The Water Garden of Sunyaragi

About travel in Indonesia and it's culture in Bali, Yogyakarta, Sulawesi, Celebes, Riau.

The Water Garden of Sunyaragi
(Gua Sunyaragi)

The monuments inherited by the Sultan of Cirebon are: the Palace, the Mosque, and the buildings that are known as Gua Sunyaragi or the water garden of Sunyaragi. These buildings are located in the Graksan Area, southwest of Cirebon. It’s very easy to reach; besides it is close to the intersection of the Cirebon-Semarang highway.
Gua Sunyaragi was built by Prince Arya Carbon (Prince Salahudin, the younger brother of Sultan Sepuh II) about the year of 1700. During the reign of Sultan Sepuh V (Prince Arifin, who was called as Sultan Matangaji), the monuments has been widened and redecorated. The buildings were used as a training centre for the Sultan’s soldiers; they were also used as a workshop.
Sunyaragi is derived from the word Sunya, which means quiet and peaceful, and ragi = raga, which means physical appearance. As a whole the word Sunyaragi means a place for meditation to ask for some help from the Almighty. During the reign of Sultan Matangaji, the Gardens of Sunyaragi were widened, improved and completed with new buildings. They were used as a concentration camp for the soldiers, for a warehouse and as a workshop for making weapons. Later, when the Dutch ruler (VOC) sensed the danger of Sunyaragi, they attacked the compounds of Sunyaragi and Sultan Matangaji died in defending his Sultanate in 1787. Many buildings in the compounds were destroyed or damaged. In 1852, during the reign of Prince Adiwijaya (Prince Syamsuddin IV), Gua Sunyaragi was renovated with the help of a Chinese architect. But unfortunately, when the Chinese architect was caught by the Dutch, he was forced to tell the Dutch anything he knew about Gua Sunyaragi. Knowing this situation, Sultan Adiwijaya ordered his ‘adipatis’ and soldiers to run away and hide with all their weapons. So, when the Dutch attacked Sunyaragi again, there was nothing left concerning about weapons. The Dutch people were frustrated of course, but from that time on, they took controls on Sunyaragi. And so the maintenance of Sunyaragi was neglected.

The Architectural Styles of Sunyaragi
Considering that these compounds were very wide and had certain architectural style with decorative elements, we assume that these monuments were formerly beautiful. They also have historical and spiritual values. The compounds were formerly divided into two main groups of buildings. The first consisted of a huge building with a beautiful surrounding, landscape and a man-made lake. The second one was a cave-like building that was constructed by using coral stone. Inside this building, there was a water distribution system with gardens around the building. There was also a man-made lake with a very classical exterior. The gate was clearly Islamic.
The gardens of Sunyaragi have a certain architectural style that was a manifestation of cloud and coral motifs. In Cirebon, these motifs are usually found in batik designs, that they call “mega-mendung” (cloudy clouds). The cloud and coral motifs were also found in temples and other important buildings during the Majapahit era. It was a tradition in Majapahit architectural art of that time. The tradition of Majapahit architecture had developed and mixed up with the Islamic influence. We can see it in the north coast of Java in the town of Gresik, Bonang, Kudus, Demak, Mantingan, Madura, and Cirebon.
Beside the motifs above, there are some other interesting things that we can find in the form of the gates. The gates facing east and west are known as Candi Bentar gates because they remind us of the architectural designs of Bentar temple in east Java that was built during the 13th and the 14th century.
On the east-side wall of the main building, there are reliefs on the panels that show us a snake fighting against an eagle or sometimes a snake alone or an eagle only. The story in the relief’s can be traced in the famous story of Mahabarata, especially the Adiparwa. The story of the snake, for example, tells us about the gods who fight against the giants to get sacred water of Amerta, which can give eternal life. Another assumption shows us that the reliefs tell us about the character of Dewa Ruci, and Bima, who was meditating to regain his strength after having fought against the giant snake. But the relationship between the stories and the relief’s above are still vague. More studies in this subject should be done in the future.
Beside the relief’s, there also find a statue of an elephant and a woman. The meanings of these statues have not been clear. It’s still need times to solve the mystery. If we compare the statue of the woman with the building structures of Hindu culture, it can conclude that the statue of the woman represents of “dwarapali”, a goddess who stand guard against incoming danger.

Southeast Sulawesi

About travel in Indonesia and it's culture in Bali, Yogyakarta, Sulawesi, Celebes, Riau।

Around 1500 BC, the ancestors of the Indonesian people came to the Indonesian archipelago. They came from south East Asia in waves through the two channels of disseminations, namely the channels of Malayan Peninsula and the Philippines. So the dissemination of population goes equally throughout the Indonesian archipelago.

1. Pre-historic Time
The pre-historic time is identified by the remnants of the pre-historic period found by he researches among others:
- Human skeleton found in the stone cave of Desa Taipa, in Wolasi, Bandawe, Andolaki, Wawonii (Kendari regency) and in Kobaena Island (Buton regency).
- Some old paintings on the wall of Liang Kobara cave (Muna regency).
- Majapai characters in lakupela village (Buton regency) and the foot prints on the stone by the river side of Mowewe (Kolaka regency).

