SOUTH KALIMANTAN CULTURAL ART

SOUTH KALIMANTAN CULTURAL ART

Barito river

The History Background
The owners of the culture art of South Kalimantan are the Banjar tribes who give dominant styles to the culture and art of that area. The Dayaks, Malays, Javanese, Buginese and some others have also contribution in the forming of South Kalimantan art and culture. The Banjars are actually the mixture of the Maayan, Lawangan, Bukit and Ngaju tribes who are influenced by the Malayan and Javanese culture. It is said that the Malays had migrated to this area before the 6th century. Later, together with the Dayak, they formed a new tribe which was first known as the Banjar tribe.

The migration of the Javanese happened in the 13th century. They were mostly from East Java. The migration was probably caused by the political chaos in Java.

The settlers, who were the Malays or the Javanese, had to use rivers like the Barito, the Negara, the Martapura, the Tabalong, etc., for the means of transportation.

Floating Market in South Kalimantan.
Transportation is available on land or on water by riverboats. Vendors move from one place to another by rowing their canoes.

The Dayak had settled there along the rivers for long time. And so the mixture of these groups of people were inevitable. In forming the new groups, the Banjars were dominant.

Dayak Woman

The migration had continued. During the Sriwijaya era, the Malays came and during the Majapahit era, the Javanese did. And then came the Islamic culture which was brought by the Malays, the Banjars and the Javanese. The Islamic influences entered through the rivers of Barito, the Martapura, the Negara up to the smaller ones like the Tapin, the Amandit, the Tabalong, the Balangan, etc.

In the 16th century, the Buginese and the Mandars arrived at south east Kalimantan. The mixture (mingle) of the Dayak, the Malays and the Javanese formed a new language that is known as the Banjar language. In this language, the Malay structure and vocabulary are more dominant than the Javanese or other languages. When Islam was adopted by the Banjars, as a mixture of tribes, could easily adopt foreign influences, including the Islamic religion. And later, their descendants and Islam had great contributions to strengthen this tribe. The native or the Dayak who believe in Islam, call themselves “the Banjar”, but those who believe in the “Kaharingan” and those who are Christian call themselves the Dayak.

Since the Banjars are a mixture of tribes, their cultural and art is also a kind of synthesis. But later, their culture and art had become characteristically “Banjar”, which constitute one form of culture and art among the so many forms in Indonesia.

The Malay influences are not only on the language, but also on the culture and art. The Banjar headdresses are also similar to those of the Malayan ones. The formal dresses (clothes) for men (the “baju palimbangan”) are also similar to those worm by the Malayan (the “baju Teluk Belanga”).

Their dances are also influenced by the Malays. The “Japen” dance or the “Japin” is one of the dances that still exists in South Kalimantan in the settlements of the Banjars as well as the Malays ones. The theatrical art also gets some influences from the Malays society. Many years ago, Royal theatre was also found in the Malays settlements. The influences can still be found in the “Mamanda” theatre which is still popular up to now.

There are also Javanese influences in their language as well as their culture; mainly in the theatre and visual art (fine art).

At the theatrical art, such as the leather puppets (wayang kulit) there are two kinds of art, the theatrical and the fine art. The language they use is the mixture of Javanese and Banjar languages. The conditions in the “Wayang Orang” and “Damarulan” are the same. In Java, they are known as “Wayang Wong” and “Damarwulan”. Beside Wayang Orang, there is also “Wayang Gung” there. It is like wayang orang but there are some differences in the headdresses and the stories they perform.

The Javanese influences in the fine art also very cleat; especially in the making of leather puppets that have Hindu or Buddhist ornaments. The gamelan instruments they use are also similar to those of Java; they have the same name and forms.

If we study the whole culture of South Kalimantan, we’ll find that the local culture is influenced by other culture. They are as follows:
1. The local culture that is influenced by the Javanese one.
2. The local culture that is influenced by the Malays one.
3. The local culture that is influenced by the Dayak one.
4. The Dayak culture itself.

The Dayak culture originated from the old times when animism and dynamism had great influences.

The Function and Social Role in the Society
Beside its artistic aspects, the South Kalimantan culture and art also have their functions as well as their social role. The Dayak statues, for example, which are erected outside their villages, have a magical function to guard their villages against bad spirits

Study of its Traditional Arts
South Kalimantan is rich enough in its traditional art. They are the two dimensional art and the three dimensional. The two dimensional products of art include the weaving, painting on glass, ornaments, calligraphy and wooden craft. The three dimensional ones include architecture and statues. The raw material for weaving is rattan, bamboo and purun (stalks of certain grass). Weaving has prospered well in this area

The Village of Tenganan in Bali

The Village of Tenganan in Bali

The village of Tenganan in Bali carefully preserves a cultural legacy dating back to the Majapahit Empire, and offers a unique glimpse into the lives of the first Balinese.

Midway through each year, an undercurrent of intense excitement surrounds the unique Baliese village of Tenganan. A buffalo is ceremoniously slaughtered, while beautiful textile heirlooms are displayed in the open. An ancient wooden ferris wheels is specially constructed. And, perhaps most ominously, strips of thorny pandanese leaves are piled up, ready for the combat to begin.

All the action is in preparation for the village’s fifth-month celebrations. For hundreds of years, Tenganan has maintained its cultural authenticity through daily, weekly and monthly ritual and ceremony according to strict customary law. For the visitor, a visit to one of Bali’s most pristine villages is a glimpse of Bali as it once was – a time capsule preserving the lives of the original Balinese.

Ancient Culture
Tenganan is a walled communal village that has preserved its animistic cultural practices for hundreds of years. The village lies at the head of a narrow valley at the base of Bali’s sacred Mount Agung, about 3km into the hills from the eastern coastal holiday resort of Candi Dasa.

Locals call the Tenganese Bali Aga, or Bali Mula, meaning original Balinese. As such, their culture predates the Majapahit Empire (1294 to 1478) from which most mainstream Balinese claim cultural and spiritual descent. The 300 or so members of Tenganan communally own land that spreads far beyond the surrounding hills. They are reputed to be among the riches tribes on Bali.

You might not think Tenganan was so wealthy and socially complex at first sight. In this non-descript walled village, there are no streets or cars, merely two rows of houses doubling as shops, which face each other across an ancient village green.

Magical cloth
Tenganan is best known for its traditional cloth, called Kamben Gringsing, which transpates as both “flaming cloths” and “against sicknesses”. This peculiar double-ikat cloth – only woven elsewhere in Patola, India and Guatemala, Central America – is characterized by its distinctive colors. A group of four gringsing cloths takes up to eight years, and each piece can fetch as much as Rp 32 million (US$3,494). However, certain gringsing heirlooms are not for sale.

