West Sumatra, Siberut, Dance

West Sumatra, Siberut, Dance

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Siberut Island And Mentawai People.

The Regency of Mentawai Island has Tua Pejat ( Sipora ) as it a capital, located about 135 km from Padang. And can be accessed by sea in about 10 hours. Lover of  natures won’t be dissapointed by a trip to the regency of Mentawai Islands a small archipelago off the coast of West Sumatera consisting of the island of Siberut,Sipora,North Pagai,South Pagai of those islands, Siberut Island is perhaps the most remarkable.
Its vast nature reserve, Siberut National Park, home to a wide range of native flore and fauna, is one of the most impressive in indonesia.

The indigenious tribal inhabitants of Siberut Mentawai people are welcoming to visitors. Cut off from mainland Minangkabau culture, they developed an animistic, simple way of  life deeply connected to the rhytms of nature. An almost stones age existence. Expedition to visit Siberut Island and its people. It is eazy to arrange with a tour group minimum 2 people. Those interested in making visit to the Mentawai Island can take ferry from Padang.

Mentawai culture quite unique and exotic contents a lot of  ritual ceremonies and chanting. Most people having “TATTO” at whole of their bodies.

North Sumatra, Nias, Tourism declaration

North Sumatra, Nias,  Tourism declaration

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Region -Based Tourism declaration solo 2

Dr. . Henky Hermantoro , special staff assigned the Ministry of Tourism and Creative Economy explains , tourism development approach is the Nias Islands region , so the strategic steps to develop tourism based Nias region .

” Nias is very potential to be developed as a leading tourist destination in the western region . Through appropriate strategies , with full power , commitment and togetherness ‘ touching ‘ the right thing can be achieved . Parekraft Ministry welcomed the joint determination of existing local government . This meeting will be followed by a step – ; angkah more concrete , “said Henky .

Coordinating Board Region II Provincial Government of Central Java , Drs . Budiyanto , MSI, conveying messages Ganjar Pranowo Governor of Central Java , while officially opening the workshop was , that it opens the door wide to assist local governments in Nias to develop tourism.

” We are ready to partner to help promote tourism in Nias and Nias provide space for the community to show its cultural arts in this region , ” said Budiyanto .

In addition to the Ministry of Local Government and Parekraf , also attended as a speaker in this Workshop is Dr . Hermawan Kartajaya ( marketing specialist ) , Dr . Fonali Lahagu ( community leaders ) , Esther GN Telaumbanua , SE ( observers tourism in Nias ) , Rukimo Tarin ( hospitality management ) and Drs . Widi Srihanto ( Kadis Budpar Solo) .

North Sumatra, Nias, Tari Yaahowu

North Sumatra, Nias, Tari Yaahowu

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Solo – In September last , three major events coordinated by the authors as the Chairman of the Steering Committee ( SC – steering committee ) was a success . Each of the three events that took place almost every week in the month . Need an efficient organization of resources , solid teamwork and a strong network .

1 . Workshop Tourism and Cultural Attractions Nias

Group Dance Yaahowu

Dance group Yaahowu Before in Action

This event is a coordinated effort and facilitation Community Central Java-Yogyakarta , the Association of Family Nias ( IKN ) Yogyakarta , Ono Niha Family Association ( IKAONI ) Salatiga , Surakarta Niha Orudua Nono ( ONIS ) Surakarta and Community Covenant Ono Niha ( FAMONI ) Semarang and community Nias in the various cities in Central Java , to examine the opportunities and challenges of the Tourism Sector became the locomotive of development in Nias Island . Until now, the dominant sector has not been formulated as a locomotive for the development of the Nias Islands , tourism potential as a tourist attraction to visit is very diverse and popular , both locally , nationally and internationally , and the tourism sector became the third country national foreign exchange earner , other than oil and gas , and oil palm .

Lampung, Carnival

Lampung, Carnival

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This carnival event attended by 400 participants from the carnival tribal and ethnic communities living in Lampung. Please note Lampung in the new order is one of the transmigration of various regions in Indonesia. Therefore various tribes from all over Indonesia can we meet and explore its culture, especially during events like the carnival culture.

