Puppet Art Attractions rest Landung new corn, reap immediate achievement. Since early August 2007 was created by artist Ciamis Pandu Radea (SK cultural journalist who also Priangan) helaran art creations recently won the two big events. The first achievement was achieved Puppet Landung is featured as the 10 best in the activities of Cultural Parade Nusantara in Bali in September 2007. Prestigious activity was attended by 50 participants from within and abroad. At that Puppet Landung become messengers of Ciamis district once represented West Java with Sumedang District.

Later on Parade event that after the sheen of the archipelago held on 25 November 2007, to the level of participation of 24 West Java district, Puppet Landung as the mainstay of Ciamis district champion capable of reaching the 2 after a contingent of Cirebon, who became the first champion with his art Buroq. While the champion to 3 achieved Subang Regency. As for the national level followed by the 12 provinces, West Java, which is represented by art Bebegig (1st level of West Java in 2006) are also still coming from Ciamis district must succumb to the contingent that came from the distant West Sumatra as the first winner, followed by Central Kalimantan and Banten.

Almost all districts show that there are types of traditional art its region respectively. For Priangan territory, Garut Regency featuring "Angklung Beans", featuring art Sumedang rengkong in procession "Ampih Pare", City of Banjar "Jampana", Kota Tasikmalaya show "Angklung Badud" and Tasikmalaya regency show "Dancing Batok" combined with the artistic tradition.

According to Scout, Achievement for Puppet Landung not the main goal. Even more important is to develop in society. "Puppet Landung easily created by anyone, its cost is also cheap because it is made from elements of the existing foliage around the house, its shape was interesting because it has a high 4 meters with a Marionette Puppet." Said the man who also created and developed a performing arts center trays (longser puppet ) and Sekar Wayang (puppet children) in a container Sangkala Community Disbudpar Ciamis.

Puppet Landung indeed diadaftasi of beberepa idiom of tradition. shape taken from the scarecrow but syllables and apparently from the puppet show. Made of straw, eurih, kararas, and coconut. Landung puppet plays as well as Marionette Puppet play, because his hands were given bamboo blame game that is held by a dancer who memanggulnya. Despite weighing up to 25 kg, but pemanggulnya can move swiftly to make the configuration of dance and walk away.

The existence of new creations derived from the value ketradisian by Pandu is important. In addition to enriching local culture and art treasures, it is also a manifestation of the creativity of artists. "Maybe tens of years into the future creation of this new art will be developed if the community is also tradition" says Pandu. Furthermore Pandu also said that currently Indonesia's traditional arts are in danger of intellectual property recognized by other countries as well as original art, as is the case Angklung, and the last song Rasa Sayange Reog Ponorogo claimed by Malaysia.

"The government should provide protection against Singkil Traditional Indonesian Art. Whether it's with copyright laws, as well as with the increase of cultural events in various regions for the more traditional art more widely publicized. In addition, many activities are given to the artist's passion penggarapnya to display the best and increase local tourist attraction. "

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The tradition of marriage according to Minangkabau adat event typically through a procession which is still upheld to be implemented and involves a large family of both the prospective bride, especially from the female's family. Here are some traditions and rituals commonly performed both before and after the wedding:

1. Maresek

Maresek is the first assessment as the first of a series of procedures for implementation of the marriage. In accordance with a system of kinship in Minangkabau, the woman's family came to the family of man. Normally the family who arrived with his hand in the form of fruit cake or fruit according to the manners eastern cultures. At first some women who experienced was sent to find out whether the targeted youth are interested to get married and match with the girl. The procession may take place several times a negotiation to reach an agreement from both sides of the family.

2. Woo and Exchange Signs

Family prospective bride's family came to woo prospective groom. If the fiance is accepted, continued to exchange the sign as a symbol binding agreement and can not be decided unilaterally. The event involves a parent or ninik mamak and elders from both sides.

Prospective bride's family entourage comes complete with carrying betel nut is prepared in Carano or kampla namely bags made from pandanus leaves. Betel presents early meeting with the expectation if there is a shortage or irregularities will not be a gossip. In contrast, the sweet things in the meeting will stick and be remembered forever. It also included a souvenir of pastries and fruit. Objects that are exchanged are usually heirlooms such as kris, traditional cloth or other object of value to the family history. These objects will be returned in an official ceremony after the marriage ceremony took place.

