CULTURE KERAPAN SAPI MADURA

 Madura Bull Race

 origin kerapan name. The first version says that the term "kerapan" comes from the word "often" or "kirap" which means "to depart and released simultaneously or in droves." Meanwhile, another version states that the word "kerapan" comes from the Arabic "kirabah" which means "friendship". But apart from the two versions, in a general sense today, kerapan is a special attraction for animals race horse cow. For the record, in the region particularly on the island of Madura Kangean similar races there are competitions that use buffalo. Buffalo race is named mamajir and not kerapan buffalo.

The origin of the cow kerapan also there are several versions. The first version says that kerapan cow has existed since the 14th century. At that time kerapan cows used to spread the religion of Islam by a kyai named Pratanu. Another version says that the cow was created by Adi kerapan Poday, namely children's ruling Panembahan Wlingi Sapudi area in the 14th century. Adi Poday a long wander in Madura bring his experience in the field of agriculture to the island Sapudi, so that agriculture on the island to be developed. One technique to speed up the cultivation of agricultural land that is taught by Adi Polay is to use a cow. Over time, because many farmers who use cow power to till their fields at the same time, there arose their intention to compete with each other in the finish. And, finally the race to work on the field it becomes a kind of sport racing race called kerapan cow.

                                                           Various kinds of Kerapan Cow

Kerapan cow that characterizes Madurese is actually composed of several kinds, namely:
1. Often Keni (kerapan small)
This type Kerapan participants only attended by people from one district or kewedanaan only. In this category the distance that must be taken only 110 meters long and is followed by small cows that have not been trained. While decisive victory, in addition to speed, too straight, or whether the cow when running. For cows that can win races, to follow a higher kerapan again that is often king.


2. Often the King (kerapan large)
The race is often also referred to often this country are generally held in the capital city on Sunday. Long-racing track about 120 meters and its members are the champions often Keni.

3. Often Onjangan (kerapan invitation)
Often onjangan is a special race which its participants are invited from a district that menyelenggarakannya. Kerapan is usually held to commemorate certain holidays.

4. Often Karesidenen (kerapan level of residency)
This is a great Kerapan kerapan followed by champions often from four districts in Madura. Often held in the City Pamekasan residency on Sunday, which is the top event to end the season kerapan.

5. Often jar-lesson (kerapan exercise)
Kerapan jar kerapan-lesson is done only to train the cows down on the race before the actual race.

Culture Carok / tradition carok madura

Weapons celurit began to emerge in the days of legend Sir Sakera. Foreman cane from Pasuruan celurit almost never leave each went into the garden to watch the workers. Celurit Sakera is a symbol of resistance for the commoners. So what to do with carok? Carok in ancient Kawi language it means a fight. Usually involve two people or two large families. Even antarpenduduk a village in Bangkalan, Sampang, and Pamekasan. Triggers of this form of seizure carok position in the palace, infidelity, conquest of land, can also be hereditary resentment for many year.Pada the 12th century AD, the era when the kingdom led by King Cakraningrat Madura and 14th century under the rule of Joko Tole, the term carok not yet known. Even in the reign of Penembahan Semolo, son of the son of Sunan Bindara Saud Ghost in the 17th century AD there is no term carok.comein carok culture originated on the island of Madura in the Dutch colonial era, namely in the 18th century AD After Mr.

Sakerah caught and hanged in Pasuruan, East Java, people began to dare to take the fight down to the oppressor. The weapon is celurit. It was then that arise courage to do perlawanan.Namun, in those days they did not realize, when instigated by the Dutch. They competed with the family group Blater (champion), which became the Dutch colonial stooge, who is also a fellow of the nation. Because the Dutch provocation that is, groups that often do carok blater at the time. At carok they do not use a sword or dagger weapon, as was done anciently Madurese community, but to use as a weapon  celurit is intentionally given to the blater Netherlands with the aim of damaging the image of Mr. Sakera as the legitimate owner of these weapons. Because he was a rebel from among students and a devout Muslim who practice Islam. Sakera celurit used as a symbol of resistance against Dutch colonial rabble. As for the Netherlands, celurit symbolized as a weapon of the hero and the Netherlands are apparently successful villain.Upaya permeate some communities in Madura and a philosophy of life. That if there are problems, infidelity, land grabbing, and so always use a policy with carok road. The reason is that for the sake of dignity.

The term, better than the whites of the eyes of white bone. That is, would rather die than endure malu.notland  wonder if there is infidelity issues and seizing land on Madura as well as the descendants of Javanese and Madurese in Kalimantan carok always resolved by individuals or in bulk. The weapon used was always celurit. Similarly, when doing the crime, also uses such celurit.Kondisi finally, the people of Java, Kalimantan, Sumatra, Irian Jaya, Sulawesi Madurese tasted like carok, rough, quasi-hero, loud, like divorce, do not know good manners, and if you kill people using celurit. When in fact not all demikian.Masyarakat Madura Madurese community had refined attitude, knowing good manners, said softly, not like a divorce, not quarrelsome, without using a weapon celurit, and so is the community of students. They are descendants of those ancient times aimed against invaders Belanda.Setelah many years the Dutch colonialists left the island of Madura, carok culture and use celurit to finish off his opponent is still there, be it in Bangkalan, Sampang, and Pamekasan. They think culture is the creation of their ancestors, did not realize when the Dutch colonizers engineered.

