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TOP 100CULTURAL WONDERS OF

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TOP 100CULTURAL WONDERS OF

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Message byThe President of the Republic of Indonesia

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Message byThe Minister of Education and Culture,

Republic of Indonesia12

The Indonesian Archipelago and Its People

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Indonesian Geography and Cultural Diversity

CONTENTS

by Vice Minister of Education and Culture for Cultural Affairs

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SITES AND PLACES

20. SANGIRAN EARLy MAN SITE AND

PuNuNG PACITAN PREhISToRIC SITE

24. LIANG BuA SITE

28. PREhISToRIC CAvE SITES IN MARoS-PANGkEP

32. LATE PREhISToRIC ART of PASEMAh

36. PuGuNG RAhARjo MEGALIThIC SITE

38. BATu TAGAk MEGALIThIC SITE

40. GuNuNG PADANG MEGALIThIC SITE

42. LoRE LINDu NATIoNAL PARk: MEGALIThIC SITES

of BADA, NAPu AND BESoA

44. WARuGA BuRIAL CoMPLEx

46. ToMok BuRIAL CoMPLEx

48. TEMPLES of ThE DIENG PLATEAu AND

GEDuNG SoNGo

52. BoRoBuDuR TEMPLE CoMPouNDS

56. PRAMBANAN TEMPLE CoMPouNDS

62. RATu Boko TEMPLE CoMPLEx

64. PANATARAN hINDu TEMPLE CoMPLEx

70. MuARAjAMBI TEMPLE CoMPouND

74. MuARA TAkuS TEMPLE CoMPouND

76. BESAkIh TEMPLE

78. TRoWuLAN

foRMER CAPITAL CITy of MAjAPAhIT kINGDoM

82. Sukuh AND CETo hINDu TEMPLE

84. NARMADA GARDEN

88. ThE GREAT MoSquES of DEMAk & kuDuS

92. GuNoNGAN hISToRICAL PARk

94. kASEPuhAN PALACE AND

kANoMAN PALACE CoMPLEx

100. SuRAkARTA PALACE CoMPLEx

104. yoGyAkARTA PALACE CoMPLEx

108. IMoGIRI RoyAL CEMETERy CoMPLEx

110. SuMENEP PALACE CoMPLEx

114. kuTAI kARTANEGARA PALACE CoMPLEx

116. PuLAu PENyENGAT PALACE CoMPLEx

120. SIAk SRI INDRAPuRA PALACE CoMPLEx

122. DALAM LokA PALACE

124. BANTEN ANCIENT CITy

128. PohSARANG ChuRCh

132. BLENDuk ChuRCh

136. BELGICA foRT

138. ThE BuToN SuLTANATE

142. foRT oRANjE AND foRT kALAMATA

146. oTAhANA, uLuhAPAhu AND oTAhIA foRTS

148. MARLBoRouGh foRT

150. MuNTok hISToRICAL MINING ToWN

154. BATAvIA oLD ToWN

158. SAWAhLuNTo oLD MINING AND CuLTuRAL ToWN

162. LASEM CuLTuRAL ToWN

166. TjoNG A fIE MANSIoN

170. koTA GEDE oLD ToWN

174. NGADA TRADITIoNAL houSE AND

MEGALIThIC CoMPLEx

176. BAWÖMATALuo vILLAGE

180. MENTAWAI ISLANDS INDIGENouS TRIBE

184. TANA ToRAjA TRADITIoNAL SETTLEMENTS

188. WAE REBo vILLAGE

190. SASAk TRADITIoNAL vILLAGE

194. BADuI CoMMuNITy

198. TENGGER hIGhLANDS CoMMuNITy

202. MANDAR CoMMuNITy

204. TENGANAN PENGGRINGSINGAN CuLTuRAL vILLAGE

208. kENyAh LoNGhouSES

210. RuMAh GADANG:

ThE MINANGkABAu GREAT houSE

212. BANDuNG INSTITuTE of TEChNoLoGy BuILDING

214. MoNAS – NATIoNAL MoNuMENT

216. ISTIqLAL MoSquE

220. CuLTuRAL LANDSCAPE of BALI PRovINCE:

ThE SuBAk SySTEM AS A MANIfESTATIoN of

ThE TRI hITA kARANA PhILoSoPhy

LIvING CuLTuRE

228. PESANTREN

232. jAMu – TRADITIoNAL hERBAL hEALING

236. MuARA kuIN AND Lok BAINTAN fLoATING MARkET

238. TENuN: INDoNESIAN WovEN TExTILES

242. SuMBA IkAT

244. INDoNESIAN BATIk

250. SuLAM: INDoNESIA TRADITIoNAL EMBRoIDERy CRAfTS

254. TAPIS LAMPuNG

256. NokEN MuLTIfuNCTIoNAL kNoTTED oR WovEN

BAG: hANDCRAfT of ThE PEoPLE of PAPuA

260. ASMAT WooDCARvING

262. WAyANG PuPPET ThEATRE

268. INDoNESIAN kRIS

274. INDoNESIAN ANGkLuNG

278. SASANDo MuSIC INSTRuMENT

280. GAMELAN TRADITIoNAL MuSICAL ENSEMBLE

