Rumoh Aceh (Traditional Malay Houses in Aceh Province)

Confidence of individuals or communities and the natural conditions in which the individual or community life have a significant influence on the architecture, the house, which was made. It can be seen in the architecture Rumoh Aceh Special Province of Aceh, Indonesia. Rumoh Aceh is home to the stage with a pole between 2.50 to 3 meters high, consists of three or five rooms, with one main room, called vines. Rumoh with three rooms has 16 poles, while Rumoh with five rooms has 24 poles. Modification of three to five spaces or vice versa can be done easily, simply add or remove parts in the left or right side of the house. This section is called sramoe likot or back porch or veranda and sramoe reunyeun bertangga, where the entrance to the Rumoh which is always located in the east.
The main door Rumoh Aceh is always lower than the height of an adult. Usually the height of the door is only 120-150 cm sized so that each person who entered into Rumoh Aceh should bow. However, once inside, we will feel very airy room in the house because there was no furniture in the form of a chair or table. Everyone was sitting cross-legged on a mat Ngom (of similar material, weeds that grow in swamps) covered with pandanus mats.
Rumoh Aceh is not only shelter, but an expression of belief in God and adaptation to environment. Therefore, through Aceh Rumoh we can see the culture, lifestyle, and values ​​that are believed by the people of Aceh. Acehnese adaptation to the environment can be seen from the form Rumoh Aceh shaped stage, the beams ang made of wood choices, the walls of the board, and the roof of thatch. Use of nature can also be seen when they want to incorporate parts of the house, they do not use nails but using pegs or straps from rattan. Even though only made of wood, leaf thatched roofs, and do not use nails, Rumoh Aceh could last up to 200 years.
Beliefs influence the people of Aceh to the architecture of his house can be seen in the orientation of the house that always elongated from east to west, namely the front facing the east and the inside or back of the sacred in the west. West direction reflected the Acehnese community efforts to build an imaginary line to the Kaaba in Mecca. In addition, the influence of belief can also be seen in the use of buffer poles are always an even number, the amount of room that is always odd, and the steps that odd.
Aside from being a manifestation of public confidence and adaptation to the environment, the existence of Rumoh Aceh also shows the social status. The more ornate the Rumoh Aceh, then surely the richer inhabitants. For families who do not have excessive wealth, then simply garnish with relatively little or even none at all.
As the times are demanding all the things done effectively and efficiently, and the increasingly high cost of manufacture and maintenance Rumoh Aceh, then gradually less and less people of Aceh who built this traditional house. As a result, the number of Rumoh Aceh are increasingly less. People prefer to build a modern house made of concrete manufacture and procurement of the material more easily than Rumoh Aceh making more complicated, more difficult material procurement, and maintenance costs are more expensive. However, there are also people who love the architectural heritage of their ancestors made Rumoh Aceh attached to their concrete house.
The existence Rumoh Aceh is the embodiment of the values ​​that live and run by the people of Aceh. Therefore, preserving Rumoh Aceh means also preserving the existence of the Acehnese people themselves. The idea of ​​preservation Rumoh Aceh will increasingly find the momentum after the tsunami that hit Aceh on December 26, 2004 taggal. Post-tragedy of natural disaster, a variety of people from different nations come not only brought relief but also brings a tradition that is not necessarily compatible with the values ​​developed in Aceh.

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Kajongan Bedaya dance from cirebon

Kajongan Bedaya dance at the King Dzoelkarnaen created during Sultan Sultan Kanoman to VIII, who in it
bringing moral values​​, social ethics, philosophy of life and history.
This dance has included the endangered category of art, dance Bedaya pentaskan Kajongan was last in the early 1970s.

Dance Bedaya Kajongan actually not in the pentaskan or permitted to be seen than the family palace. However, the relatives in the present era in pertontonkan want this dance back to the public, to increase the cultural treasures Cirebon and Indonesia. Permission from the Sultan Kanoman top dance Bedaya XII Kajongan pentaskan again exactly in the neighborhood In the palace Kanoman Cirebon. For the humanists who understand this history can provide input for the royal family will grip-grip this dance, because they had already forgotten.

   Two dancers on whom these Kajongan Bedaya Rd. Nurmini & Rt. Anah. These dancers have a bachelor's Queen, and one of them had problems with hearing, so at the time of dancing she only saw his main opponent's movements. Rhythmic strains accompanying gending also sounded soft and with a slow tempo, the mood was quiet amazed by the graceful movements of the dancer. There is emotion behind this performance because of those who remembered the dance of their ancestors who last taught in the past.

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Art Sunda "Buhun" Kian Left

Various types of traditional arts, especially native Sundanese Sundanese arts Buhun almost extinct as a result many left their own community. As the art that the richness of local culture, art Buhun Sundanese continue to lose players due to his artistic successors received less public place and respected, as well as the urgency of modern pop art is considered more attractive.