Culture Two Kinds of Traditional Dance Origin Pamekasan

ImageTari mask and dance rondhing gethak which are two types of traditional dance from Pamekasan, Madura, East Java, are now beginning to be taught to the students in the local area.

"There are some schools in Pamekasan which already teaches dance and dance masks rondhing gethak," said Head of Section (Kasi) coach Art History and Traditional Values, Department of Youth and Sports Kebudaan (Disporabud) Pamekasan, Halifaturrahman, told AFP in Pamekasan Friday.

He explained that the institution began to teach dance and dance masks gethak rondhing range of six educational institutions, but there are two institutions that began to appear successful ie Laden and SDN SDN Kangenan II Pamekasan.

According Holifaturrahman, two types of this dance began to be taught to students as ektrakurikuler activity, because it is a kind of superior artistry in Pamekasan.

"In addition, both types of dance is already getting a patent from the Minister of Justice and Human Rights as citizens Pamekasan dance creation," he said.

He said in Pamekasan itself is actually many types of traditional arts that began to flourish, such as dance pecot, Samper nyecceng dance, and dance dhanggak.

"Dance pecot that type of dance usually displayed at the opening karapan Samper nyecceng cow and dance is a dance that is usually displayed typical Madura at the carnival, was dhanggak dance is dance that developed among coastal communities," he said.

However, he said, from various types of dance such a great demand and a social culture corresponds to the condition of the district is a mask dance and dance gethak rondhing.

Gethak mask dance is a type of dance that interests Pamekasan kings in ancient times and was created by the citizens of District Proppo which is where the royal Pamekasan stand for the first time.

While describing the spirit of dance rondhing Pamekasan residents struggle, because it rondhing dance is often also called a line dance, because dance was once a reflection of the struggle of residents in the fight for independence Pamekasan from Dutch colonialism.

"Based on the consideration that the Pemkab Pamekasan specify both types of dance as a dance of excellence should be developed and preserved," said Halifaturrahman.

According to coach dance and dance masks rondhing gethak Pamekasan, Lukman Hakim, the students in Pamekasan in general like to study the two types of dance artistry.

Of the few students who dibinanya in Pamekasan, he said, it can display both types of traditional dances perfectly.

"If the spirit of the exercise and there is no problem. Now, live support from the government to preserve both types of dance that is the ancestral heritage of this, "he concluded.
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Tong-tong music and porridge Apples

Tong-tong music or in the language of music Madura Daul Tuk-tuk from Sampang regency, drummers terbanyak.nampak sounded lively and full of boisterous. Because the rhythm that sounded so beautiful, coming from tetabuhan sounds of drums of oil, fish drums, gongs, gamelan, pans and gongs. Complete song accompanied by typical Madura.

This music Historically, around since the 1970s. As is told Ahmad Bahrawi, one of the instigators of music Tong-tong in EastJava Traveler, music bins in Sampang on the 1970's when this music was used as a patrol music by local communities. Especially when Ramadan arrived are used to awaken people at dawn time.

"Once this legendary music to the people Sampang annual event held the vats music competitions after Lebaran," said the man who possess this Mamak nickname.

In addition, there is a history that records if the popular music-tong Tong in 1999. When the submarine cable which is the flow of electricity on the island of Madura off. So the atmosphere was completely dark for months. Madura resulting from unsafe because of crime. Then music becomes citizen initiatives to reduce crime by conducting patrol every night.

Upon the uniqueness of this music, and community based initiatives Sampang. So music-tong Tong proposed to get the award and enter MURI record.

While other MURI award record is porridge Apples of Stone Town. This molten metal measuring 2 meters x 2 meters. Which apples by the Rock City community is often used as a fruit. But by now thanks to the creativity they developed into the form of food. That porridge Apples.

These crafters apple porridge in Batu agreed to contribute valuable. Form the largest apple porridge. With hope the community will travel to Stone Town to hunt for food, and some interesting sights in this city.
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Culture MADURA

demographically community is one of the ethnic Madurese third largest after Java and Bali. However ironic, the reality in academic discourse community and Madurese culture is still neglected.
More than that, their views on society and culture Madura always tend to be negative. This impression is very visible among others in homur-humor about the Madurese. Almost all the humor was in fact not a creation of Madurese but rather is produced and continues to be reproduced by someone outside the Madurese who generally lack an understanding of cultural and contextual Madura proportionately. Thus it can be said that so far there has been community and cultural marginalization process Madura.

This fact seems inevitable is difficult because of two factors: the geographical and political. First, geographically the island of Madura Madura as a place where people experience the process of socialization since the beginning of the circle of life, very close and face to face with the island of Java Java, where people experience the same process. Every form of social interaction with people outside the Madurese inevitably will first established by the Javanese as a supporter of Javanese culture. Therefore, in social interaction will occur while a touch of culture of Javanese culture was already recognized as the dominant culture (dominant culture) is in the arena of cultural contiguity Madurese society and culture become subordinate at once marginalized.

Second, the facts of history have shown that position politically Madura almost never out of power (the kingdoms) of Java. This fact is increasingly emphasized the position of subordination and marginality Madurese society and culture. Therefore, it is easy to understand if every time Madurese will express and implement the cultural values of Madura in the reality of social life they will always tend to be "drowned" by the charm of noble values adhi Javanese culture.

