The History Of Tradition Pasola In Sumba Tribe

The History Of Tradition Pasola In Sumba Tribe | HISTORY OF CULTURE | Pasola is 'at war' conducted by two groups of riding. Each group teridiri of more than 100 youths use of weapons spears made of wood about kira1 diameter, 5 cm in the left blunt ends. Despite the blunted spears, Pasola sometimes even claimed casualties. But there was no animosity in Pasola, if still curious Pasola please wait until next year.

Tradition Of Pasola

Lengger Dance From Banyumas

Lengger Dance From Banyumas | HISTORY OF CULTURE | Lengger Mask dance is a traditional dance which also well known since a century ago in central java. Long ago, this dance was introduced by an artist from Kecis, subdistrict Selomerto , Mr. Gondhowinangun in 1910. Then, in 1960’s this dance was improved by Ki Hadi Soewarno, become more attractive than the old dance from Solo or Yogya. The dance was lean to be like East Java dance from Kediri.

Lengger Dance

Traditional Arts Jaipong Dance West Java

Traditional Arts Jaipong Dance West Java | HISTORY OF CULTURE | Jaipongan is a genre of dance that was born from the creativity of an artist from Bandung, Gugum Gumbira. His attention to folk art, one of which is Tap Tilu know and know very well make Treasury dance movement patterns of the tradition that existed at Kliningan / Bajidoran or Tap Tilu. Motions openings, pencugan, and several kinds of motion nibakeun mincid of some art above has enough inspiration to develop a dance or art that is now known as Jaipongan. As a social dances, dance Jaipong successfully developed by Sundanese artist becomes a dance that socialized and very loved by the people of West Java (in particular), even popular until outside West Java.

Jaipong Dance

Dance Art history Gending Srivijaya

Dance Art history Gending Srivijaya | HISTORY OF CULTURE | As the region very rich in a collection of past history, Palembang also has many kinds of dance art. Of imagination and fantasy of the era palace of the kingdom of Srivijaya in the sixth century BC, which is very famous with the expansion area and the center of Buddhism to the golden age of Palembang Darussalam Sultanate. stages of past history that until now provide much inspiration for the people. One of them is a dance.

Gending Srivijaya Dance

Ponan custom that still exists in Sumbawa

Ponan custom that still exists in Sumbawa | HISTORY OF CULTURE | Indigenous PONAN is one tradition or custom that is done as a form of indigenous expressions of gratitude to Allah SWT ponan for having finished the Rice Plant. Ponan is a thanksgiving to the creator is also one moment to unite and strengthen kinship. On a small hill which is right in the heart of Orong Rea (rice field name in the indigenous residents have ponan) The third meeting ponan indigenous residents and relatives from outside the traditional family even to the outer regions. During the meeting three residents ponan customary to thank one another for mutual support and cooperation which made starting from the plow to finish planting rice in paddies. With a prayer to the Creator, ponan indigenous residents hope that the new rice crop grown saj given fertility and kept away from all kinds of pests and diseases.

The value contained in a custom implementation ponan is an expression of feeling full of joy. This joy is expressed by reciting poems Ratib containing praises to Allah SWT and Prophet Muhammad. Ponan custom implementation has been going on for centuries on the ground PAROSO (Moyo District Downstream). Indigenous ponan is done at the time of rice began to enter the period of conception. With customary ponan expected agricultural output will increase, and any pest or disease away from the rice plant. Ponan custom implementation is followed by Poto Village, Hamlet and Hamlet Malili Bekat Downstream Moyo District. Formerly these three villages located in a rural area called Bekat Loka. Because of the floods, villagers are also looking for a high place so the split and form their respective villages.

Ponan customary hereditary remain to be implemented, because it is a testament of our ancestors know paroso (Moyo people downstream) specifically applies to the three village residents ponan customary. The contents of the will stated that the customary activities conducted ponan will bring good crops. And conversely, if not implemented will give bad consequences for agriculture. Indigenous ponan've not done deliberately, to prove the truth of the will and proved it when agricultural output at that time was not very good and farmers suffer from hunger because of poor agricultural output.