 In addition to the Super Carnaval time is also supported by the retainer Jember Fashion Carnival (JFC) which is famous for its ethnic costumes are unique and interesting. JFC will feature a performing art form JFC JFC Marching Band and talent by presenting a model of ethical themed costumes from around the country. The event was also enlivened by 10 groups and 10 groups marching band dance creations Lampung native culture. Participate and also the action – the action of forces Kulon Rhino Paku Banten famous attractions immune whistle and science.

Jambi, Selampit Delapan Dance

Jambi, Selampit Delapan Dance

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Selampit Delapan Dance is a traditional dance originating from the province of Jambi. This dance was first introduced by M. Ceylon when on duty at the Jambi Provincial Culture Department in the 1970’s. Men born in Padang Sidempuan July 7, 1941 has exceptional talent in the arts, especially dance. As a good personal, friendly, and energetic makes him easy to adapt to local culture and environment. More activities in the field of culture struggling to make himself successfully captures the deepest messages of the community association which is processed into a work of art called Selampit Delapan Dance. In development, the dance was later determined to be one of the typical dances of Jambi Province. 
 Dance association was first played by eight people using the wick stove as much as 8 rope tied to or hung in the attic. Ceylon dance named with the name “Selampit Delapan Dance” which refers to 8 straps that are used in the dance. Ceylon friend named O.K. Hendrik then suggested to replace the wick stove with a scarf so that played dance looked more appealing. The proposal was approved by the Ceylon, so that in any event staging Dance Eight braid, scarf used as a medium of dance until now. 
By M. Ceylon, Dance braid was first introduced to glue the association relationship antarpemuda. Through the medium of dance, the atmosphere of intimacy antarpemuda can be developed well. Every movement in this dance describes the cohesiveness, and solidarity that is the guidance in daily life. In Selampit Delapan Dance contained a message about the meaning of an association, that association is based on good faith, mutual respect, and behaved wisely. Surely this view is inseparable from the philosophy of community life Jambi uphold the values of faith as a cornerstone in each interaction.
Selampit Delapan Dance lots shown on party activities, like party and promotion of indigenous culture. At the party activities, dance is featured in the great days contained in the City and the Province of Jambi, such as the conferment of degrees indigenous heritage, the Anniversary of Jambi, which fell in May, the Anniversary (HUT) in Jambi Province in January, and party Jambi community in commemorating the Anniversary of Independence of the Republic of Indonesia (RI), which falls on August 17. Dancing With the braid Eight servings, activity is expected to be more festive party. On a large scale, this dance is displayed in cultural activities both locally and nationally outside Jambi Province. Dance is not uncommon even braid Eight displayed as one of the media campaign Nusantara culture abroad. 
In Selampit Delapan Dance spectators can watch the graceful movements that are served by the dancers. The dance opened with a squat movement and play while you deliver to greet obeisance to the audience as respect. This has become one characteristic of the Malay dances. The dancers perform the movement regards as a tribute to the audience of his willingness witnessed the dance offerings from start to finish. 
After delivering the greeting of respect, the dance continued with the core movement. Each dancer immediately takes the scarf that hung to further prepare for the core motion. They then formed a circle before making a rotary motion. Slowly one by one from the dancers spin to knit a scarf, this movement is done in turns with graceful movements, so the scarf coalesce into a beautiful winding. After a nice blend with the scarf, the dance movement followed by opening a knitted scarf. His movements were performed exactly like the early movements when making knitting. After the knitting is finished loading, then the position of the dancers back to form a circle formation scarf while playing with a regular motion and carried to completion until the scarf back open as usual. 
Interesting dance movements increases with the composition of colorful clothes and scarves are worn by dancers. The dancers, amounting to 8 people (4 pairs) appear with the composition of colorful clothes, like blue, yellow, red, and pink scarf with a matching color. Assorted colors are beautiful looks combined with typical Malay Jambi woven sarong made of gold-embroidered silk used as a belt.
Eight dance braid can be found in the city of Jambi, Jambi Province, Indonesia. Usually the dance featured in Jambi community cultural activities, such as cultural party, anniversary of the city of Jambi, Jambi Province, as well as the Anniversary of RI. 
To get to the city of Jambi journey can be reached by using public transportation (metro mini), taxi, or private car. If using public transportation (public transportation), the trip can be started from the Sultan Taha Airport Syaifuddin proceed to Telanai Pura Jambi, Jambi city which also became the capital city of Jambi province with about 15 minutes travel time. 
For tourists from outside the city who want to linger in the city of Jambi to witness the Dance of Eight braid, can stay at the hotel are numerous in the city. In addition, along the road in the city of Jambi, there are many restaurants and restaurants serving variety of dishes typical of Jambi Malay.