DEALING socio-cultural reality is then nothing else that can and should be done by the Madurese are soon to revitalize the cultural values of Madura. To perform this effort would not be too difficult because of the artists, cultural experts and people who concern Madurese culture together to contribute and serve as diggers and compiler back in a systematic and comprehensive cultural values that do not Madura adhi lost his superb with Javanese cultural values. Because, it's possible many of these cultural values is still a "hidden" or is likely to have started "forgotten". In fact, in the same context, to maintain, and preserve the existence as well as the development of the noble values of Madurese culture is already a cultural responsibility of every individual who claims to be Madurese wherever they are located.

If all this really be the noble values of Madurese culture will continue to exist and put forward as the main reference for each of Madurese in terms of thinking, acting, and behaving. The more so when they have to build and maintain social interaction with people outside the culture of Madura.

Thus the stigma that has been attached will eventually be erased, so that society and culture Madura will no longer be marginalized. In fact, in the future it is possible at any time Madurese society and culture will only emerge as an alternative reference for the community and other cultures.
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CULTURE RITUAL KEBO - KEBOAN banyuwangi

started when Hamlet pagebluk Krajan experience, namely the emergence of various kinds of pests that cause the death of agricultural crops. To cope with these disasters, one of the local community leaders who held a ritual called Buyut Karti by imitating Peril

I'm a buffalo that was plowing the fields. And, it turns out that ritual can be penghalau of various kinds of disasters that befell Hamlet Krajan. Finally, the ritual is then called kebo-keboan was performed routinely every year.

Time, Place, leaders and parties to the Telibat in Ceremony
Kebo-garden ceremony at the Hamlet Krajan held once a year which falls on a Sunday between 1 to 10 Sura (without looking at market day). The choice of Sunday as a day of operation on the basis that the day people are not working (off), so it can follow the ceremony. Meanwhile, chosen on the basis that month Sura Sura, according to the trust of the community of Java, is a sacred month.

As the ceremony in general, kebo-keboan ceremony in Krajan also be gradual. The stages to be followed in this ceremony are as follows: stage salvation in Petaunan; stage ider earth or the procession around the hamlet Krajan; and stage-keboan kebo rituals are carried out in the rice fields Krajan Hamlet.

Leader-in ceremony kebo keboan relies on the activities or steps done. At this stage of salvation in Petaunan, who acted as master of ceremonies was the head of Hamlet Krajan. Meanwhile, acting as master of ceremonies during a ritual ider-keboan kebo earth and is a charmer who is considered an expert in summoning the spirits of the ancestors.

As for the parties involved in the organization of the ceremony were: Village officials Krajan; some arts groups existing in the area Alasmalang; four or more people who will be kebo-keboan and other community members who helped prepare the equipment and watching the ritual ceremony.

 The road Ceremony

One week ahead of time-keboan kebo ceremony arrived, citizens residing in Hamlet Krajan held activities of mutual aid for environmental clean house and village. Then, one day before the ceremony, the mothers together to prepare offerings consist of: cone, squeeze, water jug, kinang ayu, various porridge, inkung chicken and so forth. In addition, also prepared a variety of equipment such as the cake ceremony, singkal, hoe, inflammation, pitung fresh, rice, banana, coconut and rice seedlings. All offerings are in addition to the event for safety, will also be stationed at every intersection in the Hamlet Krajan.


In the evening the youth to prepare various kinds of crop yield crops such as bananas, sugar cane, cassava, maize, nutmeg gumantung, kependhem nutmeg, mace kesimpar. Crops are then planted back along the road village Krajan. In addition, they also prepare for dam that will be used to irrigate crops are planted.

In the morning, at around 08.00, a ceremony was held at Petaunan ceremony attended by the committee, village elders, muezzin, and some citizens Krajan. Implementation of the ceremony in this place was quite simple, that is just a word of welcome from the committee ceremony, followed by a prayer led by the muezzin and ended with a meal together.

Furthermore, the participants of the ceremony consisting of village elders, a handler, the hamlet, two pairs of kebo-keboan (each kebo-keboan amounting to two people), the carrier offerings, tambourine music player, the player Hamlet Krajan Barongan and residents will conduct a parade ider the earth surrounding the Hamlet Krajan. The parade begins at Petaunan then headed to a hydroelectric dam located at the corner Krajan Hamlet. Arriving at the dam, jagatirta (water control officer) will soon open the dam so that water flows into along the way hamlet that had been planted crops by the youth. Meanwhile, the participants of the ceremony immediately headed to the rice fields owned by Hamlet Krajan. In this rice-fields-keboan kebo are starting to show similar behavior like a buffalo that was plowing or wallowing in the fields. At kebo-keboan'm wallowing, some participants of the ceremony soon fell into the fields to plant rice seed.

Once the seeds are embedded, the other participants immediately scramble to take a new rice seed was planted. The new seeds are planted it is trusted by community residents to serve as Hamlet Krajan against disaster, to bring luck and blessings. At the time of the participants fight those seeds, the kebo-keboan previously dimantrai by the handler to become trance, will soon catch up seed makers who considered a nuisance. However, the kebo-keboan harm was not until the seed makers because the handler is always watching every move. Once considered, then the handler will bring kebo-keboan pitung bargaining by rubbing on the head. After that, they returned to Petaunan.

