Tarling

Tarling is a unique art of the northeast coastal region of West Java (Cirebon and Indramayu-around). This art form is essentially a musical performance, but accompanied by a short play. The name "tarling" taken from the abbreviation of two dominant musical instruments: electric guitar and flute. Besides these two instruments, there are also a number of percussion, saron, kempul, and gongs.

Tarling early development is unclear. However, in the 1950s similar music has been broadcast by tarling RRI Cirebon in the show "Rhythm City Shrimp", and made it popular. In the 1960s, this show was called "tarling" and began to enter the elements of drama.

Since the widespread popularity of dangdut in the 1980s, art tarling pressed. This forced the artists included tarling dangdut elements in their performance, and this mixing results tarling-called dangdut (or tarlingdut). Furthermore, due to the demands of consumers themselves, tarling songs mixed with electronic music devices so that the groups formed a single organ tarling organs. At this time, classical tarling is rarely performed and is no longer popular.

GALURA (Ritual) MAPAG PANGANTEN

GALURA (Ritual) MAPAG PANGANTEN

Traditional ceremonies "mapag panganten" (welcome bride). These arts are not only in the wedding party alone, but often also appear in the arrival of the officials or guests of the state.

Galura (ceremony) mapag panganten rich with many attractions of art, and involves a lot of artists. There are many dance, musical arts, bodoran (comedy), lessons about life shown art symbols, and others. This art involves a number of gamelan players, dancers, carrying banners, and Ki stepped down (often called "stepped down" only).

The presence of Ki Mang prime minister or prime minister is usually a figure of interest to the audience or guests. The problem was he who directs the course of the ceremony. Once the entourage of both families came to the building / reception, prime minister who will greet and direct them to the aisle seat to the accompaniment of the dancers and banners carriers.

The role is usually dilakoni stepped down by a man. Even if there was a role she stepped down as prime minister male companion. Because of its role as an elder role model of society, and also as a symbol of the marriage counselor, then the figure stepped down more often portrayed as a grandfather.

Lengser outfit usually consists of: shucks shirt, pants equipped with a holster pangsi the diselendangkan, and totopong (headband). By showing his teeth a toothless and dance movements are funny, no doubt his presence always invite the audience laughter / audience.

As already mentioned above, galura mapag panganten also displays various dances. One of the frequently performed is the peacock dance. This dance illustrates the movement's peacock feather wings showing the beauty that has shades of different colors.

Ceremony mapag panganten usually did not last long, because its function is only to welcome the bride and deliver it to the aisle seat. But even so, its presence is often expected and invited many people admire clicking sound.

Hopefully attractions such traditional art remain stable until later, and was also interested by the various generations.

Adapted from: http://indrakh.wordpress.com/2007/08/15/mapag-panganten-pelestari-seni-tradisi/

Kacapi Suling

Kacapi suling is a form of Sundanese music from West Java. It is essentially tembang Sunda minus vocals, and also at interludes between songs at a typical Tembang Sunda performance. The higher pitched kacapi rincik, the lower pitched kacapi indung and the suling flute are the instruments used for kacapi suling. Kacapi suling has instrumental pieces performed in two different scales; the first four in laras pelog convey a light mood, the last four, in laras sorog are more slow and grave. The change to laras sorog usually takes place at midnight and lasts til sunrise. Many hotels in Indonesia, especially in Bali, and other parts of the world like in Shenzhen China play this Sundanese music genre in their lobbies. Malaysia itself invited Sundanese Kacapi Suling experts from the Province of West Java to teach their expertise in Malaysia.

Kuda Renggong

Folk performing arts as a form of art "helaran" (parade, carnival), The horse has evolved Renggong seen from the choice of a sturdy horse, strong, horse accessories and supplies background music, the dancers, etc.., And is increasingly vibrant with the various creations of the artists. This is recorded in each Kuda (Horse) Renggong festival held each year. The kuda (horse) Renggong eventually became the performing  typical arts  Sumedang District. Kuda (horse) Renggong  has now become a commodity for tourism nationally known and internasional.Dalam show, kuda Renggong has two categories of performances, the show includes horses and Renggong in the festival village
Performing in the settlement
The Kuda Renggong show is held after a child  finished Cermonial of circumcision and given prayer, then by dressing the puppet characters Ghatotkacha, raised on the horse and paraded Renggong left his house around, around the village.
Background music to accompany eagerly pursued connect with tembang-selected tembang, among others Rayak-rayak, Beureum Flower, Flower Bluebird, etc.. All the way dance moves Renggong horse surrounded by a number of people consisting of children, adolescents also villages, even the old people to the music more and more lively. Heat and the sun seemed not to discourage them to continue to move dance and enliven children cheered circumcision. Sometimes interspersed with dancing Renggong Horse exposure, the more skilled the audience Horse Renggong more cheering and clapping. Often also the spectators who will come vows welcome dance.
After touring the village, a group of horse back home Renggong child circumcision, usually with Pileuleuyan songs (separations). The song can be sung in the form of instrumental or sung. When the child circumcision done Renggong derived from horse, usually followed by a demonstration event and renggong horse saweran (coins and sprinkled white rice), which became the eagerly awaited, particularly by village children.