An element of mystique surrounds gringsing. In the 1930s, Miquel Covarrubias wrote in Island of Bali that kamben gringsing was once dyed in sacrificial human blood and possessed magical powers. In turn, the wearer was said to be protected from black magic. Many mainstream Balinese still avoid Tenganan today, fearing black magic.

Clearly defined social structures forbid outsides marrying into the Tenganan community. Until 1925, marriage in Tenganan was only permitted within the village. Upon relaxation of this law, a village man could marry a single woman from one of the mainstream Balinese high castes without losing his right to live in the village. A villager breaking any of Tenganan’s laws is considered to be breaking divine law. The result is banishment for life to the outer village, to become a member of the organization of the fallen.

More than any other village in Bali, Tenganan performs rituals on a daily basis, to guarantee the spiritual purity and balance of the entire community. The most popular by far and highlight of the fifth Tenganan month is the thrilling mekare-kare (shiled) pandanas fighting.

Battle for blood
On the second day of the Usaba Sambah even from June 13 to 15 each year, Tenganan’s excitement reaches an electric and infectious climax. The atmosphere is tense as hundreds of local and foreign visitors armed with cameras edge forwards. Each strains to witness open combat, Tenganan style – combat between pairs of male villagers, boys and men alike, each armed with rattan shields and strips of thorny pandanas leaf.

Steadily, the rhythmic melody of the ancient gamelan orchestra builds, together with shouts of encouragement, as one combatant after another drinks rice wine, or tuak, before pairing off for battle.

Thwak! Thwak!
This is no play fight. Males of all ages participate in mekare-kare combat – and the aim is to draw blood. When bleeding does occur, fighting is supposed to cease. But sometimes the head and fervor of the moment gain the upper hand, forcing elders to step in to separate combatants.

The fight’s main skill is in attacking and dodging. Attacking is done by scratching or hooking parts of the opponent’s body with strips of thorny pandanus leaf. Anything between the neck and the waist is considered fair game. By and large, most scratches occur on the back.

Remarkably, the fight’s rules demand blood. Fights averaging two-to-three minutes may take longer, because the referee won’t stop the fight until blood is drawn. Afterwards, injured parties are treated with traditional medicine called bareh, which repairs the skin in a matter of days.

Maintaining harmony
Villagers see this bloodletting ritual with no winners or losers as a healthy reinforcement of masculinity. Village elder, I Putu Suarjana, says that according to Tenganan tradition, the blood-letting helps maintain a harmonious village: “When someone is fighting in the mekare-kare, anger will rise within him. However as soon as the fight is over this anger will vanish involuntarily.”

As the males assert their virility, young girls reinforce their culture ties too, observing the combatants while wearing gringsing, family heirlooms handed down by generations.

Aside from these public displays of cultural continuity, other key actions are take to safeguard Tenganan, including limiting the spread of capitalism. When concerns arose that the integrity of the village was being eroded as more houses were used as shops, the village council decreed these be restored to their original structure. I Nyoman Sadra, another village elder, explains: “Over the next few years, all our shops will have moved to the parking lot outside the front gate. But visitors will still be able to come into our homes where the old arts, including the making of gringsing are practiced.”

While acknowledging the outside world, Tenganan continues to draw its strength from its traditions. Parts of Bali may be radically transformed by tourism and change, but Tenganan village is intent on remaining an island unto itself.

Traditional Craft of South Sumatera

Traditional Craft of South Sumatera

Since long before, South Sumatera has been known with its traditional crafts like weaving, plaiting, wood carving, ceramics and metal-craft. Hereditary, these art craft has not change much. It is caused by the fact that most of those products are utilized as equipments in the adapt ceremonies.

It has been mentioned about the tradition to decorate the adapt-house with wood-carving. This wood carving art does not only produce home decoration, but also furniture. Characteristics of South Sumatra wood carving art, especially that of Palembang, is the density and excessiveness of the decoration with see through technique using plant-motives with symbolism. The decorative impression is more conspicuous due to the application of different colours on the decoration. The most popular colours are gold-coating and red (lac), a tradition which supposed to be originated from Chinese decorative art.

Along the development of wood carving art, the songket-weaving art has also been developed, especially in Palembang where it later further expanded to the Meranjat OKI region. The songket-weaving art has been known already since the Sriwijaya period, when silk and gold yarns were used. The plant decorative motives seen at the woodcarving decoration appear again at the songket decorations. According to the applied decorative motives and their designs, several names of songket weaving are known as Songket Lepus, Songket Naga Berdaung, Songket Bunga jatuh, Songket Bunga Cina, Songket Bertabut, Songket janda berhias, etc. The songket weaving are available in the form of sarong, shawl and headcloth. In latest development songket weaving are produced for various outfits of divans, back and seat of chairs, table coats, etc.

Table - Wood Carving, Palmebang

Ceramic art of South Sumatra has been know since former times having produced daily necessity equipments like pitchers, cooking-pots, boilers, water-barrels, braziers, water-pitchers, money-boxers, etc.

Kayu Agung city is a centre of ceramic art beside Poya Kabung village which produces especially decoration ceramics. In the latest development, in Mentok and Sungailiat (Bangka) a sort of porcelain ceramics has been produced as industrial article. This fact is supported by the availability of high grade ceramic material in that area.

The plait-craft tradition started as side production efforts for own consumption. Bamboo and rattan are the main material to produce plaitware as baskets, mats, hats, dish-cover, bags, etc.

The Payung and Kelapa sub-districts of Bangka are well-known of their platcraft producing Kopiah (cap) made of resam, a sort of fern. Acquainted with foreign craft products and stimulated by the needs to sell, then furniture of rattan are produce, as chairs, beds, lamp-shades, book-selves, buffets, etc.

For the outfit of adapt wedding, beside songket weaving articles, the crafts of metal-smiths are also needed, which manufacture ankle and armbraceletsm brest-decorations, shoulder-decorations, belts, rings, hair-decorations (crown) etc. Materials used therefore are gold, silver, or brass blending with hammering, carving, shaping and welding technique. The Penganggon and the Gede decorations are outfits for adapt wedding, which demonstrate traditional decorative-art beauty-value being produced in the region of Palembang. The precious metal smithy art tradition has gradually disappeared. Palembang, the city once know as a centre of activity of this art, there is today rare of craftmen producing outfits for traditional wedding. Meranjat OKI is also known as a centre of gold-craft, beside being a centre of songket weaving, as mentioned before.

SOUTH SUMATERA CULTURAL ART

SOUTH SUMATERA CULTURAL ART

The Ampera Brigde in the evening.