284. BEDhAyA AND SERIMPI DANCE

288. ToPENG PANjI – PANjI MASkED DRAMA

290. LuDRuk PERfoRMANCE

292. REoG PoNoRoGo

294. TRADITIoNAL DANCES of BALI

300. DAyAk TRADITIoNAL DANCES

304. ToR ToR DANCE

306. MAENGkET PERfoRMING ART

308. CAkALELE DANCE

310. PAkARENA DANCE

314. SAMAN DANCE – GAyo

318. ZAPIN

320. SERAMPANG DuA BELAS

322. PENCAk SILAT: INDoNESIAN MARTIAL ARTS

324. ThE TATuNG SINGkAWANG

326. NGAju TIWAh CEREMoNy

328. NGABEN – ThE BALINESE CREMATIoN CEREMoNy

332. ThE PASoLA fESTIvAL of SuMBA

334. GAREBEG CEREMoNy

336. TABuIk/TABoT CEREMoNy

338. ERAu CuLTuRAL fESTIvAL

340. kERoNCoNG

344. DANGDuT

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INDONESIAN gEOgRAPhy AND CULTURAL DIvERSITy

Indonesia’s cultural diversity is shaped but not governed by its physical geography. It is a land of

immense biodiversity, whether it be the Asian portion that has much in common with the continental

mainland or the islands east of Bali that belong to a transitional zone east of the Wallace line leading to

Australia. There are more than 17,000 islands, many with towering volcanoes, rugged mountain ranges

and verdant tropical forests, some of them rainforests.

Indonesians recognize that the maritime area is just as important as the islands and thus refer

to their country as Tanah Air Kita (Our Land and Water). This diverse landscape offers Indonesians

many possibilities whether it be bustling port cities, elegant royal capitals and densely packed agrarian

landscapes with fabled rice terraces, or isolated villages perched on high mountainsides or in the middle

of impenetrable forests. Indonesia is thus simultaneously home to some of the world’s most cosmopolitan

and most reclusive societies known on earth, as both ways of living co-exist here.

Traditional ways of exploiting the bounty of these tropical islands vary a great deal, ranging from

immensely skilled rice farmers of Java and Bali who manage complex systems of irrigation, to the palm

and coconut harvesters of eastern Indonesia. The sweet potato growers of Papua practice forms of

horticulture that are thought to be of immense antiquity whereas the swidden (slash-and-burn) cultivators

of upriver Kalimantan clear forests to create rain-fed rice fields.

The sea also provides diverse livelihood opportunities, whether it be the small bands of fisherfolk who

live predominantly at sea, known variously as Bajau Laut or Sea gypsies, or the ocean explorers like

the Bugis and Makassar people who ranged as far as Australia to trade with the Aborigines. Such was

the skill of ancient Indonesian boat-builders and navigators that settlers from these islands eventually

reached far off Madagascar. The 9th century AD temple complex of Borobudur famously bears relief

carvings showing ships with billowing sails and complex tiers of outriggers, perhaps of the kind that once

plied the sea routes between the archipelago and India.

Most Indonesians speak languages belonging to the Austronesian family and this links them to

the settlers of Madagascar off the shores of Africa in the west and the myriad islands of the Pacific

to the east, and the Filipinos and indigenous Taiwanese to the north. Numerous though speakers of

Austronesian languages are, what should not be overlooked is that there are other significant language

groupings, notably Papuan.