Gemyung

Gemyung ART is one of the traditional arts found in the village of Bayuning Kuningan.
Art Village Gemyung From Bayuning
As a first pad Spreading Islamic Tools
traditional art so much in our homeland. So almost all areas in the archipelago, at least one type of art has not even reached rarely more. Similarly, in the Kuningan area, precisely in the village Bayuning District Kadugede. Here is an art called Gemyung / flying (read blessing-blessing of the Prophet).
According to Mr. Adi Permana, one of the administrators of the association Art Gemyung "Arya Kemuning" which supposedly was founded in 1959 and was a gift from the Regent of Brass at the time, namely Aruman Wiranagapati, Gemyung art is art "titinggal karuhun". At a time is as a tool of the saints in spreading Islam in the West Java area. Because of the early saints - first introduced this art, then for the next many people who called with the nickname of "arts mayor".
In pagelarannya enough to take place in the house (his middle room), Gemyung art is divided in two stages; first ngaos / bubuka (do not use pirigan); and two ngaos use pirigan (tetabuhah genjring). As for who the "ngaos" it was a blessing blessing the Prophet (which of course speak Arabic), which consists of Canto 20 of them; Assalam, Mussahri, Assalatu Allannabi. etc.. While the form of flying tetabuhannya tool (genjring) of three types. The first is called kempring (smallest flying), two kempul (fly rather large), and the third goong (large flying). In subsequent developments (current) plus tetabuhannya tool drum and goong. Instead of dance performances with diselipi.
If the former is used as a tool to spread the religion of Islam, now another case, this Gemyung arts are correct - is used as a tool for entertainment. Usually displayed in the event muludan, rajaban, circumcision and puseur crowbar. Because all dingaoskannya Canto which amounted to 20, then no doubt, this Gemyung performance takes up all night. In the event functions as an entertainment circumcision to wait for the morning sunrise where circumcision will be carried out.
Developing more and more art Gemyung never experienced this in the village of Bayuning Vacum. That is when the mob was rampant Kartosuwiryo. At that time people are afraid to make the crowd noise. Especially in the village - a remote village. It was only after the gang was put down, arts gemyung started talking again. Even more to the more developed here. The more people who like. Almost every month even at times - sometimes a month two or three times, art Gemyung "Arya Kemuning" ditanggap people.
Aware of this development, the leaders in the village Gemyung generally been Bayuning elders, felt the need to conduct personal rejuvenation in Gemyung art. So since it began last year to forge some young people.
Uniquely, the so-called category of young people who have reached the age of 30 years. Since reading the blessing of the Prophet's hard, takes a good ripe age and experience, Mr. Adi Permana said when asked, why choose those young members who have reached the age of 30 years .***

Tarawangsa

Sundanese traditional arts is the art tradition "Buhun" inherited from "karuhun" we should we keep and we preserve its existence, as did the Rancakalong Sumedang. Sumedang community bans (Ranch Kalong) Blue Sand village on Wednesday, January 10 - January 14, 2007 implementing sukuran or lavatory "RAYAGUNGAN" in the lavatory where it shows a lot of traditional arts such as, Tarawangsa, Kromong, urination procession overtime, Enyod, Papanahan, etc..

The event was opened directly by the "pupuhu" (chairman) Sumedang prohibited by beating a gong. After that the procession around the village with a population of Blue Sand, as for the objects or goods that are carried in the form of "tatanen" (agriculture) they had been. It is a symbol or a sign of their sukur to the creator who has given rizkinya.

After the procession finished rice cone distributed directly to people who have around, which led by pupuhu. We finished the show live to eat while resting. Nothing was on the afternoon malampun come, according to the event at around 19:00 pm. Tarawangsa is part of the displayed art. Before the show first started the elders provide materials such rituals "parupuyan" rampe (complete), HANJUANG trees, rice cone, fruit, beubeutian, agricultural, bakakak, flowers, young coconut, etc..

After the materials needed to complete the ritual Tarawangsa elders (elder people) opened the event with dancing Tarawangsa. Tarawangsa movements typical of semi-conscious semi unconscious. In the implementation of these Tarawangsa has rules, where the first session from 20:00 o'clock WIB.-24: 00 pm. Is specifically for female dancers only. As for the second session is for the male dancers are from at 24:00-03:00 pm. Then, after the men resumed completed by women from at 03:00-05:00 pm.

In the implementation Tarawangsa itself so much in a trance or unconscious aka trance, this is going beyond the logic and reasoning of our minds, this might be called magical or mystical power.

Surprisingly again dancers who had felt it was addictive trance, as if his soul is a call to dance again. This is an unbelievable phenomenon that really beyond human reason, but that happens in this show. But even in this show a lot of trans do not worry because there is a ready cure keeper.