Ponan string of ritual process starts from the preparation of the community to confront ponan celebration. This event consists of a welcoming and implementation ponan own custom event. In welcoming the event with the event ponan disemarakkan cultural attractions are presented which have been entertaining the local community. On the eve of welcoming ponan is showcased several local dances, folk songs, and games tana Samawa should remain preserved.

These people become healers entertainment tiredness and fatigue for the citizens of indigenous ponan after three days earlier to prepare ponan event. This celebration is usually held at night and next day continued with the implementation of the ritual ponan. The next preparation is to prepare a dish or food become customary celebration ponan elements that must exist. petikal, domestic poultry, onde paralyzed and the other is a type of food that must exist in ponan celebration. What is interesting is the type of food served should be made from raw rice.

Uniquely, all the cakes are presented should not be fried or cooked with oil. Cooked must use fuel from wood. If the use of fuel oil, the taste of the less savory dishes. It is intended as a form of gratitude and local wisdom in preserving the culture for retaining the ordinance as did their ancestors. In addition, smoke from wood stoves and steam cooking of rice that must be made before, is a form of prayer offered up to heaven and is expected to last vaporized into a cloud that will bring rain so the rice will not be short of water because the rain is always down.

Implementation of the traditional rituals of gathering community ponan starts at the door of the village before heading to the hills ponan. After the whole community gathered together the whole community go hand in hand with bringing food and drinks to be presented to all the people who follow the customs ponan. After arriving at the hill ponan community, then the next event is to pray together, led by tetuah custom. This prayer of hope that the results of the agricultural community in the three villages have an abundance of agricultural products. In addition, on occasion it is also customary ponan people forgive each other, if during the processing field distribution of irrigation water for errors or any other thing that offends neighboring fields, so there is no grudge and the load on the heart that would damage the unity and brotherhood that will be also resulted in agricultural output. Because they are very closely related to the agricultural output by silaturrahmi ponan customary among fellow citizens. If fellow citizens ponan custom continued to get, then the crops will be good and vice versa. because God will give rizki sesungguhnnya the unexpected to his servant, who always keep the DI.

What is interesting also from indigenous ponan this is the package of cookies or foods made from banana leaves or coconut leaves and leaf bambo, should not be carelessly thrown away after being eaten. For the citizens of indigenous ponan, the leaves have been discarded in fields or around the rice field, being able to keep pests and diseases. It is believed also that this kind of thing as a balance between keeping your home clean and natural with rice plants.

See Debus Banten Culture

See Debus Banten Culture | HISTORY OF CULTURE | After saying the mantra "you touch my skin haram, haram you drink my blood, you are forbidden to eat flesh, veins kawang, wesi bone, skin of steel, I come out of the womb of the mother. I say la ilaha illahu ". So at that moment he thrust the dagger into the thighs, arms, stomach and other body parts. At that time he also grabbed the neck of the attractions of a small child as he drew his machete into the child. Surprisingly the former is missing a bolt machete scar that is very dangerous for the child.

Attractions that are very dangerous we used to know called Debus, Debus said that martial arts originated from al-Madad area. The longer the martial arts is growing and growing in all societies as an art entertainment offerings for the community. Core of the show is still very strong movement or martial arts and weapons use. Debus arts offerings are widely used and focus on a person's immune players against sharp objects, and sort of sharp weapon is called the Debus.

Grow and develop this art since hundreds of years ago, along with the development of Islamic religion in Punjab. In awalna this art has the function as the spread of religion, but in the Dutch colonial period and during the reign of Sultan Agung Tirtayasa. This martial art is used to evoke the spirit of the warrior and the people who made offerings against Dutch colonialism. Because at that power is not balanced, which has a dutch weapons very complete and sophisticated. Continue to urge the fighters and people of offerings, the only weapons they have no other martial arts heritage of Debus, and they take the fight as guerrillas.

Debus in Arabic which means sharp weapons made of iron, has a pointed tip and slightly rounded shape. With this tool Debus injured players, and usually can not be penetrated even Debus was beaten many times by others. Attractions attraction of this body immunity is another variation of existing Debus performed. Among other things, stabbing stomach with a sharp object or cutting, slicing the body with a machete until the injured and uninjured, eating fire, insert a long needle into the tongue, skin, cheeks until translucent and not injured. Slicing limbs to wounded and bleeding, but can be cured at once, flush the body with hard water are attached to clothes dibadan crushed, chewed glass / glass flake, burn the body. And many more attractions that they do.