For the record, before 1965 execution ider the earth not only all the way around Krajan Hamlet, but also to the large stone in the four corners of the wind that begins with a walk eastwards towards Watu Lasa, then west toward Watu Reef, then to Watu Gajah and south to north toward Watu Dragon.

Arriving in Petaunan, ceremony participants return to their homes, carrying rice which they had taken in the field to serve as a repellent reinforcements and also at the same carrier blessing. In the evening, they returned again to Petaunan to watch the puppet show with a story that tells of Sri Mulih Dewi Sri. The play was staged in the hope that citizens of Hamlet Krajan get an abundant rice harvest. And, with art dipentaskannya Petaunan shadow puppets in it, then ended the entire series in a ceremony at Village kebo-keboan Krajan.


Cultural Values

Ceremony kebo Krajan-keboan in Hamlet, Village Alasmalang, Banyuwangi, if examined in depth, contains the values that in turn can be used as a reference in everyday life. These values include: companionship, care, mutual aid, and religious. Common values reflected in the gathering of most members of the community in a place, eat together and pray together for the salvation together as well. This is a form of unity in living together in their environment (in the broad sense). Therefore, this ceremony also contains common values. In this case, togetherness as a community that has a territory, customs and culture of the same.

at the procession, as well as afterwards. Preparations that, not only about ritual equipment, but also a place, time, leaders, and participants. Overall it should be well prepared and thoroughly, so the ceremony can proceed smoothly. For that, it takes precision.

Cooperativeness values reflected in the involvement of various parties in organizing the ceremony. They helped one another after the implementation of the ceremony. In this case there who helped prepare food and beverages, to be master of ceremonies, and so forth.

Religious values reflected in the prayer addressed to God in order to get protection, the safety and prosperity in life.

Gamelan Banyuwangi ART

         Music in Banyuwangi. 
Gamelan Banyuwangi especially those used in dance Gandrung its uniqueness with the second violin, one of whom serve as pantus or song leader. Historically, at about the 19th century, Europe witnessed a show Seblang (or Gandrung) accompanied with the flute. Then the person is trying to harmonize with the violin which he brought that time, when he played songs Seblang was with the violin, the people around fascinated with the rhythm of the violin produced wrenching. Since then, the violin began to shift the flute because it can produce high tones that can not be issued by the flute.

In addition, the gamelan is also using "kluncing" (triangle), namely the triangle-shaped musical instrument made of thick iron wire, and sounded with a battering from the same material.

Then there is "kendhang" which amounts can be one or two. Kendhang used in Banyuwangi kendhang almost similar to that used in Sundanese and Balinese gamelan. Its function is to become a commando in the music, and give effect to the musical on all sides.

The next tool is the "kethuk". Made of iron, amounting to two pieces of different sizes and made in accordance with larasannya. "Kethuk estri" (feminine) is large, or in a Javanese gamelan called Slendro. While "kethuk jaler" (masculine) tuned higher one kempyung (kwint). Kethuk functions here not merely as an instrument of 'amplifier or carers rhythm' as well as in Javanese gamelan, but affiliated with kluncing to follow the beat of drum patterns.

While "kempul" or gongs, the gamelan Banyuwangi (especially Gandrung) consists of only one iron gong instrument. Sometimes also interspersed with "saron bali" and "Angklung".

Gamelan addition to this Gandrung, Gamelan Angklung used to show different with ravenous for Gandrung, because there are additional appropriate angklung tuned bamboo high tone. For the patrol, all musical instrument made of bamboo. Even for the show Janger, used Balinese gamelan, and a complete Javanese gamelan Rengganis. Special Medium Hadrah Kunthulan art, used tambourines, drum, kendhang, violin and sometimes bonang (or in Balinese gamelan called Reong).

Modernization was not inevitable in the art of Banyuwangi music, show different variants of the music is a blend of traditional and modern, such as Creative Kunthulan, Gandrung Creative, Creative and Janger kempul kendhang Campursari that incorporate elements of its electrons into the music, and became popular among the arts community. However, some experts worry about the art of creative culture will shift the classic art that has developed during berratus-hundred years.

Culture Gandrung Dance

Gandrung crazy interpreted as an agrarian society Blambangan to Dewi Sri as the Goddess of Rice who brought prosperity to the community.

Gandrung Banyuwangi dance performed as a manifestation of public gratitude after each harvest. Art is still a genre with such Tap Tilu in West Java, Central Java and Tayub in the western part of East Java, Lengger in Banyumas and Joged tube in Bali, involving a female professional dancers who danced together guests to the accompaniment of music (gamelan )

Is devoted to the performing arts are presented with musical accompaniment distinctive cultural blend of Java and Bali. The dance performed in pairs form between female (dancers crazy) and men (pemaju) known as "Paju"

Dance-dominated art form with unique orchestration is popular in Banyuwangi region, located on the eastern tip of Java island, and has become the hallmark of the area, to no one if Banyuwangi always identified with infatuated. In fact, Banyuwangi is often called the City of Gandrung and crazy dancer statue can be found in various corners of the region of Banyuwangi.


 devoted the first time danced by the men who dressed as women, the main instrument that accompanies the dance is devoted lanang drums. At that time, the violin has been used. devoted to this man gradually disappeared from Banyuwangi circa 1890s, presumably because Islamic teachings forbid all forms of transvestisme or dress up like women.