As befits a country with many ties to other civilization systems, there are many words of foreign origin

in these indigenous tongues, especially in the national language, Bahasa Indonesia, a close relative

of Malay. Contact with South Asia in the first millennium led to intensified trade and religious links with

the rise of Srivijaya in the 7th century AD and thus Indonesian is replete with words of Sanskrit origin

embracing religious, technical and educational terms.

Contact with the Arab world and Muslims of India led to an influx of Arabic terms, often of a religious,

political or scientific nature. Chinese languages also exerted an influence on the Indonesian lexicon, and

the last wave of historical influence comes from European colonizers who introduced words for ‘butter’,

‘cheese’ and ‘shoes’ (Portuguese), as well as military, administrative and legal terms (Dutch).

Opposite: Kecak dance

performance at Tanah Lot temple,

Bali. Based on the Ramayana epic,

Kecak participants shout “cak” in

rhythmic, syncopated succession,

with arms raised.

42

Above: The Besoa Valley at Lore

Lindu National Park, the home of Lore

Lindu’s megalithic monuments.

Below: Kalamba (stone vats) at

Pokekea. Their purpose has not yet

been established definitively but it

was probably as water reservoirs or

maybe thombs. The lids, (tutu’na), are

scattered around.

LORE LINDU NATIONAL PARkMEgALITIC SITES OF BADA, NAPU AND BESOA

Located in Central Sulawesi, the natural landscape

of Lore Lindu National Park has been designated

a conservation area for local biodiversity. It was

established in 1982, covering an area of 2,290

square kilometres. Most of the landscape consists

of forestry highland with some lowland, occupied

by animals endemic to Sulawesi as a result of the

presence of the Wallace, Weber and Lydekker

lines around the island.

The deep ocean between Kalimantan and

Sulawesi in the west, as well as the one that

separates the island from Maluku in the east,

places Sulawesi in a unique position. It was

part of a specific migration route from Taiwan

and the Philippines through the Sangihe land

bridge, formed during periods of glaciation. These

imaginary biological lines provide Sulawesi with

special biodiversity and very specific status in

terms of faunal dispersal, due to the scientific

separation of Asian and Australian fauna within the

famous Wallacea region defined by Alfred Russell

Wallace in 1863. The Wallace Line separated

Australian and Asian fauna, and is now perceived

as the eastern boundary of strictly Asian fauna,

while the Ledekker Line is the western boundary

of strictly Australian fauna.

Lore Lindu National Park is an important animal

conservation area, a subregion of a transitional

zone that includes a large number of endemic

species, such as anoa, babi rusa (deer hog), kera

hantu, cuscus marsupial and civet. Some 55 bat

species and more than 200 bird species, including

CENTRAL SULAWESI

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Above: (left) Tutu’na are the lids for

kalamba (stone-vats). (right) A Lore

Lindu megalithic statue at Pokekea,

the site that also contains kalamba.

Below: Megalithic statues of Taduloka

at Doda, Besoa Valley. According to

local folklore, Taduloka was a warlord

turned into a stone statue by a female

opponent.

maleo and enggang, can be found here. Colourful

butterflies are an important biodiversity element,

and appear in many places around the park and

alongside rivers.

The biodiversity of Lore Lindu National Park

reflects the cultural diversity of the region. A huge

mass of megalithic remains – more than 1,400

buildings – lie largely scattered around the site,

clustered into at least three distribution zones:

Bada, Napu and Besoa. Bada Valley is the

major site of prehistoric buildings, located in Lore

Utara and Lore Tengah districts, Poso regency,

surrounded by upland 750 metres to 1,250 metres

high, where the Lariang (Balanta) River flows and

meanders through the region. Napu and Besoa

occupy the northern and middle part of Bada

Valley, with megalithic culture characterized by

menhir (upright stone statues), kalamba (stone

vats), dolmen - a megalithic tomb with a large flat

stone laid on upright ones - stone mortars and

some minor items such as batu dakon. Menhir,

large rocks about three to four metres tall, contain

carvings in their upper parts. These consist of very

simple human faces, with two eyes and a nose with

or without mouth, sometimes with genitals.

The origins of this megalithic culture are still

somewhat mysterious. The stone statues mostly

face northwards, a direction believed to be the origin

of ancestors. All megalithic culture was related to

ancestor worship. It could be the link between living

people and their ancestors, or even representations

of ancestors. In this case, the upright human

statues at Bada, Napu and Besoa were erected to

remind people of the arrival of their ancestors from

the north, thousands of years ago.