Tata's how begins with a family spokesman women who serve full betel to be sampled by the family of the man as a sign of sacrifice. The spokesman expressed the official application. If accepted to continue with the exchange sign each bond. Furthermore, pick-up procedures usually hold a discussion about the prospective groom.

3. Mahanta / Request Permission

The prospective groom's inform and ask your blessings to the mamak-wedding plans mamaknya, brothers of his father, his older brothers who had married and respected elders. The same is done by the prospective bride, represented by female relatives who are married by way of delivering the betel.

For prospective groom took selapah containing palm leaves and tobacco (but currently sedah replaced with a cigarette). As for the prospective bride's family to include betel complete this ritual.

This ritual is intended to inform and pray with her wedding plans. Usually families who attend will provide assistance to bear the burden and costs of marriage according to ability.

4. Babako - Babaki

The family of the prospective bride's father (called bako) wants to show his affection to bear the costs according to ability. The event took place several days before the marriage contract.

Equipment supplied is usually a complete betel (as customary chief), yellow rice singgang chicken (traditional food), conduction of goods required prospective bride as a set of clothing, gold jewelry, good side dishes are cooked or raw, cakes and so forth.

Following tradition, the prospective bride was picked to be brought to the house of his father's family. Then the elders to give advice. The next day, the prospective bride paraded back to her home accompanied by his family with the father carrying various relief materials earlier.

5. Night Bainai

Bainai means attaching soft collision leaves red henna or henna leaves into the clutches bride. These collisions will leave marks on your nails bright red color. Normally held the night before the ceremony. This tradition as an expression of love and blessings from the elders of the family of the bride.

Special clothing for ceremonies bainai bersunting namely clothes and low figures. Other equipment used include water that contains the scent of seven flowers, leaves iani mashed, yellow umbrellas, yellow jajakan fabric, fabric hoops and chairs for the bride.

Prospective brides with character shirt and low bersunting taken out of the room flanked by his peers. The event symbolically bathe with water sprinkled seven fragrant flowers by the elders and the parents. Furthermore, the nails prospective bride was given henna.

6. Manjapuik Marapulai

It is customary that the most important event in the entire series of events according to Minangkabau traditional marriage. Grooms picked up and taken to the house of the bride to carry out the ceremony. The procession is also accompanied by granting title to the prospective groom's heritage as a sign of an adult.

Normally the family of the bride should carry a complete betel in Cerana indicating the arrival of the habitual, complete the groom dress, yellow rice singgang chicken, side dishes, cakes and fruits. To the west coast of Sumatra are usually also includes a yellow umbrella, spears, swords and pick up money or lost money.

The delegation delegation of the prospective bride's family to meet the prospective groom, carrying equipment. After the procession Sambah mayambah and express purpose of his visit, the goods delivered. The prospective groom and his entourage marched towards the residence of the prospective bride.

7. Reception at Home Child Daro

The tradition of welcoming home the prospective groom's bride is a woman typically festive and great moments. Accompanied by the sound of traditional music that is typical Minang gandang talempong and Tabuk, and rows of traditional reciprocal wave consisting of young men dressed in martial arts, and traditional dress greeted the virgin that presents betel.

Betel in complete custom Carano, golden yellow umbrella, yellow rice, white jajakan fabric is typically used equipment.

Family umbrella prospective bride groom was greeted with waves Traditional dance of reciprocity. Next, the rows of pigeon welcome party complete with offerings of betel. The elder woman grooms sprinkle with yellow rice. Before entering the door of the house, the prospective groom's foot as a symbol of purifying water sprinkled, then run up the white cloth to the venue for the ceremony.

8. Tradition after the ceremony

There are five common Minang traditional event held after the ceremony. Namely memulang sign, announcing the title of the groom, pitted forehead, yellow rice and playing dredge Throckmorton.

* Repatriate sign
After officially as husband and wife then sign a binding promise given when application is returned by both parties.

* Announcing the groom's degree
Degree as a sign of honor and manhood that carried the groom usually announced immediately by ninik mamak family.

* Complain forehead
The couple was led by the elders of the bride women touching their foreheads to each other. The bride and groom are seated facing each other and between the two faces separated by a fan, then slowly lowered fan. After that the bride's forehead would touch each other.

* Mangaruak Yellow Rice
This procession suggests cooperative relations between husband ISRI must always hold themselves and complement each other. The ritual begins with the bride and groom compete to take the hidden chicken in yellow rice.