But one thing to remember when this show should not sompral (speaking arrogant) and is considered to play games, if not own tanggug consequences.

Pencak Silat Cimande

 

Profile Pencak Silat Cimande

Mythos maempo Cimande
Not far away on the banks of the river Mande a merchant family named Kahir life temtram and peaceful stay. In one day his wife left the river to perform activities of daily laundry, food and a lavatory. At the time she washed clothes on the other side was a bunch of monkeys picking fruit kupak on the banks of the river, then comes an interval of a tiger (maung) in the same place.
Monkeys uneasy comfort with the arrival of the tiger, the monkeys were screaming noises screaming bloody murder. The atmosphere was surprisingly Kahir wife to watch the situation, the possibility of what happened.
Mengaung angry tiger and monkey attack at the hands of a stout but small monkeys, the feeling was not fear, leaped berkelid attacked by biting back at the tiger's stomach. Tiger stretched back to the attacks but did not touch the monkey's body. Conversely another monkey with a wooden pole meggunakan, trying to disrupt the tiger that attacked him so angry and back. At the same time dodging and monkeys back mengigitnya.
This incident the seconds noted and observed by Ms. Kahir contemplate returning it perkelaian techniques. As a result the work left unfinished on time, so she returned home Kahir late and had to cook food in the afternoon.
Delay cooking makes Mr. Kahir anger against his wife would not understand. His wife tried to explain, but upset with her husband slapped his wife, with berkelid quick movement, the attack can dihindari.Kemarahan that uncontrolled overflows done with blow after blow but it was impossible to touch her, quite overcome by kelid movement.
Pak Kaher panting breath, asked his wife: "Where did you learn maen bark?" (meaning "fool the movement" shortened to "maempo"). His wife explained to her husband, she was late returning from the river was cool because while enjoying perkelaian (maung) tiger and a monkey. Since then Kahir wondered how the movement, she diligently provides examples kelid movement.
Kahir start thinking carefully into perkelaian movement now known as the "stance kelid pamonyet", a monkey with a wooden pole to attack a "pepedangan tactics" and a strong attack known hand "style pamacan".
Because the position when attacking monkey tiger legs were in the sitting position and monkeys using standard low horses, then the basic training first Cimande stance kelid tiger starts from a position of sitting and began training the next level from a standing position with the horses pamonyet (low). Next mempo technique 'is being developed by local communities Kahir and maenpo name' Cimande.
(Source interview with Mr. Rifai Master Pencak Silat Panca Sakti Cimande in Jakarta 1993)


Life teachers Kahir
(short excerpt from Gema Pencak Silat Vol. 3, no. 1:18-19)
Kahir lived in the village Cogreg, Bogor become a respected warrior about the year 1760 was first introduced to his students mempo stance 'Cimande. Then his disciples to spread other kedaerah expand like Batavia, Bekasi, Karawang, Cikampek, Cianjur, Bandung, Garut, Tasikmalaya, Sumedang, Ciamis, Kuningan and Cirebon.
When he lived in Cogreg Bogor, Kahir often travel far to leave his hometown to trade horses. His experience is often the robber by the robber and bandits, but the situation can be resolved because of their ability to play maempo '.
Batavia opportunity to meet with the warrior-warrior Minangkabau and Chinese martial arts expert in the world to each other persilatan tried to exchange experience. Meeting with other martial arts experts provide insight horizon to open a view of the game that has interacted with other cultures.
When trading in Cianjur, he met with the regent of Cianjur to VI Wiratanudatar Raden Duke (1776-1813) He is set to move to Cianjur and Kamurang domiciled in the ward. Raden Duke Kahir knoweth Wiratanudatar adept mempo play 'for it told him to teach his family, district officials and security officers.
To prove his skills, regents held a match race against the warriors from China with Macao kuntao game in the plaza of Cianjur. The game is won by this Kahir made his name more and more popular in Cianjur Regency.
In 1815 Kahir back to Bogor, he has a son that is 5 Endut, Ocod, Otang, Komar and Oyot. Of the five children spread throughout this land Cimande Pasundan. Meanwhile in Bogor Cimande the continued spread of the pupil named Ace who died in that until now Tarikolot descendants became elders Tarikolot Cimande pencaksilat Lower Kebon Jeruk.
At the beginning of the nineteenth century in West Java is a glorious period that Cimande Kahir dress pants with a dress or sontok shucks pangsi outfit to model clothes martial art until now.
In the year 1825 Kaher died while his work continues to grow fruit and widely accepted by the people of West Java. The pattern of education developed by their students as Sera 'and the flow of the development Ciwaringin make changes stance as did Haji Abdul Rosid. However berubahan was not much changed from the standard mempo'Cimande.
Today Cimande been developed all over the world, the problem maempo Cimande Kahir not leave a written record, oral traditions that are not systematic. In the village Cimande, maempo 'Cimande not in the order that integrated as an organization.
Cimande Maempo development stems from the descendants and families who are not organized in a long time has resulted in students and of many developing senilah with permission or not the colleges new Cimande with one another not to know more protective.
At least Cimande basic part of education streams of new martial art that has many scattered throughout the world.