In doing this attraction every player has a requirement that heavy conditions, before they perform the ritual ritual performances given by their teacher. Usually done 1-2 weeks prior to the ritual performed. In addition they are also required to have a strong faith and be confident with the teachings of Islam. Precepts for whistle players are not allowed to drink liquor, gambling, playing a woman, or steal. And the players also need to be sure and do not hesitate in carrying out such action, violations committed by a player can greatly endanger the lives of these players.

According to some historical sources, Debus has a relationship with the congregation in the teachings of Islam. Which in essence is very thick with religious philosophy, they are in a very happy face to face with his god. They slammed their ketubuh sharps, no effort but because God alone. If God did not allow a machete, machetes and bullets injure them. And they will not hurt.

At this time many warriors living in the Village Walantaka Debus, District Walantaka, Serang District. Which is unfortunate presence diminished the longer whistle, because the young men would rather find another livelihood. And because this attraction is also quite dangerous to do, because not many players Debus who rarely harmed by lack of exercise and there are "ignorant" to show they are doing. So the longer the cultural heritage is increasingly extinct. In the past we can see the attraction of this whistle offerings in many areas, but now there are only Debus attractions at the event - a specific event. So not every day we can see this attraction. Cultural heritage, which is increasingly eroded by the changing times.

Seeing Stone Inscription Inscribed in Lampung Province

HISTORY OF CULTURE | Seeing Stone Inscription Inscribed in Lampung Province | The inscription has a very important role in bringing information to the public, especially communities that later generations. Of what is written in the inscription is an activity that can then be identified and serve as a lesson for all. Moreover, the inscription is generally issued officially by the Government in power, or the party who has a dream goal. so worthy of being recorded history. Inscription This inscription is also about power, authority, system of government and community dynamics are summarized in the inscription will be a historical record and also to understand the identity of the inhabitants of this country. That's the significance of existing prarasasti some of them are region Lampung Province. content of the inscriptions in Lampung ranging from kutykan from rulers to the manuscript prayer prayer. Unfortunately much of the stone is inscribed in Lampung worn with age, so that the contents of the script is written it can not be read in full, making it difficult for us to understand its contents.

In archaeological and historical research, prasati often acts as a very important contemporary sources. Because it gives some information about aspects of community life past. Areas of Lampung, to date has found 9 inscriptions from the Hindu-Buddhist era, covering the period 7 to 15 century AD. The nine tablets was:

1. Inscription Palas Pasemah (late 7th century)

These inscriptions have been known to exist in 1958, in the village near Palas Pasemah Kalianda South Lampung Regency. This inscription is written in 13 lines, lettered Pallawa and Old Malay. It contained nearly equal to the contents of the inscriptions of the Regional Coral Brahi Edinburgh, City Limestone stele of Bangka and Humpback Inscription of East Lampung region, which contains a curse that does not obey and submit to the ruler of Srivijaya. This inscription is not framed in, but based Paleografinya be at the end of the 7th century. This inscription is found on the edge of Banana Way, South Lampung regency in 1957. Until now, the inscription is still located in this area (in situ). The inscription round-oval-shaped half is lettered Pallawa and Old Javanese language, does not contain a number of years. Based palaeografi (the science of ancient writing), the inscription is thought to have come from around the 7th century AD. Palas Pasemah inscription consists of 13 lines is almost the same as the inscription Brahi Coral and Lime City, contains a curse for those who do not obey the king of Srivijaya.

Text Inscription Palas Pasemah

(1) Kitan siddha hamwan wari AWAI. kandra kayet. pies ni hu [mpa an] (2) namuha ulu opponent then matai tandrun tandrun nauseating nauseating wi [nunu paihumpa] (3) an haŋkairu muah. Unai nihumpa kayet cash. umenteŋ [bhakti ulun ni] (4) Haraki Unai cash. we sawanakta gods san maharddhika nidhana maŋra [ksa kadatuan yan] (5) in Sriwijaya. we tuwi tandrun nauseating wanakta early gods parssumpaha yan [n parawis. kada] (6) ci Uran in dalaŋna Grounds this kadatuanku ajnan parawis. drohaka wanu [n. samawuddhi la] (7) drohaka wan. manujari drohaka. niujari drohaka. din know drohaka [. yes tida marpadah] (8) tida yes bhakti tatwa arjjawa in Yaku dnan in yan nigalar kku Sanyasa datua niwunuh yes su [mpah ni] ....