This interpretation conforms with a possible

migration route in Sulawesi in the past, which was

more determined and influenced by north-south

rather than west-east movements. The specific

geographical landscape of Sulawesi separated the

island from the migration processes that occurred in

the Sunda and Sahul continental shelves at the end

of the Pleistocene and during the Holocene periods.

So far, the discovery of human remains in

Sulawesi was dominated by a single Mongolid

race, as evidence of their role in the migration

process of the Austronesian-speaking people

within the context of the “Out of Taiwan” theory.

In this regard, the megalithic assemblage at Bada

Valley, Napu and Besoa, represent the culture of

early Austronesians coming from the north onto this

island, around 2,000 years ago.

70

In 1820, British Army Officer S.C. Crooke

discovered the ruins of what looked like an ancient

city at Muarajambi while on a mapping mission in

Sumatra. It was not until more than 100 years

later that the area was recognized as one of the

largest and best preserved temple complexes in

Southeast Asia.

Located 26 km east of Jambi city, the Temple

of Muarajambi was built by the ancient Melayu

Kingdom and is estimated to date back to the 11th

to 13th centuries. The Kingdom of Melayu’s rise to

power began as Sumatra’s imperial maritime power

waned. The Melayu Kingdom became a dominant

power in Sumatra between the 12th and 13th

centuries. Archaeological research and historical

sources show that the Muarajambi Temple

Compound Site was once the centre for worship

and education of the Buddhist religion, but there are

also evidence of Hindu influence in the compound.

The archaeological sites extends to 3,118.46

hectares, including a more than 7 km stretch

alongside the Batanghari River. Though some of

the ruins have been excavated and restored, much

of the area is still covered with thick vegetation.

In 1954, a team from the Archaeological

Bureau, led by Drs. R. Soekmono, made a visit

to the temple compound and recorded names

of the visited temples, such as the gumpung,

Tinggi and Astano. They also located the two

Catur (chess) rocks, which are thought to have

originated from the Javanese Singosari Kingdom

in the 13th century. This might be related to

the Pamalayu military expedition sent by King

Kertanegara of Singosari in the late 13th century

to conquer the Melayu Kingdom, though further

research on this is required.

Excavations have unearthed more than 80

temple structures – known as manapo by locals

MUARAjAMBI TEMPLE COMPOUND

Below: All the candi or temples in

Muara Jambi were restored and

expanded during the 12th and 13th

centuries, providing strong evidence of

the kingdom’s wealth.

JAMBI

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Left: Candi Astano inside the

complex of Muarajambi site.

Sumatran architects of the classical

era largely avoided stone. The only

surviving examples of their work are

executed in brick.

Above: The Candi Tinggi complex

is located in the north east part of

the Candi gumpung complex and

contains six supporting structures and

a surrounding fence with a bridge over

a trench.

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SUMENEP PALACE COMPLExThe island of Madura, known for its bull racing

tradition, played a significant role in the development

of two of Java’s greatest kingdoms: the Majapahit

and Mataram. The founder of the Sumenep

kingdom on the island, which is located to the north

of the east coast of Java, was Arya Wiraraja. He

was believed to be one of the masterminds behind

the construction of the Majapahit empire, until

one of Majapahit’s early kings, Wisnuwardhana,

lost his trust in him, and sent Wiraraja into exile in

Sumenep, Madura, in 1269.

Hundreds of years later, during the early stage

of the colonialisation of the Indonesian archipelago

by the Dutch through its East India company

(Vereenigde Oost-Indische Compagnie), Pangeran

Trunojoyo and, later, Pangeran Puger teamed up

with different Mataram princes to try to overthrow

different Mataram kings. Below: Sumenep Palace main buiding.

Both lost to the Mataram kings they tried to

overthrow and because these kings were backed

by the VOC, both had to surrender their power to

Dutch merchants. However, the kingdom that ruled

all of Madura and the other 76 surrounding islands

lived on to make a unique mark in the history of

Islam in Java.

The Sumenep Palace complex, which still

stands handsomely in its original location in Madura,

was built in 1762 by Pangeran Notokusumo or

Panembahan Sumolo. Designed by renowned

architect of Chinese descent Liaw Piau Ngo – the

grandson of master builder Lauw Khun Thing, who

was one of the first six Chinese settlers in Madura

– this palace complex covers an area of 12 acres

and is dominated by the colour yellow.