2. Dissemination of the people
According to experts, the population of the Indonesian archipelago came in waves from Gobi, Yunan and Indo China, through Malacca Peninsula further spread to the South and to the East, which then became tribes inhabiting Sulawesi. Nevertheless before they came, aboriginal inhabitants had existed among others: Tokia, To Wuna, Toala, and Towana.
It was supposed that the tribes which were the elements of Proto Melayu, were were Katobengke and Moroaene people, To Aere in South East Sulawesi area. The elements of Deutro Melayu are tribes of Tolaki, Muna and the present Wolio. They are known as the biggest ethnic group in South East Sulawesi, inhabiting four regencies:
- Tolaki tribe inhabiting the Kendari and Kolaka regencies
- Muna tribe inhabiting the Muna regency
- Wolio tribe inhabiting the Buton regency.
It can be presumed that the population is centralized around the lakes of East Sulawesi (lake Matana, lake Mahalona and lake Towuti)
In a book entitled “Structures in Central Celebes” Volume II, it is stated that the central dissemination of population in the Central, East and South East is around Lake Matana. A great disaster in that area occurred among others wars, infectious diseases that almost wipe out the population, such a condition forced them to leave their dwelling place and spread to all directions in the island. In the North they pushed the tribes in Central Sulawesi consisting of To Napu, Tokulawi, To Bada and others. In the West, they pushed the tribes of Toradja Sa’sang. In the East they pushed Mori and To Bungku, while in the South; they pushed Tolaki, To Moronene, Wolio, and Wuna tribes.
The regional dissemination of population was through local navigation, crossing the mountain or going along the river. The above disaster is supposed to have happened around the 8th and 9th centuries. If this presumption is true, the dissemination of the population had occurred since the 9th century up to the 11th centuries.
The research had proved that almost all the tribes living in the North Sulawesi have their own traditions telling about the arrival of their ancestors. Konawe and Mekongga people usually known as Tolaki tribe inhabiting almost the mainland of South East Sulawesi has a “history” telling that their ancestors were originated from the areas of the three lakes and spread to the south following the stream of the KonaweEha River. It is said that the central government used to be arranged in a place called Rahambuu (the main house), later it was moved to the south in an area called Andolaki. From this place the central government was moved to Unaaha which was later known as the Central Kingdom of Konawe. The population moving south west chooses Puneho (Wundulako) as the central government. Here the reign of the kingdom of Mekongga was arranged.
One of the traditions of Tolaki people describes that the first cultured human being was the leader of Tolaki tribe called Tanggolo Wuta. First he lived in Heuka in the valley along the Lasolo River, east of KonaweEha River. Muna people inhabiting the island of Muna, have another story about the arrival of their ancestors. It is said that Sawerigading (son of King Luwu) with the central around Lake Matana, in his navigation cruising the Indonesian archipelago, was sunk in the riffs of Muna Island. This place is called “Batuhara” by the people of Muna. The crew of “Sawerigading” who later became the inhabitants of Muna Island was called Wuna tribe (Muna). King Muna I was known by the title of Betano Netombula (a man coming out of bamboo).
Buton people have their own traditional story about the antecedents of the population of Buton. It is said that the population of the island of Buton came through two places namely the group of Sapanjoga who came to the east coast a little north wards of the island of Buton, while the Simalui group came in the west coast a little northwards. Both of the coming groups kept developing, each of which followed the coast southwards which then met with each others around Bau Bau. This place later become the central activity of the people and later become the capital city of the kingdom of Buton.
King Buton I was a woman by the name of Wakaaka. She was also described as a queen coming out of bamboo. She was married to a nobleman from Majapahit by the name of Sibatara. It seems that a greater part of the Kings, the founders of the governments in South East Sulawesi, consisted of outstanding people who were worshipped as ‘gods’ coming out of bamboo. Even small kingdoms that grew in South East Sulawesi, considered their kings that way.
The kingdom of Tiworo in the northern part of Muna island is also begun with the story of Mobetena Paria (Paria: a sort of bamboo). In Kobaena people know Tebota Tulanggadi (coming out of the ivory). The appointment of outstanding people as king is based on the agreement of some regional heads. In Mekongga and Konawe, some Tonomo Tuo of the small regions agrees to celebrate Sangia Ndudu (To Manurung). So is in Buton where it is done by 4 bontos (head oh the town) and in Muna which is done by 4 Mieno Wamelai. These people later were members of Board of the Kingdom who are in charge of appointing or dismissing the King.
In social strata, the descendants of those said to come down from heaven or from the stem of bamboo get a higher place than common people. They belong to noble descendants who can have an authority after this situation which had occurred from generation to generation. The Islam entered South East Sulawesi with different culture. The influence of the Islam culture changed the old life pattern and simultaneously ended the old era in the historical period.
At this period a prominent figure appeared in South East Sulawesi known by the people of Tolaki as Halu Oleo, or Sultan Murhum in Buton which is similar to Laki Laponto in Muna. Laki Laponto was the son of King Muna IV, Sugi Manuru who was very influential in Konawe and Mekongga up to Moronene when he was young. Melamba (Mokole Konawe) was his own brother from the same father and Puteo who became a mokole in Bungku. When King Muna IV (Sugi Manuru) died, he was also appointed as King Muna, further replaced his father in law as King of Buton. His brother (Laposasu) replaced him as King Muna VIII. Son in the history of South East Sulawesi, Halu Oleo as legendary figure had begot members of family which later would reign the Kingdoms in South East Sulawesi. The Royal government kept on until the entrance of the Dutch Indies government (Fax Nirlandica 1911).