Translation by Boechari:

(1-4). .... O all gods, the all-powerful, which protects the (royal) (5) Srivijaya, O, water genies and all the gods curse Rafal beginners (if) (6) There are people all powers that are subject to a rebellious kingdom, (conspired with a) (7) Rebel, talk to the rebels, knowing rebels (who does not respect me) (8) Not subject to reverent and faithful to me and for those who are crowned with the demands of datu, (these people) will be killed by (the curse ) ....

2. Humpback inscription (late 7th century)

Discovered in 1985, in the village of Humpback, District Jabung, East Lampung Regency. This inscription is composed entirely of 12 and 13 lines of text and lettered Pallawa Old Malay. Conditions have a very worn and broken, the first and last few lines can not be read at all. Of rows that can read the contents of the same curse contained in the inscription Pasemah Palas. Inscription Rock Inscription Brahi and Lime City is Srivijaya inscription from the late 7th century.

3. Inscription Hujunglangit / Onion (late 10th century)

This inscription is found in the Village Hanakau, Behind the Hill District, West Lampung regency. The discovery was first reported by the officer conducting topographic mapping agency in 1912. Ancient World by Tim epigraphy, the inscription is also called Onion inscription, because the discovery was in the Onion. Inscription This inscription is also called Hujunglangit is based on place names mentioned in the tablets. Stone inscription shaped like a cone with the height from ground 160 cm, width under 65 cm, width of 25 cm. Stele inscribed with part surface is almost flat, consisting of 18 lines of writing with letters Old Javanese and Old Malay language.

From the late 10th century, this inscription is worn out and his writing is very thin making it difficult for a thorough reading. Based on its origin, said Sa - land and replication with Hujunglangit place names, can be a member hint that the inscription relating to the establishment of a region into sima, the fief, as found in inscriptions in Hindu-Buddhist era. Determination of a region into sima, generally related to the presence of a holy building located in an area. On top there is an image field that tertuilis dagger, dagger tip facing right. Dagger image is similar to the remains of the royal dagger Pagaruyung The Madang named Sari. According to dynamic, from Pagaruyung dagger was made in the XIV century AD, so about 300 years younger than Hujunglangit inscription. Relief also found a knife on Panataran Temple, whose shape is similar to a dagger The Sari Madang.

4. Cape Inscription Kingdom I (around the 10th century)

Stone written oval measuring 237 cm long, wide at the center of 180 cm and 45 cm thick. The inscription was discovered in 1970 in the village of Tanjung Raya I, West Lampung District of Sukau. Inscription written on the stone surface is worn out and damaged condition, consists of 8 lines and hard to read but can still be known as Old Javanese letters of the 10th century. At the top there is a picture of a vessel with a curved edge out a leaf. Given the difficulty of reading the contents of this inscription is not known.

5. Inscription Ulubelu (14th century)

The inscription engraved on a small stone measuring 36 x 12.5 cm, there are 6 lines of text with letters Old Javanese and Old Malay language. Inscriptions found in Ulebelu, Rebang Pugung, Tanggamus District in 1934. Now stored at the National Museum Jakarta. State of the inscription is not intact, the far left and right has been broken so that some words and letters partially lost. Contents relating to the worship of the Trinity (God Guru, Batara Brahma, Vishnu Batara). Thought to originate from the 14th century AD

6. Stone Inscription Rifle (Batu Bedil)

The inscription is on the stone complex of megalithic sites guns, in an area of ​​100 x 50 m. The complex is located on flat land higher than the surrounding area. By the regional government of Lampung, in this land has made the park is equipped with walkways, places to rest, and home information. Complex I or Complex Stone Bedil Megalithic and the inscription has also been on the fence wire. Fencing is done by P3SPL (Project Implementing Heritage and Archaeology Lampung Province) in 1991.