It spreads above Musi River, Palembang (South Sumatera)

Cultural Background
The South Sumatera Province encloses the inlands in the west and south parts which consist of hilly upland plains, while the north and east parts are swampy lowland plains and coast areas. Opposite the shore are the islands Bangka and Belitung.

The natives of South Sumatera consists of several tribes having there own dialects as the Komering, the Ogas, the Pasemah, the Musi, the palembang, the Lamatang, the bangka, the Belitung, the Sekak and other dialects.

Means of existence of the people aremainly trade and fishing. Nowadays there are also labourersartisans and government officials among them.

The geography of South Sumatera contributes to the shaping of a cultural type, which reveals not only local patterns, but also foreign elements as the result of acculturation.

The early development of culture in South Sumatera started from prehistory. Megalitic cultural heritage in several districts of South Sumatra shows high level culture, leaving monuments and stone objects, beside stone sculptures of different style compared toother magilitic stone figures at Java and Sulawesi.

Si Pahit Lidah's foot printed on the stone

As the case in other regions, the presence of stone figures is always associated to folklores. So is the “Si Pahit Lidah” (The Bitter Tongued”) legend known among the people of South Sumatera, telling the story of stone figures as the curse of “Si Pahit Lidah”. The magalitic stone figures of South Sumatera explain that the people living in the last stone period and early bronze age, mastered already the skill of stone chiseling. The clothes figured on the sculptures also reveal the life and behaviour of the people in the past according to their needs.

The skill of erecting stone buildings and chiseling stones developed further after the arrival of a new – Hinduist and Buddhist backed-up-culture. South Sumatera became one of the new religions central in Indonesia under the reign of the Syailendra and Sriwijaya dynasties. Above mentioned culture did not leave many stone temples and statues unlike the case at java; this remains the problem being discussed among experts.

The fact that cultural heritage of that age is still rare or undisclosed does not mean that we have no sources of knowledge concerning its art development. The aesthetic standard of art products of the Sriwijaya golden age is still known through traditions of various art-crafts inherited to the next periods.

The most strategic location of Sriwijaya in the traffic of trade opened the opportunity for the emergence and growth of traditional crafts within the royal circle and among the common people as well. In its development this art-craft tradition has been enriched by foreign elements of art-craft, from countries outside Indonesia as well as from within Nusantara itself.
Various types and patterns of ornaments appearing on tradition buildings decorations and furniture show the integration of those elements of artcraft.

Decorating motives originated from pre-Hindu, Hindu and from other foreign cultures, as from China and Siam are blended in various traditional decorations art designs in South Sumatra. These decorations appear on products of weaving art, ceramics, wood-carving, plaints, etc., showing decorative motives being typical of South Sumatera, as sunflower, melati, bamboo shoot, crinum asiaticum, fern and other motives. Chinese influence prevailed further along the development of trade. This influence evolved various skills in craftsmanship as of furniture craft and building construction. The role of Chinese art appears in the shape on buildings as the minaret of the Palembang Grand Mosque with its pagoda-typed dome.

Dragon, squirrel and funix bird are some examples of the so-many Chinese decorative motives appearing on furniture in South Sumatera.

With the development of Islam, the art of South Sumatera has been further enriched with elements of Islamic art. Beside plastic art, qasidah and rebana became new assets in the development of art in this region.

Arabic calligraphy assumes an important role through various techniques in mosque and home decorations. The old art still plays its role in art activities within the Islamic society. Al of these has become tradition which reflects the nation’s character for being open to various art influences from outside, without neglecting own identity. The arrival of Europeans – though it did not effect directly the building and development of art in South Sumatera – it brought changes in the expressions of artists. Art craft and decorative art, beside high standard dance and music, were not maintained, and suspended as frozen traditional art, many of the were even destroyed.

The new culture brought European style into city buildings as houses, offices and churches which were erected by architects who entirely did not know about the tradition of construction art in this area.

Conservation of art were poorly maintained, as traditional values win less appreciation in the development of new culture. Education in colonial time removed art further from society life. The effect was that social appreciation toward own art was no longer developed.

Traditional art will regain its meaning and value in the society, when the nation concerned starts being aware of the glory of the inherited tradition. The bearers of tradition should remind themselves of the art and cultural values ever owned by their nation.

Natural art tradition needs to be re-expressed through various efforts principally by revitalization. In this case, education needs to play its role beside direct steps in the remaining central of traditional art activities.

Through art education, traditional art will not only regain its place in the society, but will also be able to generate creativities to produce new forms of art expressions, without neglecting its own regional art identity.

Architecture of South Sumatera Traditional House

Architecture of South Sumatera Traditional House

Palembang architecture

Traditional architecture is usually built according to and following the norms inherited by their ancestors and followed by the local society.

Beside pile-houses, where living-rooms are over the ground-surface, and the space under the houses is for keeping tools and animals, other characteristics of the traditional building of South Sumatra (Palembang) are the differing heights of the floors.

The part with the highest floor at once indicates also the most important part. The house can be observed as being divided into 3 parts, namely the front-veranda in the front, the middle part and the rear-veranda, which are successively functioning as follows:
The front veranda for the guests and the sons, the centre is for the parents and room for the brides or for prominent guests, and the rear-veranda for the girls and the kitchen.

The parents are the most respected persons, therefore the highest place for them. A limasan roof covers the middle part, which is drawn forward and backward to covering the front and the rear-veranda, shapes the monumental form of the house.

The shape formed by the extension of the roof, confirms the concept of room-hierarchy inside the building.

As the traditional houses in other areas especially of the classic style, art elements are never forgotten, particularly in religious buildings, palaces and houses of nobles. The art elements not only function as decoration to beautify the building, but also bear symbolic meanings. Even social status factors are reflected inside.

Thus the case we observed on buildings in South Sumatra which are full of wood carving with golden colours. Chinese motives and European motives are blended in one with traditional motives, which further gave the birth of Pelembang characteristic motives.

Like most of the traditional buildings in Sumatra, the traditional house or adapt-house in South Sumatra shows characteristics of timber buildings with pole construction, i.e. house built on poles with space under the floor.

Building material is mostly lasting timber as the tembesu wood (Lat, Fragraca), the tenam (Anisoptera) or the seru (Schima bancana) which are usually utilized as mast, cross-bar, rib, frame and partition board. As roof they commonly use bamboo or gelumpai with palm fibre layers.

Based on the shape of the roof the traditional houses in South Sumatra are classified into the limas an (pyramidal) – type and the tatahan (encrusted) type. Viewed from the front, the limas an type has the shape of a pyramid. The tatahan type has a Minangkabau-styled shape of its roof, i.e. a pointed roof-ridge and a bent down roof-centre.