North Sumatra, Batak, Tanpa bunga

North Sumatra, Batak, Tanpa bunga

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Bungajambu dance usually danced at weddings Batak Toba . They call tortor dance always performed well at every ceremony like want any grief . Bungajambu dance held overseas , where the family came from the Batak Toba mountains migrated to Jakarta .
What is the meaning tortor bungajambu was actually difficult to provide a definitive definition . Because it involves the connotative and denotative meaning . In a way , what’s the name taken for granted . Because that meant yes like that . Rather rarely questioned wrapping problem because the substance yes of substance . Batak people often accept the substance as ” pink bud ” so that became the flowers are just flowers . Vibrant pink flowers that look like a party in its season – marching procession . Because it is cultivated lively .
Dancers bungajambu not subject a party but as an addition to the merry party or interest . Subject of course the party who organized the party . But with the help of dance made ​​that there are many people who are the subject , in addition to the main subject semarga vertical with her family . Among them , the horizontal family based clan wife . In fact , starting from the horizontal family grandmother ; mother ; wife , and son- or clan besannya . Because it tortor be very functional to connect two types of dance . Semarga vertical dance organizers appealed to the shape of the hand – urge the group welcomed semarga horizontal dancing with two hands to fanning . People who are at the front is the leader. Usually diiringkan by family , relatives , and siblings . Bungajambu dancers welcome and mengiringkannya duty towards the arena where the party organizers gave a speech . So dance is a dance performed bungajambu – procession marched hand in hand along the sides greeted the arena until all are received .
The dancers who brought the dance bungajambu , Dina , Jackie , Linda , Ghea , and Wiga . Given the name and face and cuts , it seems only a two Batak people , or nobody .
There are also musical instruments to accompany tortor often called gondang alone . Gondang or drum become tambour designation because often the leader of the sounds . Is the usual accompaniment of drums , odap ; sarune , and ogung .
Dance movements into 2 groups are shown dancing is very simple . Like the statue moved . Kaku . Legs as the pedestal , moving slowly . Board should not have considered snaking kenes . All the sounds are guided entirely realized with hand gestures . Books into the hands of the marker movement . As a greeter who showed motion as that greeted worship and make the reverse motion .
Even though extremely simple motion bungajambu tortor can not be danced away. As a dance , moving supple fitting , but not so with bungajambu tortor . Dominated tortor dance gestures . Rhythm gestures legs are pressed together. There should not be made ​​wide footwork or to jump . Gondang footwork according to the rhythmic cadence . Or showing prudery . Eye , face attempted straight , with a straight face . Similarly, neck , waist and hips .
Tabu Toba Batak people are being affected . Flirtatious . It is very avoidable if you do not want to be humbled . Dicibirkan for when implementing indigenous Batak people are very sad . Often say that they still receive less religious . Needless to say not so well-mannered . As if life and death , yes custom ! There are also other basic forgiveness , ie if deemed not know . But do not be repeated . Hence the reason a custom implementation in overseas gives great opportunities that mistake accepted gracefully . Moreover, both do not know anyway .
When the dancing hands should not be raised over his head . Should only be limited to the ears only. In this case there was not a rule , but taboo for granted .
Fixed rule is to wear Ulos dancing . Ulos is one type of weaving that has the color and image of Batak . Ulos wearing party organizers who only he may wear it in the party arena . Ulos motif pattern that becomes a party to give a measure of success of the Batak Toba . The limits to be achieved by specific limitations .

Aceh, thousand hands dance

Aceh, thousand hands dance

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Know the Saman Dance ( Dance One Aceh )

One interesting characteristic of Acehnese dance is that it is done in groups . Seudati heroic carried by eight men . Saman , some call it ” a thousand hands dance ” aka ” a thousand hand dance ” that rampak and dynamic usually done by ten men or ten women . Likok Pulok too, though it can also be danced eight or twelve people . Ranub Lampuan beautiful dance to glorify guests usually done by six or eight virgin Aceh . Nothing is done alone Acehnese dance solo alias .

