Sabtu, 26 November 2016

Dinos add Talented Linebacker

Joe Dutton wanted to remain at home and enjoy the benefits of his mother’s cooking. Head Coach Wayne Harris and the University of Calgary Dinos are thankful for that. The 6’3”, 195 lbs. linebacker from St. Francis High School has signed a Canadian Interuniversity Sport Letter of Intent to play for the Dinos in 2017. Dutton joins current St. Francis teammates, quarterback Cole Belway and offensive lineman Logan Bandy who have also committed to the Dinos.

“I wanted to stay in Calgary, play with the players I played with as a kid and stay at home with my mother’s cooking,” stated Dutton who has been a two year starter for the defending City and Provincial 4A Champion Browns.

“I felt the combination of education and football excellence made it the best choice to commit to the Dinos. They have enjoyed tremendous success the past few years and I am excited to help contribute to that continued success,” Dutton stated elaborating on his decision to remain in Calgary..

From a football family, Joe’s grandfather Tom Dutton was a stalwart defensive lineman for the University of Saskatchewan Huskies in the late 1960’s and also played for the Saskatoon Hilltops, while his father Paul, played for the Huskies in 1991 and 1992.

Joe brings an impressive list of credentials to the Dinos. He was a member of the Alberta U18 team for two years and was captain of the Canadian team that participated in the International Bowl in Arlington, Texas in February 2016. He was a two time all-star in the Calgary Midget League (2015 and 2016) for the Cowboys that were coached by Tony Spoletini and Al Cooper, and a Calgary High School all-star in 2015 playing for Tyler Park.

Dutton is currently ranked in the CFC Top 100 and was pursued by every school in Canada West as well as Queen’s and McGill.

“Joe Dutton is one of the top linebackers in the country. He has size, speed and instincts to be a top level CIS player,” states Dinos recruiting coordinator and Coach Matt Berry.

Dutton is the son of Paul and Jenn Kelly and plans to take Education courses at the University of Calgary.

JAVA CULTURE

Sekaten ORIGINATED  of sekati

Sekaten, or the night market is usually done before the birth of the prophet Muhammad, after of religious significance it has many meanings if we can look at it in depth meaning. Currently sekaten only considered as amusement rides for the little people by the authorities as well as how memdapat blessing of the authorities with a scramble in the event gunungan.Namun, basically both meanings really just sometimes we do not understand the meaning in both meanings.
Here I will describe the meaning according to me is more than that:
Sekaten an amusement rides for the people, because there are a variety of entertainment that is cheap and affordable for all people. Besides a wide assortment of entertainment too
Sekaten can foster harmonious family. Stand diverse and can also be enjoyed by various groups will make a lot of families that had been rarely out of the house for recreation into going out and in sekaten they can interact in the family will be what they want each, thus in the family so know what kind of willingness family members. this can make the family become more harmonious.
Sekaten as a venue for socialization between people, both young and old. Stand diverse and visited ultimately can make people who previously did not know each other become familiar with one another. Thus, the person will get a lot of friends and a range of properties as well as the area of ​​origin, because we know the future can sekaten the people from out of town though.
Sekaten a sign of gratitude. In sekaten division held a mound of rulers to the people. Other than as a symbol that the authorities also pay attention to the people, as well as a symbol that the authorities are grateful for the people who always support good governance in the form of praise or criticism.
But I think overall, it's the core sekaten are at the peak of the event itself that is when the mound is issued, the orchestra sounded and when the Prophet Muhammad's Birthday (birthday of Prophet Muhammad).
Sekaten as a sign of prosperity. This can be in the review of the components are made as well as the mountains of the origin of the word sekaten itself. Sekaten itself sebenranya of sekati said, according to Indonesian dictionary, it means the size Kati sized weights 6.25 ounces and is commonly used to measure the rice when it will be cooked. In the past if purchased rice with a graduated wear this size is half a coconut shell. If we consider the deeper, sekati means one catty or 6.25 ounces, and if cooking rice as much as 6.25 ounces of rice it means being able to sustain a family in one day. Thus the family is not short. Aside from Sekati words, the components of the mountains also vary and typically are everyday necessities. Daily necessities, or groceries was also one of the sustainer of life and prosperity within a family. In addition there is also a basic food or wooden boards and cloth is helped in the capture, these two materials represent from clothing and shelter needed by every human being.

At the time of the mountains also issued sekaten or gamelan gamelan sounded Sekati. Gamelan is a musical art and other arts represent. This means that in addition to food, clothing and shelter, as well as humans are considered to be prosperous when it can enjoy or have a sense of art, one of the art of music. Not only that, the Prophet Muhammad's Birthday Day also is when the mountains is issued, this means that everything was not going to experience prosperity if we do not recognize a religion and a God who gives everything to us.

So therefore, it seems to me the rulers and ancient view that a prosperity that is created when the elements of Food, Clothing, Board, Art and Soul was adequate and in a state of balance. That balance can be drawn from the word for rice Sekati Sekati one family can do different kinds of work in one day.


Again according to the meaning of my own interpretation, sorry if there is one word.

May be useful,

thanks.
Night 1 Suro, Jamasan and Tapa Dumb


On the night of 1 suro, new years eve calendar Java, Yogyakarta and Surakarta in the earth there is some semblance of tradition. That tradition is continued carnival heritage Jamasan heritage, and also Tapa Mute. The tradition is usually done at night.

Maybe now a few people who know the meaning behind the tradition except as ritual night 1 suro. Actually, if we examine more deeply, in 2 rituals or activities are sufficiently deep meanings especially to welcome the new year. In this case the new year welcomed a new year Java.

Well, here I try to speak a little about the meanings of the ritual as far as I understand.

1. Jamasan Heritage
Jamasan Heritage is an activity that aims to clean heirlooms person has. Actually in jamasan it, not just the heritage that seems to be cleaned, but also heirlooms that are not visible. Heirloom that appear can be Keris, spear, arrow, sword, gun, or whatever. While inheritance does not appear it was breathtaking.

why need in cleaning?
Heirlooms that need to be cleaned so that is always ready for use at any time. If rarely cleaned, the inheritance will be rusty and when needed transform something, it is not feasible to use.
Similarly, the heart, he got us clean from all grudges and dirt there, because the heart is always we use all the time. If we seldom cleaned, then we are also a loss, our sensitivity to the environment because of dirt covered the world. Therefore, on every New Year's Eve suro held introspecting themselves in the form of tapa mute.

2. Mute Tapa
Is a series of rituals in which each participant may not speak until the event is over. Usually the event mengkirab heritage palace around the palace. In this silent procession tapa, participants are also expected to not wear footwear. Actually, if I understand it more deeply, the purpose of this silent tapa is an event berintropeksi themselves against various actions and thoughts that have been established for one year.

Why barefoot?
Barefoot as expected when the berintropeksi we can be at one with nature, and also remove any existing negative waterwheel inside tersbut to earth to neutralize. With bare feet Similarly we can also feel that the life was not smooth though many efforts have been done. Just as the path of nothing as smooth as we thought though telas paved with good.


Therefore, through inheritance and tapa mute jamasan palace hopeful that the start of the new year we can start from a clean and with a new spirit anyway to be getting better by improving what belom well in the previous year. And to prepare us to be various situations that come without a plan either by nature or by man himself.

Hopefully, we are increasingly aware that it is good for our tradition continue. Because every tradition, there must be the meaning of life in it.


Thursday, September 23, 2010

Where is God?

The question "where is God" is a simple question but it is quite difficult to understand if it is addressed to us, religious people. Religion mention the place of worship is God's house. But what is true and right? If so, then God is just to be there alone dong. Even if not, why every one of us pray always there?

The question may well be we aim to others if they appear less religious. for example: "Where is your God?".

Here I will be a little answer and review the understanding of Java when it gets that question through a true story that happened a long time. Let's just say the Javanese who holds the tradition with the initials 'A' and a religious person with the initials 'B'.

One day, A performs a ritual in her room and quietly. He did not perform a ritual pretty unusual for us today. Through frankincense and myrrh, incense and she put it in her lap kiln with prayer and directs the fragrant smoke of incense into his body.

Because it smells very typical, then the B suspicious and wondering about the purpose of the ritual. After completing the ritual of the A, the B directly approached and asked the A. Similarly, the conversation the two of them:

B: "Grandmother was doing?
A: "Medium prayer (worship). What is it?"
B: "Then pray, why grandparent grandparent incenses own self?"
A: "When we worship, we worship and communicate them to be ready?"
B: "To God."
A: "Keep where he is?"
B: Silent pensive ........... ............ "house of worship?"
A: "The Lord was not in the synagogue and not be everywhere, including a large tree or rock"
B: "then where?"
A: "He was always in the hearts and ourselves. Therefore, I always incenses myself, because at that time I mean worship, thank fragrances, and communicate with God."
B: "O so yes ...."