The volume and size of the house depend on the social status of the inhabitant. This can also be identified through the quantity of the interior decoration of the house.

As the case in the traditional house of Riau and Jambi, the ground plant of the house shows some divisions. The most front is the front-veranda introduced by the house-ladder. From the front-veranda we enter the men’s hall (jogan) and further to the main-room (kekijing). Behind the main0room there is the rear veranda (garang) with the kitchen. The floor of each room differs from the others, it means that the front part has a low floor and the main room has the highest floor.

Of the South Sumatra’s traditional house, its interior decoration is quite attractive. This decoration has the form of wood carving with a so called see-through transparent carving technique bearing plant motives as sunflower, bamboo shoot, etc.

Decoration art in a Palembang traditional house is an integration of elements of Javanese and Chinese arts. Wood carving decoration combined with contrast colours like gold-coating and red lac (lak).

Floor as sitting place with rug-underlayer, back-cushionsiopes with stars-motive.

CULTURE OF INDONESIA

CULTURE OF INDONESIA

Indonesian culture has been shaped by long interaction between original indigenous customs and multiple foreign influences. Indonesia is central along ancient trading routes between the Far East and the Middle East, resulting in many cultural practices being strongly influenced by a multitude of religions, including Hinduism, Buddhism, Confucianism and Islam, all strong in the major trading cities. The result is a complex cultural mixture very different from the original indigenous cultures.

Examples of cultural fusion include Agama Hindu Dharma, a denomination of Hinduism now practiced by 93% of Balinese, the fusion of Islam with Hindu in Javanese Abangan belief, the fusion of Hinduism, Buddhism and animism in Bodha, and the fusion of Hinduism and animism in Kaharingan; others could be cited.

Indonesian art-forms express this cultural mix. Wayang, traditional theater-performed puppet shows, were a medium in the spread of Hinduism and Islam amongst Javan villagers. Both Javanese and Balinese dances have stories about ancient Buddhist and Hindu kingdoms, while Islamic art forms and architecture are present in Sumatra, especially in the Minangkabau and Aceh regions. Traditional art, music and sport are combined in a martial art form called Pencak Silat.

Western culture has influenced Indonesia most in modern entertainment such as television shows, movies and songs. India has notably influenced Indonesian songs and movies. A popular type of song is the Indian-rhythmical dangdut, which is often mixed with Arab and Malay folk music.

Despite the influences of foreign culture, some remote Indonesian regions still preserve uniquely indigenous culture. Indigenous ethnic groups of Mentawai, Asmat, Dani, Dayak, Toraja and many others are still practising their ethnic rituals, customs and wearing traditional clothes.

Queen of the South - Parangtritis, Central Java

Queen of the South - Parangtritis, Central Java

Queen of the South Sea - Ratu Kidul

Java's south coast is shrouded in mystery and legend, and nowhere is this more alive than in the heartland of Javanese culture and lore, Yogyakarta. The special province of Yogyakarta is remarkable for many reasons. It is home to a still-functioning royal court with a widely-loved monarch. Just to the north of the city is the legendary volcano, Merapi, also known for being the most active volcano in the world!

Parangtritis beach - Yogyakarta

Sunset in Parangtritis with andong - traditional trasportation in Yogyakarta

And directly to the south, forming the third element in this spiritual triumvirate is Parangtritis beach - where the Indian Ocean pounds against rugged, windswept shores, located about 27 km. from Yogyakarta. This is not the setting for your usual kind of beach holiday. Gone are the gently swaying palms and white sands - they are replaced with black volcanic sands and a sparse tumultuous environment of tossing seas and jagged rocks. The spirituality and vitality of Parangtritis is immediately apparent. This is no ordinary beach, it is the realm of ghosts and goddesses - it is the realm of queen Ratu Kidul or Nyai Loro Kidul.

Nyai Loro Kidul has many different names, which reflect the diverse stories of her origin in a lot of sagas, legends, myths and traditional folklore. Other names include Ratu Laut Selatan ("Queen of the South Sea," meaning the Indian Ocean) and Gusti Kangjeng Ratu Kidul. Many Javanese believe it is important to use various honorifics when referring to her, such as Nyai, Kangjeng, and Gusti. People who invoke her also call her Eyang (grandmother). In mermaid form she is referred to as Nyai Blorong. The Javanese word loro literally means two - 2 and merged into the name of the myth about the Spirit-Queen born as a beautiful girl/maiden. (Wiki)

Nyai Loro Kidul is often illustrated as a mermaid with a tail as well the lower part of the body of a snake. The mythical creatures are claimed to take the soul of any who are wished for.

Sometimes Nyai Loro Kidul literally can be spoken of as a "naga", a mythical snake. This idea may have been derived from some myths concerning a princess of Pajajaran who suffered from leprosy. The skin disease mentioned in most of the myths about Nyai Loro Kidul might possibly refer to the shedding of a snake's skin.

Legends of Ratu Kidul and her tragic, demise abound. According to one account she was the great aunt of Raden Joko Suruh, an orphaned prince of the Pajajaran kingdom. It is said that she appeared to him as a hermit and instructed him to establish the Majapahit Empire in east Java. Many generations later, a descendant of Joko Suruh, came to the shores of Parangtritis to meditate in preparation for a great battle with the kingdoms of the north. He was visited by Ratu Kidul who took him to her underwater kingdom where he studied the arts of war and love. After three days he emerged at Parangkusumo. To this day, she is said to be in communion with each of the sultans of this line to aid them when they come and pray for her assistance. Parangkusumo also remains a place of great spiritual significance and constantly attracts pilgrims who leave offerings and pray for Ratu Kidul's help. Another regular visitor is the sultan himself. At his coronation ceremony in 1989, a sudden gust of fragrant wind was noted not only by the sultan but by many others in attendance. It is believed that this wind signified the spiritual presence of Ratu Kidul.

Ratu Kidul's favourite color is a special shade of pale yellow-green known as gadung melati. Local folklore warns visitors not to wear the colour green, or the Queen will entice the wearer into the ocean to drown. And that is why you will rarely see anyone wearing green near the beach. If you happen to be in the wrong place at the wrong time, Ratu Kidul or her one of her ministers, may just claim you as another subject in her underwater court. Each year the treacherous waters here take a few more lives, each year Ratu Kidul's watery court grows a little larger, and those who survive fo on whispering the legends of the ghostly queen.

