Debus is a martial art from Banten

Debus is a martial art from Banten. This art was created in the 16th century, in the reign of Sultan Maulana Hasanuddin (1532-1570). Debus, an art which demonstrates the remarkable human ability, immune to sharp weapons, fire resistant, hard drinking water, insert objects into a whole coconut, fry an egg on the head and others.

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bambu gila

Bamboo is a game of crazy people from Maluku residents.

This game involves a supernatural power to run it, although not required certain rituals. A stick of bamboo held by some people, then by a shaman bamboo is given a mantra. Over time this bamboo was heavy until the people who hold them falling to the ground. Delivery is usually accompanied with percussion music.

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jathilan art

Jatilan is the local arts of Java in particular THE Yogyakarta is provided with slow motion and aid aggressive influenced music lacks magic with simple but very loud sounds from the distance correctly dancers there are some people ride horse braid, no pins, and Barongan bejer similar to the difference ponorogo reog no wings but only the face mask costume bagor spooky. then shown that already possessed by the devil eat Semprong glass oil lamp or coconut peel class with oral and others that's a little bit of that every time I watch a show about the year 60's this became popular entertainment in addition to Ledek.

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History of Wayang Kulit

Wayang is a generic term denoting traditional theatre in Indonesia. There is no evidence that wayang existed before Hinduism came to Southeast Asia sometime in the first century CE, brought in by Indian traders. However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre. The first record of a wayang performance is from an inscription dated 930 CE which says "si Galigi mawayang," or "Sir Galigi played wayang". From that time till today it seems certain features of traditional puppet theatre have remained. Galigi was an itinerant performer who was requested to perform for a special royal occasion. At that event he performed a story about the hero Bhima from the Mahabharata.

Wayang Kulit is a unique form of theatre employing light and shadow. The puppets are crafted from buffalo hide and mounted on bamboo sticks. When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen.

Wayang Kulit plays are invariably based on romantic tales, especially adaptations of the classic Indian epics, "The Mahabarata" and "The Ramayana". Some of the plays are also based on local happenings (current issues) or other local secular stories. It is up to the conductor or "Tok Dalang" to decide his direction.

The Dalang is the genius behind the entire performance. It is he who sits behind the screen and narrates the story. With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the Dalang modulates his voice to create suspense thus heightening the drama. Invariably, the play climaxes with the triumph of good over evil.

Hinduism arrived in Indonesia from India even before the Christian era, and was slowly adopted as the local belief system. Sanskrit became the literary and court language of Java and later of Bali. The Hindus changed the Wayang (as did the Muslims, later) to spread their religion, mostly by stories from the Mahabharata or the Ramayana. Later, this mixture of religion and wayang play was praised as harmony between Hinduism and traditional Indonesian culture. On Java, the western part of Sumatra and some smaller islands traditionalists continued to play the old stories for some time, but the influence of Hinduism prevailed and the traditional stories either fell into oblivion or were integrated into the Hinduistic plays.

The figures of the wayang are also present in the paintings of that time, for example, the roof murals of the courtroom in Klungkung, Bali. They are still present in traditional Balinese painting today.

When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of painting and shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from the Muslim religious leaders. As an alternative, the religious leaders converted the wayang golek into wayang purwa made from leather, and displayed only the shadow instead of the figures itself.[citation needed] Instead of the forbidden figures only their shadow picture was displayed, the birth of the wayang kulit.[citation needed]

The figures are painted, flat woodcarvings (a maximum of 5 to 15 mm thick -- barely half an inch) with movable arms. The head is solidly attached to the body. Wayang klitik can be used to perform puppet plays either during the day or at night. This type of wayang is relatively rare.

Wayang today is both the most ancient and most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers, dalang, who command extravagant fees and are international celebrities. Some of the most famous dalang in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunarya, Ki Sugino, and Ki Manteb Sudarsono.