Sometimes we religious people are clearly explained in the scriptures forget if God is within us. However, those who believe and pray Java based experience even better understanding of where God is. If we like A, where are we will always remember if God is always with us, always keeping us, always there for us, and we will increasingly feel the love his down to us. The taste of course, we will be more careful in every act and say, because we act and say not only includes ourselves, but we also include the Lord who dwells within us.

Hopefully with this we are increasingly reminded if God always dwells in us and with us. Live the good life, and according to his will with love of neighbor and nature, because then it means we have to work and live with God.

That's all.

Wednesday, July 28, 2010

Appreciating the importance of Local Wisdom

These days we often hear even possible to feel alone if natural disasters often stop at this archipelago. Starting from floods, earthquakes, landslides until the tsunami. Maybe from the disaster that sring we heard was an earthquake and floods in nearly every corner of the archipelago can experience it. The disaster is not indiscriminate, Segla something is blocking the movement dilahapnya. So we are not able to fight the disaster, we are only able to prevent and mitigate or minimize the impact of the damage.
It turned out that the business has been learned indirectly by our ancestors first. Maybe now little is know with certainty any such reduction efforts, so it is with me. However, gradually I know it and I get a little bit of knowledge is also not directly but through the preaching of the television, I often find places that still preserve the tradition and also of the conversations parents are still alive today.
Well, I will try to start sharing the local knowledge or perhaps cultural and local knowledge of Java.
I will give an overview of the continental shelf within the meaning of the Javanese antiquity. Ancient Javanese people are not aware of geological sciences west, they also do not have a submarine capable kapa dives to the bottom of the ocean throughout the archipelago. However, without us knowing, Javanese first ever say or think if the archipelago is on the strut by 3 large dragon and the location of the transverse and longitudinal layout is similar to the three plates that are in Indonesia today. Sorry for the name of each dragon I forget. In addition, they also assume if it meets three dragons in the Moluccas. As well, every time there is an earthquake they also assume if one is being mengoletkan dragon body. From here we have to understand if the Javanese people first have knowledge of how the earthquake occurred and movement patterns.
Of knowledge and the assumption, then the Javanese always berusahan build houses or buildings which form has the smallest damage if hit by the earthquake that house Joglo. why I also think so? That is because I saw houses original Joglo antiquity it does not use nails, pegs for mengambung hanay use each section. In addition, Joglo also has 4 main pillars in the middle of the house that is connected to the timber as well just sign enter as well as ends in exaggerated. At first look at the building I am confused as to what the rest of the wood jutting out until one day I had a notion if it's tolerance shocks movement if the house was hit by an earthquake. we also know when to peg the tolerance level of the connection between higher than using nails.

Aside from pillar model of the building, the placement of the building as well, namely Joglo well just put the chicken claw only on the pillars just so the house building will be easier to adjust the earthquake in order to minimize the risk of collapse of the building. As well as the shape of the building are wide open also makes the occupants easy exit in the event of a natural disaster.
Building models adapted to the natural conditions and disasters that many visited not only in Java but also in many other areas around the country. For example, people of Borneo create high stage house in order when the big flood tide or the house remains dry because the kit would know if Kalimantan surrounded suangai large rivers. Then I also heard Sunda house consisting or made of bamboo with a purpose if the house is hit by the earthquake and they can be easily damaged to return to the form of the house.

Tuesday, July 20, 2010

Art is a private owner

Art is a private owner, this expression is unthinkable as I watch the show SIEM and SIPA this month. why I think like that, because after watching the show pertungjukan-I like being in the atmosphere of the region where the arts are and understand what the personality of these areas. In addition, I also think if every art that emerged from a local public personality.

In this case I gave some contok are so visible that between Sumatra and the Javanese. In the eyes of the Javanese, Sumatran people seem so firm and fast in every moment and everything is expressed directly, and it is also seen in trending form of song and dance that originated there were mostly upbeat firmly. Unlike the Javanese in the eyes of Sumatra meek, art from jawapun seen slowly and gently.

Okey, here I will try to discuss further how I think if Art is a private owner. Still, I wrote in the sphere of art and culture which are in Java.

Literary Arts

Literary arts by which I mean in this case includes the writing and language. If we look at the writing of Java, there appear a form that terluhat innocent but also detailed and curved. So from these writings, we can say if writing course be needed tenderness and tenacity as well as the detail in order to produce such a form. This does not mean there is no self-assertiveness in Javanese, because if we look back, there are still elements of firmness tucked in the text. Well for me the Javanese have a firmness hidden behind softness.

Then in terms of language. Javanese themselves have varied according to the language in which they're located and spoken (broadly divided into two, namely Ngoko and Krama). in this case we can also deduce if the Javanese people are able to adapt and know themselves where they are and dealing. In front of the officials, they still respect while in the presence of their men also be respected. However, sometimes we often forget the positions we are because we are familiar with one language for everything. Nowadays, if we so subordinate, we often position ourselves to be subordinate everywhere although it was in front of children or subordinate to us when we have promoted. and vice versa when our bosses so often position themselves also become the boss where we are regardless of who we're dealing with. For me the Javanese have been able to position themselves where they are, through their speech and language read too Here.

Art Dance

If we consider the Javanese dance there often are differences in tempo or beats. At the start of the dance, a slow tempo and then move quickly and ask, and then slowed down. Here we can see if the Javanese more see a process in human life. Javanese aware if toward a peak of the highest success man needs a long journey and slow (slow tempo at the beginning) and then we will have our success in live life whether pleasant to us or not (tempo quickly and decisively) after we succeed, we will experience the old life to end this success, and we should end it quietly so we do not feel so lost to the success of the (tempo slowed back). Moreover, in our lives, it is also necessary firmness that we slipped in the process so that these successes as we want (movements firmly in dances a little bit removed dancers). This is exciting for me because I see that in every tenderness Javanese dance turns out there is a firmness and a lesson in the meaning of life.

CULTURE OF SUNDA


CULTURE OF SUNDA

In the characteristics of Sundanese culture itself has capabilities that make it a living power for the people, which include such as: Ability to coordinate and organize, defined as the ability to interact socially. Adaptability, understood as the ability of consciousness to creatively address the challenges of the situation, the challenges of the times and the challenges of a wide range of association. Mobility, defined as the ability to creatively create social mobility, political, and economic, both horizontally and vertically. The ability to grow and develop, defined as the ability of consciousness to always forward, always expanding and the insight into his thoughts always offer fresh and new capabilities regeneration, understood as the ability to encourage the emergence of a new generation of creative and productive.
In addition to the power of life, another element that is also important in a culture is the quality of life. Quality of life is not the perfection but rather interpreted as a habit. As for toxicity in human life is a harmonious collaboration of three aspects, namely:
Ø Responsibility, defined as an awareness to always implement the obligations in full compliance with its social responsibility.
Ø Idealism, interpreted as a definition of a person's life attitude in taking the desert and wilderness life. Idealism and a source of inner self satisfaction.
Ø Spontaneity, interpreted as an expression of human instinct and intuition. Without spontaneity will lead to a life becomes dry and tasteless.
VALUE OF TRADITION COMMUNITY OF SUNDA
has high cultural value, is characterized by the Sundanese culture has been written culture known since ancient times. The messages of the ancestors of the Sunda shows that the meaning possessed of Sundanese cultural significance classified into high value and strategic as well as highly respected by the community. The moral is initially limited only to the people of the Sunda kingdom proved to have universal value that can also be used as a model by the Sundanese ethnic communities outside of us always being nice treat nature. Because of the conscience of every community living creatures, including humans, who and how small order of life always requires a balanced, harmonious and harmony.
RELIGIOUS VALUES
In the course of the values ​​and religious traditions of the Sundanese people continue to experience the process of development in accordance with the changing times. Religion Islam is the majority religion Sundanese people today. In its application, the religious development as occurs in Sundanese community is actually a process of development of the myths people who essentially are always looking for a balanced relationship between the shape of human existence with the natural environment.
SOCIETY CULTURAL CHANGES OF SUNDA
The high Sundanese culture as familiar written culture, written culture which has been known since ancient times embodied in various forms of inscriptions seem to have less and less visible in public life Sunda today. Reality fourth condition vitality owned by Sundanese culture in dealing with various forms of challenges. Adaptability of Sundanese culture, especially in response to the emerging challenges, both from within and from outside it can be said that the display shows kmasyarakat so encouraging. In fact, such as Sundanese culture does not have the power of life when faced with the challenges from outside. As a result, it is not surprising that more and more elements of Sundanese culture that start erased by foreign cultures.
As the most obvious example is the Sundanese language is the language of the Sundanese community appears explicitly increasingly rarely used by the owners themselves, especially the younger generation Sunda. And the more concern, use of Sundanese in daily communication is sometimes identified with "backwardness", not to say primitive. The result is a sense of pride in the community for the use of Sundanese Sundanese in everyday interaction. In fact, a sense of "pride" is sometimes found also in those who actually are experts in the field of Sundanese, including to simply admit that he is an expert background or expertise in the field of language.
Therefore, let alone outside the community of Sunda, in Sundanese community itself, the Sundanese culture often become strange. Ability to grow and expand the Sundanese culture can also be said to show the view is no less alarming. Never talk new ideas, willingness to preserve what has been owned only be said to be very weak. Sundanese culture was apparently seen the community provides the space for the process, it can be said to be one of the causes of vulnerability of Sundanese culture in the process of regeneration. As a result, become Sundanese culture stuttering regeneration.
New generations of the Sundanese people like not given open space to compete with the healthy, just due to the strong seniority as well as "too rapid advancement of" the thinking of the new generation, which is often at odds with the norms that owned the previous generation. As a result, it is not surprising that the process over the generations in various fields and walking with halting.
Viewing vitality of Sundanese culture that shows only the findings are quite alarming, the same thing also happened in the aspect of quality of life were used to explore the Sundanese culture, both from the aspect of responsibility, idealism and spontaneity. Weak sense of responsibility not only caused by the lack of spaces and the freedom to carry out the obligations in total and irresponsible but also by a lack of capacity to implement an obligation.