Cimande archetype
(short excerpt from Gema Pencak Silat Vol. 3, no. 1:20-22)
Cimande initially perkelaian technique with long-distance, namely reach fighter detachment after foot, this distance can be easily possible to avoid enemy attacks. This distance becomes the dominant distance to strike back.
Every fighter in an attack must consider the attitude of the foot or horses that aims to distance the opponent. Flat horses that are used can easily removable, and can be altered in speed and high frequency. Because your opponent will certainly give distance attack in the form of blows or kicks, and high speed, to overcome the tactics needed in order to compensate fighters.
Comande outlined in the order divided divided as follows: Kelid Cimande, and Interior Cimande Pepedangan Surfing. Pepedangan is Kelid and martial stance, while the Interior Surfing Kick Arts (with drum accompaniment pencak).
1. Kick Kelid Cimande
This stance is the core style that aims to fend off opponents trying to knock it down. Fend means Kelid opponent while trying to knock it down.
This stance amounted to 33 tricks are:
1.tonjok bareng,

2.tonjok sabeulah,

3.kelid selup,

4.timpah seubelah,

5.timpah serong ,

6.timpah duakali,

7.batekan,

8.teke tampa,

9.teke purilit

10.tewekan,

11.kedutan,

12.guaran,

13.kedut guar

14.kelid dibeulah

15.selup dibeulah,

16,kelid tonjok

17.selop tonjok

18.kelid tilu,

19.selup tilu

20.kelid lima

21.selup lima

22 peuncitan,

23.timpah bohong

24.serong panggul,

25.serong guwil,

26.serong guar,

27.singgul serong,

28.singgul sebelah,

29.sabet pedang,

30.beulit kacang,

31.beulit jalak pengkor

32.pakala alit

33.pakala gede
If this note appears kelid stance on the strength of his teacher anymore as the core strength, such as:
Hit: the form of clenched hands
Teke: using finger joints
Tewekan: form a flat hand stab
Wrinkles: using the palm of the hand
Guarani: using hand side of the outer aupun
Singgulan: use the base of the hand
Overall kelid stance movement looks a bit unique from other martial art movements in keuatan usually attacks the feet rested as Minangkabau silat.
To practice:
Usually done with sitting places, a couple sat facing each other one folded and the other foot forward so dilonjorkan mate with the opposite position. The couple did strike back in a sitting position.
The purpose of this exercise to train the person to determine emajinasi horses that just as these moves done in a standing position. With a hand gesture mastered the otumatis course can easily use the horses and strike back.
2. Kick pepedangan Cimande
This stance leg rests alacrity and machetes weapon attack techniques. Weapons used in the exercise of bamboo as a substitute for a real weapon.
Kick this pepedangan stance amounted to a series of 1 dodgery sebeulah - selup kuriling - jagangan - tagongan - piceunan - balungbang-balumbang - sabeulah - opat likur - waste twice - directly selup kuriling - slippers lying.
3. Interior Kick Surfing
This stance is only presented as a motion for beauty jurusnya stance has every element of beauty and appearance must be accompanied by pencak drum music consisting of two large drum (ovarian) and two small drum (kulantir) which serves as accompanist movement and adjust the tempo of the song. As a melody trumpet songs and small gongs (kempul) or the appearance bende pencak movement always ditikberatkan with drum accompaniment.
Standard are already standard music is: the two slap, slap dungdung, paleredan, and slap golempang tilu.

Prospective students and a code of ethics
(short excerpt from Gema Pencak Silat Vol. 3, no. 1:20-22)
Each prospective student who will follow Cimande first exercise expressed willingness to comply with ordinances or ethics very respected university;
Terms is to go through a series of traditional ceremonies such as fasting for 7 days starting from Monday or Thursday.
Next read the oath or promise (Patalekan Cimande)
1. Must obey and piety  to Allah and His Messenger
2. Do not fight to the mother and father
3. Do not fight the teachers and the queen (the government)
4. Do not gamble and steal
5. Do not jolly, arrogant and conceited
6. Do not commit adultery
7. Do not lie and cunning
8. Do not get drunk and sucking opiate
9. Do not be ignorant and persecuted fellow creatures of God
10. Do not pick without permission, taking without asking,
11. Do not like jealousy and envy
12. Do not like it do not pay debts
13. Must be polite, humble and mutual respect between the price of human beings.
14. Studied Cimande not to fine-prevention, arrogance and reckless, but to reach the safety of the world and the hereafter.
Cimande Patalekan (interrogatory)  described in such a way and repeated to prospective students until the students truly understood and complied with by the teacher held her hand as a sign of readiness.
Next the teacher read the prayers and tears pray betel leaf mixed into the eyes of the disciples (dipeureh) This tradition is called the ceremony keceran to sharpen the eye.
Cimande basically serves as a media broadcast the Islamic religion, therefore obedience to Allah and His Messenger to run away from all the orders and prohibitions are to be obeyed laws Cimande citizens. Cimande a filler and straitjacket animal lust and other properties that can harm all parties. This is Cimande not intended to control and power over other human beings. Essentially Cimande Talc is the spirit of pencaknya, without Talc Cimande, pencak Cimande spread like a corpse that suffocating stench.
Hopefully this information is useful to give a picture of what and how Cimande.