Devoted to the first woman known in history is devoted to Spring, a little boy who was still ten years old in 1895. According to a credible story, then Semi suffer severe illness. Everything was done the way up to the shaman, but Spring also not go away. So the mother Semi (Mak Midhah) vow like "Kadhung sira sane, sun dhadekaken Seblang, kadhung yo sing sing" (When you recover, I created you in Seblang, if not then it is not so). Apparently, eventually recovered and made the Semi seblang well start a new chapter with ditarikannya infatuated by a woman.

Tradition infatuated by this Spring, followed by her younger sister by using first names Gandrung as his stage name. Art is then continued to grow throughout the Banyuwangi and a typical local icon. At first devoted only be danced by the descendants of devoted dancers before, but since the 1970's started a lot of young girls who are not descendants of the study devoted to this dance and make it as a source of livelihood in addition to the increasingly desperate to maintain their existence since the end of the century -20.

Banyuwangi Gandrung fashion distinctive dancers, and dance unlike other parts of Java. There are the influence of Bali (Kingdom Blambangan) that appear.

Clothing for the body consists of clothes made of black velvet, decorated with golden ornaments, and beads are shiny and shaped bottle neck wrapped around the neck to the chest, while the shoulder and the back half left open. In the neck is fitted-ilatan physical defect which closed the middle of the chest and decorate the top. On the sleeves are decorated each with one brown shoulder and waist belts and adorned with ornate fabric sembong well as colorful as the sweetener. Scarves are always worn on the shoulder.

Section Head
Head fitted with a similar decoration which is called omprok crown made of buffalo skin is tanned and given a gold-colored ornaments and red and ornamented figures Antasena, the son of Bima] human-headed serpent-bodied giant but also cover the entire hair crazy dancer. In the past Antasena ornament is not attached to the crown but a half apart like the wings of birds. Since the 1960s, ornaments Antasena tail is then attached to the omprok to be present.

Later in the crown was given the silver ornaments which serves to make the dancer's face as oval, and there are additional ornaments called cundhuk mentul flowers on it. Often times, this part is installed hio omprok which in turn gives the impression of magical.

Bottom
Dancers infatuated using batik cloth with various patterns. But the style batik most widely used and became a special characteristic is the elephant batik patterns oling, vegetation patterns with elephant trunk at the base of white fabric that characterizes Banyuwangi. Before the 1930s, devoted dancers do not wear socks, but since that decade devoted dancers always wore white socks in every performance.

Other
In the past, dancers usually carry two pieces devoted fan to the show. But now the dancers devoted to carrying only one fan and only for certain parts in the show, especially in the seblang dawn.

Musical accompaniment
Musical accompaniment for the infatuated Banyuwangi kempul consists of one or gongs, one kluncing (triangle), one or two violins, two kendhang, and a pair of kethuk. In addition, the show is not complete if not accompanied panjak or sometimes called pengudang (the encourager) tasked with encouraging and hilarious effect in every show infatuated. The role can be taken by the player panjak kluncing.

In addition, sometimes interspersed with saron Bali, Angklung, or tambourine as a form of creation and accompanied electone.

Stages-Stage Performance
Performing original Gandrung divided into three parts:

* Row
* Advanced or ngibing
* Seblang dawn

Row
This section is devoted to opening the whole show. In this section, the dancers sing some song and dance solo, without a guest. Guests who are generally men just witnessed.

Advanced
After the row is complete, then the dancer began to give a scarf-shawl to give to guests. The guests is important that first get a chance to dance together. Usually the guests consisted of four people, forming a square with the dancer was in the middle. The devoted will come to the guests who danced with her one by one with a seductive movements, and that is the essence of dance crazy, that's crazy or lust.

Once completed, the dancers will come entourage audience, and asked one spectator to pick a song that will be delivered. The event was punctuated alternately in forward and repèn (singing that is not danced), and lasted throughout the night until dawn. Sometimes this show deal with chaos, caused by the spectators who were waiting or drunk, so the fight is inevitable.

Seblang dawn
This section is a cover of a whole series of shows devoted to Banyuwangi. After completion of the forward and rested for a moment, began the seblang dawn. Beginning with a slow movement of dancers and full of appreciation, sometimes holding a fan who dikibas-flick to the beat or without a fan at all while singing the theme songs such as seblang lokento sad. The mood of mystical feel at the time of the dawn seblang this, because it is still connected closely with seblang ritual, a ritual of healing or purification and still do (although difficult to find) by dancers older women. At the present time, the dawn seblang often omitted despite the fact that this section be closing one crazy stage show.

On the other hand, devoted dancers never be separated from prejudice or negative image in society at large. Some of the particular social groups, especially the students considered that the dancers are women whose profession Gandrung very negative and get treatment that is inappropriate, cornered, marginalized and discriminated even in everyday life

Since December 200, officially became the mascot Dancing Gandrung Banyuwangi tourism that followed pematungan infatuated displayed in various corners of the city and village. Banyuwangi regency government also initiated a campaign devoted to staged in places such as Surabaya, Jakarta, Hong Kong and several cities in the United States.

cultural arts banyuwangi

Banyuwangi culture characterized by a culture of Java, Bali, Madura, Malay, local culture and even from foreign

countries,
because the city of Banyuwangi is the regional meetings of the various cultures of the different types of mutual

wilayah.yang content

fill and eventually became a typical cultural banyuwangi.