Geographical Background

Geographical factor is one of the decisive elements in the formation of life concepts of a society, nation or country. Although with the technological development human being has been able to change the natural environment as he wants, one will realize how life and human life are. So is the situation of South East Sulawesi the area which consists of land and islands that produces all kinds of activities. In the main land, with its unfertile soil since the area consists of damp valleys flowed by large rivers. A part of its area consists of range of mountains and hills covered with wild forests. The natural situation creates coil air and causes the kindness of its population. Such an environment enables the birth of values art.
This situation differs with that of the archipelago, the soil of which consists of stone mountains. Its population has to work hard to face the challenge of the surrounding nature. So a hard character arises in their hearth, which later created a culture which was in line with the character and environment.
This is the characteristic of the culture of South East Sulawesi, which forms a compound culture namely the cultural integrity between the mainland culture and the culture in the archipelago. The South East Sulawesi Province consists of 4 regencies namely: 1. Regency of Kendari with the capital city, Kendari
2. Regency of Kolaka with the capital city, Kolaka
3. Regency of Buton, with the capital city, Bau-Bau
4. Regency of Muna, with the capital city, Raha.
The volume of the area: 38.140 Km2 or 1, 49 x the extent of Indonesia (± 0.02 % of the extent of the Indonesian archipelago). This area lives between 2053’23” – 6015’21” South Latitude and 120054’36” – 123016’12” East Longitude. The administrative limits are as follows:
- On the north by the South Sulawesi Province and Central Sulawesi Province.
- On the east with Moluccas strait and Banda Sea.
- On the south with the Flores Sea.
- On the west with Bone Bay.
From the location of the area it can be realized that the culture of South East Sulawesi society has similar elements with that of the neighboring areas because in the framework of living in neighborhood cooperation they influence each other in their cultural life. Some aspects in South East Sulawesi such as tradition, art, have similarity with the culture of Central Sulawesi or South Sulawesi.
Bugis character (Lontara letters) in South Sulawesi was also used by some of the people in South East Sulawesi in the past. Where as the wedding and burial ceremony of the ancestors in South East Sulawesi have a similarity in tradition with those of Central Sulawesi and South Sulawesi (Tana Toraja). It can be said broadly that the continuation of human life or a community depends on the social ability to adjust themselves with the environment. The culture of a society can survive only when one culture can absorb the other. Consequently to create a strong national culture the various kinds of regional culture should be developed in one term of value so as to color the Indonesian identity which is Bhinneka Tunggal Ika (Unity in Diversity) by nature.

Bagansiapiapi

About travel in Indonesia and it's culture in Bali, Yogyakarta, Sulawesi, Celebes, Riau.

Where is Bagansiapi-api located?

Bagansiapi-api is the capital city of Rokan Hilir Regency, Riau Province. This was the part of Bengkalis Regency. Bagansiapi-api located at the Sumatera coastal area, exactly at the Rokan river estuary. Bagansiapi-api is a strategic site for it can be reached by land or sea.
The history of Rokan Hilir rooted from three “kenegerian” traditional administrative regions, which were Negeri Kubu, Bangko and Tanah Putih. Each Negeri was led by a Chief of Negeri responsible to the Sultan of Siak, once the ruling kingdom in the region.
When the Dutch occupied the region in1890, the first District was established in Putih. After the town of Bagansiapi-api, discovered by Chinese settlers, began to flourish, the Dutch removed their district Controller Office there in 1901. Bagansiapi-api grew in importance after, the Dutch built the modern and most furnished port in the town to challenge another established port in the straits of Malacca until the First World War ended. When Indonesia gained independence, Rokan Hilir merged into the Regency of Bengkalis in Riau Province.
The regions which used to be parts of the Bagansiapi-api District, consisting of Tanah Putih, Kubu & Bangko as well as Rimba Melintang and Bagan Sinembah, as of 4 October 1999 were declared by Government of the Republic of Indonesia as new autonomous Regency within Riau Province by virtue of the law no. 53 of 1999. The law stipulated the capital in Bagansiapi-api.
The Regency of Rokan Hilir occupies the total area of 8.881,59 km2 or 888.159 ha, situated at 1o14’ to 2o45’ North Latitude and 100o17’ to 101o21’ east Longitude. Rokan Hilir has territorial borders as follows:
• In the north with the straits of Malacca
• In the south with the Rokan Hulu and Bengkalis Regency
• In the west with the North Sumatera Province
• In the east with the Dumai Municipality
There are some rivers and islands within the Regency of Rokan Hilir. Rokan river is is the largest, flowing across the region from the upper course in Rokan Hulu area down to the estuaries in Rokan Hilir area as long as 350 km. As the largest river, Rokan River plays an important role as the transportation lane and the source of economy for the local population. Other rivers are Bangko River, Sinaboi River, Mesjid River, Siakap River, Ular River and other smaller creeks.
Most are in Rokan Hilir cop raises of lowland and swampland, mainly the region along the Rokan river course up to the estuaries. These regions have such a fertile soil & become the most productive and outstanding rice/paddy farming areas in Riau Province. The population rate in 2005 was recorded 454.253 persons.