There are two underlining reasons for this:

first, the Madurese associate gold with grandness,

EAST JAVA

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reflecting a person’s status in society; second, the

palace was built to pay respect to the queen at

the time, Ratu Ayu Tirto Negoro. The queen was

of Chinese descent and was said to have been

blessed with beautiful and flawlessly fair skin.

Consequently, the Sumenep Palace complex is

also often referred to as Potre Koneng (Yellow

Princess), after her skin tone.

Raised by first- and second-generation Chinese

settlers in Madura, the architect assimilated all the

different cultures that he grew up with in the design

of the palace. The result was a grand complex

that successfully blends Javanese, Chinese and

European architectural concepts into one. The roof

of the palace resembles that of a Chinese temple;

its columns show strong European influences,

while the intricate carvings, which are ubiquitous

around the complex, pay homage to Javanese

artistic tradition.

The palace has been converted into a museum,

and visitors can view all parts of it, unlike other

palaces in Java such as those in Surakarta (Solo)

and Yogyakarta, where members of the royal

families still occupy part of the building. Visitors

enter the palace through a magnificent European-

style gate. Known as Labeng Mesem (the Smiling

gate), this is the most famous gate in the kingdom

and serves as the main entrance to the palace.

Legend has it that the gate earned its name

from a king who always smiled whenever he was

watching his wife taking a bath in the Taman Sari

pond, which used to be reserved for the king’s

wives and daughters only, from a chamber on top

of the gate.

Right: (above) Labeng Mesem gate

(The Smiling gate), the symbol of

Sumenep kingdom, and the main

access gate to the palace complex.

(middle) Sumenep Palace meeting

hall (Pendopo Agung). (below) The

hallway to the Pendopo Agung.

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of birds and flowers, which look very similar to the

motifs that can be found in batik pekalongan. Also

inside the palace complex is a pendopo (meeting

hall), which functioned as a place to hold religious

ceremonies and to accept royal guests.

Left of the main gate is a building known as

Kantor Koneng, which was used as the queen’s

office. It is now a museum that boasts a large

Chinese collection of ceramics and other precious

heirlooms such as a golden carriage, a gift from

the Queen of England to the king of Sumenep.

Satisfied with the work of his talented architect,

Pangeran Notokusumo or Panembahan Sumolo

also asked him to build a mosque which became

Sumenep kingdom’s main mosque. Masjid Jamik

Sumenep also boasts three grand architecture

styles. The roof has the curves of typical Chinese

temples, the columns are strong and imposing

just like those built by the Europeans, and inside

the mosque, on the walls are beautiful Arabic-

style mosaic paintings. Just like its neighbouring

palace, this magnificent and imposing mosque is

also dominated by the colour yellow.

Potre Koneng palace consists of two floors.

The ground floor has four rooms for the king, the

queen, the king’s parents and the queen’s parents.

All of the rooms on the upper floor were dedicated

to the princesses. Inside the king’s room, the

original bed used by the previous kings still exists.

This bed is adorned with red and yellow carvings

Top: Labeng Mesem gate (The

Smiling gate), the symbol of Sumenep

kingdom, and the main access gate to

the palace complex.

Above: Sumenep grand or great

Mosque, the Sumenep kingdom’s

mosque which also known as Masjid

Jamik Sumenep. This mosque is one

of the 10 oldest in Indonesia.

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Asta Tinggi graveyard, or the royal

cemetery located at Kebunagung

village on the north-west side of

Sumenep city.

180

The densely forested islands of Siberut, Sipora,

Pagai Utara and Pagai Seletan off the west coast

of Sumatra form the Mentawai Islands. They are

home to a culture that numbers around 20,000

people. They cultivate sago, taro, vegetables and

some dry rice, and they also hunt and gather wild

forest produce, including sacred medicinal plants

that are used in their curing ceremonies. Today a

sizable percentage of Mentawaians are Christian,

but vestiges of their former way of life are still

extant in more remote parts of the islands.

Their traditional dwellings are large houses

(uma) raised up to 1.5 metres from the ground

and 10 metres high in total, and entered by

a notched log ladder. On Siberut the houses

hold between five and 10 families. Although

an egalitarian society, the shamans (sikerei)

were usually leaders of the uma community.

These houses are becoming rare, although in

places smaller piled houses may still be found.

Increasingly common are single-family dwellings

built directly on the ground.