The entrance of land located in the south. On this land there are inscriptions in addition there are also a group of menhirs the quadrilateral formation. Also in this location there are also distribution of large stones. The inscription is at coordinates 05 ° 18.637 'S and 104 ° 42.041' E (readings with the Garmin GPS V). The inscription written on a piece of rock measuring 185 cm long, width 72 cm, 55 cm thick. Writing an inscription carved on the stone facing north. Inscription comprised 10 rows with about 5 cm high letters. The article is in one frame. At the bottom of the frame there are scratches formed padma or lotus flower. Condition of the letter is worn so many letters that are no longer legible.

In the west there are 14 menhirs inscriptions that form a square formation. Menhir, Menhir is a natural stone that showed no signs of human workmanship. Besides menhirs in this area also contained a number of large stones. Judging from the shape of the stones as possible menhir and dolmen. Based on observations of surface soil artefaktual the findings obtained in the form of ceramics and pottery shards.

Distribution of stone found in the area Bedil Stone can also be found in several locations outside the fenced area. In the west fence Complex inscription is approximately 50 m there is a stone mortar, which by the society called the Stone of Dimples. Also near Stone Dimples also contained three flat stones. In addition to the south of the fence is about 50 m there is a clustered distribution of natural stone. Distribution of the stone is located in the coffee plantation owned by local residents.

The inscription on the stone inscription is very worn Bedil so difficult to read.

Based on the comparison of the letter, Bedil Stone inscriptions are thought to originate from the late 9th century or early 10th century. Some words are legible is Namo Bhagawate in the first row and Swâhâ on the tenth row. According Soekmono based on these words indicate that Bedil Stone inscription contains about Buddhism or Shiva mantra (Soekmono, 1985: 49-50). Thus the Stone Inscription Inscription Bedil and Ulu Belu indicates that the equation contains the spells.

Stone Inscription Bedil finding the location is on land that is bounded by two rivers. Archaeological relics found in the area between the two rivers is composed of three clusters. The first cluster is a collection of Stone Bedil I menhir, flat stones, and inscription. The second cluster is Bedil Stone II with the remains of menhirs, dolmen, scratched stones, and stone mortar. Bedil Stone I and Stone II Bedil may constitute a unity. Community activities now result in the separation between Batu Batu Bedil Bedil I and II. The third cluster is the site of Batu Gajah. On this site there are the remains of menhirs, stone elephants, buffaloes and stone. The stone inscriptions between the contents of Bedil with other archaeological remnants appears there are concerning aspects of religious conformity. Menhirs, stone elephants, buffaloes and stone relics show that had something to do with trust megalithic tradition. Menhir is an upright stone that has been done or not, and deliberately placed in a place to commemorate the ancestors and the hope of prosperity for the living (Soejono, 1990: 213). Menhir can stand alone or grouped to form a certain formation.

The inscription on the stone inscription is very worn Bedil so difficult to read. Based on the comparison of the letter, Bedil Stone inscriptions are thought to originate from the late 9th century or early 10th century. Some words are legible is Namo Bhagawate in the first row and Swâhâ on the tenth row. According Soekmono based on these words indicate that Bedil Stone inscription contains about Buddhism or Shiva mantra (Soekmono, 1985: 49-50). Thus the Stone Inscription Inscription Bedil and Ulu Belu indicates that the equation contains the spells.

Stone Inscription Bedil finding the location is on land that is bounded by two rivers. Archaeological relics found in the area between the two rivers is composed of three clusters. The first cluster is a collection of Stone Bedil I menhir, flat stones, and inscription. The second cluster is Bedil Stone II with the remains of menhirs, dolmen, scratched stones, and stone mortar. Bedil Stone I and Stone II Bedil may constitute a unity. Community activities now result in the separation between Batu Batu Bedil Bedil I and II. The third cluster is the site of Batu Gajah. On this site there are the remains of menhirs, stone elephants, buffaloes and stone. The stone inscriptions between the contents of Bedil with other archaeological remnants appears there are concerning aspects of religious conformity. Menhirs, stone elephants, buffaloes and stone relics show that had something to do with trust megalithic tradition. Menhir is an upright stone that has been done or not, and deliberately placed in a place to commemorate the ancestors and the hope of prosperity for the living (Soejono, 1990: 213). Menhir can stand alone or grouped to form a certain formation.