The arriving of Chinese in Bagansiapi-api

It began from searching a better life; a group of Chinese from Fuji an Province (China) sailed across the sea with simple wooden boat. While they were went astray, they prayed to Kie Ong Ya god, hoping that their god would guide them to the nearby land. Soon, on a silent night, they saw a dim light. Where there was a light, there was a land, they thought. Finally, they changed their course toward the dim light, until they reached the land in the sea front of Malacca strait. There were 18 Chinese who landed on that land, they were:


1. Ang Nie Kie
2. Ang Nie Hiok
3. Ang Se Guan
4. Ang Se Pun
5. Ang Se Teng
6. Ang Se Shia


7. Ang Se Puan
8. Ang Se Tiau
9. Ang Se Po
10. Ang Se Nie Tjai
11. Ang Se Nie Tjua
12. Ang Un Guan


13. Ang Cie Tjua
14. Ang Bung Ping
15. Ang Un Siong
16. Ang Sie In
17. Ang Se Jian
18. Ang Tjie Tui


They were considered to be ancestors of Bagansiapi-api’s Chinese. On the next day, they found many fish on the river mouth (Rokan River Estuary), and then they caught the fish gladly as their every day meal. From that day, they began to live on the land. Soon afterward, they who thought have found a better place to live, invited their relatives from China. These Chinese immigrants made the Chinese population increased. Their fishing skill allowed them to exploit the wealth of the sea. They exported and sold their catch to the other nations and continents, this made Bagansiapi-api famous, and it renowned as the second largest fish producer in the world after Norway.
Trading in Malacca strait was thriving, this made Dutch colonial government thought that the strait could become the base for their naval force, which then they built sea port in Bagansiapi-api. It was considered to be the most advanced port in Malacca Strait on that time. The sea wealth was not the only resources in Bagansiapi-api, but, it was also the renowned rubber producer. During 1st World War and 2nd World War, Bagansiapi-api was renowned as one of the highest quality rubber producer, rubber was the raw material used to make tires for war machines. The Chinese processed the rubber in several rubber manufacturers. But, after the 2nd war world ended, rubber demand was decrease, this made the business decline. Most of the manufacturers were shut down. Now, people have forgotten this achievement, that Bagansiapi-api was a renowned rubber producer in Asia.
From the culture aspect, there is a hundred years old temple. The Chinese pray to Kie Ong Ya god in this temple & Kie Ong Ya is depicted in his actual size when their ancestors set foot in Bagansiapi-api. There are several versions of the word Bagansiapi-api originated. Some say the word derive from the mystically mysterious light as a gift from Kie Ong Ya god, when the Chinese ancestors begged for guidance. The other versions say: the bright light they saw while they were astray was the light of fireflies. Fireflies were found easily in Bagansiapi-api, now it is hard to find the fireflies. Yet, there is rarely spoken version, Bagan was an ancient fishing tool, and the word “api” (fire) itself was the name of a marsh tree which grew on the coastal area. The tree used to call: api-api. In Bagansiapi-api waters, there were many fishing tools put in the marsh where the trees grew, as the story goes.



Safety & Prosperity in “Barge Burning” ritual
Go Gwe Cap Lak

At Bagansiapi-api on 16th day of 5th month of the Chinese lunar year held the traditional Chinese Ceremony called Go Gwe Cap Lak which known as “Bakar Tongkang “ or ship burning. The ceremony is to respect Kie Ong Ya god and held with very wonderful ritual attraction & parade as “rumah gila or crazy house” and “debus or invulnerability”. Thousand peoples are coming from various countries such as Malaysia, Singapore, Taiwan, Hong Kong etc to attend this ceremony. One interesting section during this ceremony is when the ship’s mast broken down, the direction of its falling is shown which subject will have lucky in the next year. This event has been done since 1920. During this event it is not surprising that most of the hotel in the city has been fully booked by the Chinese people who arrive from all districts to attend this attraction.
Barge burning ritual symbolizes the sailing story of the Chinese ethnic who escaped themselves from the threat of the Siamese authority. Inside the ship (tongkang) led by Ang Mie Kui were the statues of Kie Ong Ya god and his commander named Taisun Ong Ya.
They had brought these statues from China land. They believed that those gods had guaranteed them with safety during their sailing to Bagansiapi-api. To show their gratefulness for the safety and prosperity they had received from the sea, as well as honoring the gods, this Chinese ethnic of Bagansiapi-api, then carries out the ritual of Barge Burning, which is conducted every year. The praying process is conducted on days 15, 16 of the 5th month of Chinese calendar.
Some sources say that this ritual of Barge Burning is actually carried out to commemorate the birthday of Sea god called Kie Ong Ya god. This ritual has some specific characteristics that can not be found in other parts of Indonesia.