Society and Culture District of CILACAP

Society and Culture District  of CILACAP

Cilacap is one of regencies in Central Java province with the largest area that is 6.9% of the area of ​​Central Java province. Once the extent of the region so as to have two phone code, namely 0282 and 0280. The northern side is bordered by Brebes district, in the southern Indian Ocean, Banyumas regency in the east and the West Java province in the west. Cilacap District is divided into 24 districts which are further divided over a number of villages and villages. Cilacap district capital is composed of Cilacap Cilacap districts of North, Central Cilacap, and South Cilacap.
Based on the geographical conditions cause Cilacap cultural diversity, especially its territory that are in the border area between Central Java and West Java. Reality suggests that some people in Cilacap district Sundanese language, especially in the districts bordering West Java, namely Dayeuhluhur, Wanareja, Majenang, Kedungreja, Patimuan, Cimanggu and reef heron. This is because according to historical background, Cilacap region of western formerly was part of the Sunda. Based on ancient manuscripts primer Bujangga Manik which recounts the journey of King Bujangga Manik (a Hindu priest Sunda visiting the holy places of Hinduism in Java and Bali in the early 16th century) that limits the Sunda kingdom in the east is the river Cipamali (now called with time Brebes) and river ciserayu (currently called serayu river) located in Central Java povinsi.
Beginning Ciacap city starts from the kingdom to become a city. Search history in the kingdom of Java begins from the time of the Hindu Mataram kingdom until the kingdom of Surakarta. At the end of the era of the Majapahit kingdom (1294-1476), the forerunner of Cilacap district area is divided into regions of the kingdom of Majapahit, Duke Pasir Luhur and the Kingdom pakuan pajajaran whose territory stretches from east to west. According to Husein Djayadiningrat, pakuan pajajaran Hindu kingdom after being attacked by Islamic job offerings and Cirebon fell in 1579, so that the eastern part of the kingdom pakuan pajajaran handed over to the Kingdom of Cirebon. Therefore the whole region forerunner of Cilacap district in the east of the kingdom under the rule of Islam and the west Pajang handed over to the Kingdom of Cirebon. Display royal replaced with Islamic Mataram kingdom established by Panembahan Senopati in the year 1587-1755, the forerunner of Cilacap areas originally under the rule of the Islamic Kingdom Pajang handed over to the kingdom of Mataram. In 1595 the kingdom of Mataram hold expansion to the District Galuh residing in the Kingdom of Cirebon. According to the diary of the Dutch Company in Fort Batavia, received a letter containing a translation of the Citarum road trip, north Karawang to Bagelen. The names were passed in the area forerunner of Cilacap is Dayeuhluhur and Limbangan.
In the Dutch colonial period, Cilacap is part of the district under the authority of the regents Banyumas Banyumas. However, because the area is too vast, the Dutch colonists decided that the area cilacap made a separate section that section Cilacap Cilacap with the capital city as the place to head keduduan European Bestuur Bestuur Resident Assistant and Head of the Native Rangga or Onder Regent. During the 9th resident Banyumas, Van de Moore proposed the Dutch East Indies government submitted to the Governor-General of the Indies that the proposed establishment of Cilacap according Colonial Minister meaningful two that plea Cilacap agreement on the establishment and organization of the indigenous both of them require the approval of the King of Holland. After receiving confidential letters Colonial Minister Government of the Dutch East Indies with Besluit Governor General among others set Onder Regentschap increased to Regentschap Cilacap (Cilacap).

Cilacap now developed into industrial centers at the center of economic growth, there is a large industry such as fuel refineries owned by Pertamina UP IV (the largest in Southeast Asia) as well as Portland cement plants (Holcim). Cilacap seems incomplete without mention reclaiming the island known as the island prison. This area since the Dutch era used to isolate prisoners with long term sentences. Nusakambangan now no longer only used for punishment, here are the tourism potential that can be developed. On the southeast coast of reclaiming the walls can still be found the old building that serves as a beacon of the sea and is known as Lighthouse Cimiring. For tourists who want to explore the history can enjoy the presence of Benteng Pendem, fortress known as Kusbatterij Op De Lantong Te Tjilatjap is a former defense headquarters of the Dutch East Indies Army.
Cilacap may be too broad to pin everything. In general, Cilacap divided into Javanese and Sundanese culture. The different cultures is certainly cause different patterns of society and this has its own uniqueness that ensued cultural blending of the two cultures. In terms of the economy too, is generally divided into two sectors growing southern area of ​​marine fisheries and the north-western part of developing the agricultural sector. One characteristic of the coastal community is a cultural tradition "sea alms" which has become a major agenda cilacap annual district.
Alms sea followed by thousands of local fishermen financed by Cilacap district budget and become one of the tourist attraction for domestic and foreign tourists. Sea alms held on Friday or Tuesday kliwon kliwon Muharram or rely Sura which crashed earlier in the month. As a cultural ritual, sea alms or less meaningful expression of gratitude for the gift of God fishermen through the abundance of revenues and earnings over the last year in order to get the fish in the sea to support his family. Expression of gratitude can be done through a variety of media, then in the context of this sea fisherman alms cilacap "melarung offerings" throw offerings to the sea in the form of buffalo heads and other uborampe promoted with a casket. The event starts from the official ceremony at the district hall, then march toward the turtle bay where the offerings will be increased into the boat and floated around the eastern side of the Bandung Karang Nusakambangan.

I included in the Cilacap region Sundanese Dayeuhluhur rather than districts. Sundanese traditions could I feel myself was so thick, even many who say the region should go into the West Java region. It can be seen where the mobility of the inhabitants are mainly into areas of the city of Banjar, West Java. For example in the trade sector, the public transactions of goods to the market in the town of Banjar, instead of the other districts that are in one district cilacap. Workforce in this region tend to look for jobs to cities in West Java such as Ciamis, Tasikmalaya, Bandung, etc.
The society still upholds the culture of mutual cooperation. Seen in many ways activity, implement community together as community service cleaning streets, repairing irrigation channels, building houses and so on. Mutual cooperation is also true in the case of livelihood in this case most of their farming profession. There is a term called "liuran", a working system in which the land owners (farmers) work together in one paddies belonging to farmers was then moved to pesawahan others belonging to other farmers so that they do not need to spend wages for workers because it has been replaced by the energy they use to help each other. The ambiance of harmony was so strong and it is that I feel comfortable staying there, in contrast to life in the city. I get a lot of inspiration from behaviors that society and it became a separate study for me to continue to understand all the cultures and customs prevailing there.
The myths are common in the area where I live. Cultural offerings which are common in the area of ​​Java can also be found here with another term "sasajen". The offerings are generally done according specific purposes. Suppose that when harvesting rice would do offerings are called "copy the", there are offerings are done when a person carrying out a celebration, and there are also offerings are conducted periodically in a given month. The offerings can be a meaningful expression of gratitude or petition to God salvation depends on the goal earlier. As an expression of gratitude for instance because human beings are born into this world through the intermediary of mother-father and so on so out of respect for those who already are in a different universe made offerings to expectations conveyed to their essence and barokahnya obtained for those who still live in the world. However, today the offerings made only by the elderly alone, and they realize that today's young generation will not be possible to do it in line with evolving modernization.
Arts culture no less interesting in the appeal of the arts in other areas. The art in this area is the Sundanese arts such as puppet show, dance ronggeng, calung Sundanese etc. Even in Cilacap district alone, each district has a distinctive art respectively as alms earth (cilacap middle), horse braid (Kawunganten), reog (maos and lacquer), the stamping dimples (Kesugihan), calung (Binangun), calung Sundanese (Dayeuhluhur ), baritan (Nusawungu), nyadran (Adipala), beans (Tract), ngelik (Cipari), tayub jaipong (Wanareja) and others.
In terms of cuisine, there are some foods that become typical cilacap district. Seafood made into a variety of foods such as salted fish, jambal bread, shredded tuna, chili tuna and other seafood species. While there are several culinary crops like breadfruit chips, crisps spinach, tempeh dages, curry rice cake, pancake cilacap etc.
Based on that, I can draw the conclusion that a society's culture influenced and closely associated with historical background, geographical conditions and the economy. The swift currents of modernization began displacing the cultural values ​​that exist and the next generation, it is our duty to preserve the cultural values ​​that are good. , ,