WAYANG BEBER - The Ancient Tradition of East Java

WAYANG BEBER - The Ancient Tradition of East Java

A classical Wayang Beber Performance in 1900

One of some kinds of wayang in East Java is Wayang Beber - they have nearly vanished. The most popular of all forms is Wayang Beber Pacitan. This kind of wayang is neither made of wood not leather but paintings drawn on a scrolled sheets of bark paper. Every scene in the story is painted on a piece of paper in rotation.


Since when this kind of wayang has been found in Pacitan exactly is not known yet, nevertheless the age of the existing wayang Beber has reached an age of 12 generations up to the present.

The performer (Dalang) gives a sign, the gamelan orchestra (or a musician with a violin-like instrument) begins to play and the Dalang unrolls a picture related to the story. Then, speaking and singing, he narrates the story in more detail. In this manner, in the course of the evening he unrolls several pictures. The pictures are shown one at a time and are successively unrolled. Each picture represents a story or part of a story. The story narrated is taken from the life of Panji or a story based on the mythical Javanese Jenggala Kingdom, or the Mahabharata and Ramayana epics. The fiction of wayang Beber performance is not only an entertainment but also as media of education, which principally a crime finally is defeated by virtue.

There are some scrolls owned by some families which are not used for a performance, however in certain months every year they are used as traditional ceremony by cleaning off the magic power in those objects.

Batik as Uniquely Indonesian

Batik as Uniquely Indonesian

Some of batik motives

Batik is unique
The same artist asked to paint again – it can’t be the same

Intrinsically Indonesian, yet viewed by some as a product of the past, batik is being targeted to capture a new generation.

Batik is deeply entrenched in the Indonesian psyche. Despite production by other countries, Indonesian continues to think of batik as uniquely Indonesian. Many government organizations and some private companies also require employees to wear batik once a week.

Traditionally, batik refers to fabric decorated painstakingly by hand using hot wax and then dyed to create a pattern in reverse. Villages developed patters and colors so distinctive that a connoisseur could tell from sight alone the specific source of certain motifs. Central Java is particularly well known for the quality of its batik. Cities like Pekalongan, Solo (previously Surakarta), Cirebon and Yogyakarta vie for the title Kota Batik or Batik City.

Batik tulis

Malam (wax) and canting

At the high end, crafting quality batik takes many hours. Batik tulis, literally ‘handwritten; batik, involves hundreds of designs drawn painstakingly on the cloth by hand using hot wax applied with a copper stylus called a "canting". The cloth is then dipped in dye to create a reverse pattern and the wax scraped off. Depending on the complexity of design, this may be repeated more than 20 times, with a day between dyeing to dry, It’s like a painting.

Batik cap

A cheaper alternative is batik cap, where designs are stamped on manually. These days, machines print simplified batik motifs directly onto cloth (usually polyester or rayon) for a mass-produced version, referred to as printed batik.


The price range is wide. A cheap print shirt can go for as low as Rp. 20,000 (US $2.18) while its handmade tulis counterpart in silk might retail for a few hundred dollars. There is no shortage of buyers at the high end of the spectrum, a nod to the buying power of Indonesia’s famously moneyed elites. Batik tulis, the haute couture of traditional fabric, occupies a social niche. Exacting Indonesian aesthetics mean that the Javanese version of batik tulis cannot be recreated anywhere else in the world. It can also easily take four months to produce one piece.


Yet it is the history of batik that works against the product when it comes to the younger generation. They view it as being very traditional.

Today’s batik remains a predominantly domestic product. According to the newspaper Media Indonesia, government statistic in 2006 placed batik exports at US$110 million – just 34 per cent of a total production worth approximately US$322 million. In all, the batik industry employs nearly 800,000 people. The domestic market is the dominant one. Today’s batik comes in a mind-boggling variety of shapes, prices, cuts and colors to target the youth market.

Batik can be seen in home décor, ceramic-wear and accessories. Citos, a popular youth mall in Jakarta, offers a glimpse of how the product is moving into popular culture. On a Tuesday night the floor is filled with busy kiosks, one-fifth of them devoted to batik, cut and stitched into garments that mimic the swinging loose tunics and wide hippy skirts sold at trendy stores such as Zara.

No one disputes that innovation is necessary. Yet as batik takes on a modern cast, one hopes the appreciation of the traditional process won’t be lost. Batik is unique.

North Sumatera Cultural Art

North Sumatera Cultural Art

The native people consists of all kinds of ethnic groups namely the Malayans, Batak Toba, Simalungun, Karo, Pakpak Dairi, Pesisir, Mandailing and Nias. They reside in their own area, nevertheless there is an assimilation among the migrants in some areas especially in big cities.

The majority of the population earn their living by farming. In the coastal area there are a lot of them who live as fishermen. And some of them carry on trade, become labourers and officials especially cities and plantation areas.

Since a long time ago North Sumatera has been open for the outer world. This is not only caused by the existing communication facilities such as the ocean harbours Belawan and Sibolga and the airport of Polonia Medan but, also Indonesian ethnic groups especially many of those from Java have lived in this province since the opening of the plantation in Dutch Colonial time.

Even later they have assimilated with the native people. Also many foreign citizens live here; especially in big cities. Plantations form the most important economical potential of north Sumatera. A big plantation area is especially found in plains in the Eastern part.

Like the other areas in Indonesia, North Sumatera is characterized with all kinds of art. And caused by the regional condition, the existence of a particular style of art is of nothing incredible in every region. Also various kinds of ethnic groups found in North Sumatra, have created sorts of art showing where the ethnic groups come from.

As a really open area for comers it is obvious that the influence of outer culture will easily enter this area. This influence is seen obviously on the nature of art inherited up to the present. This doesn’t mean that the original form of their art has disappeared. The inheritance shows that some tribes, especially in the inlands still practice the art. Like art life in other areas, the birth and creation of art in North Sumatra contains magic/religious and aesthetic aspects. These two values appear in all kinds of arts.

HISTORICAL BACKGROUND

According to the myth of the tribes, there were all kinds of antecedents of the people of North Sumatera.

Batak tribe for example believes that their ancestors came down from heaven to the top of mouth Busuk Buhit, and lived in Sianjur area. It first around Samosir island and later its generation developed and spread everywhere in its surroundings. Nias tribe believes that their ancestors came from them most beautiful heaven called Tetoholi Ana’a, and went down to the Gomo area in the middle part of Nias and later spread to all part of the island. Some of the Malayan tribe believes they were originated from the descendants of Iskandar Zulkarnaen who came down on the hill of Siguntang in Palembang.

Nothing could fix the antecedents of the people of North Sumatera, however, according to the historical of the spreading of the tribes like the other Indonesian people the ancestors were supposed to come from further India coming to this area in groups. Therefore people consisting of all kinds of tribes developed by themselves in their own areas.