The Praying Process ‘Barge Burning’ Ritual

The praying process is carried out in two phases. The first phase is conducted before the ship (called tongkang) is paraded to In Hok Kiong temple on day 15 of 5th month of Chinese calendar. The second phase is conducted after the ship is officially put in In Hok Kiong temple on day 16 of 5th month of Chinese calendar.
The first process of praying is carried out when time shows 12 am midnight on day 15 of Chinese calendar. The pilgrims will start their pray and burn their giant joss sticks. Then they will present the gifts consist of cakes, fruits, pork meat, fish or chicken, which are put on an altar. This ritual will take place until the afternoon when the time of taking the ship from the place it is made has come.
Around 4 pm, the ship is then paraded to In Hok Kiong temple. After the ship is officially put in front of In Hok King temple, all praying activities are then temporarily stopped to give the opportunity of Kie Ong Ya god to serve the other gods in enjoying the shingle prepared by the pilgrims. This process takes place until 12 am, when day 16 of Chinese calendar comes, and the ship is officially announced. This process is carried out by a spiritual expert/suhu that is called Tangki. After that, the temple will be opened again for the pilgrims to pray. It will last until the ship is burned.
All representatives from all temples in Bagansiapi-api will usually gather and get ready to parade the ship (tongkang). Each representatives wears their own specific uniform to differentiate them from the others representatives. Besides that, each group brings its own Tangki along with their attraction equipment similar to ‘debus’ action (traditional ritual in which the layers are in trance and invulnerable to sharp objects like knives or machetes). After all participants of tongkang parade gather in In Hok Kiong temple yard, the procession will soon move toward the arena used for burning followed by thousands of pilgrims behind it.
Arriving to the burning area, the burning position of the tongkang will then firstly determined according to the sign given by Kie Ong Ya who according to their philosophy, also gives the direction towards better prosperity and the better wellbeing and safety of Chinese ethnic in Bagansiapi-api. After the ‘tongkang’ is put in its place, gifts papers are then piled up on the ‘tongkang’ deck on fire. Within minutes, thousands of gifts papers turn in to a big flame of fire that burns all parts of the ship (tongkang) and turn it into ashes.

Balinese Culture

To get a general view of the rich variety of Balinese culture and its development, it is important to expose the historical background and the social life of the Balinese people who produced and nourished this kind of culture.

A. The prehistoric period

No artifacts of the Old Stone Age (Palaeolithicum) have yet been found in Bali. On scattered locations stone implements had been excavated such as axes and picks, thought to be from the New Stone Age (Neolithicum).
Some of these implements are kept at the Bali Museum while the rest is in the collection of the National Museum in Jakarta. Other objects have been found, such as bronze implements, because aside from the gong, The Moon of Pejeng (Pejeng is the name of a village), remnants of molds for bronze were found in the village of Manuaba, a few kilometers from Pejeng. Stone sarcophagi have also been found scattered throughout Bali, proving in fact that already during the Stone Age the indigenous people lived spread out throughout the whole island. The bronze gong which measures 186 cm in height and has a diameter of 160 cm is decorated with beautiful carvings.
It is generally assumed to be a sacred gong which may only be used at certain ceremonies. Although the religion at that time is yet unknown, the artifacts are clear proof of the high level of the culture at that time and it not being inferior to other existing culture in other areas at the same time.

B. The Historic period

Judging from the Balinese way of life and its social structure and also from its art forms, Balinese history can be divided into six periods.

1. The Balinese indigenous period (BC - around 700 AD)
In this period no Hindu influence was evident, but daily activities were controlled by the indigenous religions. People believed in a super and sublime force or a supernatural power that gave life to this world and which they must worship. Then again, ancestor worship was regarded as a special ceremony and a special occurrence. This belief stimulated a sense of solidarity and kind ship among the people, which in turn created a specific life pattern which is communal.

As a tangible sign of gratitude and reverence to the worshipped, the community would conduct ceremonies on specific days, especially on full and new moons, which were accompanied by various offerings, dances and gamelan music.
Sacred buildings for veneration were erected in places having ties with family life (in the environment of the house), with social life (in the center of the village) and with nature (on top of a hill, in the middle of a rice field, on the banks of a lake etc).
At that time the monarchial constitution was yet unknown and for the social administration a village council was elected (called kerama desa) consisting off all married men in the village and the head of the village (kelian desa) as council head. This system stresses on communal property and communal decision making and restricts private ownership. This system still prevails up to the present time in the Balinese villages. The subak system which regulates water distribution was already known at that time.

2. The Balinese Hindu period.
The Hindu faith is based on the Pancacradha, which teaches:
a. faith in Sanghyang Widhi (the Almighty One)
b. in Atma (the ancestral spirit)
c. in the Karma Law
d. in the Samsara (rebirth)
e. in Moksha (attainment of Nirwana)
The Hindu religion penetrated Java already in the 5th century. During the reign of King Sri Sanjaya Mataram it was at height of its influence in Java and it was then brought to Bali with the expansion of the Kingdom.
The Hindu philosophy and religion was well received by the Balinese people of that time because it did not depart too far from their initial religion and way of life. It was even regarded as being able to enrich their arts and their philosophy. The Sacred buildings (pura besar), started to be erected as a places for worship and as the symbol of unity for the whole village. Syncretism between the ancient religion, which was based on ancestor worship and animism, and Hinduism with its Acintia (the One Almighty) was also initiated.
This period was marked with the erection of six great puras (Sadkahyangan) which were spread out throughout Bali, i.e. Lempuyang, Besakih, Yeh Jeruk, Batur, Uluwatu, and Batukaru. Later followed by Silayukti, Gua Lawah, Klotok, Masceti and others. The social structure and administration was still the same as during the Pre Hindu period, except for the addition of an official exclusively in charge of the kahyangan.
The kerama desa forms of administration was still the same, but for a pact signed between the kingdom and the desa which regulated the rights and obligations of both sides, and which were written on brass plates. The Balinese who received direct Hindu influence made another change in their social habits by initiating a ceremony for the dead, starting with burial, to cremation, with the intention of accelerating the return to the Creator. According to the Hindu faith Man consists of solid material, fluids, heat, gas and ether.