CULTURE OF BANYUMAS

CULTURE OF BANYUMAS

In the context of the cultural development of Java, Banyumas often viewed as a marginal region (Koentjaraningrat, 1984) which connotes a rough, behind and no more civilized than the developed culture negarigung region (power center of the palace) inspired by the valuable concept. Banyumas culture or sometimes referred to as the present Banyumas culture of popular culture that developed among the rabble away from the hegemony of palace life. The suffix "an" in the word "Banyumas" shows the locality or specificity, as in the word "Semarangan", "East Javanese", "Surabayan", "magelangan" and others. Rene FY Lysloff found the use of the suffix "an" in the words of this sort with regard to the views tend intended to downplay the tradition and relates to the issue of "style". This shows that the culture Banyumasan a local element in a larger scope; Javanese culture.
Indeed, culture Banyumas in principle is an integral part of Javanese culture. However, due to the conditions and geographic location far from the center of power of the palace as well as the background of life and outlook on life Banyumas society imbued with the spirit of democracy, resulting in various cultural side Banyumas can be distinguished from the parent culture. The soul and spirit of democracy Banyumas culture has led him to appearances-when viewed from the standpoint of culture palace-sound harsh and low. The fact thus causing Banyumas culture is often sub-kulturkan, considered less significant for the growth and overall development of Javanese culture.

Banyumas culture is formed from a combination of the elements of the old Javanese culture with the pattern of life of local people. In the course of Banyumas culture is influenced by the culture of the new Java, Sundanese culture, Islamic culture and Western culture. Elements of the old Javanese culture (Java Ancient and Medieval) influenced Indian culture (Hindu-Buddhist), which has long been disseminated by a monk named Aji Saka. These cultural treasures are growing up in villages, hamlets or hamlet-hamlet, as a form of local genious and become an integral part of the lives of the underprivileged communities.

Banyumas culture takes place in the pattern of simplicity, guided by the spirit of democracy, cablaka (transparency), exposure (open) and built from the patterned traditional life-agrarian. This trend is mainly caused by the Banyumas is a suburb of the great empires of the past. Cultural development in this area is generally slower than with the culture of living in the palace as a center of royal power.

The content of the elements of the old Javanese culture in Banyumas culture is mainly reflected in the language and belief systems. In the distribution area Banyumas culture besides developing standard Java language-often referred to as the language is also growing bandhek-Javanese dialect or language Banyumasan Banyumas. For people in this area, Banyumasan language is the mother tongue which is present as a means of daily communication. Banyumasan language is believed to be a relic of the old Javanese language (Javanese Old and Middle) that can still be found until now. Thus Banyumasan language can be used to peek growth of the Java language that evolved long before the birth of the new Java language.

Banyumasan language has a specification and / or the special characteristics which can be distinguished by the new Java language (standard). Some special features include: (1) developing locally only in the area of ​​distribution of Banyumas culture; (2) has the character of an innocent and open; (3) there are many gradations upload-ungguh; (4) is used as a first language by most people Banyumas; (5) under the influence of ancient Java language, Java, mid, and Sundanese: (6) the pronunciation of the final consonant in the word read aloud (hereinafter often referred ngapak-ngapak), and (7) the pronunciation of vowels a, i, u, e, o is clearly legible. In the wider social arena, the characteristics of this kind has become one of the markers that can be easily recognized by other communities.

The influence of Indian culture (Hindu-Buddhist) against Banyumas cultural artefacts can be seen in history and belief systems Banyumas society closer to the belief system in both religions. In this area found many historical artifacts like the phallus, the yoni, prehistoric statues and other objects which are relics spread of Hindu culture. In Banyumas also believed there is a growing duchy in the pre-Islamic era, namely the Duchy Pasirluhur. This proved to be one of Banyumas been a strong base for the spread of Hinduism.

In terms of belief systems, the Hindu-Buddhist influence is reflected in the strength of animism, dynamism, totemism, gods and supernatural forces that come from nature and spirit of ancestors. In this area there are various kinds of rituals are performed at regular intervals are calculated based on the Javanese calendar or institutions prey. For example: the ritual loose earth and Suran in Sura, penjamasan Mulud heritage on a monthly basis, and upload Sadranan-uploads in Sadran, udhun-udhunan in the month of Shawwal and cowongan, ujungan and baritan held every prey Kapat and Fifth. This kind of ritual activities still continue to be implemented by the Banyumas community until now.

Until the beginning of the decade of the 1990s there's also a ritual activities undertaken by the community Banyumas on every night births by burning incense and some properties telon offerings such as flowers (flowers three kinds) and red and white pulp that is reserved for old-sedulur sedulur nom (older brother and younger brother). On the other hand, the Buddhist relics can still be seen on the still tersisanya spread of Buddhism in mountainous areas Kendheng, the mountains that divide the distribution of cultural Banyumas region, stretching from west to east.

The spread of Islam in Banyumas has given a strong enough influence on the growth of the culture in the area. Religion of Islam began to spread in Banyumas in progress since the era of Demak, which is when the area is under the rule of the Duchy of Sand. Carrier teachings of Islam is Makdum Wali, who managed to convert Duke Many Blanak, Sand ruler. In fact, Duke Many Blanak then contribute to Islamize the various regions, among others Banyumas, West Java and Ponorogo and the surrounding area. On participation, King Demak give some gifts to Duke Many Blanak, among others: (1) the Duchy of sustainable sand becomes a fief area (not the obligation set Pisungsung / taxes to Demak); (2) the Duchy of Sand by area starting from Tugu Mangangkang (mountainside Sindoro-Cleft) to Udhug-udhug Karawang; and (3) Duke Many Blanak appointed senapati Kanjeng title Duke Mangku Earth. Since then, the religion of Islam replace the religions that developed previously (Hindu-Buddhist) as a religion professed by most people Banyumas.
The spread of Islam in Banyumas does not necessarily eliminate the old belief that has been ingrained in people's lives in the region. Islam developed in the region in the form of Islam Abangan who continue to provide opportunities for the development of animism-dynamism to its adherents. An understanding of divinity apply custom "frame the religious culture". Cultural aspects more dominant role in social life, ngemuli and framing the teachings of Islam. An understanding of divinity framed in the nuances of local culture as can be found in a variety of arts, traditional expressions, folklore, traditional beliefs and others. This is different from coastal cultures (north) are more likely to develop Islamic purists in the form of "cultural framing of religion".

Banyumas cultural development not only in the administrative region Banyumas. In the north bordering the northern coastal culture, in the south reached the coast kidul, on the eastern side bordering Kedu culture, and on the west side bordered by Sundanese culture. The existence of Banyumas culture is very specific and distinctive, marks the existence of small communities in the cultural hegemony of the palace that developed in Javanese royal centers.

The geographical location of Banyumas is located in the border area distribution Javanese and Sundanese culture has a strong influence on the growth of culture Banyumas. Both of these cultures experienced acculturation so thick that lead to the formation of a separate cultural diversity is actually different from the culture of Javanese and Sundanese culture which incidentally is the parent culture. In various aspects can be seen clearly adherence of mixing between the two poles of the culture in the culture Banyumas. Concrete example is the myth of the two ancestors so strong in Banyumas society. They believe that the ancestors of Banyumas is a mixture of Majapahit and Pajajaran. Raden Baribin, one sister of Brawijaya IV was married with one daughter Pajajaran. Both were later blessed with offspring named Raden Joko Kahiman who became Duke's first title of Duke of Banyumas Top Citizen II (Duke Mrapat). Illustrates this reality of the historical side can be seen even stronger mixing of Java-Sunda in the realm of culture Banyumas.

In social life, community Banyumas once familiar with the folklore that is strongly influenced by the teachings of animism-dynamism and development of Islam abangan. Belief in superstitions, supernatural forces surrounding human life and beliefs about the divinity describe a mixture of animist belief system-Abangan dynamism to Islamic teachings. The concrete examples can be found in the traditional mantras. Someone walked right in the middle of the day in places that supposedly haunted (inhabited by supernatural beings) will chant the traditional-Islamic "Millah bedhug" or say "Bismillah, kyaine, putune ajeng sodomy". In the world of childhood too many common mantra of this kind. A child who is looking for dragonflies chant "Kemalo-kemalo goletna dragonfly kebo nyandhang ora ora nganggo, nganggoa welulang kebo".