Banyuwangi is located at the easternmost tip of Java island, bordering the north Situbondo, Bali Strait

in the east, the Indian Ocean in the south, as well as Jember district and regency in the west. Port Ketapang

Java connecting with Port Gilimanuk in Bali.

Banyuwangi residents are quite varied. The majority of the Tribe Osing, but there are Ethnic Madurese and Javanese

enough

significant, and there are a minority tribe and Bugis Bali. Tribe is a native of the district Osing

Banyuwangi and can be regarded as a sub-tribe of the Javanese. They use language Osing, known

as one of the oldest variety of Java language.

long history in which they are in a structural political and cultural pressures that corner. Majapahit,

Demak, Mataram, Buleleng, and VOC are the centers of political power to invade and fight Banyuwangi

with serious implications for its residents. Menakjinggo stiff resistance against the Majapahit not only considered

the evidence

political dissent but also at the same time pass on the interpretation, construction, stereotypes, even the stigma

against

Using community. Prototype Menakjinggo in Mataram ketoprak ugly is negative imaging

Using it as a legendary figure who always defend the people. Similarly, the expressions "handyman

witchcraft, "" lazy "," exclusive ", and so widespread among the Java community.

 Art from Banyuwangi is kuntulan, infatuated, Jaranan, barong, Janger and seblang.
Type of art was a part of distinctive arts of Banyuwangi is still alive and growing among

local community.

Ritual Since King Airlangga

      KUNGKUM SINDEN

Made with a soak in the Spring, District kudu, Jombang, a trusted sinden will stay young and have a melodious voice. Not surprisingly, about 50 kungkum singer to follow rituals in Spring Made it. How come?

A stage size was standing the middle of the page quite broad. On it, lined up 37 sinden who will graduate. They stood in a row wearing distinctive clothing sinden, namely jarik and red kebaya. From the expression on their faces radiating happiness as well as anxious. "Nervous also because it would graduate," said Yayuk Asiati, one from the Village sinden Genengan Jasem Kabuh District, on Thursday (18/11/2010).

The sound of gamelan playing in the courtyard Spring Made. Alunannya a dynamic increasingly compact with the movement of a number of traditional dancers waddle. Not long ago, about 37 runs alongside singer. They paraded into a lake, known as Spring Made.

After entering the spring, in turn, one by one sinden do spray. On the first turn, spray carried by the Assistant I Eksan Gunajati. Until, continued in other Muspida member.

Each spray is made by public figures are believed to carry a hope. Moreover, for sinden itself, every splash of water is believed to make the sound more melodious sinden. "Yes, yes hopefully selling," said Eksan when doing spray.

After being washed, the sinden back on stage. After that, sinden alternately get a green scarf kalungan marker sinden title officially embedded. Chairman of the PKK Jombang Wiwiek Suyanto didaulat draping scarves on every sinden. The facial expression of happy and relieved radiated from each face sinden.

The event continued with the charity village. Hundreds of people who had gathered in the yard the spring, it has brought their food is wrapped in a basin and covered by a scarf. A village elders to give advice-advice when the event starts. Charity village was closed with prayer readings. After that, their food is opened and eaten together by the audience who came.

Nasrul Divine, Section Head of Culture, Disporabudpar Jombang, Thursday (11/18/2010), tells, kungkum sinden is a tradition that has been running since the time of King Airlangga. A woman who would become sinden should first be bathed in the spring in the village of Made, the District kudu. The hope, it will be sinden sound like the wife of King Airlangga tuneful.

The man who was familiarly called Cak Nas explains, the meaning of kungkum sinden sinden is a graduation ceremony for the plunge into the world of traditional art. By bathing in the spring, then one can sound melodious. In addition, he said, sinden aura will also appear.

Reog in the present Culture

                                                         

Artists Reog Ponorogo graduates of art schools also provide touch on the development of dance reog ponorogo. Art school student of the stage and introduced the art of aesthetic movements koreografis, then be reog ponorogo with festivals such as the current format. There is a story line, the sequence of whom appear first, namely Warok, then Jatilan, Bujangganong, Klana Sewandana, then Barongan or sudden Peacock at the end. When one of these elements in action, other elements come to move or dance, though not prominent.

Several years ago the Foundation initiated the founding of Reog Ponorogo Reog Society archipelago, whose members consist of reog groups from various regions in Indonesia who had taken part in the National Reog Festival. Reog ponorogo be very open to enrichment and changes in range of motion.

Warok in reog ART

                                                                  
Warok until now still have a place as an elder in the community. Proximity to the spiritual world often make a warok asked his advice on the grip or the tranquility of the spiritual life. A warok supposedly have mastered what is called Reh Kamusankan True, true humanity road.

Warok is a force that relies on the truth in the battle between good and evil in the story reog art. Old is guidance as Warok figures, while Warok Young is still in its early stages warok study. Until now, Warok perceived as a figure who cast must have certain supernatural powers. Even some bad stories about life warok. Warok is the figure with the stereotype: wearing shorts, dressed in black, his supernatural powers and elders gemblakan.Menurut warok, Kasni Gunopati or known Mbah Wo Cats, warok not a arrogant because of its strengths.