Ngaruat

Ruatan (Unsteady ) ceremony Through Media Sundanese  Rytme

a. Understanding  ruatan (Unsteady) Unsteady (Ngaruat or ngalokat) can be said to reject the danger destruction that could bring safety and prosperity of life. This is a neutralizing the threat and danger that is always the human experience. Neutralization usually occurs by uttering the magic phrase, like a mantra, tattoo, spell, or to slaughter, offerings, bath flower (Subagya Rachmat, 1981:76). The procession is not out of supernatural manifestations, whether God or the spirit of the ancestors in ritual ceremonies. This shows that the activity contains the influence of monotheism, a single God is good and just who later created the creature that is invisible, and people do self-awareness of these gentle creatures who take the distance to the Lord and worship. Trust is called animism, which showed a belief in fine spirits who stand out from the human and the intervention in human affairs (Subagya Rachmat, ibid).
Ngaruat is a form of ritual expression of human existence to obtain salvation done by various procedures procession. Ngaruat procession, usually done in cleaning the village, the birth of a baby, making the house, and so on. All it takes to get or expect salvation from the Almighty.
Ngaruat can be classified in 2 types ruatan, namely ngaruat  humans and ngaruat objects. Ngaruat humans, there are characteristics of people who have diruat or Sukertas, the specification should diruat people. Ngaruat objects, usually performed for objects that are considered necessary diruat, usually those ruatan; ngaruat new building, making the house, and netepkeun pare (after the rice harvest). [1]
Ngaruat belief by some Sundanese people are still believed to bring salvation, usually ngaruat procession can be done through the media arts as a means. In addition to the puppet arts, rhymes can be in the procession ngaruat media. Ngaruat ceremony aims to purge themselves of the spiritual, self-neutralizing conditions in inner-stained (sin), or certain circumstances because there is a disruption of the delicate creatures, etc.., Which is considered to bring bad luck or harm to befall mankind. There are several Sukertas (people who have diruat) that ruatan deemed necessary to avoid danger or misfortune that may befall the person. [2]

b. Stimulation of Religious Emotion
Pantun media made the link between humans and spirits or anything supernatural in human life. This is reflected in the ceremony ruatan identical with the safety demands of life to God and the spirit of ancestors (karuhun) are considered supreme over the human, emotional attitudes that gave birth to religious communities believe.
Religious emotions in question are acts that encourage all religious people behave, it means there is a stimulus that can be thrilling conscience in the context of God's self awareness, the spirit of the ancestors, delicate creature of higher social status on human nature (Koentjaraningrat: ibid pp. 202). Religious emotion as one of anxiety or disclosure of a phenomenon that can not be measured by human reason, so people trying to find the answer.
"Menganai matter whether that emotion is because man is aware of the existence of supernatural beings who occupy the nature around his home, and comes from the souls of those who have died; because people fear facing various crises in his life; was unable to explain the various symptoms with reason; believe a powerful force in nature; receive revelation, or because the combination of all because it was religious emotion that underlies every department of religious behaviors that were causing the sacred nature of that behavior, and properties that in turn receive the sacred values "

Society that respects the traditional arts that are identical with the mystical world overwhelmed by a sense of supernatural power. Try whole Penghayat rhymes on the magic will be in the environment by meeting all demand a supernatural being or spirit ancestors. [3] Community support rhymes come from all walks of society, ranging from ordinary people until the people who occupy high positions in society. They make rhyme as a medium to fulfill their desires or they have the intention and purpose to his life interests. Before the show was planned, they expressed a desire to rhyme prepantun or interpreters to meet the intention to spread the story rhyme.
In this case the relationship is established between the individual and the artist rhymes (rhymes interpreter) or may be a relationship between individuals and groups. Social contact is established as a social process to build cooperation in achieving the same goal. [4] people, groups, and individuals realize the needs of life can always meet those needs. People who perceive rhyme rhyme and artists work together to create timbalbalik. Responder safety rhymes get his wish come true or after the ritual done, while the artist rhymes (rhymes interpreter) to get the material in the form of services to meet their needs.
Community or those individuals benefit penghayat rhymes spiritual (inner peace) and physical (life welfare, health, etc..).