Model spells like this is done for the serious stuff and just messing around. Speech, "Millah bedhug" or "Bismillah, kyaine, putune ajeng sodomy" is an example of something that is considered serious. People of this region believe that in certain places inhabited by spirits, whether good or bad behavior. Their prudence shown by the sentences of this sort spells. As in the context of playfulness, mantra chanted by children catcher dragonfly describe how within them there is confidence or suggestion, that, to say the spell of the dragonfly will be benign. Conversely, for the dragonfly is not benign then the spell is resisted by the other spells, ndhuling, ndhuling, mburimu ana thief (ndhuling, ndhuling, behind you there are thieves).

In the context of art, local genius Banyumas community has produced many varieties of traditional arts such as breathing populist lengger, bongkel, Jemblung, calung, angklung, and others. A variety of art is constructed from the popular culture. They have a different aesthetic standards with a variety of arts palace inspired by the valuable concept. Art in the context of Banyumas culture is a means of expression of the totality of the experience of people living in the community of the countryside, away from the hegemony of the palace, the traditional culture-agrarian and social sensitivity that reflects the motion of their daily lives.

On the other hand, the cultural life of Banyumas strongly influenced by oral tradition. As areas that are lagging behind in the development of culture in the past, written culture in this region is relatively developed more slowly than the royal centers. The impact of all this has split the oral tradition as one of the most important part of their lives. People in this area have the techniques to remember important events in people's lives Banyumas. A literate people in Banyumas can tell clearly about the history of Banyumas, Chronicle Pasirluhur or flood events Banyumas. Similarly, people in this area have a way to remember the day, the market and the date of the year within eight years just to count fingers.

Banyumas culture also influenced by Western culture (colonial) as reflected in a variety of community traditions. Marungan traditions that form the habit of the aristocracy in rural areas do kasukan (rejoice) with a drink (liquor) while playing cards and watch folk dance performances lengger, allegedly is the influence of Dutch colonialism so long control of Indonesia. Performances tunil the form pethilan (piece) of a play believed to have originated from the term toneel in vocabulary in Dutch. Similarly, the costumes worn in the art dhames and bobbing is also an effect of the costumes worn by colonial soldiers. On the other hand, the colonial influence is also seen in models of buildings. Slaughterhouse sedhan is one form of colonial buildings influence the results.
In the context of the cultural development of Java, Banyumas often viewed as a marginal region (Koentjaraningrat, 1984) which connotes a rough, behind and no more civilized than the developed culture negarigung region (power center of the palace) inspired by the valuable concept. Banyumas culture or sometimes referred to as the present Banyumasan culture of popular culture that developed among the rabble away from the hegemony of palace life. The suffix "an" in the word "Banyumas" shows the locality or specificity, as in the word "Semarangan", "East Javanese", "Surabayan", "magelangan" and others. Rene FY Lysloff found the use of the suffix "an" in the words of this sort with regard to the views tend intended to downplay the tradition and relates to the issue of "style". This shows that the culture Banyumasan a local element in a larger scope; Javanese culture.
Indeed, culture Banyumas in principle is an integral part of Javanese culture. However, due to the conditions and geographic location far from the center of power of the palace as well as the background of life and outlook on life Banyumas society imbued with the spirit of democracy, resulting in various cultural side Banyumas can be distinguished from the parent culture. The soul and spirit of democracy Banyumas culture has led him to appearances-when viewed from the standpoint of culture palace-sound harsh and low. The fact thus causing Banyumas culture is often sub-kulturkan, considered less significant for the growth and overall development of Javanese culture.

Banyumas culture is formed from a combination of the elements of the old Javanese culture with the pattern of life of local people. In the course of Banyumas culture is influenced by the culture of the new Java, Sundanese culture, Islamic culture and Western culture. Elements of the old Javanese culture (Java Ancient and Medieval) influenced Indian culture (Hindu-Buddhist), which has long been disseminated by a monk named Aji Saka. These cultural treasures are growing up in villages, hamlets or hamlet-hamlet, as a form of local genious and become an integral part of the lives of the underprivileged communities.

Banyumas culture takes place in the pattern of simplicity, guided by the spirit of democracy, cablaka (transparency), exposure (open) and built from the patterned traditional life-agrarian. This trend is mainly caused by the Banyumas is a suburb of the great empires of the past. Cultural development in this area is generally slower than with the culture of living in the palace as a center of royal power.

The content of the elements of the old Javanese culture in Banyumas culture is mainly reflected in the language and belief systems. In the distribution area Banyumas culture besides developing standard Java language-often referred to as the language is also growing bandhek-Javanese dialect or language Banyumasan Banyumas. For people in this area, Banyumasan language is the mother tongue which is present as a means of daily communication. Banyumasan language is believed to be a relic of the old Javanese language (Javanese Old and Middle) that can still be found until now. Thus Banyumasan language can be used to peek growth of the Java language that evolved long before the birth of the new Java language.

Banyumasan language has a specification and / or the special characteristics which can be distinguished by the new Java language (standard). Some special features include: (1) developing locally only in the area of ​​distribution of Banyumas culture; (2) has the character of an innocent and open; (3) there are many gradations upload-ungguh; (4) is used as a first language by most people Banyumas; (5) under the influence of ancient Java language, Java, mid, and Sundanese: (6) the pronunciation of the final consonant in the word read aloud (hereinafter often referred ngapak-ngapak), and (7) the pronunciation of vowels a, i, u, e, o is clearly legible. In the wider social arena, the characteristics of this kind has become one of the markers that can be easily recognized by other communities.

The influence of Indian culture (Hindu-Buddhist) against Banyumas cultural artefacts can be seen in history and belief systems Banyumas society closer to the belief system in both religions. In this area found many historical artifacts like the phallus, the yoni, prehistoric statues and other objects which are relics spread of Hindu culture. In Banyumas also believed there is a growing duchy in the pre-Islamic era, namely the Duchy Pasirluhur. This proved to be one of Banyumas been a strong base for the spread of Hinduism.
In terms of belief systems, the Hindu-Buddhist influence is reflected in the strength of animism, dynamism, totemism, gods and supernatural forces that come from nature and spirit of ancestors. In this area there are various kinds of rituals are performed at regular intervals are calculated based on the Javanese calendar or institutions prey. For example: the ritual loose earth and Suran in Sura, penjamasan Mulud heritage on a monthly basis, and upload Sadranan-uploads in Sadran, udhun-udhunan in the month of Shawwal and cowongan, ujungan and baritan held every prey Kapat and Fifth. This kind of ritual activities still continue to be implemented by the Banyumas community until now.

Until the beginning of the decade of the 1990s there's also a ritual activities undertaken by the community Banyumas on every night births by burning incense and some properties telon offerings such as flowers (flowers three kinds) and red and white pulp that is reserved for old-sedulur sedulur nom (older brother and younger brother). On the other hand, the Buddhist relics can still be seen on the still tersisanya spread of Buddhism in mountainous areas Kendheng, the mountains that divide the distribution of cultural Banyumas region, stretching from west to east.

The spread of Islam in Banyumas has given a strong enough influence on the growth of the culture in the area. Religion of Islam began to spread in Banyumas in progress since the era of Demak, which is when the area is under the rule of the Duchy of Sand. Carrier teachings of Islam is Makdum Wali, who managed to convert Duke Many Blanak, Sand ruler. In fact, Duke Many Blanak then contribute to Islamize the various regions, among others Banyumas, West Java and Ponorogo and the surrounding area. On participation, King Demak give some gifts to Duke Many Blanak, among others: (1) the Duchy of sustainable sand becomes a fief area (not the obligation set Pisungsung / taxes to Demak); (2) the Duchy of Sand by area starting from Tugu Mangangkang (mountainside Sindoro-Cleft) to Udhug-udhug Karawang; and (3) Duke Many Blanak appointed senapati Kanjeng title Duke Mangku Earth. Since then, the religion of Islam replace the religions that developed previously (Hindu-Buddhist) as a religion professed by most people Banyumas.

The spread of Islam in Banyumas does not necessarily eliminate the old belief that has been ingrained in people's lives in the region. Islam developed in the region in the form of Islam Abangan who continue to provide opportunities for the development of animism-dynamism to its adherents. An understanding of divinity apply custom "frame the religious culture". Cultural aspects more dominant role in social life, ngemuli and framing the teachings of Islam. An understanding of divinity framed in the nuances of local culture as can be found in a variety of arts, traditional expressions, folklore, traditional beliefs and others. This is different from coastal cultures (north) are more likely to develop Islamic purists in the form of "cultural framing of religion".
Banyumas cultural development not only in the administrative region Banyumas. In the north bordering the northern coastal culture, in the south reached the coast kidul, on the eastern side bordering Kedu culture, and on the west side bordered by Sundanese culture. The existence of Banyumas culture is very specific and distinctive, marks the existence of small communities in the cultural hegemony of the palace that developed in Javanese royal centers.