Warok is a person who has a holy determination, ready to provide guidance and protection with no strings attached. "It comes from the word Warok wewarah. Warok is wong kang wewarah wealthy. That is, a person becomes warok being able to give guidance or instruction to others about the good life "." Warok iku wong kang wus full saka sakabehing behavior, lan wus menep ing sense "(Warok is a person who has been perfect in his behavior, and until in settling the mind).


Conditions became Warok

Warok must run behavior. "Condition, the body must be clean because it will be filled. Warok should be able to rein in its passions, hunger or thirst, nor come into contact with women. Other requirements, a candidate must provide a warok rooster, 2.5 meters cloth, mats, and salvation together. After that, candidates will warok kanuragan forged by a variety of science and mysticism. Having declared the master of science, he then confirmed as a true warok. He obtained a weapon called the drawstring will, like long white rope, weapons are the warok.


Warok true at the present time only the legend remains. Some groups warok in certain areas there are those who hold fast to their culture and are still viewed as someone who is elder and respected, sometimes even government officials always ask for his blessing.

Reog Ponorogo and Warok
Gemblakan

In addition to all the requirements that must be lived by those warok, hereinafter referred to as Gemblakan.Dahulu warok show known for its many gemblak, namely men aged 12-15 years a dozen years berparas handsome and well groomed and maintained as kelangenan, which sometimes is more cherished than his wife and children . Maintaining gemblak is a tradition that has been deeply rooted in the community of artists reog. For a warok it is normal and socially acceptable. It is said that fellow warok never collide gemblak supernatural powers to fight a craving and besides it sometimes happens gemblak borrowing.

Costs incurred for a gemblak warok not cheap. When gemblak school must maintain the warok the purposes of school finance in addition to feed and shelter. Whereas if gemblak not in school then every year to give it a sapi.Dalam warok traditions brought by Ki Ageng Suryongalam, magic can be obtained if a warok not willing to have sex with women. It was said to be a necessity that comes from the teacher's command to obtain supernatural powers.

The obligation to maintain any warok gemblak believed to be able to maintain its miracle. In addition there are strong beliefs among warok, intimate relationship with a woman even with his own wife, can fade the whole magic warok. Mutual love, cherish and try to please is a characteristic of the special relationship between gemblak and waroknya. Practice gemblakan among warok, identified as homosexual practices because warok must not spit lust to women.

Currently, it has been a shift in relation to gemblakan. In the present gemblak difficult to find. Tradition maintains gemblak, there are more faded. Gemblak the first regular role as a dancer Jatilan (kuda lumping), its role is now being replaced by young women. Whereas formerly the arts to be displayed without a woman.

CULTURE reog ponorogo eastern Java

                                                                    
                                                                REOG AND WAROK

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

Reog Ponorogo and Warok History Reog Ponorogo

Basically there are five versions of the popular story that developed in the community about the origins and Warok Reog, but one of the most famous story is the story of the rebellion Ki Ageng lice, a royal servant during Bra Kertabumi, the last king of Majapahit in power in the century -15. Ki Ageng lice will anger the powerful influence of the Chinese colleagues in the government and its king, king of the corrupt behavior, he also saw that the power of the Majapahit kingdom will end.

He then left the king and established the college where he teaches young children martial arts, science self immunity, and the science of perfection in the hope that these young children will be the seed of the resurrection of the Majapahit kingdom again later. Realizing that his forces are too small to fight the royal troops, the political message conveyed by Ki Ageng Flea Reog performing arts, which is a "satire" to King Bra Kertabumi and his kingdom. The performance becomes a way of Ki Ageng Reog Flea build local resistance using Reog popularity.


In the show Reog displayed mask lion-shaped head, known as "Singa Barong", king of the jungle, which became a symbol for Kertabumi, and above it is plugged in peacock feathers to resemble a giant fan which symbolizes the strong influence of his Chinese colleagues who manage the over all movement geriknya.

Jatilan, played by a group of dancers gemblak a rocking-horse became a symbol of the power of the Majapahit Empire troops into comparison with the strength warok contrast, behind the red clown mask that became the symbol for Ki Ageng lice, alone and sustain weight that reached more masks singabarong of 50kg using only his teeth.

Popularity Reog Ki Ageng lice eventually cause Kertabumi take action and attack perguruannya, rebellion by warok quickly overcome, and forbidden to continue teaching college will warok. However, students still continue Ki Ageng ticks quietly. Even so, art Reognya still allowed to be staged because the show has become popular among the public, but the story has a new channel which added characters from the Roxburgh folklore Kelono Sewondono, Goddess Songgolangit, and Sri Genthayu.





Official Version Reog Ponorogo storyline now is the story of King Ponorogo who intend applying for daughter Kediri, Dewi Ragil Yellow, but amid the journey he was intercepted by King Singabarong of Kediri. King Singabarong troops consisting of peacock and lion, while the part of the Kingdom of Roxburgh and his Deputy Bujanganom Kelono King, escorted by warok (men dressed in black in the dance), and warok has a deadly black magic. The whole dance is a dance of war between the kingdom of Kediri and the Kingdom of Roxburgh, and pitted black magic between them, the dancers in a state of 'trance' during the dance stage.