Professor of Language and Literature Education University of Indonesia, Prof.. Dr. Yus Rusyana said the circumstances of the current traditional Sundanese Buhun gradually began to disappear. "Today the younger generation prefer art that comes from the outside than the original art belongs to the nation itself," he said, in a consultation event character of Sunda, Sundanese Buhun Digging Roots Culture, on Monday (14 / 3) in the Hall of Culture and Tourism, West Java, Road RE Martadinata 209 Bandung.

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Legong Keraton Dance - Dances of Bali

Legong Kraton is a classical dance of Bali which has a very complex motion pembendaharaan and bound by the structure of percussion accompaniment that supposedly received influence from Dance Gambuh. Legong Keraton word consists of two words namely legong and palace. Legong word probably derived from the word "leg" which means a graceful dance movement. Graceful. While the "gong" means gambelan. "Leg" and "gong" were merged into legong which implies a movement bound, terutamaaksentuasinya by gambelan that go with it.

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Rengkong (Traditional Art of Cianjur, West Java)

Cianjur is one district that is administratively included in the Cianjur Regency. Predominantly Muslim societies and in general depend of farming. In this area, precisely in Kampung Kandangsapi, Cisarandi Village, District Warungkondang there is a traditional art called "Rengkong". The origins of this art originated from the transfer of paddy field for dry rice cultivation (field) to Saung (granary). West Java community at large, including community Warungkondang (Cianjur), in the past - before knowing rice cultivation in paddy fields (irigarasi system) - is generally as cultivators (ngahuma) that move around. Harvested rice fields that have certainly not left in the fields, but must be brought home. Given that the distance between fields and residential areas (home cultivators) are relatively far away, we need a tool to bring it, which is made ​​from a bamboo pole. They call it "awi Gombong". Pole is given a weight of approximately 25 kilograms of rice are tied with injuk kawung (rope fibers) if taken will cause noise or sound generated from the friction between the rope fibers and rods pole itself. And, the sound produced sounds like hornbills (a type of goose). Therefore, when the sound generated from the friction between the rope fibers and pole developed into a type of art called "Rengkong".

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Kerapan Cow (Madura)

Kerapan or cow is a term in the language of Madura, which is used to call a cow race race. There are twoversions about the origin of the name kerapan. The first version says that the term "kerapan" comes from the word "often" or "kirap" which means "to depart and be removed together or in droves". Meanwhile, anotherversion 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 races are a special attraction for bovine animals. For the record, particularly in the area on the island of Madura Kangean similar races there that use buffalo.Buffalo race is called mamajir and not kerapan buffalo.

The origin of the cow kerapan also there are several versions. The first version says that kerapan cows have been around since the 14th century. At that time kerapan cows used to spread Islam by a kyai namedPratanu. Another version says that the cow was created by Adi kerapan Poday, namely children's rulingPanembahan Wlingi Sapudi area in the 14th century. Adi Poday a long wandering in Madura brings 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 which is taught by Adi Polay is to use a cow.Eventually, because of the many farmers who use force cows to till their fields simultaneously, hence the their intention to compete in the finish. And, finally the race to work on the field it became a kind of race racingsport called kerapan cows.

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Wayang kulit

Wayang kulit is the traditional art of Indonesia which is mainly developed in Java. Puppet comes from the word Ma Hyang means toward the almighty one. Shadow puppets played by a puppeteer who is also the narrator's dialogue puppet characters, accompanied by gamelan music played by a group of nayaga and song sung by the singer. Plays puppet puppeteer behind the curtain, the screen is made of white cloth, while behind him flashed an electric lamp or lamp oil (blencong), so the audience on the other side of the screen can see the shadow puppet who falls into the screen. To be able to understand the story of wayang (the play), the audience must have knowledge of the puppet characters whose image appears on the screen.

Generally puppet took the story from the Mahabharata and Ramayana manuscript, but not be limited only by the grip (standard), the ki can also play the play puppeteer carangan (composition). Some of the stories taken from the Panji stories.

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Tombbilotohe culture (pairs of lights) in Gorontalo

Gorontalo is one city I've ever been there so many cultures that I see starting from marriage until tombilotohe. I was there the father Fadel Muhammad still serves as the father of the governor in the province of Gorontalo. including a highly developed provinces quickly. here I'll tell tombilotohe. Tumbilotohe which consists Gorontalo language in the sense of the word "tumbilo" means the tide and the word "tohe" means a lamp, which shows pairs of night lights or lamps. This tradition is a sign would be the end of the holy month of Ramadan, has inspired a victory for the citizens of Gorontalo. Implementation Tumbilotohe before sunset until morning for 3 last night welcomed the victory on the day before the Eid.

 Amid the feel of victory, the sky is dark because the moon does not show its rays. Residents then believing that such a moment is an opportune time to reflect on ourselves as human existence. This is a most beautiful moment to realize ourselves as nature created by Allah SWT.

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