Is it because people do not dare to dance Aceh alone ? It seems not . Because supposedly the Acehnese had great individual courage . No less than the Pramoedya admit it . ” How dare carok Madurese , Javanese if berantam like brawl , but the Acehnese had outstanding individual courage ” so approx Pram said in an interview towards the end of his life .

When the war in Aceh , Aceh began when opposition forces weak , Dutch colonial troops often ravaged Aceh fighters individually so known ” Atjehnese murder ” ( Atjeh – moord ) . The same phenomenon has appeared DOM future soldiers and various military operations in Aceh Indonesia 1980 upwards .

Another distinctive feature is the presence of a variety of dance Aceh sheikh ( leader ) and sometimes also aneuk Sych , a sort of deputy or assistant of the Shaykh . This could be something to do with kosep priests and emirs in Islam that has its own unique face in Aceh . That any group of more than one person , one person should choose a leader . If two people travel , then one of them is chosen to be the amir trip .

The concept of leadership in Islam also manifests itself clearly in the prayer in congregation is very democratic and egalitarian , which is said to be a source of inspiration Likok Pulok creator . Anyone can face God at the forefront of his behind the imam , or even become priests . Anyone can be a priest qualified to be met anyone who wants to learn and practice it . Congregation , followers of the priest , the priest had to join the movement . But if the priest reminds the congregation could forget . When the priests , sorry , fart , whoever may succeed him in the back of the priest and the priest with snediri awareness should resign . Priest needs to pilgrims . Instead , the congregation does not work without a priest . Because of this , the dance is a dance of Aceh congregation !

In some movements , as in dance and Ranub Seudati Lampuan , ” the concept of space in the form of a central – point – in – middle – circle ” often appear . Margaret Kartomi , traditional art professor archipelago from Australia wrote :

” … The central point-in – a- circle concept of space is believed to have its parallels in Perso – Arabic thinking and points to Aceh ‘s links with Persian , Moghul , Turkish , and Arabic cultures over the past millennium . It governs mosque – centered town planning , some visual art designs and some formations of dancers and musicians who circle around their leader at the center point . ” ( Kartomi 2004)

Not wrong if we say that the dance of Aceh is one form of civilization Aceh . How Aceh saw itself in the middle of the Persian civilization , Moghul , Turkish , and Arabic is seen in the concept of Acehnese dance halls . Manifests also in village planning and city where the mosque is the center point , both physically and mentally .

Sheikhs , emirs , or priest determines the dynamic movement and dance in unison congregation . Forward together , retreat , sitting , cross-legged like the Saman ; prancing , even ran excitedly as in Seudati . Graceful and tender as in Ranub Lampuan . Assisted aneuk sheikh , sheikh determine a rhythm , emotion , and movement of the dancers .

Cooperation and mutual trust between the sheikh with the dancers is a necessity . There is no dance Aceh without cooperation and mutual trust . Dance loss of beauty and charm . Try to imagine the hands , body , head clashing in the middle of unison movement agility Saman Dance ! Taripun dispersed . Taripun lose its existence !

Like the dance of Aceh , the Acehnese could go ahead and dazzle if he congregation . The disadvantage , each congregation is very susceptible to ” whisper syeitan ” . If one dancer treacherous because of personal interest or contact with the outside dance of seduction – and this is very easy in a world that ‘s increasingly hedonistic , it corrupted the whole dance . Dancers could be affected or purchased . If one bought , perforated rows of worshipers . If the rows are rarely demon can pass !

Like the dance of Aceh , the Acehnese can move forward and be happy if it was the priest sheikh knowledgeable , assertive , but also democratic and open . Many Acehnese still suffer to this day because of Aceh had long lost their leader who can lead the people forward motion . Saman Dance like no sheikh or Likok Pulok .

During this time , the leader of the Aceh also much forgetful . It is the duty of the people who know to remind him , such as the obligation to remind the priest who forgot congregation in prayer congregation . So that pilgrims do not have to disband ; remain rampak dance so fascinating .

Source: http://cangklak.blogspot.com/