c. Pantun story in  Ruatan  Ceremony
Already mentioned in Chapter II, that rhymes belong in the form of oral literature that tells the myths Sundanese legend. Artists rhymes, the rhyme interpreters assume that these stories are sacred stories that have a sacred value. The story can be said that the sacred literature of a complex megandung conceptions and sacred tales about the properties and life of the gods and beings, other spirits (ie mythology). When the story is told rhymes, as if repeating the cosmos in which the story occurs at the time. Telling the story seemed to repeat the myth of time (mytical time) with the entire cosmos is expected to neutralize the state of the world is not balanced, this is the time Marceu Eliade on myth.
Usually the stories have a story rhymes for ruatan ceremony, the story related to old Sundanese mythology contains cosmology and cosmogony (which contains about creation and human origins) Sundanese long time. This is a basic concept of the original trust Indonesia in expressing the belief in the meaning of life, humans use symbols and signs. Rachmat Subagya (ibid. p. 166) mentions two kinds of sign, namely:
"The myth of origin that interprets the meaning of life based on ancient events. Myth of ethnic origin or source of rice and other grammar guides for behavior. Rite or ceremony is a symbolic behavior that consolidate or restore the natural order and menempatkanmanusia and actions in these procedures. the rite used the words, prayers, and the movements of the hands or body. Both myth and ritual procedures significantly strengthen the original plan of the universe and is expected to mempartisipasikan all people living in the order of salvation. "

Reaktualisasi myth can provide a reflection of themselves, and the expected after a procession ruatan, incarnate in the whole story kapada people diruat. The stories told by type ruatan adjusted, for example household ruatan, spokesman Akis Abah rhyme tells the story, King Siliwangi, Goddess Pohaci Minanggai pleat, Javan Kasarung, Well Bandung, Malangsari. In general, the story told in the procession was the story of the birth ngaruat Kala, is the same story with the story in a puppet Kala used to ruatan ceremony as well. Usually these stories are used for ritual ceremonies related to the list of objects ruatan Sukertas and as mentioned above. Rhyme no interpreter present all the same story in the procession ruatan, sometimes in a story adapted to the circumstances ruatan who diruat to stories told transformed and reflected on the diruat people. In a sense, the story told rhyme depends on the interpreter to tell the story in the procession ruatan.
In the usual entertainment stories told to tell ordinary plays, such as Mentralaya, The Barn Jaladri, Dewi Asri, Simber Kancana, Stage Karaton, etc. (interview, August 3, 2006). The story is told not to tell stories that are considered sacred, but only plays that are not usually associated with ruatan context. [5] The stories for entertainment, perhaps stories told belong to the type of story or novel fragment that is not considered to have sacred value.
[1] Interview ...
[2] List Sukertas listed in Appendix.
[3] One such request, such as a provision of offerings that should be provided if it will show rhyme. Provision of these offerings has a duty to implement and provided, if not met can be considered menimbulakan not diiginkan circumstances.
[4] the social process are all ways that can be seen associated individuals and groups. Human groups together and determine the system, as well as other forms of relationship. Social process is defined as the reciprocal influence of life together.
[5] In the context of stories told ruatan is expected meaning incarnate the story of people who diruat.

Calung

Calung is a Sundanese musical instrument is a prototype (prototype) of angklung. Unlike the angklung played by shaken, how to beat calung is hit stem (wilahan, bar) of segments (bamboo tube), composed by titi barrel (scales) pentatonic (da-mi-na-ti-la) . Types of bamboo for making most of awi calung wulung (black bamboo), but some are made from awi temen (white bamboo).
Understanding calung than as a musical instrument is also attached with the term performance art. There are two forms of Sundanese calung known, namely calung calung chain and portable.

Calung chain
Calung dideretkan tube bar chain with a leather strap hibiscus (lulub) from the largest to the smallest, in number 7 wilahan (bamboo 7) or more. Composition of the instrument there is a row and there is also a two-row (calung ovarian and calung child / calung rincik). How to play the chain calung hit with both hands as he sat bersilah, usually calung is tied to a tree or a cubicle house (calung Banjaran chain-Bandung), have also made shelf "cradle" of special bamboo / wood, for example in Cibalong tarawangsa calung and Cipatujah , Tasikmalaya, calung chain in Banjaran and Baduy / Baduy.
Calung Jingjing
The carry-shaped rows calung pitched bamboo held together with a small piece of bamboo (paniir). Calung tote of four or five fruits, such as calung kingking (consisting of 12 bamboo tubes), calung panepas (5 / 3 and 2 bamboo tubes), calung jongjrong (5 / 3 and 2 bamboo tubes), and calung barking (2 tubes bamboo). Calung completeness in its development today there are only using one kingking calung, and panempas calung two barking one, without using jongjrong calung hit with a way to play it using the right hand bat, and his left hand carrying / holding the instrument. While other inter menabuhnya techniques dimelodi, dikeleter, dikemprang, dikempyung, diraeh, dirincik, dirangkep (diracek), salancar, corkscrew and solorok.
Development
Type calung now developed and known in general that is calung portable. Calung tote is the kind of instruments that have been long known by the Sundanese people, such as the Sundanese community in Sindang heula - Brebes, Central Java, and could be the development of chain calung form. But in West Java, this art form was pioneered in popularity as students from Padjadjaran University (UNPAD) incorporated in the Department of Arts Student Council (Art Institute UNPAD) to develop this form of calung through his creativity in 1961. According to one of the pioneering, ekik Barkah, that pengkemasan calung tote with performances inspired by the performances of reog game that combines elements of percussion, movement and music combined. Then in 1963 the form of the game and hit the drum again calung further developed by the fellows of Studiklub Teater Bandung (STB; Sumaamijaya Koswara et al), and between the years 1964 to 1965 more socialized calung again by friends in UNPAD as performance art that is entertainment and information (extension (Oman Suparman, he Ruchiyat, Eppi K., Enip Sukanda, Edi, Zahir, and friends), and group calung SMAN 4 Bandung (Abdurohman et al). then emerged calung groups in society Bandung, for example Layung Sari, Ria Buana, and Glamorous (1970) and others, up to today's emerging role model names calung players including Tajudin Nirwan, Odo, Uko Hendarto, Adang Cengos, and Hendarso.
Calung artistic development so rapidly in West Java, so there is the addition of several instruments in calung, for example kosrek, kacapi, piul (violin) and some even complete with keyboard and guitar. Vocal elements become very dominant, so many famous calung emerging vocalists, such as Cengos Adang, and Hendarso.
Referral Source
Kurnia rewards. 2003. Description of the West Javanese art. Culture & Tourism Department of West Java, Bandung.