Wayang kulit

Wayang kulit, shadow puppets prevalent in Java and Bali in Indonesia, are without a doubt the best known of the Indonesian wayang. Kulit means skin, and refers to the leather construction of the puppets that are carefully chiselled with very fine tools and supported with carefully shaped buffalo horn handles and control rods.

The stories are usually drawn from the Ramayana, the Mahabharata or the Serat Menak.

There is a family of characters in Javanese wayang called Punakawan; they are sometimes referred to as "clown-servants" because they normally are associated with the story's hero, and provide humorous and philosophical interludes. Semar is the father of Gareng (oldest son), Petruk, and Bagong (youngest son). These characters did not originate in the Hindu epics, but were added later, possibly to introduce mystical aspects of Islam into the Hindu-Javanese stories[3]. They provide something akin to a political cabaret, dealing with gossip and contemporary affairs.

The puppet figures themselves vary from place to place. In Central Java the city of Surakarta (Solo) is most famous and is the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found in West Java, Banyumas, Cirebon, Semarang, and East Java. Bali produces more compact and naturalistic figures, and Lombok has figures representing real people. Often modern-world objects as bicycles, automobiles, airplanes and ships will be added for comic effect, but for the most part the traditional puppet designs have changed little in the last 300 years.
Historically, the performance consisted of shadows cast on a cotton screen and an oil lamp. Today, the source of light used in wayang performance in Java is most often a halogen electric light. Some modern forms of wayang such as Wayang Sandosa created in the Art Academy at Surakarta (STSI) has employed spotlights, colored lights and other innovations.

The handwork involved in making a wayang kulit figure that is suitable for a performance takes several weeks, with the artists working together in groups. They start from master models (typically on paper) which are traced out onto kulit (skin or parchment), providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A further smoothing follows before individual painting, which is undertaken by yet another craftsman. Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week.

The painting of less expensive puppets is handled expediently with a spray technique, using templates, and with a different person handling each color. Less expensive puppets, often sold to children during performances, are sometimes made on cardboard instead of leather.

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Reog Ponorogo

Reog is one of the cultural arts that originated from East Java and the northwest Ponorogo Reog regarded as the true home town. The city gate was decorated by the figure Ponorogo warok and gemblak, two figures who took part during reog demonstrated. Reog is one of the local culture in Indonesia is still very strong with things of a mystical and powerful mysticism.

History 

Basically there are five versions of the popular story that developed in the community about the origins and Warok Reog, but one of the most famous story is the story of the rebellion Ki Ageng lice, a royal servant during Bhre Kertabhumi, the last king of Majapahit in power in the century -15. Ki Ageng lice will anger the powerful influence of the Chinese colleagues in the government and its king, king of the corrupt behavior, he also saw that the power of the Majapahit kingdom will end. He then left the king and established the college where he teaches young children martial arts, science self immunity, and the science of perfection in the hope that these young children will be the seed of the resurrection of the Majapahit kingdom again later. Realizing that his forces are too small to fight the royal troops, the political message conveyed by Ki Ageng Flea Reog performing arts, which is a "satire" to King Bra Kertabumi and his kingdom. The performance becomes a way of Ki Ageng Reog Flea build local resistance using Reog popularity.
In the show Reog displayed mask lion-shaped head, known as "Singa Barong", king of the jungle, which became a symbol for Kertabumi, and above it is plugged in peacock feathers to resemble a giant fan which symbolizes the strong influence of his Chinese colleagues who manage the over all movement geriknya. Jatilan, played by a group of dancers gemblak a rocking-horse became a symbol of the power of the Majapahit Empire troops into comparison with the strength warok contrast, behind the red clown mask that became the symbol for Ki Ageng lice, alone and sustain weight that reached more masks singabarong of 50kg using only his teeth. Popularity Reog Ki Ageng lice eventually cause Kertabumi take action and attack perguruannya, rebellion by warok quickly overcome, and forbidden to continue teaching college will warok. However, students still continue Ki Ageng ticks quietly. Even so, art Reognya still allowed to be staged because the show has become popular among the public, but the story has a new channel which added characters from the Roxburgh folklore Kelono Sewondono, Goddess Songgolangit, and Sri Genthayu.
Official Version Reog Ponorogo storyline now is the story of King Ponorogo who intend applying for daughter Kediri, Dewi Ragil Yellow, but amid the journey he was intercepted by King Singabarong of Kediri. King Singabarong troops consisting of peacock and lion, while the part of the Kingdom of Roxburgh and his Deputy Bujanganom Kelono King, escorted by warok (men dressed in black in the dance), and warok has a deadly black magic. The whole dance is a dance of war between the kingdom of Kediri and the Kingdom of Roxburgh, and pitted black magic between them, the dancers in a state of 'trance' during the dance stage.
Until now people just follow what Ponorogo into their ancestral heritage as a very rich cultural inheritance. In his experience art is copyright Reog human creations that form the flow of an existing trust from generation to generation and maintained. The ceremony also use terms that are not easy for lay people to fulfill it without a clear lineage. embrace their lineage Parental and customary law which still applies.