 Until now people just follow what Ponorogo into their ancestral heritage as a very rich cultural inheritance. In his experience art is copyright Reog human creations that form the flow of an existing trust from generation to generation and maintained. The ceremony also use terms that are not easy for lay people to fulfill it without a clear lineage. embrace their lineage Parental and customary law which still applies.

CULTURE ART traditional art central java

                                              ketoprak.

ketoprak also come from the middle of a theatrical java, java "kromo" and "kromo inggil" which means: fine
the story of the play tells the story of the history of Java Java like the story of the kingdom, spiritual Javanese legends and the like.

which distinguishes between ketoprak with ludruk are:

- ketoprak derived from central java
- Accent language (ketoprak more subtle while ludruk using java jive surabaya).
- Attributes of clothing that is in use during performances, ketoprak wear clothing - apparel clothing ludruk Javanese palace while the area of Java it's just always use BlankOn
(Sort of cap on his head).
- Traditional music that accompanies the more dominant in the Javanese gamelan drums while ludruk dominated java

in ketoprak but there are also dances tend to be more subtle and dancers usually a woman, and at each end of the dance show always begins with the most people dance assistant men - men who portray servants (maids), who also became a sign at the start of play this java.

Besutan generation crisis ART

                                               BESUTAN
besutan made by a traditional art from Jombang East Java
many people argue that because the character is called Besut famous plays in the show is an actor named Besut so on besutan.kesenian call this a forerunner of art ludruk, ludruk also add in their meal at the show made by ludruk, but the show is more dominant with parian Besut parian jokes even wear similar clothes in character - a funny man - funny, makeup is also similar figures - people like puppet Petruk, semar, cumbersome and friends - friends.
However, the existence of art Besut is now increasingly faded from public view. The lack of generation and the presence of the more modern cultures discourage the presence of art Besut.

"My parents have not been thinking about it again, children are now taught to naughty-naughty if so be it," said Mbah Samiun, a powerful drum drummers in the group of art made by their own cellular phones.

Men from this Megaluh said, he and his colleagues do not want the preservation of art is not maintained. However, the older the age that makes Mbah Samiun could not do much.

Likewise, Mbah Tajib, Mbah Samiun colleagues during the triumph of art made by also storing a similar feeling. For him, the triumph of art made by art ludruk precursors as a matter of time to decorate the incision history.

Hope to develop and preserve the art made by as if he could no longer voiced. In the minds of Tajib Mbah, who was born in 1928, plays Rusmini, Cak Besut and Gondho and Sumo Picture seems to only be a story of the past.
apart from the Besut also has a handsome traditional arts such as Jaranan and jidoran which will be discussed at the next session

East Javanese traditional Culture arts

                                                         
                                               LUDRUK
    Ludruk traditional heritage is a drama which is a typical artistic eastern Java, which in brought by a group of traditional arts are dominant in the region surabaya,   initially ludruk bring the story - the story of Indonesian people's struggle against Dutch colonialism, so that there is play in the mengfigurkan ludruk hero famous in his struggle.

        examples play in ludruk: "Sakerah", which is often made in the main title in ludruk
                                    in ludruk there :
                                          - remo is a traditional dance with cash clothing attributes    
                                             java easterlies,
                                          - Jokes, buffoonery in ludruk are jokes that are usually preferred by all people who  watch both of children - young children and adults because it is instant so spontaneously without the need to understand in detail even been able to in enjoy and make people laugh.
  - Rhymes with language surabaya
  - The contents of drama

   well-known figure in the jokes is Kartolo surabaya, Kartolo also has a comedy group called Kartolo cs  (basman, sarari)

   tool - the traditional musical instrument which is dominated by the Javanese drum, which aims to accompany during the show progresses.
but as the development ludruk era is now often in the mix with a tool - a modern musical instruments like electric guitars, bass electric guitars, keyboards and drums.

CULTURAL ARTS

CULTURAL ARTS

 The notion of culture is very diverse and very broad,
  but here I am trying to write a little about defnisi culture.
Culture is an etiquette and behavior of living in the community or certain ethnic groups and growing for generations.
Culture has a very broad meaning and is composed of many elements including language, customs, religion, politics, and artwork. culture is complex, abstract, and broad.
  Cultural elements of society includes many human social activities.
living patterns and different norms make a difference in culture and this determines the identification of a single community or country to country.
culture has 4 main elements include:
            - Economic system
            - Family
           - Political organizations
            - The means or institutions - institutions
culture can be classified into two main components:
1. Material culture, based on all public works
real, material culture also includes findings - findings that are produced,
    also include goods - goods ownership.
   2. Non-material culture is the work - work that is abstract is the inheritance from generation to generation, for example, can include folklore, songs or traditional art.

Similarly, the art which also has such a broad meaning.
today in art is often mistaken as something creative and innovative,
which produces beautiful work and creation as well as having a particular purpose.
in the language of art is defined as something beautiful, beautiful, fine that can be
in touch by hand, at the hearing by the ear and viewed by eye.
Lots of artwork is the result of culture, both commercially-oriented for the purpose penafkahan and survival as well as a non-commercial nature are like religious and norms - social norms that we have felt for generations from generation to generation.
Starting from this article let us together - the same study, notice it and preserve the arts and cultural heritage, as well as addressing any positiv
      forms of creation and innovation.