* Playing Throckmorton
Throckmorton is a traditional permaian Ranah Minang. That is a kind of chess game made by two people, board games like checkers. This game is meaningful for the bride and groom can be mutual and ego melt stiffness of each in order to create intimacy.

Adapted from the book: Marriage Customs Procedures Minangkabau by Nazif Basir & Elly Kasim

From Culture of Indonesia
Synopsis:

a king and his subjects live Parakeet birds in a forest in Aceh. Their lives are peaceful. Peace was disturbed, because the presence of a hunter. One day the hunter managed to put glue around the cage, the bird cage.

They tried to remove the wings and body of the adhesive. But those efforts failed. Almost all of them panicked, except the king Parakeet. He said, "Brother, calm down. It is the glue that is made by hunters. If the hunter had come, pretend to die. After releasing the tape, it will check our hunters. If he gets us to die, he will throw us. Wait until the count to a hundred, before we fly back together.

The next day, the hunters came. After releasing the adhesive, he took the catch. How he was disappointed after learning the birds are not moving, thinks is dead. But hunters are falling slipping, making the birds that have shocked the ground and fly. Parakeet king who has not only separated from the adhesive. He also was arrested.

King Parakeet ask the hunter was not to be killed. In return he will always entertain the hunter. Almost every day he sang with merdunya. Khabar sonority bird sounds that sound reached the ears of the King.

The Parakeet King wanted the bird. The King then exchanged the bird with a property very much. In the palace of the King, Parakeet bird is placed inside a golden cage. Every day available food delicious.

Parakeet bird is not happy, however. He always remembered where he lived Aceh forest. One day he pretended to die. The King was very sad and ordered the burial ceremony greatness. When the preparation progresses, the bird was placed outside the cage. At that time he used to fly search kebebasanya. He flew to his home forest. Where people faithfully awaiting his arrival Parakeet birds.

Contributor: Sumanto

Puppet, is one of the oldest traditional theater. In the reign of King Balitung, has no hint of puppet show, which is contained in the inscription Balitung with the year AD 907, who proclaim that it has been known at the time the puppet show.


A copper plate inscription from Central Java; Royal Tropical Institute, Amsterdam, examples of this inscription can be seen in Appendix Claire Holt book Art in Indonesia: Continuities and Changes, 1967 Prof.Dr.Soedarsono translation (MSPI-2000-p. 431).

Written as follows:

Issued on behalf of King Pacific Islands Sangsang text is about the village, which is marked as a fief, whose implementation is addressed to the god of the porch in Dalinan. Again after paint and decorate themselves with flowers, the participants sat in a tent overlooking the Sang Hyang Kudur celebration. "For the safety of sacred buildings and the people" show (spectacle) disakilan. Sang Hyang Tangkil the (mamidu), the Nalu intone (macarita) Bhima Kumara, and dancing (mangigal) as Kicaka; Jaluk intone the Ramayana; the Mungmuk acting (mamirus) and droll (mebanol), the Galigi perform Wayang (mawayang) for the Gods, intone Bhimaya Kumara.

The importance of this text lies in a clear indication that at the beginning of the 10th century, the episodes from the Mahabharata and Ramayana sung in rhythm in ritual events. Kumara Bhimaya probably a story that relates to the Milky probably has performed as a shadow theater (now: puppet prototype). Where the origin of puppets, is still disputed, because of lack of evidence to support it. Some believe that the original puppet of Javanese culture, saying because the terms are used in many expressions of Javanese wayang.

Dr.GAJHazeu, in detertasinya Bijdrage tot de Kennis van het Javaansche Tooneel (Th 1897 in Leiden, The Netherlands) believes that the puppet show comes from the original art of Java. This can be seen from the terms used by many using the Java language for example, color, blencong, mobile, kepyak, puppet. In the arrangement of a traditional house in Java, we will usually find the parts of the room: patio, pendhapa, Omah buri, gandhok senthong and room for pertujukan ringgit (pringgitan), in Javanese wayang ringgit means. For the Javanese in building rumahpun provide a place for puppet performances. In the book Over de Oorsprong van het Java-ansche Tooneel - Dr.W Rassers said that, Java is not a puppet show in the original creation of the Javanese. In Javanese puppet show, an imitation of what already exists in India. In India also were performing a shadow puppet show is similar to Java.