Jaipongan

Jaipongan

In 1961, Indonesian President Sukarno prohibited rock and roll and other western genres of music, and challenged Indonesian musicians to revive the indigenous arts. Gugum Gumbira took up the challenge, and studied rural dance and festival music for twelve years. Jaipongan, or Jaipong, was the most popular result of his study, derived from the updating of a village ritual music called ketuk tilu, with moves from Pencak Silat, the Indonesian martial art, and music from the masked theater dance, Topeng Banjet, and the Wayang Golek puppet theater.
In the original ketuk tilu, the group typically consists of the ketuk tilu pot-gong, other small gongs, a rebab (spike fiddle), barrel drums, and a female singer-dancer (ronggeng) who is often also a prostitute, who invites men to dance with her sensually. Gugum expanded the drum section as part of an urban gamelan orchestra, sped up the music, redefined the singer as just a singer (sinden), and came up with the catchy onomatopoeic name. Many listeners consider the music very complex, with the dynamic rhythm liable to change seemingly randomly.
Jaipongan debuted in 1974 when Pak Gugum and his gamelan and dancers first performed in public. Sporadic government attempts to suppress it due to its perceived immorality (it inherited some of the sensuality of ketuk tilu) just made it more popular. It survived even after the official Indonesian ban on foreign pop music was lifted after a few years, and became a craze in the 1980s. Since the mid-1980s Jaipongan’s importance as a social dance has waned, but it remained popular as a stage dance, performed by women, mixed couples or as a solo.
The most widely available album of Jaipongan outside Indonesia is "Tonggeret", featuring singer Idjah Hadidjah and Gugum Gumbira's Jugala orchestra, released in 1987, and re-released as part of "WestJava: Sundanese Jaipong and other Popular Music", by Nonesuch Records under their Explorer Series label.

Jugala

Gugum Gumbira's Jugala Studios in Bandung serves as the base for his own Jugala orchestra and dance troupe, and has hosted and recorded many other musicians, including Sabah Habas Mustapha, and The Residents.
The Jugala orchestra includes Sundanese gamelan instruments, drums, rebab and suling flute, and plays Jaipongan and contemporary degung music.

Personal

Gugum Gumbira is married to Euis Komariah, who sings for the Jugala Orchestra. Their daughter, Mira Tejaningrum (born March 4, 1969), is a dancer and choreographer for the Jugala dance troupe.

References

• Manuel, Peter (1988). Popular Musics of the Non-Western World: An Introductory Survey. New York: Oxford University Press. ISBN 0-19-505342-7.
• Jaipongan Description and history, from the Harsanari Indonesian Dance Company website.
• Mira Tejaningrum From "The Power of Music" website
• Jaipongan dance, created by Gugum Gumbira in West Java Short MOV video from a Jean Hellwig film on popular dancing in West Java (1989)
• Indonesian Music Overview at the Indonesian Music Shop

Sisingaan

Origin
Sisingaan is a unique arts community Sundanese (West Java) which shows a lion puppet 2-4 carried by the players while dancing. Stuffed lion on top of that normally carried a child seat to be circumcised, or a public figure. There are several versions about the origins of art that grew and developed in the West Javanese society is. The first version says that sisingaan appeared around the year 70's. It was on the bridge in West Java in TMII art show mutual sisingaan lion or the shape is still simple. And, from appearances in West Java bridge that later became known sisingaan arts community today.