The world of the Mentaiwaians abounds

with different kinds of spirits. Life is bestowed

by a spirit called Simagere, while Kere makes a

person strong and powerful. Another spirit called

MENTAWAI ISLANDS INDIgENOUS TRIBE

Above: Originally, the people of

Mentawai would live in a traditional

house called a uma, that can be

raised up to one-and-a-half metres

from the ground and reach a height

of 10 metres in total.

Right: In Siberut, a uma usually held

between five and 10 families.

WEST SUMATRA

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Kira protects the house. But there are also evil

spirits known as Sanitu that can cause trouble.

There are numerous nature spirits such as those

of the sky, earth and the ocean, and of the jungle.

The most powerful spirit is the earthquake god.

Traditionally, islanders were animists, believing

that people, animals and plants, and even

inanimate objects have souls and one must take

account of these before killing an animal or taking

a plant from the jungle.

These understandings of the world have

resulted in a pervasive belief that human and

other souls must live in harmony with each

other, and so people take only what they need

from the wild and always seek permission of the

spirits and souls first. Even the souls of sacrificial

animals are first appeased by being gently

spoken to. game animals are the domesticated

animals of the ancestors and success in the

hunt is due to the ancestors’ favour. The skulls

of monkeys and other animals they have killed

are hung in the uma to please the spirits of the

dead animals.

Above: People of Mentawai do

not weave. Their traditional kabit

(loincloths) are made from tree bark,

and are usually brown. The sikerei

(shamans) wear red colored kabit

Left: Mentawians believe that a soul

may abandon the body if the body is

not beautiful. Hence, they keep their

bodies attractive by wearing flowers,

beads and tattoos.

182

The Mentawaians also have to keep their own

souls happy or they will leave their bodies and

sickness and death may ensue. One reason the

soul may abandon the body is because it is not

beautiful. Hence, they keep their bodies attractive

by wearing flowers, beads and tattoos. Tattoos

are made following a ceremony called punen

lepa to wipe out any evil that might be incurred

by blood being spilled on the earth and angering

the earthquake god who might then show his

displeasure. Tattoos also enable people to take

their possessions into the afterlife, and allow the

ancestors to recognise them. They also afford

them protection from evil jungle spirits.

Tattoo designs differ from area to area, and

a person’s community may be identified by their

tattoos. Formerly, head-hunters wore special

tattoos. Some designs are said to represent the

Tree of Life or sago palm, which is their staple

food source. Some shamans say they must have

this design as there can be no death if one is part

Above: Mentawai men are also

hunters. They believe that game

animals are the domesticated animals

of the ancestors and success in the

hunt is due to ancestors’ favour.

Right: The Mentawai people cultivate

sago, taro, vegetables and some dry

rice, and they also hunt and gather

wild forest produce, including sacred

medicinal plants that are used in their

curing ceremonies.

274

The angklung is a simple, original bamboo

musical instrument from Indonesia documented

since at least 1704 (Quote Van Riebeeck,

Priangan). The word ‘angklung’ comes from the

Sundanaese angkleung-angkleungan. Angka

means pitch/tone, and lung means broken. Two

to four bamboo resonating tubes, carefully carved

and tuned, are suspended in a rectangular,

partitioned frame made of white bamboo tightly

bound with rattan cord.

Lugs on the bottom of the tubes move in

rectangular shaped slots in the bamboo base

tube of the frame. The resonator tubes sound

when the frame is shaken or tapped. The two or

three resonating tubes are tuned to the same note

in different octaves. There are also three- and

four-tube angklung tuned to the notes of a chord.

Making and tuning the resonator tubes is a great

skill taking years to master. Udjo Ngalagena,

INDONESIAN ANgkLUNg

Above: Whilst easy to play, the

modern angklung has to be played in

a group, making it a combination ideal

for building children’s character as it

trains them to be patient, tolerant of

others, self-confident and inspired, all

at the same time.

founder of Saung Angklung Udjo, referred to the

sound of angklung as “the music of nature”.

Angklung-playing is an orally transmitted

performing art, closely related to the customs,

traditions and cultural identity of the Sundanese

people in West Java and Banten provinces.

Angklung also rely on local wisdom regarding the

harvesting of the special black bamboo material

used to make them, and the craft of making and

tuning angklung musical instruments is a special

skill requiring years to master.