As the result of the pluralistic condition art as moral expression of the tribes, they have their own various style and kinds. Like the various kinds of its tribes in North Sumatra there are all kinds of traditional art, namely Malayan art, Batak Toba art, Simalungan art, Karo art, Pakpak Dairi art, Angkola mandailing art, coastal and Nias art. These traditional arts have their own kinds, style and local characteristics.

War Dance, Nias

The style and characteristics of ethnic art, are later influenced by outer culture. The influence of the older megalithic art is found in the cultural environment of the population of Nias archipelago. The Hindu influence is felt especially in the Batak ethnic environment whereas Islam influence in the coastal populated area. Megalithic art for example has left its remnants in Nias in the form of stone monuments and sacrificial ceremony by scarifying a pig. Also in several places around Samosir there are statues and cemeteries of the ancestors. The Hindu influence is around in all kinds of aspects of life in this area. In all kinds of spoken language and medical books of Batak called Pustaha there are Sanskrit words. Even the form of the original Batak characters are very much influenced by Hindu, so are the textile handicraft.

The temples found in South Tapanuli are proofs of Hindu remainder in architectural field. The temple complex spread in a large area.

Some names of “marga” in Dairi and Karo, are considered to have originated from the influence of social structure in Hindu culture, such as “marga-marga” Brahmana, Padia, and Colia. So are the influences of religion and Islam cultures. Especially in the art of this area, there are all kinds and sorts of typical Islamic items. Gambus, rebana, adrah, bordah and qasidah are Islamic art of music. Whereas in field of art dancing for example there is one called “tari zapin” which is liked by people of the coastal area.

Batak traditional house

Mosque and palace are the products of Islamic architecture. The Grand Mosque in Medan and Azizi Mosque in Tanjungpura, with their beautiful ornaments have a high Islamic architecture, so are the Maimun on palace in Medan and the Datuk Lime Laras Palace in Asahan.

The Dutch Colonial rule later built some buildings in European style such as City Hall and Post office. Since this era, the new art had developed as individualistic among the middle class people who was living in the city. Whereas the traditional art was still supported by the ethnic group although it was not developed by the colonial government.

In general the new art forms activities on literature and play which develop in Medan. The well known play groups at that time were Keris (creese) Opera, Blue White, Miss Alang etc. The period of the Japanese occupation formed a paralyzing period for art. The people potential supporting traditional art grew weaker and weaker. Some kinds of art had disappeared and the appreciation of the people toward art was decreasing. The daily stress of life which was so burdensome influences the attention and attitude of people toward their traditional art.

After the fight for freedom especially after 1960s’ traditional activity being neglected for a long time and as the result of change in attitude and progress of the era gradually could attract the interest of the people. Probably caused by the strength of the Batak people in holding and applying their tradition, the spreading of art from one area/tribe to the other became difficult. Consequently, particular style of art of each area/tribe was created.

EAST JAVA CULTURAL ART

EAST JAVA CULTURAL ART

East Java (Indonesian: Jawa Timur) is a province of Indonesia. It is located on the eastern part of the island of Java and also includes neighboring Madura and Bawean islands. The administrative center of the province is located in Surabaya, the second largest city in Indonesia and a major industrial center and port.

East Java also hosts a significant population of other ethnic groups, such as Chinese, Indians, and Arabs. In addition to the national language, Indonesian, they also speak Javanese. The major religion in East Java is Islam. This comes from earlier history, when Islam spread from northern cities in Java where many traders from Gujarat, India visited, bringing Islam. The eastern part of East Java, from Surabaya to Pasuruan, then following various cities along the coast line, and turning back in Banyuwangi to Jember, is well known as the "horseshoe area" in context with earlier Muslim communities living there.

East Java's history dates back to the famous ancient kingdoms of Kediri and Singhasari, which is now a city near Malang. The Majapahit dynasty centered at Trowulan, Mojokerto East Java and around East Java, began the foundations of an empire that was to dominate the entire Indonesian archipelago, the Malay Peninsula and part of the Philippines for hundreds of years. This was the beginning of profitable trade relations with China, Cambodia, Siam, Burma and Vietnam. As power in Central Java declined in the 10th century, powerful kingdoms rose in East Java to fill the power vacuum. During the reign of King Erlangga both East Java and Bali enjoyed lucrative trade with the surrounding islands, and an artistic and intellectual renaissance. Parts of the Mahabarata epic were translated and re-interpreted to conform to an East Javanese philosophy and view of life, and it was from this era that East Java inherited much of its temple art. The Eastern Java region was the part of the Mataram kingdom during its peak.

East Java offers many insights into Indonesia's rich cultures and crafts as diverse as the people themselves. East Java is a true melting pot of the country for many ethnic groups. It is understandable that it is cause of its vast area and different kinds of condition between one place and another. The characteristics of its cultural art is also different. Various kinds of the existing culture have their own particular characteristics and certain functions either those in the territory of East Java or in other territories outside East Java.

Reog Ponorogo

The dance known as Reog is a very spectacular dance with several dancers wearing bright colorful costumes accompanied by merry gamelan music.

In Madura, race bull is a very popular sport and spectacle

The island of Madura, famous for its bull races (karapan sapi), is also part of the province and has its own traditions, culture and language.

Mask dance (Tari topeng) performance

Malang is famous for its dances. Mask dance (tari topeng) has been known by Malang society and this dance is tradition which cannot be left off hand.

"Kuda Lumping" dance

Horse trance dancing, or "kuda lumping" in Indonesian, is currently the most popular style of folk art being performed regularly in East Java.

Traditional Cloth of Madura

Traditional Cloth of Madura

East Javanese house and its traditional weapon - clurit (and traditional clothes of the island of Madura)

In Indonesia which consists of some ethnic groups, every ethnic group has its own characteristics in clothing. For Madurese people, especially those living in Sumenep, the type of dresses is distinguished as follows:
1. Daily dress
2. Ceremonial dress
3. Common people’s dress
4. Elite people’s dress
5. Nobleman’s dress

Dress for Common People
For men the dress called peso with black colour. The pants also black colour and loose below the knee. This dress is fit out with a leather belt on which there is a pocket.
The Madurese call it “Sabbu tepa kole” and a Lead-clothe or “odeng”. Besides as a supplement, a “sarong” also worn crossways over the shoulder.

East Javanese house (and traditional clothes of the island of Madura)

The women wear a dress called “baju sono” or “baju kurung”,
”sarung poleng” which is green or red varied with conspicuous colours. Wearing a belt called “sivet” and a long shawl called “sarong bini” worn crossways over the left or right shoulder.
As the supplement of the daily dress, man as well as woman wear “gamparan” (slippers made of wood).