Performance Art Reog
 

Modern Reog usually performed in several events such as weddings, circumcisions and National holidays. Art Reog Ponorogo consists of several series of 2 to 3 dances opening. The first dance is usually performed by a 6-8 guy valiantly with all black clothes, with faces polished red. The dancers depict the figure of a lion is brave. Next is a dance that was delivered by a 6-8 girl who climbed the horse. In reog Traditionally, the dancers are usually played by male dancers who dressed women. This dance is called the dance lesson braid, which must be distinguished from other dances that lumping horse dance. Other opening dance if there is usually a dance by a little boy who brought the funny scenes.

After the opening dance is complete, the new core scenes show the contents of which depend on the conditions in which art is displayed reog. If related towith marriage then that is displayed is romance scene . For a celebration of circumcision or circumcision, is usually a story of warriors,

The scene in the art reog usually do not follow a neat scenario. Here there is always interaction between the player and the puppeteer (usually the leader of that group) and sometimes with the audience. Sometimes a player who was the stage may be replaced by another player when the player fatigue. More emphasis in the staging reog art is to give satisfaction to the audience.

The final scene is a lion barong, where the actor wearing a mask-shaped head of a lion with a crown made ​​of peacock feathers. Weight mask can reach 50-60 kg. This heavy mask carried by the dancers with the teeth. The ability to bring this mask in addition to the weight gained by training, is also believed diproleh with spiritual practices like fasting and penance.

Controversy

Dance like Reog Ponorogo who danced in Malaysia called Dance Barongan. This dance is also using a mask suddenly peacock, which is headed tiger mask on which there are peacock feathers. Descriptions and photos of this dance is shown in the official website of the Ministry of Culture Arts and Heritage Malaysia.

Controversy arises because the mask suddenly peacock on the official site there are the words "Malaysia", and is recognized as a heritage society from the Stone sculpting, Johor and Selangor, Malaysia. This sparked a protest of various parties in Indonesia, including artists Reog Ponorogo origin which states that copyright Reog art has been listed with the number 026 377 dated February 11, 2004, and thus known by the Minister of Justice and Human Rights Republic of Indonesia. Also found information that suddenly peacock that looks at the official site is craftsman-made artist Ponorogo.Ribuan Reog had demonstrated in front of the Malaysian Embassy in Jakarta. The Indonesian government said it would investigate this further.

In late November 2007, Malaysian Ambassador to Indonesia Datuk Zainal Abidin Mohamed Zain said that the Malaysian Government has never claimed Reog Roxburgh as the country's indigenous culture. Reog called "Barongan" in Malaysia can be found in Johor and Selangor, aswas taken by the Javanese people who migrated to the country . 

 

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