3. The Javanese Hindu Period (900-1350)
In this period Bali was influenced by the kingdom of Kediri, Singasari and Majapahit, which marked the era of the spreading of the Siwa and Buddha religion. Naturally each influence brought changes to the social structure. It is generally thought that the caste system, catur wangsa as well as catur warna, which originated from the social structure in India and was introduced during the Hindu kingdom in Java, entered Bali with the emergence of the king of Bedahulu. The Balinese culture was enriched by the Hindu mythology which manifested in Siwa, Brahma, Wisnu, Ganesha, Durga and other statues that decorate the biggest puras in Bali.
At this period the ruling kings were from the Warmadewa dynasty, notably Ugrasena (915-942), Subhadrika Dharmadewi (955-967), and Anak Wungsu (1049-1077), who was Erlangga’s younger brother and the son of Gunapriya Dharmapati and Dharmodayana Warmadewa, better known by the name of Udayana. The Erlangga era (1019-1035) marked the height of the Javanese-Hindu period in Bali. This was particularly evident in the field of literature, for where as the Balinese records before this era were written in the Balinese language (Pallawa script) later known as the ancient Balinese language, after Erlangga came to power in East Java, they were all written in the ancient Javanese language or Kawi. Ancestor worship was still practiced and was always included in ceremonies conducted for the Almighty God.
It was also during this period that the Galungan and Kuningan festivals were created, both in essence being commemorative festivals of the victory of Dharma (religion , truth) over Adharma (atheism, evil) with inherent themes of ancestor worship. After Bali was taken by Majapahit (1343) the political administration was turned over to a Majapahit official, Kresna Kepakisan.

4. The Balinese Java-Hindu period (1300-1880)
The Majapahit hegemony was very dominant in Bali, so that event at present the term Wong Majapahit and Wong Bali Aga is still in use. These terms were used to distinguish between the people inheriting the religion and culture of Majapahit and the Balinese living in remote areas who still observed the ancient Balinese way of live.
The communal system which at first did not recognize any class difference gradually moved into the caste system which consequently brought about changes in the communal and the family structure. In the beginning this change caused much disharmony which in turn gave rise to revolts against the Majapahit rulers. It was only on account of the wisdom of Dalem Ketut Ngelesir (1380-1460) who knew how to influence the masses that the revolt could be suppressed with a compromise acceptable both to the court and the masses.

5. The Balinese Classical period
Among the renown Balinese kings who were known for their wisdom, nobleness and righteousness, Dalem Waturenggong (1460-1550) stood out, who resided in Gelgel (the regency of Klungkung) and whose influence extended far beyond Bali (Lombok, Sumbawa, Blambangan and Bone).
This period can justly be called the golden era of Bali, as it was during this period that various forms of art emerged: literature, dance, visual arts, music and architecture, which surely were manifestations of the creative expressions of a prosperous and peaceful society. Especially after the fall of Majapahit people and officials faithful to the monarchy migrated in great numbers to Bali where they continued to live in peace. Presumably it was also during that period that the Moslem faith entered Bali, concentrating at first in the capital (Gelgel) and eventually spreading out, especially in the regency of Jembrana. It was through the zeal of the artist, and various master craftsmen and through the patronage of the king that several patterns were created such as patra punggel or patra Bali.

6. The Modern period
This period is marked with the advance of Western people, especially the Dutch, in Bali during the Middle of the 19th century, at which time Bali was already divided into 8 kingdoms, i.e. Klungkung, Karangasem, Gianyar, Bangli, Badung, Tabanan, Jembrana, and Buleleng. Bali was practically occupied by the Dutch in 1907, and from that time onwards the Dutch-Indian government took over with the ensuring political, socio-cultural and economical consequences. Apparently the Ethical Politics which started out in Holland at the beginning of the 20th century and promoted more attention to the Dutch Indies, was also applied in Bali, especially in the field of culture.
The Balinese culture which was expressed in the historical manifestations such as monuments, architecture, visual arts performing arts, their way of life and such, became the center of interest to the Dutch, German, Swiss, and American experts who did researches and made documentaries in script as well as in pictures.
The Dutch propagated extreme ideas, known as “Baliniseering” which aimed at the preservation of the Balinese way of life before the advent of the western people. This idea provoked strong reactions on one hand, especially among the nationalists who all gated certain parties of wanting to turn Bali into a ‘living museum’. It got to a point where the protestant missionaries were not allowed to spread their faith in Bali. On the other hand this idea was materialized with the erection of the Bali Museum in Denpasar in 1910 (formally opened in1932) and the Kirtia building in Singaraja (1928) where the Balinese lontar leaves library were stored, along with other documents depicting epic stories, family trees, legends, and Balinese art and culture in general, besides medical science. Furthermore the Dutch government intended to make Bali a tourist resort because of the unique way of life and the culture of the people.
For this purpose the Hotel Bali was built in Denpasar (1920) soon to be frequented by European and American tourist. They came with the Dutch KPM boat, which lay anchor at Buleleng Singaraja once a week. Tourism went on until the Second World War and the Pacific war broke out (1941). The Japanese army occupied the whole of Dutch Indies from 1942-1945 till the Indonesians independence was proclaimed on August 17, 1945. The re-entry of the Dutch Indies government stimulated and independence war and finally the Dutch and the international world formally accepted the sovereignty of the Republic of Indonesia on December 27, 1949.