Ceremonial Dress
Ceremonial dress worn by men consists of “baju pesa”, “celana kombor” (loose pant), “odeng”, “selempang sarung” and “sabbu kale tepa”. This dress is fit out with a grandeur weapon such as “taka buwan” namely grass knife, big and long grass knife.
The women wear “baju sono” which is the same like worn daily, but the ceremonies dress is better than that worn daily.

Daily Dress for Parjaji
Daily dress which is worn by men is “baju taqwa” which looks like “surjan” with white buttons. This dress is fir out with “sarung Polekat” with a belt called “epek/stagen” to slip a creese and a head clothe called “odeng peredan.

The women wear a black “baju sono”. At the end of the long sleeves there are buttons made of silver, sarong with purer Madurese batik motive decorated of animals, leaves print and “stagen”.

Ceremonial Dress for parjaji
The men wear white “baju taqwa” with buttons made of silver or gold “adeng peredan”, long batik clothe not pleated. If the clothe is pleated then its pleats are wide and aslant.
There is prohibition for parjaji to wear clothe with a motive of “parang rusak”. Whereas the women wear baju sono. The clothe worn is “songket” long clothe and wearing “epek” or belt made of soft clothe. In former times, a parjaji either a man or a woman, was always accompanied by five servants when attending a party. The foremost one, carried a lamp or torch, those in the rear carried a container called “ekecohan” and grandeur umbrella.

Dress of Noblemen
The dress of a noblemen is almost similar with that worn by parjaji. The difference lies only in its supplements.
The man wears “ellogan”, namely belt wrapped in soft clothe to slip a creese. The colour of the “epek” is red or yellow and wear “odeng tongkosan” (tongkosan head clothe).The women also wear a dress which is worn by women of parjaji group.
If a nobleman attends a ceremony, he wears a black coat made of liken clothe embroidered with gold, a long clothe, wearing beautiful creese chained with melati flower. Head clothe worn is “odeng Sunda”.
Young nobleman wears “baju taqwa” when attending a ceremony; whereas the woman wear “baju sono” like that worn by the parjaji group. The noble women wear “sono” dress made of red velvet, dark blue or dark green, with long sleeves at the end of which there are six gold buttons. The dress worn has gold pin and belt or “epek” made of soft clothe. A clothe with a motive of “sidomukti” pleated in Madura style. A gold bracelet is worn on the ankle.

Bride Gown
There are three traditional bride gowns, worn one after another for three days. Bride gowns for parjaji and arja group are as follows:
-The first night, is “dilega” dress. The bridegroom does not wear a shirt whereas the bride wears a “kemben” a (clothe worn around the chest). This dress is attached with decoration worn on a neck, fingers and arms.
-The second night is the “kraton kepotren” dress. The bridegroom wears a black coat with lace, black “liken” made of pants; whereas the bride wears long black “kebaya” with velvet laces full with its decorations.
-The third night, either the bride or bridegroom wears a dress to attend a common ceremony (“taqwa” dress and “sono” dress).

Bride Gown for Common People
As the wedding ceremony of “parjaji” and noblemen is carried out three days, the wedding ceremony of common people is carried out only one day, but the bride gown changed three times.
On the first meeting, the bridegroom wears white “jubah” (tabard) in Arab style, the bride wears long white skirt complere with the head clothe.
On the second meeting, the bridegroom wears a black coat with a necktie, wearing a “sidomukti” clothe and “belangkon” head clothe typically Madurese, decorated with a creese on his back. And the bride wears a long “sidomukti” clothe and “kebaya”.
On the third or the last meeting, the bridegroom wears pants, a coat, a necktie and a head clothe. Whereas the bride wears a long skirt or long cloth and “kebaya”.

The Mosques of Jakarta

The Mosques of Jakarta

"Modern eyes maybe more accustomed to the minarets and domes of the Middle East, but Indonesia's early mosques sometimes blended Islamic, Hindu and Chinese architectural styles where roofs varied from flat tiers to tiered domes to flat domes."

Masjid Luar Batang

Jakarta’s mosques reflect a diversity of architectural styles, historical, and cultural influences. Masjid Luar Batang (Sunda Kalapa) was built in 1739, although those responsible for the management of the mosque claim that it was established around 1700. National hero Sayid Husein bin Abubakar of the Abdillah al-Aidrus, a direct descendant of the Prophet Muhammad SAW through his daughter Fatimah, was exiled by the Dutch but managed to return to Sunda Kalapa and establish the mosque. He was later buried there in 1756, and his tomb is incorporated into the structure of the mosque.

The 5,780-metre site is now regarded as a sacred place and is visited by many pilgrims from Indonesia and abroad. While it contains certain European architectural features, the main gate to the two-storey mosque is decorated with reliefs similar to those fond on Java’s old Hindu temples. It is closely connected with the history of Sunda Kalapa and subject to a local government preservation order. Architects claim that when the Rp 5 billion restoration is finished, the mosque will become an object of interest for all tourists visiting the area as well as maintain its traditional role as a place of worship, pilgrimage and education, as well as an Islamic Centre.

Masjid Kebon Jeruk

Located on Jl Hayam Wuruk, and not far away from Sunda Kalapa, is Masjid Kebon Jeruk. The name is something of a misnomer, and has nothing to do with the large district of the same name located in the heart of the city’s west. Situated on the other side of the river Ciliwung and close to the Jayakarta Hotel, the mosque was built in the peranakan style in 1786 by a Mr. Tchoa, who was in charge of Jakarta’s Chinese Muslims from 1780-1797. The term peranakan was given to Chinese who had married Balinese wives. Back in those days, many Chinese converted to Islam as a result of the riots and massacres of 1740, which saw the Chinese confined to areas outside the old city. Because the had no mosque of their own, he built the mosque on top of his own home. The tomb (1792) of Fatimah Hwu, rumoured to be the wife of Mr. Tchoa, is also located on this site and is notable for its eclectic mix of chinoiserie and Arabic influences. The Arabic figure for 1792 is visible as are the heads of dragons.

The mosque at one stage also contained ceramic tiles depicting people, not permitted under Islam. Islam tradition condemns the pictorial depiction of the Prophet SAW as well as all living creatures for fear that it may lead to pagan worship. Geometric or arabesque forms are preferred.

In time, Indian, Arab and other ethnic minorities also used the mosque. Renovated in 1957, it remains in poor condition although the original shape of the first mosque can still be seen.