7. Inscription Dadak / Bataran Teacher Tuha (15th century)

Inscriptions found in the Hamlet of Dadak, Cliff Village, District Representative Across, East Lampung in 1994. The inscription is written in 14 lines of text, besides there are also short writings and drawings that fill the entire surface of the inscribed stone shaped like a beam measuring 42 cm x 11 cm x 9 cm. Writing used is similar to the ancient Javanese writings from the late 15th century with the language that is not too ancient Malay (Bahasa Melayu Madya).

Let's Know Your Script Ancient Sundanese (Ngalagena)

Let's Know Your Script Ancient Sundanese (Ngalagena) | HISTORY OF CULTURE | Also called the Sundanese script script script Ngalagena according to historical records has been used by the Sundanese from -14 up to century to century 18.Jejak Sundanese script can be seen on the stele inscription Kawali or also called Gede Astana created to commemorate the King Niskala Wastukancana ruled in Kawali, Ciamis, years 1371-1475. Kebantenan inscriptions contained in the copper plates, dating from the 15th century, also wearing the Ancient Sundanese script. The following inscription Kawali with Ancient Sundanese script (FIGURE 1)

There was no clear evidence of the beginning of Sundanese script was born, since when the Sundanese ancestors using this script. What is clear, before the 14th century, most of the inscriptions and kropak (papyrus manuscripts) written in other characters, such as the alphabet Pallawa (Monument Inscription the 4th century) and ancient Javanese script (Inscription Sanghyang Tread 11th century). His language was Sanskrit and ancient Javanese even Old Malay. Only in the 14th century onwards, Sundanese script is often used in rock media / inscriptions and manuscripts.

Just as the ancient texts in Javanese, who became the media is a leaf manuscripts Sundanese (ron) Christmas palm (Borassus flabellifer)-this is where the term was born rontal or palm-frond nor palm (Nipa fruticans), in which each leaves connected with a rope, can be a piece in the middle of a leaf or two pieces on the right and left leaf. Writing done with incised pangot pesos, a special knife, on the leaf surface, or incised ink through the pen. Ink from the soot, the questioner of palm or bamboo stick. Usually pesos pangot to square letters, while the ink-pen for the letters round.

Manuscripts that use script Sundanese Ancient and Ancient Sundanese also include Carita Parahyangan (known as Kropak registers 406) are written in the 16th century. There are interesting things in this Parahyangan Carita, in which there are two Arabic words, the dunya and intentions. This indicates that the spread of Arabic vocabulary, with Islam, had penetrated well into the unconscious author of the Carita. Similarly Bujangga Manik manuscript written and Sewaka Darma during which not much different, both of which recounts the spiritual journey of the hero in the face of death, when the body wadag (body) left the mortal nature, all wrapped up in a religious system is a mixture of Hindu, Buddhist, a Sundanese native beliefs.

Another title is Sanghyang Sisksakanda (ng) Karesian (also called Kropak 603), a manuscript of religious and society, written in 1518 AD There are also manuscripts Galunggung Commission (also referred to Kropak 632 or Manuscript Manuscript Ciburuy or MSA) is a new script found 6 pieces, which discusses the moral and ethical teachings of Sunda. This manuscript suspected age older than Carita Parahyangan; this is evident from the spelling, such as kwalwat, gwareng, anwam, and hamwa (in Carita Parahyangan spelled: old-fashioned, fried, anom, and Hamo). Here's the script Sewaka Darma (FIGURE 2).

Religious texts are usually written in a kabuyutan or mandala, which is the religious center of the Sundanese are usually located in the mountains, which is also an intellectual center. Mount Galunggung, Beetles, Ciburuy, and Jayagiri is an example of such kabuyutan. Now the role kabuyutan replaced by boarding.