The geographical location of Banyumas is located in the border area distribution Javanese and Sundanese culture has a strong influence on the growth of culture Banyumas. Both of these cultures experienced acculturation so thick that lead to the formation of a separate cultural diversity is actually different from the culture of Javanese and Sundanese culture which incidentally is the parent culture. In various aspects can be seen clearly adherence of mixing between the two poles of the culture in the culture Banyumas. Concrete example is the myth of the two ancestors so strong in Banyumas society. They believe that the ancestors of Banyumas is a mixture of Majapahit and Pajajaran. Raden Baribin, one sister of Brawijaya IV was married with one daughter Pajajaran. Both were later blessed with offspring named Raden Joko Kahiman who became Duke's first title of Duke of Banyumas Top Citizen II (Duke Mrapat). Illustrates this reality of the historical side can be seen even stronger mixing of Java-Sunda in the realm of culture Banyumas.

In social life, community Banyumas once familiar with the folklore that is strongly influenced by the teachings of animism-dynamism and development of Islam abangan. Belief in superstitions, supernatural forces surrounding human life and beliefs about the divinity describe a mixture of animist belief system-Abangan dynamism to Islamic teachings. The concrete examples can be found in the traditional mantras. Someone walked right in the middle of the day in places that supposedly haunted (inhabited by supernatural beings) will chant the traditional-Islamic "Millah bedhug" or say "Bismillah, kyaine, putune ajeng sodomy". In the world of childhood too many common mantra of this kind. A child who is looking for dragonflies chant "

Model spells like this is done for the serious stuff and just messing around. Speech, "Millah bedhug" or "Bismillah, kyaine, putune ajeng sodomy" is an example of something that is considered serious. People of this region believe that in certain places inhabited by spirits, whether good or bad behavior. Their prudence shown by the sentences of this sort spells. As in the context of playfulness, mantra chanted by children catcher dragonfly describe how within them there is confidence or suggestion, that, to say the spell of the dragonfly will be benign. Conversely, for the dragonfly is not benign then the spell is resisted by the other spells, ndhuling, ndhuling, mburimu ana thief (ndhuling, ndhuling, behind you there are thieves).

In the context of art, local genius Banyumas community has produced many varieties of traditional arts such as breathing populist lengger, bongkel, Jemblung, calung, angklung, and others. A variety of art is constructed from the popular culture. They have a different aesthetic standards with a variety of arts palace inspired by the valuable concept. Art in the context of Banyumas culture is a means of expression of the totality of the experience of people living in the community of the countryside, away from the hegemony of the palace, the traditional culture-agrarian and social sensitivity that reflects the motion of their daily lives.

On the other hand, the cultural life of Banyumas strongly influenced by oral tradition. As areas that are lagging behind in the development of culture in the past, written culture in this region is relatively developed more slowly than the royal centers. The impact of all this has split the oral tradition as one of the most important part of their lives. People in this area have the techniques to remember important events in people's lives Banyumas. A literate people in Banyumas can tell clearly about the history of Banyumas, Chronicle Pasirluhur or flood events Banyumas. Similarly, people in this area have a way to remember the day, the market and the date of the year within eight years just to count fingers.

Banyumas culture also influenced by Western culture (colonial) as reflected in a variety of community traditions. Marungan traditions that form the habit of the aristocracy in rural areas do kasukan (rejoice) with a drink (liquor) while playing cards and watch folk dance performances lengger, allegedly is the influence of Dutch colonialism so long control of Indonesia. Performances tunil the form pethilan (piece) of a play believed to have originated from the term toneel in vocabulary in Dutch. Similarly, the costumes worn in the art dhames and bobbing is also an effect of the costumes worn by colonial soldiers. On the other hand, the colonial influence is also seen in models of buildings. Slaughterhouse sedhan is one form of colonial buildings influence the results.

CULTURE OF BETAWI

Gambang Kromong

Gambang Kromong

Gambang Kromong
Art music is a mix of local music with Chinese art. It can be seen from the musical instruments used, such as the stringed instrument of China named kongahyan, Tehyan and Sukong. While Betawi musical instruments, among others; xylophone, kromong, kemor, manacle, kempul drum and gong. Art Gambang Kromong developed in the 18th century, particularly in the area of ​​Tangerang Area. Starting from a group of a group of music played by some native workers in the plantation owned by Nie Hu Kong in collaboration with two women overseas Chinese who had arrived to bring Tehyan and Kongahyan.Pada initially played songs are songs of China, on terms now classic songs of this kind is called Phobin. Songs Gambang Kromong local content is still strong classical elements can be heard through the song Jali-Jali Bunga Siantan, Cente Sweet, and Renggong great-grandfather. In the 70s Gambang Kromong had boosted its presence through the touch of creativity "Panjak" Betawi legendary "Si Macan Kemayoran", the late H. Benjamin Syueb bin Ji'ung. With a touch of the existing variety of musical genres, be Gambang Kromong as we hear now. Almost in every celebration or "kriya'an" in every village Betawi, Gambang Kromong included as a menu of the most important music yanh. Gambang Kromong known artists in addition to H. Benjamin Syueb is Nirin Gather, H. Jayadi and father Nya'at.

Betawi Mask Dance and Dance Lenggang Nyai

Mask Dance Betawi

Tari Topeng Betawi
Betawi dance long enough known to the public is a Betawi Mask Dance. In Betawi Mask Dance, you can see the three elements of art as well. Namely dance, theater and music. Musical accompaniment Betawi Mask Dance aplenty. Mask Betawi grow and develop on the outskirts of Jakarta. Typically held when there is a wedding, circumcision ceremony and pay vows. In Mask Betawi, the dancers wear masks and storytelling through art movement. Now the mask dance Betawi many dikreasikan. So the Betawi dance even more diverse.

Dance Lenggang Nyai

Tari Topeng Betawi
Mandy is Widiastuti that develops dances Nyai Lenggang this. Or known to the public as Lenggang Betawi dance. Mandy itself is not a native Betawi people, it is the people of Yogyakarta. But his love for the culture and the Betawi dance, making Wiwik create Lenggang Betawi dance creations. In this dance you can see there tanjidor elements and very thick mask dance. Betawi dances Nyai Lenggang tells the story of Nyai Dasima who managed to extricate himself from coercion. Dasima housekeeper was able to determine the direction and the choice of his life.

There are many other cultures that exist in Betawi. As the young generation we should be able to preserve the cultures that have been used since. Therefore began to cultivate a culture was from now that it must be preserved from extinction.

Japin and Dance Dance Cokek Betawi

In addition to the musical instrument xylophone  Betawi culture also has a variety of dances. Betawi dances have their own characteristics, namely sound jaunty musical accompaniment and dance movements are dynamic. Dances originating from Betawi are:

dance Japin
Tari Japin
Japin dance is actually the Zapin dance. Habits of betawi call Z with the letter J make this dance name automatically becomes Japin. This dance has spread everywhere. This dance gets a great influence on the culture Arab.Yang distinguish betawi Japin with Zapin dance in general is the accompanying music. Japin dance using music tracks betawi like psaltery. Zapin dance danced by skipping beating a small tambourine percussion. Hit him in unison with jerking movements. Seeing this Betawi dance gives a feel carefree. Japin Betawi dance usually in pairs between women and men.

Dance Cokek Betawi

Tari Cokek Betawi
Betawi dance this one brought by the financiers or the landlords of the Chinese Peranakan wealthy. They used to take care of cokek dancers and players Gambang Kromong. The dance is accompanied by music cokek Gambang Kromong and often featured in events held by Landlord. Therefore, dances and dance apparel Cokek Betawi somewhat similar to dances in China.
As time, landlords are willing to accommodate live dancers and Gambang Kromong cokek was reduced. As a result very few who want to preserve the Betawi dance this. Dance cokek somewhat similar to ngibing. The other is his trademark hip shake geal-Geol. Now cokek players and professional players Kromong Gambang, hard to find.