Dr.N.J. Krom same opinion with Dr. W. Rassers, who said the puppet show at Java the same as what's in the West Indies, so he guessed that the puppet is the creation of Hindu and Javanese. There is also a researcher and author of other books that say that the puppet came from India, and even some who say the Chinese. In the book Chineesche Brauche und Spiele in Europa - Prof G. Schlegel writes, that in ancient Chinese culture there is a kind of puppet performances.

In the reign Kaizar Wu Ti, circa 140 BC, there is a kind of shadow show puppet. Then the show was spread to India and then from India to Indonesia. To reinforce this, in Studien Koloniale magazine, a writer suggests the existence of similarities between the Chinese word Wa-Well (Hokian), Wo-yong (Cantonese), Woying (Mandarin), meaning that the show of shadows, which together with the puppet in the language Java.

While in Indonesia, people often say that the original puppets from Java / Indonesia, but must explain what the original material or form of wayang puppets and how the puppet stories. The question is, why the leather puppet show, generally always took the stories from the epics Ramayana and Mahabharata? In his paper Attempt at a historical outline of the shadow theater Jacques Brunet, (Kuala Lumpur, 27-30 August 1969), says, it is difficult to refute or reject the notion that puppet theater is located in Southeast Asia originated from India, especially concerning the source of the story. Paper mentioned above tries to explain that the puppet has many similarities there are in Asia, especially Southeast Asia bound by the same stories are sourced from the Ramayana and Mahabharata from India. The history of the spread of puppets from India to the West to the Middle East and to the east in general up to Southeast Asia.

In the Middle East, called Karagheuz, in Thailand called Nang Nang Yai & Talun, on the Cambodia-called Nang Nang Sbek & Koloun. From Thailand to Malaysia called Wayang Siam. While that directly from India to Indonesia called Wayang Kulit Purwa. From Indonesia to Malaysia called Javanese Wayang. In Malaysia there are 2 types the name of the puppet, the Wayang Java (from Java) and the Wayang Siam came from Thailand.

The 4th century Hindu people come to Indonesia, especially the merchant. On the occasion, Hindus bring his teachings with the Vedas and the epics of India's great story Mahabharata and Ramayana in Sanskrit. The 9th century, with stories emerging in the form of an ancient Javanese language kakawin stories sourced from the Mahabharata or Ramayana, which has been adapted into stories that shaped kakawin, such stories as: Arjunawiwaha professor Kanwa essay, essay Bharatayuda Sedah professor and professor Panuluh , Kresnayana essay Triguna professor, professor Panuluh Gatotkaca Sraya essay and others. In its time, all these stories come from the Mahabharata story, which is then adapted according to the history of his time and also adapted to fairy tales and legends and local folklore. In recognizing the puppet, we can approach it in terms of literature, since the story primarily served in the puppet shadow play is generally always taken from the epic Mahabharata or Ramayana. The second story, if we trace the source of the story comes from India. Viyasa essay comes from the Mahabharata, while the Epic Ramayana written by Valmiki.


This reinforced the fact that the puppet stories contained in Asia, especially in Southeast Asia generally use the source of the story of Ramayana and Mahabharata from India. The stories are usually presented in a puppet, is actually an adaptation of the epic Ramayana and Mahabharata are tailored to local folklore or fairy tales. Historically leather puppet show is always associated with a ceremony, for example, for the purposes of circumcision ceremony, the village clean, get rid of misfortune and danger. This is very close to the habits and customs of the local.

In tracing since when there are performances of wayang in Java, we can find a variety of inscriptions at the time of the kings of Java, among others, at the time of King Balitung. It is not clear whether the puppet show as we see today. In the reign of King Balitung, has no indication of puppet show. It is also found in a professor's work Arjunawiwaha kakawin Kanwa, in the era of King Airlangga in the 11th century. Therefore puppet show is considered old enough art tradition. While the form of puppet on the show at that time were not yet clearly illustrated how the shape. Traditional theatrical performances are typically used to support both means of religious ceremonies or customs, but the leather puppet show can instantly become an arena for the ceremony. When we watch a puppet, we can immediately guess the puppet show for what purposes. This can be viewed directly on a story that is played, whether for purposes of harvesting or for ngruwat welcome and the show itself is a ceremony.

Source: Book puppetry to CMS, Publisher Ministry of National Education