After Islamization, Sundanese script being increasingly displaced. Gradually, the Arabic script was the one who dominated the world of writing, known by the letters pegon. Automatic, poets and writers no longer use the Sundanese script. This is evident from the use of Arabic letters in the text is arranged in Banten Sajarah macapat song in years 1662-1663, in which the Sultanate of Banten just a century stand. Other texts that use the letter is the Book Waruga pegon Jagat from Sumedang and Pancakaki Problems kabeh ancestor of Ciamis written in the 18th century, while the language used is Java.

Use Sundanese script increasingly eroded after the Latin script was introduced by Europeans during colonization in the 17th century onward. Not only that, the mastery of Sultan Agung of Mataram on Sunda regions resulted in the same century literatures were born to wear Sundanese or Javanese Javanese-Sundanese (Carakan), not the Sundanese script. Examples of Sundanese manuscripts written Carakan make use of language and script are Pakuan Chronicle or Chronicle Pajajaran written in 1816, where there is the story of Master Gantangan, in the reign of Prince Kornel (Aria Kusuma Dinata), Regent Sumedang. The contents of this chronicle describes the mindset of Sundanese people of cosmology and its relationship between man perfectly with the mandala power.

Sundanese script system

Sundanese script amounted to 32 pieces, consisting of 7 characters Voice or vowel (a, é, i, o, u, e, and eu) and 23 characters ngalagena or consonant (ka-ga-nga, his ca-ja, ta- da-na, pa-ba-ma, O-ra-la, wa-sa-ha, fa-va-qa-xa-za). Literacy fa, va, qa, xa, and za is a script-new script, which is used to convert the sound of Latin script. Graphically, the square-shaped Sundanese script with striking clarity, only a portion of the circular.


Voice Script is the writing that represents the sound of vowel phonemes that can act independently as a syllable that could occupy the position of beginning, middle, or end of a word. The following table script Voice Sundanese (FIGURE 3):

While the script is written in ngalagena silabis considered to represent the sound of the consonant phonemes and can act as a word or syllables that could occupy the position of beginning, middle, or end of a word. Each consonant is marked so that the sound ngalagena pamaeh his death. That way, it is silabik Sundanese script, in which writing can represent a word and syllables. The following table ngalagena script Sundanese (FIGURE 4):

There is also the marker vocals in Sundanese script, namely: panghulu (above), panyuku (below), pemepet (above), panolong (at right), peneleng (at left), and paneuleung (above). The following markers Sundanese script vocals in the system (FIGURE 5):

Besides pamaeh consonant, there are also variations in phoneme suffixes, namely checker (suffix-ng), pangwisad (suffix-h), and panglayar (suffix-r). There is also a stored phoneme insertions in the middle-tenngah words, namely pamingkal (insert-y-), panyakra (insert-r-), and panyiku (insert-l-). The following table phoneme insertions and variations of the suffix and the Sundanese script sign pamaeh.

Drama Gong, Traditional Theatre From Bali

HISTORY OF CULTURE | Drama Gong, Traditional Theatre From Bali | Drama Gong is a form of performing arts of Bali are still relatively young age created by combining elements of modern drama (non traditional Balinese) with elements of traditional Balinese arts. In many ways Drama Gong is a blending of elements of modern theater (West) with a traditional theater (Bali).

History Of Batik Semarang

HISTORY OF CULTURE | History Of Batik Semarang | Batik is an Indonesian national heritage, but since when people know the art of decorating fabric or batik called that? Does batik really originated from the Javanese? None of the experts or researchers dared to make sure the origins of batik batik. 

CAVE PAINTINGS SOUTH SULAWESI

HISTORY OF CULTURE | CAVE PAINTINGS SOUTH SULAWESI | Cave painting in Indonesia known to develop during the hunting and gathering food advanced (Kosasih, 1983). According H.R. Van Hekeren (1972 in Permana, 2008) likely to cave in South Sulawesi's life lasted for thousands of years BC. Cave painting in Indonesia spread over the area of South Sulawesi, Maluku Islands, Papua, and Kalimantan.