The second version says that the art sisingaan circa 1840 created by the artists who come from Ciherang area, about 5 km from Kota Subang. At that time, Subang regency had become "owned" the Dutch and English with established P & T Lands. This causes like local government Subang be double, because politically dominated by the Dutch, but economically under the influence of the businessmen P & T Lands. As a result, the people of Subang become very miserable. In these circumstances, the arts sisingaan born as a form of popular resistance against the occupiers of both nations. And, to assert that sisingaan art is a form of resistance, then used two puppets lion is a symbol of the Dutch and the British state. Therefore, to this day in every game sisingaan always displayed at least two stuffed lions.

In a further development, the arts sisingaan not only spread to other areas in Subang District, but also to other districts in West Java, like Bandung Regency, Purwakarta and Sumedang. Apart from spreading to some areas, this art is also experiencing growth, both in the form of a lion puppet refinement, the arrangement of dance, costume players, as well as waditra and the songs being played.

Players
The players are generally sisingaan men joined in a group consisting of: 8 people penggotong lion puppet (1 doll carried by 4 people), a leader of the group, some waditra players, and one or two people jajangkungan (players who using wood for as long as 3-4 meters walk). These players are people who have special skills, both in dancing and playing waditra. Special skill is necessary owned by each player, because in a show of collective sisingaan needed a solid team for all dance movement that is played while carrying a stuffed lion can be in harmony with the music played by the nayaga.

Venue and Equipment Gaming
Arts sisingaan generally shown during the day with around the village during a circumcision ceremony, welcoming the great, the inauguration of the village head, the celebration of independence day and so on. The duration of a gig sisingaan usually takes a long time, depending on the area whether or not to be surrounded by homes.

Equipment used in the game sisingaan are: (1) two or four stretchers lion puppet. Stretcher frame and the head of a lion puppets are made of wood and bamboo are wrapped with cloth and given a seat on his back. Meanwhile, for the feathers in the head and tail made of yarn raffia. For the record, once a lion-shaped bier is made of wood with feathers from the rafters and the flowers are usually made in a snap in time to hold the show. So, first sisingaan not permanent, but only used once and then discarded; (2) waditra set consisting of: two large drums (percussion and drums ovarian children), a trumpet, three beats (bonangs), a kentrung (kulanter ), a small gong, and a kecrek.; and (3) fashion players consisting of: a pair shucks / pangsi, iket barangbang semplak, clothing and footwear taqwa tarumpah or salompak.

Performing Sisingaan
Sisingaan show begins with words of welcome by the group leader. After the group leader gives a speech said, then the child will be circumcised or community leaders who will be paraded welcome to climb the lion doll. Furthermore, beating accompaniment tool with songs brought the rhythmic dynamic as a sign of the beginning of the show. Then, a number of 8 players will begin to carry two lion doll (a doll carried by 4 people).

After the lion puppet penggotong ready, then the leader will start giving the cue for them to start doing the dance movements in unison and together. The doll penggotong immediately akrobatis movements are quite exciting. Dance movements are usually played by the puppet lion penggotong are: igeul ngayun glempang, plug / horse-riding, mincid, padungdung, gugulingan, bangkaret, put up, kicking two, step back, kael, ewag, jeblang, Jakarta, Solor , sesenggehan, genying, turn taktak, nanggeuy lions, lift jungjung, ngolecer, symbol, pasagi tilu, literacy cau, nincak rancatan, and kakapalan.

Meanwhile, the songs played by kawih interpreters to accompany the dances are usually drawn from the arts Tilu Tap, Doger, and Kliningan, such as: drought, Song, Titipatipa, Gondang, Kasreng, Gurudugan, Mapay Roko, Kembang prasina, Kangsring, Kembang Beureum, Fruit Kawung, Gondang, Tenggong Petit, Sesenggehan, Badudud, Tunggul Kawing, Side battered, Sireum Beureum, and the song Interlude (Siyur, Tepang Sono, Awet Rajet, Salira Fiber, Honey and Poison, Mr. Wonderful, Goyang Dombret, etc. Warudoyong ).

The show is performed while sisingaan around the village or the village, until finally returning to its place. And, with the dancers arriving in their place, then the show was over.

Cultural Values
Art as an expression of the human soul is certainly contain aesthetic values, including traditional arts sisingaan that ditumbuh developed by the community Ciherang, Subang regency. However, if examined in depth sisingaan contains not only the aesthetic value alone, but there are other values that in turn can be used as a reference in daily life for the community supporters. These values include cooperation, cohesiveness, order, dam persistence. The value of cooperation seen from the togetherness in preserving the cultural heritage of his predecessors. Cohesiveness and order value is reflected in a performance that can run smoothly. Value of hard work and persistence is reflected in the mastery of dance movements. (Shishemul)

Photo:
http://picasaweb.google.com/mul.sense/Kesenian#5378053081537666482

Source:
Sariyun, Yugo, et al. 1992. Value of People's Culture in West Java Games. Jakarta: MOEC.

Kurnia rewards. 2003. Description of the Art of West Java. Canberra: Department of Culture and Tourism of West Java.

http://id.wikipedia.org

http://www.jabar.go.id

http://www.kabarindonesia.com