CULTURE OF BETAWI

Betawi ethnic group made up of several ethnic groups joined in a region so as to form their own culture that Betawi culture. Betawi ethnic group originated from the mating-mawin ethnic and nation in the past. Biologically, those who claim to be descendants of the bloody Betawi is a mixture of various tribes and nations were brought by the Netherlands to Batavia. What is called the person or tribe Betawi actually calculates newcomers in Jakarta. This ethnic group born from the fusion of various other ethnic groups who were already living in Jakarta, such as the Sundanese, Javanese, Arabic, Bali, Sumbawa, Ambon, Malay and Chinese. With the growing diversity of ethnic Betawi, every ethnic usually affects every celebration of ethnic Betawi. As culture ignition firecrackers, Lenong, Cokek, until Betawi traditional wedding clothes were predominantly red, it's all been strongly influenced by the culture of the ethnic Arab Tionghoa.Kemudian greatly affect the stringed musical marawis musical colors and Tanjidor. Tanjidor itself is a cultural blend of European, Chinese, Malay and Arabic. While in the village famous cultural monument kroncong who came from Portugis.Salah the typical music of the most famous Betawi arts are Gambang Kromong, where at every opportunity about Betawi, Gambang Kromong always be the most important. Almost every news broadcast on television, Gambang Kromong always been a musical illustration.

and many other anrata Betawi culture:
- Lenong
- Ondel Ondel
- Dance Japin
- Dance Cokek Betawi
- Mask Dance betawi
- Dance Lenggang Nyai
- Gambang Kromong

martial of Bekasi
Beladiri Beksi
Since time immemorial, the Betawi people have always known and synonymous with martial arts and teachings. Reportedly, since the days of Dutch Company, teen Betawi always required to diligently worship and were able to keep ourselves by studying the martial art pencak silat. No wonder this martial art became one of the cultural property of the Betawi people.

On the ground Betawi, but many stores various kinds of martial arts, one silat Beksi. Martial arts, this one is a blend of martial art, beauty, and accuracy in reaching target opponent. Not only that, though not disregard the beauty of motion, strength strength can not be underestimated. Speed ​​and dynamism in motion is what can beat the opponent to the helpless and may be fatal.

In silat Beksi, if at focusing on the outside of the elbow or arm area characterizes blow this kind of martial arts. By leveraging the strength of the opponent, punch Beksi can lead to hurt your opponent and be fatal. This is a reliable whiz-whiz Betawi when dealing with his opponent.

One of the figures silat Betawi Beksi, Bang Endang SH admitted, the whole movement are summarized and organized dynamically makes Beksi as silat martial art that is different from other martial arts. From the beauty of this motion, silat Beksi widely used or exhibited in the procession locking the door at the wedding of Betawi traditional southern part.

At the moment there are 18 Beksi parried by 9 basic steps called formation. Meanwhile, the attraction which often involve silat Betawi Beksi is the Cross procession Doors and Welcomes meaning by using formations stance team and individual tactics. "Because kemantepan in motion pas made on locking the door so much lost interest," said Endang to beritajakarta.com, Saturday (1/5).

Furthermore Endang admitted, if Beksi martial arts have existed since the Dutch colonial era. This was evidenced by their use of this martial art since the 18th century martial type has inherited up to the great figures of martial Beksi, H Hasbullah, who opened the college Beksi in Kabayoranlama, South Jakarta.

Endang tells brought this Beksi silat originating from China brought by Lie Ceng OEK. In the Land of Betawi is then Lie Ceng OEK formed a martial arts school in the area Dadap, Tangerang. To preserve the martial arts Beksi, Lie Ceng OEK lowering ilmua to disciple named Ki Marhali and followed by H Ghazali. From there then lowered again to H science Hasbullah and the next generation.

In its development, silat Betawi Beksi grow in the outskirts of hicks or regions such as South Jakarta area Guest Houses, Kebayoranlama, Ciledug, and some areas in Tangerang. The combination of science Beksi brought Lie Ceng OEK with the movement created by elders Beksi Betawi, making this Beksi science as Betawi martial arts.


Sunday, February 20, 2011

Ondel Ondel
Ondel-ondel
-Ondel is the result of Betawi culture in the form of a large doll whose height reaches approximately ± 2.5 m with a diameter of ± 80 cm, dolls made of woven bamboo, which is made to be borne from within by people who took him. The doll is used and played by people who took him. In the form of his face mask or a mask that is applied to the woven bamboo, with the head by the hair made from palm fiber. Face ondel-ondel men usually painted in red, while the woman painted with white color.
This type of show is suspected existed before the spread of Islam in Java and is also available in the area with similar performances. In Pasundan known as Badawang, in Central Java called Barongan Beans, while in Bali known as Barong Landung.
Beginning performances ondel-ondel serves as a repellent reinforcements of disorders that interfere spirits. But the longer this tradition turned into a very good thing for reassembly, and most of these events are now held at the welcoming ceremony honored guest, and to brighten people's parties as well as the inauguration of a new building was completed.
Besides, to enliven the parade in the past usually also toured, "ngamen". Especially on New Year's celebrations, both AD and Lunar. Goals in New Year celebrations AD Menteng area, which many people inhabited the main Kristen.Pendukung art ondel-ondel farmers who included "abangan", particularly those contained in the suburbs of Jakarta and surrounding areas.
The music that accompanies ondel-ondel not certain foreign tergantug from each group. There are accompanied tanjidor, such as group ondel-ondel pimpian Gejen, Setu village. There are accompanied by silat Betawi like entourage "Beringin Sakti" Duloh leader, sekarag leader Yasin, from Rawasari. Those that diirig Bende, "Kemes", Ningnong and Tambourine ketimpring, such as ondel-ondel rombogan Lamoh leadership, Kalideres. Betawi-ondel basically still survive and become trimmer in the face of metropolitan Jakarta.

Lenong



Lenong
Lenong as a spectacle, has been known since the 1920s. Word Muntaco deceased, famous Betawi artists, calling it a continuation of the process and the development of music Gambang teaterisasi Kromong. So, Lenong is Gambang Kromong strains were added element bodoran alias joke without a plot.

Later developed into plays contain a short jokes, which are arranged in unincorporated story. Then into the show all night, with a full length play, which is performed through the street singing around the village. After the Dutch colonial era, lenong promoted, as it begins to be shown on stage celebration. At the beginning of independence, the people of this pure theatrical spectacle stage
At that time, decor was still very simple, such as screen about 3 × 5 display meter mountains, fields, forests with large trees, houses of the village, the sea and the fishing boats as well as a palace hall with huge pillars. Equipment was the traditional lighting, in the form of Colen, a three-axis torch out of a tin kettles filled with kerosene. Before rising so petromaks.
Although it continues to adapt to the wants of the times, to continue to survive, lenong struggled. And this is not easy. 60' year's, still relying on the duration of the night-long performances and dramaturgical concept is very simple, lenong started oversized. "I think we like being on the edge of the abyss," said S.M Ardan, writers and filmmakers Betawi who is now active in Usmar Ismail Film Center, Kuningan, Jakarta.

Orkes Samrah and Tanjidor

Orkes Samrah
kesenian orkes samrah dari jakarta
art orchestra samrah of jakarta

Yangdalam Betawi art forms orchestra under the influence of the ethnic Malay. Songs that are usual in the normally bring songs that are old school (the past) like White Bird song, Pulo Yellow goose Two and betel. Orchestra Samrahh Tenabang many developing regions, where the area is known as the center of the spread of the Malay in Betawi. Samrah orchestra is also commonly used to accompany the songs sort Kicir Betawi-kicir, Jali-jali, Lenggang Kale and others. While the usual dance accompanied by the orchestra samrah called Dance Samrah. Typically, the dancers samrah danced in pairs with a variety of dance movements, one of which is influenced by the movement of silat. Figures in music samrah is Sabeni Ali, son of the legendary Champion Sabeni.


Tanjidor
Kesenian Tanjidor
Art Tanjidor
Tanjidor is a Betawi art that shaped the orchestra. Art has been started since the 19th century. Musical instruments used are usually composed of a merger of musical instruments brass, strings and percussion instruments. This art is usually used to escort the bride or the parade area. But in general, this art is held in a place that will be attended by Betawi people widely like an orchestra. Art Tanjidor also found in West Kalimantan, while in South Kalimantan is already extinct.

Various art betawi

The nature mixed in dialect is a reflection of Betawi culture in general, which is the result of mating a wide variety of cultures, both originating from other areas in the archipelago and foreign cultures. In the field of art, for example, the Betawi people have Gambang Kromong art that comes from the art of Chinese music, but also there Tambourine rooted in the traditions of Arabic music, Keroncong Tugu against the background of the Portuguese-Arab, and Tanjidor backgrounds to Dutch's.

Biologically, those who claim to be descendants of the bloody Betawi is a mixture of various tribes and nations. They are the result of mating-mawin ethnic and nation in the past.

Various Betawi traditional art can flourish and loved by the public, not only Betawi people.

The Betawi arts, among others:

1. Lenong
2. Mask broker.
3. Mask Dance,
4.-ondel,
5. Dance Mask Ronggeng
6. and others

Sound art and the art of music is:

1. Sambrah,
2. Tambourine,
3. Gambang kromong,
4. Tanjidor and the like

wayangpun even there, wayang kulit uses language Betawi Betawi dialect.