Special Territory Of Yogyakarta

The special territory of Yogyakarta is one of the provinces located in one of the big provinces namely: The province of Central Java which has a large area and a strong culture. The culture areas bordering it are:
1. In the East : Cultural Area of Surakarta
2. In the North : Cultural Area of North Coast of Central Java
3. In the West : Cultural Area of Banyumas
4. In the South : Indonesian Ocean
The special territory of Yogyakarta globally has the form of Antefix (like a mountain) and its located between 1100 East Longitude and 7032’ South Latitude, and has a height of + 114 m up the level of the sea, with a population of + 2.7 million inhabitants.
The special territory of Yogyakarta is known as: the central of culture, the central of the struggle of the Indonesian people, the central of students, tourism area. This is because in the special territory of Yogyakarta there is a palace (The Royal Palace) which used to be the cultural center beside the central government. Even now the palace stills the source of classical Javanese culture. The special territory of Yogyakarta used to be the central of the struggle of the Indonesian people to defend their independence. The special territory of Yogyakarta draws a great attention of the tourist because it has all kinds of historical remnants and prehistoric items and also all kinds of Arts which can be performed. Nevertheless, the life of the society in the special territory of Yogyakarta cannot be said as being prosperous.
In accordance with the discovery of some items in Yogyakarta indicates that since ± 2000 years BC human life was supposed to have been found here. This is proved by the discovery of pieces of burnt clay decorated with split of lives; picture of rough or soft net-work and textile found among others in : Mount Wingko, Samas coast namely the South coast. Besides, some equipments (metal axe) and graves are also found.
Besides the knowledge of the existence of life in prehistoric time mentioned above, there was also human life in historic time namely in ancient time (Hindu Indonesia) in the special territory of Yogyakarta as the continuation, development, and increase of human culture who were in this area. This can be proved by the discovery of some inscription and remnants in the form of statues and Hindu Indonesian buildings and graves with Moslem characteristics.
The remnants of the ancient time in fact gave us a description that human culture in the special territory of Yogyakarta at that time could be said as high enough as it was proved by the existence of a lot of statues with Hindu or Buddha characteristics. The statues are the product of accuracy, earnest fine works so that they can be considered as a high valued product of art such as the statues of Siwa, Wisnu, Brahma, Nandi, Agastya, Ganesha, Durga Mahesasuramardini, Lingga-Yoni and also Paradiani Budha statues, Diani Bhodisatwa statue and others.
Except the art of statue, architecture is usually fully and precisely decorated so that they give a pleasant and grandeur impression. This can be realized from the form and structure of the building so that it looks harmonious, for example the structure of a temple, apart from the shape of the part of its buildings which is full of styles. The buildings it self is decorated with various kinds of Antefix, medallions, garlands, kala and makara, spirals, carpets motives, flame, purnagatha (symbol of fortune: a decoration in the form of flowers vase stretching flowers to the left and to the right in a rectangular container), kinara-kinari, jewel or stupa shape and others.
Hindu Indonesian architecture among others some buildings which are usually called “candi” (temple) are found, for example: Candi Sambi Sari, Candi Kalasan, Candi Sari, Candi Prambanan, Candi Gebang, Candi Ratu Baha, Candi Banyuniba, Candi Ijo and others. All shows the beauty and grandeur of the buildings.
After Indonesia-Hindu era the special territory of Yogyakarta also got an influence of Islam in its culture beside continuing the original (Indonesia Hindu) for example: the honor to the ancestors, traditional ceremonies (mitoni, wedding ceremony etc), all kinds of forms and styles of buildings and others, some remnants in the form of Islamic graves and buildings which usually have Islamic Javanese style and characteristics are also found. Almost at the same time the special territory of Yogyakarta got also an influence from the Westerners when the European people entered Indonesia so that in the special territory of Yogyakarta there were also remnants in the form of : clothes, buildings and some kinds of decoration such as uniforms of authorities (village head, soldiers, regents etc.), office buildings, fortresses, parks, all kinds of arts of decoration (razed motive, pelmet, kantul motive, some Greek pillars and kerenti) etc.
During the Japanese era and when freedom was obtained the special territory of Yogyakarta got also influence of modern culture although they had desire to make the original culture remain unchanged and to develop it such as by the existence of modern buildings in American style or in a style of other countries including art of music and fine arts.