Masjid Istiqal

Southeast Asia’s largest mosque, Masjid Istiqlal, is situated within walking distance of the National Monument (Monas), and stands opposite Jakarta’s Catholic Cathedral. Designed by a Christian architect, construction began in 1961 during the heyday of the Soekarno era (1945-1965) and reflects that era’s love of design on a monumental scale – the mosque can accommodate up to 10,000 worshippers. The immaculately manicured lawns, gardens, fountains, lakes and waterways are spread over a spacious 9.5 hectares of land.

Masjid Hidayatullah

Mosques have also had to battle the onslaught of developers. But in the case of Masjid Hidayatullah, which sits on Jakarta’s main business thoroughfare Jl. Sudirman, Central Jakarta,t he exotic old Pagoda style mosque seems to have come into its own. Modern eyes may be more accustomed to the minarets and domes of the Middle East, but Indonesia’s early mosques sometimes blended Islamic, Hindu and Chinese architectural styles where roofs varied from flat tiers to tired comes to flat domes. The careful restoration of this mosque, obtained as a concession from the developers of the site, makes it an oasis for worshippers. That’s also in keeping with the basic principle that mosques are also designed to create “a space of serenity rather than exaltation.”

Masjid al-Azhar

Masjid al-Azhar is a mainstream mosque built alone the lines of the large traditional mosques found in major Islamic capitals around the world, and which site side by side with universities, schools and libraries, just as they did centuries ago in Baghdad, Isfahan and Samarkand. Jakarta’s modern Masjid al-Azhar complex in suburban Kebayoran Baru contains the well known school of the same name, large playing fields, a library and other facilities.

The days of Governor Coen have long gone, and mosques are now part of the infrastructure of many housing complexes in Jakarta, and constructed almost as soon as he roads are made. In other areas, local residents have to battle hard to find the funds to build their mosques. Their rewards are most certainly in heaven. For Muslims, the building of mosque constitutes an act of great merit, a fact noted in the following Hadith (saying): “Whoever builds a mosque desiring God’s pleasure, God builds for him the like of it in paradise.”

Historic Ubud - Bali

Historic Ubud - Bali

"Today the entire world is a museum available to those who have the desire to see. In this museum, Bali is one of the most impressive collections, and while I have seen relatively little of Bali, I am convinced that Ubud is the principal gem of the entire collection. Ubud contains not only the precious mementoes of Bali's glorious past but also the living representations of its impressive present and hopeful future. Some may worry about the change that modern energy and drive will bring to Bali, but I do not. The creative urge of the Balinese, the natural instinct for beauty and contentment, will prevail." - 17 September, 1959, C. McVicker, of Jakarta; in a Puri Saren Agung Ubud guestbook.

These women all seem to be princesses vying for special roles in an ancient Asian pageant. Their finery, however, is part of daily traditional style in tis village

Those words, written almost half century ago, could still be written today. Even though enormous changed have occurred on the island in the past twenty-five years, particularly in the tourist enclaves which include Ubud, there is still a feeling of balance that prevails. Ubud is indeed one of Bali's many gems.

In the beginning Ubud itself was originally a small portion of land centred around Campuhan (meaning 'rivers meeting') and the puta (temple) Gunung Lebah. Yet Ubud, as it is known in the 21^st century, spans many villages and is a kecamatan (district), and kelurahan (sub-district), as well as a desa (village).

In the West, history consists of tangible events and things that can be recorded. In Bali, history and life itself consists of the seen or conscious world (sekala) and the invisible or psychic realm (niskala) and Balinese are able to move between there two worlds with easy. One could not exist without the other. Therefore, some of the tales about to be told may seem fantastical to the visitor, but to the Ubudians it is a part of their history. Magic keris (daggers), cannibalistic giants and coin-sprouting trees may serve as allegories but they also stand on their own, as you shall soon see.

A lontar (traditional palm leaf book)

Almost all sources begin Ubud's history with the coming of the great Hindu Indian mystic sage, Rsi Markandya in the 8^th century. A lontar (traditional palm leaf book) called the Markandya Purana describes how he spread Hinduism throughout Bali. He had been told to journey east from Mount Raung in Java and to convert the inhabitants of Bali to Hinduism. Bali had a reputation of being filled with dangerous spirits and many travellers never returned. walking through Java, he made his way to Bali with 800 followers. His goal was the holy mountain of Gunung Agung, where Besakih temple stands today. However, his followers succumbed to a cholera epidemic and, in fear for their health and safety, he took those who survived back to Java.

The temple of Pura Gunung Lebah in Campuhan, on the fringes of Ubud.

While in Java, he received a divine revelation that he was to return to Bali and bury panca dhatu (five precious metals which are buried under temples to give them more power) at the place where Besakih temple is today. he returned with four hundred followers. From there, he was drawn to a place in the central part of the island which was pulsing with light and energy: Campuhan, Ubud. Here, where two branches of the Wos River (named Lanang and Wadon, or male and female) meet in a confluence, he settled, meditated and built the temple Pura Gunung Lebah (Low Mountain temple). These two rivers swirl around each other as two naga (dragons or serpents) might do. The naga in the Balinese belief system symbolise all that sustains humanity: shelter, food and housing and, of course, spiritual sustenance. The water in the Western branch of the river is used for holy water in local temple festivals and the water in the Eastern branch is used for cleansing oneself; both physically and metaphysically.

Rsi Markandeya founded many temples along the Wos River. In the most northern part of his journey, he built the first (some claim) Hindu temple on the island: Pura Gunung Raung (later named Pura Agung) in the village of Taro. Just north of here in the village of Puakan (Pa-subak-an) the sage created the unique irrigation system for rice fields called subak and divided up the lands among the small populace at that time. He is also credited with the formation of the banjar (hamlet, subdivision of a village) and desa (village) systems.

The Balinese philosophy of Tri Hita Kirana, the relationship of humans with their environment (subakor rice fields), humans with each other (banjar or hamlet) and witht he Supreme Being (desa ot village, represented by the three main village temples) was first established here by Rsi Markandeya. Subsequent sages and priests have developed and expounded upon this but this was the foundation of Balinese Hinduism in its purest form, called appropriately Agama Tirta or 'Religion of Holy Water'.

Campuhan is indeed a special centre of power. People have been meditation here for centuries and bathing in its curative waters which spurt out of pancoran or fountains along the river banks. In 1961, this site was chosen as the place to form a religious body recognized by the Indonesian government and known today as Parisadha Hindu Dharma Indonesia, a symbolic tribute to Rsi Markandeya's founding of Hinduism in Bali over a millennium before.

The name Ubud is derived from the word 'ubad', meaning medicine, and refers to the myriad variety of healing plants found along this riverside and in the surrounding environs.

continues to Histori Ubud - The royals