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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Glass Houses Bubung (Malay Traditional House in the Riau Islands)

Riau Islands is one of the provinces in Indonesia. This area is a cluster of islands scattered in the waters of the Strait of Malacca and South China seas. The state's hilly islands with beaches and steep ramps. The majority of residents work as fishermen and farmers. While the religions practiced by most of them are Muslims.Natural conditions and the Riau Islands public confidence greatly affect the pattern of house architecture. The influence of nature around and beliefs can be seen from the house, which shaped stage erected upon a pole with a height of about 1.50 meters to 2.40 meters. The use of the materials to make houses, provision of ornamentation, and use of colors to beautify the house is a form of adaptation to the environment and the expression of religious values ​​and cultural values.One of the houses to community residences Riau Islands are home Bubung Belah. The house is also known as the house Malay tube ridge or a house. Halve Bubung house name given by the Malays because of its roof torn. Called the house because the roof ridge using perabung. While the name of the house Malay Bubung given by foreigners, particularly China and the Netherlands, because of its shape is different from their original home, which is a home Kelenting and Limas.The name of this house is also sometimes given based on the shape and variation of the roof, for example: Fold Pandan called home because the roof is steep; Fold Kajang house because the roof is rather flat; house roof screen or Ampar Pumpkin because of the lower roof coupled with other roofing; home Perabung length because Perabung roof parallel to the highway; and home Across Perabung because Perabungnya not parallel to the road.The size of houses built is determined by the ability of the owner, the richer a person the greater his house and the great variety of dressing. Nevertheless, wealth not as an absolute determinant. The main consideration in making the home is harmonious with the owner. To determine whether or not a home match, the owner of calculating the size of his house with a count cubits, from one to five. The uratannya is: a snake swimming, climbing ripples, climbing ripples beetle shelter, changed out of debt debt, and debt berimbuh five yet. Size is best if just in a matter of climbing ripple beetles shelter.

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Houses Lancang (Traditional House Kampar regency, Riau Province)

Home or Pencalang Lancang is the name of one of the traditional public house Kampar regency, Riau Province, Indonesia. In addition to the name or Pencalang Lancang House, The house is also known as House Lontik. Called Lancang or Pencalang because the shape of the foot front wall hangings like a boat, a house wall is tilted out like crooked walls their sailboat, and when seen from a distance form the house like a boat Homes (Magon) used to make the population. While the name is used because it forms perabung Lontik (ridge) melentik roof upwards.
The house is a house Lancang stage. Stage of construction type is selected to avoid the danger of attack beast and flood. In addition, there is a social custom to use as a cattle shed below the house, boat storage container, the building, where children play, and the woodshed, as preparation for the month of fasting. In addition, house-shaped stage of development so as to enter it must use a ladder rung having an odd number, five, is a form of expression of public confidence.
The outside walls are entirely skewed Houses Lancang out, in contrast to the perpendicular wall. Beam pedestal outside the front wall curved upward, and, sometimes, spliced ​​with carvings on the corners of the wall, it looks like a boat. Beam cap over the wall as well, although not semelengkung beam curved pedestal. Curve follows the underside of the roof arch. Both ends of ornate perabung called sulo Bayung. While sayok lalangan an ornament on the four corners of the eaves. Form of decoration varied, there's that resemble a crescent moon, buffalo horns, spurs, and so on.
The existence of Lancang House, it seems, is the result of the acculturation process of the original architecture and the Minangkabau society Kampar. Basic and wall house shaped like a boat is a hallmark of Kampar society, while the tapering shape of the roof (Lontik) are characteristic of Minangkabau architecture. The process of acculturation occurs because the architecture is a groove voyage Kampar, Sungai Mahat, from Lima to the area of ​​Tanah Datar Koto in Payakumbuh, Minangkabau. Five area includes the village of Koto Rumbio, Kampar, Water, Tiris, Bangkinang, Salo, and Kuok. Therefore Kampar is part of the groove mobility of society, the process of acculturation is very likely to occur. The results of the acculturation process is visible from the uniqueness of Lancang House more or less different from the architecture of buildings in the area of ​​mainland Riau and Riau Islands.

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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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Balumpa dance from southeast Sulawesi

Balumpa dance is a dance of welcome guest in a grand welcome.
This folk dance originating from southeast Sulawesi Buton

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Tari polopalo from Gorontalo

Polopalo dance is social dance for young people Gorontalo area.
 Can be found two kinds of Polopalo Polopalo ancient / traditional and today's Polopalo / pitched. Polopalo earlier times only played alone or solo instrument while Polopalo now played in groups by using the composition and arrangement. Polopalo ancient musical instrument played by hitting Polopalo to the bat and gets knee limb is uniformly, whereas today Polopalo instrument is played by hitting the instrument only to bat only. But now this technique Polopalo play much more demanding the ability to adjust the rhythm and musicality to the composition and arrangement are given in Polopalo musical instrument. Polopalo Polopalo earlier times and today it has the basic ingredients of bamboo. Form both glance resembles a giant tuning fork. The most striking difference of the two types of lies in this Polopalo, Polopalo today does not have a hole at the base Polopalo Polopalo while in earlier times there are holes to distinguish the color of sound. But in the absence of Polopalo first time tuning process / 'tuning', being at present there Polopalo tuning process is done by gradually whittle lidahPolopalo. These developments fit the reality in the Gorontalo area, where the craftsmen music Polopalo perform a variety of ways to meet community needs in the pattern of thought has been influenced by global developments with the demands of progress instantly from a variety of factors. For example, economic factors, social, and techniques in it 'technique' of art (music).

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Dance Lumense / Tari Lumense

Lumense derived from the word meaning Lume fly and Mense meaning itinggi, so Lumense means flyinghigh. This dance originated from Sub District Kabaena Bombana. The meaning of this dance is worship tothe Gods.

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Gong dance / Tari Gong

Gong dance, just as the name suggests, is a dance that is played using a musical gong. The dance itselfdescribes the tenderness of a girl, who writhed like a paddy. This dance is performed by a girl dressed intraditional Dayak Kenyah. Body and hand movements are slow and gentle, and the dominance of bird feathers in her clothing style is a characteristic that we can see in this dance.

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