CULTURE OF SEMARANG

Closer to Semarang: Semarang Cultural History 


Semarang city is the capital of Central Java Province, which is adjacent to the north of the island of Java, Semarang city is geographically contiguous with Kendal in the west, Regency Ungaran in the south and east are Demak. Size Semarang city is only about 373.67 km. Inhabited by about 1.3 million people of diverse cultures and the uniqueness of each. Evolving some parts such as Java, a Chinese and Arabic, and has a fascinating culture that is a blend of cultures that formerly was the forerunner of Semarang. Referring to the building's history and the names of places in the city of Semarang, the culture at the time and developing like Islam, a Chinese, European and Java (native). Fourth blend of culture that have an important effect on the development of Semarang past. The rest of the culture is still standing strong buffeted modern culture that was around market Johar (Kali mberok).
Semarang long history notes that there are places that became the center of cultural civilization which still exist and some only memories (old building). The place is divided into 4 (four), namely: Kauman, Kampung Chinatown, Kampong Netherlands (Little Netherland), and Kampung Melayu. Kauman in the old days is an area of densely populated Java descent, is now also a lot of Arab descent. Chinatown village inhabited mostly by descendants of a Chinese and Dutch Village is an area of government and the small town which is now called the Old City of Semarang. While Kampung Melayu more Arab descent, and at this time the Java community more in the area of Malay kampung.
Previous article about the history of Kali Mberok, Old Town area and mosques in the Old City of Semarang noted that the four cultures fused and intertwined. Seeing the shape of Semarang city planning at the present time is actually still seems a little gathering of different cultures in Semarang. As the central point is the bridge mberok times, the Malay village located to the north contained Layur road and the Mosque Tower. While Litte Netherland located east of what is now the Old Town area and lined the Dutch government buildings to the west up to the roundabout Tugu Muda. While in the west times mberok an ethnic neighborhood of Java called Kauman. Tionghua more community gathered South now the Chinatown area.

KAUMAN…
Kauman or village are legendary are inhabited by the Java community are more likely to religious Muslims. The main distinctive feature is the large Pupils who is the center of Semarang past. The building is still standing is the Great Mosque Kauman Semarang. As a center of Islamic civilization, then Kauman very important role in the development of Semarang as it is today. Residents crowded into separate points for Javanese culture represented in Kauman. Actually, what is meant by Kauman? In a variety of literacy history of Java, Kauman often buried in the old towns that Islam breath. Not only in Semarang, Surakarta, Yogyakarta, Demak there is a place called Kauman. Because the first era, Kauman is typical of Javanese culture is closer to Islam. The main characteristic is the presence of Masjid Wali Kauman, roundabouts Square, the center of government and traditional markets. Although the formula is not necessarily the same.
The fourth main pillars that make special of Kauman. The mosque as a place of worship, Roundabout Square sebegai social and governmental advice, Traditional Market as the center of business and daily necessities, and the central government is a component of state regulators are translated into regulations (fatwa). Now, back to the area of ​​Kauman Semarang, history writes that Kauman Semarang area appears when the kingdom of Demak Bintoro (NCO) stand which is the first Islamic kingdom in Java. Kauman name itself comes from the word sing secure (the = qoum = residence Muslims). So Kauman could mean shelter Islamic community safe.
When based Royal Demak Bintoro had stood firm, then to unite Demak with government bureaucracy surrounding areas need to be set, one of the figures who memengang important role is Ki Ageng Pandan Arang I. Ki Ageng Pandan Arang is the son of Panembahan Sabrang Lor (Second Sultan of the Sultanate of Demak), at the beginning of tripe region of Semarang actual target area around Pragota (now named Bergota). But then the days of growing, then Ki Ageng Pandan Arang then also spreading Islam and its territory until Pedamaran (now Pedamaran road in the area of ​​Central Semarang and there Pedamaran Market - expand again into the market Yaik and Johar). The development not only to the economic hub, but also a religious center by building a mosque that is located on the west times mberok which is now called the Great Mosque Kauman Semarang
After Ki Ageng Pandan Arang I died, then the position of the government handed over to his son who bermana Mangkubumi (also called Ki Ageng Pandanaran II - Sunan Bayat). In 1695, the old town area of Semarang inhabited by diverse ethnic aimed at trade and territorial expansion. The expansion area was done by the people of Europe (Netherlands) who participated developed in the Old Town area. At that time, the Dutch build elite areas and offices are lined up from the roundabout to the roundabout Bubakan Tugu Muda. Then there are terms that divide the area into two gedongan for the elite area of the Indies and settlements for natives. Well, the township area is now known as the hometown of Chinatown, Malay and kauman (If you can say this is actually the old town area actually means).
PECINAN…
Chinatown is a term for a Chinese society and their descendants who live berkemlompok into one region. At first people Tionghua housed in the Old City, in fact they live and reside in Little Netherland is located in Old Town area. However, in 1695 the Dutch government indirectly restrict public access Tionghua to finally move around the region Malay village. However, due to the economic and cultural value, people Tionghua more grown up around the south Kauman. The development of a Chinese society more and more, and then set up the area and the houses themselves are made with a tiled roof and high fences. Public houses first Tionghua be around Chinatown Lor and Wetan. Because it requires a high cost and the conditions are not easy to build a house, then when it's just people Tionghua rich who can build a house.
The road condition is not too wide as it is now, making people Tionghua create a mode of transportation by using horsepower called Be Too. Community Tionghua trade more activity coming from China (China), such as jewelry, silk, ceramics and others. Until now, the trade is still a lot of moves in the Chinatown area. For example jewelery and fabric department at Jalan Wahid Hasyim. Points that is the resurrection of a Chinese in Semarang is when the Dutch East Indies government began approaching people Tionghua successful. One of them lifts people Tionghua an official at the government offices Indies. Kwee Kiau Loo was the first to become an official Tionghua Indies
But it does not last long, when Semarang de yure handed over to the Dutch East Indies government controlled by the VOC (Vereenigde Oostindische Compagnie - United East India Company) by His Majesty Mataram then being of society Tionghua slightly to bergoyah. One of them by delivering high taxes on merchandise that is managed as if people Tionghua like wine and salt. Despite that, the tax imposed is precisely the high donations for the presence of Semarang in the past. In the field of trade, a Chinese person in Semarang has a major role because of their income goes to the government coffers from the Dutch East Indies and excise tax factors.
At that time, many people Tionghua who became head of the ship (syahbandar) because, export and import trade is done by sea port of Semarang. So there is a term that says there are many airports in the Chinatown area, until now the naming of the city can be found around the Chinatown area which is called Subandaran. Besides a role in revenue from duties and taxes, a Chinese person was also instrumental in establishing several small factories that could be a place other people's livelihoods.
KAMPUNG EROPA (LITTLE NETHERLAND)
Kampung Europe or Little Netherland is a term for areas inhabited by the Dutch people. The area is more commonly called the Old City of Semarang began to grow in 1741. In the beginning, the euro area is only in the form of an office building, a warehouse, but later developed into a center of culture and commerce with many hotels popping, elite housing and several other buildings. The fundamental characteristic of a European village is desian building with art deco architecture models. The buildings are still preserved as Lawang Sewu building is a former office building for the company Railways Indies or NIS (Nederlands-Indische Maatschappij Spoorweg). The Dutch who settled in Semarang Tinghua not as many people, but they menguasa all perdanganan access to government and making it easier to exchange culture.
Elite residential area is made such that (department Blenduk Church), making the access road as Deandels road and railway line connecting between Semarang - Surakarta - Jogjakarta and Ambarawa. The important role that could seemingly is the great railway transport which is the forerunner of the entire railway line in Indonesia. Because indeed, Trans Rail Semarang - Responsibility (Tanggungharjo, Grobogan, Central Java), created in 1867 the first railway line in Indonesia. In addition to building a means of transport, the Netherlands also make access more easily from city to city in central Java began from Semarang, although many indigenous people who become uncomfortable due to the existence of forced and compulsory labor planting.
Two (2) building that is now the icon of Semarang is a relic of Europeans of his day which is Lawang Sewu and Gerejo Blenduk. While stations and Polder Tawang is a facility designed to facilitate access to trading.
MALAY VILLAGE ...
Malay Kampung Semarang is a village inhabited by ethnic Arabs and the majority of a Chinese person. These variables then makes of Malay. Currently Malay village can be seen in the surrounding streets Layur, where the street stands the old mosque called Masjid tower. Because there was indeed a tower that serves as a call to prayer. But this time the existence of Arabs and Tionghua on the road layur can be said almost nothing. The main thing that causes because of the flow of river water (rob) is not smooth. So easily happen tidal flood, make the streets become dirty so it looks rundown. The issue is that up to now the main problem Semarang government that there is no bright spots when it can be resolved.
As a simple overview of the Malay kampung is cultural diversity visible from the house. The building houses that are tailored to the peculiarities of such ethnic ornament Arabic calligraphy for the community. The rest of the building can be seen from the Malay kampung in Semarang is a mosque and temple tower that currently exist in the area of ​​Chinatown.