Traditional angklung, of which there are many

varieties, use a pentatonic scale, while modern/

Padaeng angklung use a diatonic scale. Many

philosophical values are associated with the

form of the instruments. Traditional angklung are

played during ceremonies, eg. rice planting time

with the hope of a bountiful harvest, harvest time,

circumcision, etc. Traditional angklung culture is

BANTEN AND WEST JAVA

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275 275

Below: The daily routine in an

angklung workshop at Saung

Angklung Udjo in Bandung, West

Java. Not every bamboo can be tuned

into an angklung.

transmitted informally from parents to children, or

through non-formal education. Nowadays, modern

Angklung Padaeng is taught in educational

institutions from kindergarten to university level,

and is proven to have a positive effect.

The physical form of the angklung contains

symbolic and philosophical values. The large

and small tubes symbolize that the great, strong

and rich must always protect and shelter the

small, weak and poor. (Obby A.R. Wiramihardja,

Interview). Each angklung has at least two

resonating tubes, symbolising that humans

should never isolate themselves or be egoistic,

but rather always live within society. The tubes

are arrayed from small to large. This symbolises

that every day, human beings must strive to be

better than yesterday, and that some people are

created small and some big, but there is nothing

to be regretted, as it is all due to fate.

The angklung sounds its best if the large and

small tubes move at the same time, within their

limits. This symbolises that if everyone is aware

of his or her rights and responsibilities: life will

be harmonious. The tubes will sound if the lugs

at their bottom ends touch the base tube of the

frame. Similarly, one may become great, speak

well and be of good character if one does not

forget one’s identity and culture; if one forgets

then one cannot become anything.

The three tubes of an angklung symbolize

tritangtu, (in Bali trihitakarana): to perform good

actions with mind, body and words. The angklung

resonating tubes are arranged neatly in their

respective places. Similarly, we should remain

neatly in our proper places, and not overtake others.

The special feature of the angklung is that

each player usually holds and plays just one

instrument, producing a single note (or chord).

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Thus, to play melodies, many players must

collaborate together. This develops cooperation,

dialogue and friendship among players, including

those from different nations. The angklung is so

simple to play that even a kindergarten student

or one with no previous experience can play one.

In 1938, Daeng Soetigna (1908-1984)

developed diatonic/chromatic angklung, which

could play all kinds of music and were later known

Right: Obby A.R. Wiramihardja,

angklung aficianado and educator,

gives a brief lecture-demonstration

to an audience before performing

with Tjimahi Choir at gedung

KesenianJakarta, 2012.

Below: The angklung is perfect for

enticing children into music; moreover,

it can teach them some valuable

lessons on character-building.

as Angklung Padaeng.

This greatly expanded

their repertoire. Daeng

said that the angklung

has certain qualities: it is

cheap, easy to play en

masse, educational and

attractive.

The angklung

was recognized as a

educational tool by

Decree of the Minster of

Education and Culture No.

082/ 1968. Angklung have

frequently been used

at receptions for State guests and diplomats at

international conferences. Its woody, sweet and

natural sound and its ability to play the songs of

all nations have often created friendly conducive

atmospheres. guests are themselves given

angklung and a quick lesson, and then play

songs together.

Some important meetings postively influenced

by angklung music include the The Linggarjati

294

Traditional Balinese dances are performed by

male and female dancers dressed in traditional

costumes consisting of coloured cloths painted

with gold motifs and jewelled accessories,

accompanied by various ensembles of gamelan

music and vocals.

The beautiful dance movements using body,

face and eyes, are inspired by nature and based

on traditions, customs and religious values that

have developed since prehistoric times till the

present day in Bali. Traditional dances of Bali

may truly be said to be a cultural icon of Bali and

of Indonesia.

Dances may be categorized as Wali (sacred),

Bebali (semi-sacred or ceremonial) or Balih-

balihan (entertainment), and also as bold or sweet

male role, bold or sweet female role, and mixed

TRADITIONAL DANCES OF BALI

role (neuter). The dances are a compulsory part

of ceremonies conducted periodically according

to the Balinese calendar, or for entertainment.

Dances are mainly transmitted informally to

children from an early age in traditional groups,

communities and schools (seka, banjar), and to

school students at various levels.

Traditional Balinese dances are rich in noble

values and form an important part of the cultural

heritage and identity of Balinese people. Balinese

dances are studied and performed all over Bali

province, and now almost all over Indonesia.

