini membentuk sebuah danau yang luasnya 3.658 kilometer persegi, dengan luas permukaan danau 1.103 kilometer persegi. Sisa luasan area tersebut sekitar 43 persen merupakan bukitbukit dan 30 persen bergunung-gunung, dengan puncak tertinggi 2.000 meter di atas permukaan laut. Melihat sejarah Danau Toba—manusia dan budayanya—kita seakan dibawa ke peradaban megalitikum di sebuah daerah yang disebut dengan Tanah Batak. Toba kini menjadi daerah tujuan wisata paling dikenal di Sumatera Utara. Namanya sudah mendunia sebagai danau yang memiliki keindahan alam dan wisata budaya. Untuk menuju Danau Toba, tidaklah sulit. Jaraknya sekitar 176 kilometer dari Kota Medan, ibu kota Provinsi Sumatera Utara. Menempuh waktu 3,5 jam dari Medan menuju Parapat, menggunakan mobil atau bus, keindahan alam sudah disuguhkan di depan mata.
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N
o less than 70,000 years ago, the Mount Toba in Sumatra Island erupted fiercely and was documented in history as the largest volcano eruption. The ashes emitted from the eruption reached Africa and even the North Pole. In terms of casualties, it was a mass death of human and animals. The eruption had formed a lake measuring at 3,658 square meters, with a surface of 1,103 square meters. With 43 percent of the area consist of hills and 30 percent mountain area, with the highest summit of 2,000 meters above sea level. When we peeked into the history of Lake Toba—the people and their culture—it is as if we were taken to the megalithic civilization at a region called The Land of Batak. Toba has become the most renowned tourism site in North Sumatera. The name is famous around the world as nature’s beauty as well as a cultural site. It is easy to reach the location. It is about 176 kilometers from Medan, the capital city of North Sumatera Province. It takes three and a half hours from Medan to Parapat, by car or bus, to have the wonderful landscape spread in front of your sight.
Budi Chandra Budi Chandra
Panorama Panorama
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ZooM Zoom
Ironi Hidup Petambang Emas THE IRONIC LIFE OF THE GOLD MINERS
TEKS & FOTO/SCRIPT & PHOTOS ARUM TRESNANINGTYAS DAYUPUTRI (BANDUNG)
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atusan petambang tradisional di Danau Serantangan, Desa Sagatani, Singkawang Selatan, Kalimantan Barat, tak kenal lelah mengumpulkan butiran emas.
H
undreds of traditional gold miners at the Lake Serantangan, Sagatani Village, South Singkawang, West Kalimantan, untiringly work to collect gold nuggets.
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