Age Heritage Site Prehistoric

HISTORY OF CULTURE | Age Heritage Site Prehistoric | Indonesian prehistoric period include a very long period, from approximately 1.7 million years ago, based on existing findings. Knowledge of people against it is supported by the findings of fossil animals and humans (hominids), remnants of stone tools, animal body parts, metal (iron and bronze), and pottery. Geologically, the territory of modern Indonesia is a meeting between the three major continental plates: the Eurasian Plate, the Indo-Australian Plate and Pacific Plate. Indonesian archipelago such as the current is formed when the melting of ice after the end of the Ice Age, only 10,000 years ago.

Dance Drama Langen Mandra Wanara

HISTORY OF CULTURE |  Dance Drama Langen Mandra Wanara  | Langen Mandra Wanara is one form of dance dramas of Java that uses material Yogyakarta style classical dance tradition. Dance drama depicting the many Wanara (monkey) and serves as the entertainment is an outgrowth of an existing dance drama, which is sourced from Fiber Langendriya Damarwulan.

History Keris Mpu Gandring

HISTORY OF CULTURE | History Keris Mpu Gandring | Mpu Gandring Keris is the heirloom weapon in the history of the founding of the famous Kingdom of Singhasari in Malang, East Java now. Keris is famous for his condemnation that took the lives of elites Singasari including the founders and the wearer, Ken Arok.

The Traditional Houses of the Majapahit Kingdom

HISTORY OF CULTURE | The Traditional Houses of the Majapahit Kingdom |The building of the Majapahit era manifold is also a symbol of his day, but here only be discussed form of the building only; the discussion was limited to residential buildings only. 

To know the ancient building was needed research resources, among others: 

1. Archaeological relics in the form of inscriptions, reliefs, miniature buildings, building foundations, ancient mosques, palaces and other ancient. 

Terracotta Art (Clay) The Period of Majapahit

HISTORY OF CULTURE | Terracotta Art (Clay) The Period of Majapahit | Traces the history of the kingdom of Majapahit relics scattered in-tinggalannya found in Mojokerto, East Java. There are many artifacts that can explain many things including the economic life of society. Terracotta, for example, or craft clay Majapahit era. Terracotta Art is one character in the Majapahit culture is very well known and many were found. The results of this art is known from tinggala-remnants are found either in the form of statues, water tanks, vases, flower vases, decorative roofs, tiles, walls, wells (prostitute), pitcher, or a piggy bank.

Similarity Ceremony of West Sumatra and Bengkulu

HISTORY OF CULTURE | Similarity Ceremony of West Sumatra and Bengkulu | In the traditional ceremony, in Sumatera. Tabuik and Tabot is the similarity of the diverse cultures of West Sumatra and Bengkulu, to the offer in commemorating Prophet Muhammad's grandson. Here are the origins of culture.

TRADITIONAL CEREMONIES tabuik WEST SUMATRA

Cultural Artifacts In Gamelan Musical Instruments

HISTORY OF CULTURE | Cultural Artifacts In Gamelan Musical Instruments | For the people of Indonesia, especially in Java, gamelan is not something strange in life. They are the Javanese and Sundanese gamelan know which one is called or a set of gamelan, even if the person concerned can not play it. Those familiar with the term gamelan, musicians, or gangsa. However, perhaps there are still many who do not know how the historical development of the gamelan itself, since when gamelan began to exist in Java.

The Customary Marriage Palembang

HISTORY OF CULTURE | The Customary Marriage Palembang | Palembang is a customary marriage is performed in accordance with cultural institutions and the rule of Palembang. Looking at Palembang traditional wedding, it is clear that the clothing and bequeath their customary ritual majesty and glory of the kings of Srivijaya dynasty which mengalaimi golden Semananjung Malay influence in centuries past.

Meaning and Batak Customary Marriage Procedures (PART II)

HISTORY OF CULTURE | Meaning and Batak Customary Marriage Procedures (PART II) | Connection from the previous article in which the meaning and procedure of customary marriages in Indonesia Batak. Connection to the article, in the Implementation Procedures Traditional Marriage. The procession of procedures this event which is now generally accepted approximately as follows (dialogue-parboru paranak).

Paranak (Mother bride)
"Maybe Eda and Ito had heard the two sons of our intention to settle down. We own dross will agree the plan. When Ito and Eda agreed it might be worthwhile they tie while waiting for our first appointment apat raise money for it "