Besides the beauty of the costumes, the musical

accompaniment and vocals and the exqusite and

attractive dance movements, traditional Balinese

dances also possess taksu (charism, special

spiritual energy).

Above: Baris Upacara dance from

Bangli regency), a religious dance that

conveys heroic spirit.

BALI

82

295 295

Left: Rejang dance, a sacred

ceremonial dance by young girls of

Klungkung regency.

Traditional dances of Bali are mostly found

in eight regencies (Karangasem, Klungkung,

Bangli, gianyar, Badung, Tabanan, Jembrana

and Buleleng) and one municipality (Denpasar),

all within the province of Bali, Indonesia.

Traditional Balinese dance is also found in

other Indonesian provinces, especially in those

having Balinese communities, for example, in the

island of Lombok in Nusa Tenggara Barat province.

Many Balinese people have transmigrated to

other islands, and thus traditional Balinese dances

have become popular among many other ethnic

communities in many parts of Indonesia.

The community of Traditional dances of

Bali consists of: dancers, trainers and lovers

of Balinese traditional dance, accompanying

gamelan musicians, dance costume and dance

accessory artists, members of traditional groups

and organizations of Balinese traditional dance,

school students, prominent religious and traditional

figures, members of Banjar/Desa Pekraman

(traditional community groups) and government

officials related to Balinese traditional dance.

Nine dances researched indicated a wide

variety of dancers, musicians, makers of dance

costumes and accessories, and audiences.

The following are examples of the three broad

classifications of Balinese traditional dance:

Wali or sacred dances (origin 8th-14th centuries),

performed in the inner sanctum (utama mandala)

of Balinese temples (pura) as a part of ceremonies.

1. Rejang (Klungkung District). Sacred

ceremonial dance by young girls in traditional

ceremonial dress, their heads decorated with

intricate flower arrangements.

2. Sanghyang Dedari (Karangasem regency).

Sacred trance dance to conteract negative

supernatural forces. Performed by two

specially trained young girls.

3. Baris Upacara (Bangli District) A religious

dance conveying heroic spirit by even numbers

of male dancers.

Bebali or semi-sacred/ceremonial dances

(origin 14th-19th centuries), performed in the

middle compound (madya mandala) of Balinese

temples as accompaniment to ceremonies. Bebali

dances have scenarios.

4. Topeng Sidhakarya/Topeng Pajegan (Tabanan

District). Performed by masked dancers to

neutralize evil spirits.

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5. Gambuh Dancedrama (gianyar District).

Formerly a royal theatrical performance, now

accompaniment to ceremonies, by 25 to 40

dancers.

6. Wayang Wong Dance Drama (Buleleng District).

Combines dance, epic drama and music.

Balih-balihan type dances, with social

entertainment function (origin 19th century-

present), performed in the outer compound of

temples, or elsewhere.

7. Legong Kraton (Denpasar city). Exquisitely

beautiful dance by two or three girls.

Developed from Sanghyang Dedari, and

Gambuh.

8. Joged Bumbung (Jembrana District). A

popular social dance by couples, during the

harvest season or on important days.

9. Barong Ket “Kuntisraya” (Badung regency).

Represents a fight between two mythological

characters, Barong in the form of a lion

symbolizing goodness and Rangda, an evil

witch.

A Balinese dancer should possess the qualties

of humility, service, discipline, skill, etc. Balinese

dance trainers need to be capable of guiding

dancers and maintaining taksu or charisma of

the dance. Temple priests (pemangku) bless the

dancers. guardians of traditional customs (kelian

adat) and leaders of traditional neighbourhood

community groups (Banjar) call the dancers for

performances and organize training.

The method of transmission of skills in

traditional Balinese dances is mainly informal in

dance groups (sanggar, seka). There are also

dance lessons at various levels of formal education

(schools, university). Training is given as part of

formal education beginning from kindergarten,

Right: Two specially trained young

girls from Karangasem perform the

Sanghyang Dedari dance, a sacred

trance dance to counteract negative

supernatural forces.

Below: (left) gambuh dance-drama

(gianyar regency). Formerly a

royal theatrical performance, now

accompaniment to ceremonies,

by 25-40 dancers. Performed at

Batuan temple, gianyar. (right)

Topeng Sidhakarya or Topeng

Pajegan originated in Tabanan. and

is performed by masked dancers to

neutralize evil spirits.