Social Life
The special territory of Yogyakarta consists of 5 regions II namely:
1. Second Rank Region of Yogyakarta municipality as the central town so that almost all region is a dwelling place.
2. Second Rank Region of Bantul Regency, the area of rice field is smaller than the area of dry land.
3. Second Rank Region of Kulon Progo Regency, the area of rice field is also smaller than the area of dry land.
4. Second Rank Region of Gunung Kidul Regency, almost the whole area is dry and stony land.
5. Second Rank Region of Sleman Regency, the area of rice field is bigger than the area of dry land.
Thus from explanation above out of the five of second rank region there is only area of Sleman regency which is fertile.
Whereas the industry in the special territory of Yogyakarta does not big, most of them are small industries such as: all kinds of silver, batik, textile, bamboo manufacturing, gamelan industries, and others which are all small industries or home industries up to now. By looking at the natural and economical condition mentioned above the life of the ± 2,7 millions peoples can be categorized as not a high income life. The condition mentioned above the people in the special territory of Yogyakarta gets used to living in difficulties which need perseverance and earnest to overcome it. Something special behind the hard life as mentioned in the previous explanation the people of the special territory of Yogyakarta in fact has an ability to show a strong culture by the rapidly growing of educational institutes and cultural centers which are supposed to give or to supply spiritual need.
From the situation mentioned above the population of the special territory of Yogyakarta can be classified as the Javanese tribe (such as in Central Java) who has a special way of life and the way of thinking of the people of the special territory of Yogyakarta are based on: simplicity, perseverance and working industriously in a spirit of mutual cooperation as it is said in words: “sepi ing pamrih rame ing gawe” (speak a little and do much). As a rule when people of the special territory of Yogyakarta get assignment/difficulties they will overcome it by carrying it out with earns and humor.
The language of the special territory of Yogyakarta is Javanese with an accent of Yogyakarta and Indonesians. In Javanese language there are three stages namely:
1. Ngoko, usually used as a dialogue among persons of the same level and shows intimacy. There are also three kinds of “Ngoko”.
a. Ngoko lugu
b. Ngoko andap antya basa
c. Ngoko andap basa antya
2. Madya, is usually used as a dialogue between somebody and another of lower grade. There are three kinds of “Madya”.
a. Madya ngoko
b. Madya antara
c. Madya krama
3. Krama is usually used as a dialogue between somebody and another who is higher in his grade.
There are three kinds of karma.
a. bahasa wredhakrama
b. bahasa kramantara
c. bahasa mudhakrama
The spoken language of special territory of Yogyakarta has its own dialect.

The Way of Writing
Beside the use of ‘Latin and Arab’ characters the people of the special territory of Yogyakarta in former time used “Javanese” character. Besides being used as common correspondence it was also used to write all kinds of manuscript, including Art and calligraphy of Javanese character was also found. Unfortunately the use of Javanese character at present began to decrease especially among the young people.


The System Of Ancient Conviction
Besides the existing various kinds of religions there are all kinds of ideas about life and the world. This is reflected in the daily life with the existence of various ceremonies and their rules and effective stipulation in carrying out those ceremonies. This activity is done with the intention to face the strength and power from the universe which can influence human life; nevertheless scientifically we can not prove it, so that we describe it as something mystical. For example a newly born baby that is not taken care of well will die since it is a weak creature. Should this happen then the death of a baby is considered as the result of evil spirit. To avoid death a baby should be watched for a period of one week by many people so that the evil spirit will not take that baby. Based on that idea, people who are in charge of watching the baby should be kept busy so that they will be persevere and stay awake. For this purpose they read a book called “mocopat” by singing it. In such a way a manuscript in the form of literature and vocal containing all kinds of interesting stories can show good advice in this life.
For this purpose except literature and vocal art there are also art activities, art of performing, fine art, drama and others. The idea of the world with all its caused which can influence human life, where as human being doesn’t know the source of the cause properly, this idea is based on all kinds of ideas among others: Animism, Dynamism, the belief in the existence of ancestors and the spirit of distinguished persons: A King that is worshipped, gods. Those various kinds of social life mentioned above make the people of the special territory of Yogyakarta always give chance for the growth of all kinds of branches intended to need of fulfilling all kinds of the effective people’s idea.
Human being as a social creature and living in certain area, so human life (social creature) will form a social group having an ability to use its own idea, its physical objection, its sense, environmental effect and others beyond their sense. All of them are developed and increased for the sake of their continuous happiness and prosperity from generation to generation.
All efforts and activities carried out many times and continuously, are the result of human art. So that human being as a social group consequently will function as the creator, supporter and the user of its culture. In such a way the society as a group of social creatures will function and play a decisive role in the life of culture, because culture cannot be separated from its supporters.

The Big Five

Have you seen Elephant with five legs? Now you see that. We can call that the big five.

Picture Of Bukittinggi 2

This is some photos I've got from Ngarai Sianok in Bukittinggi. Does'nt it funny?

Japanese Tunnel in Bukittinggi

In Bukittinggi you can find Japanese tunnel. The Japanese was build this tunnel. Their used many slaves from Indonesian people called Romusha to build that hole. Many romusha was died during build this Japanese tunnel. The purpose of this tunnel is the line of defense against the allied during the world war II.

Ngarai Sianok

This is a few photo about the canyon called Ngarai Sianok. In the behind of the canyon there is a mountain called Merapi. The canyon was created long time ago from the earthquake in the West Sumatera.

Visit to Bukittinggi

In May 2009 I visit Bukittinggi, the town in West Sumatra. In Bukittinggi we visit a canyon called ngarai Sianok. I will give the picture about that canyon in my next post. But now I'll show the picture about the monkey that lived in the forest of the canyon or ngarai Sianok.

Journey to Taluk Kuantan

In Agustus 2008 i went to Taluk Kuantan, this is some photo about the activities we made in this town. The even is called Pacu Jalur (meaning Boat Race). Its very interesting to see how they spirit and power to win the race.