Category Archives: Indonesia Blog

Jagad Karana Hindu Temple, Surabaya, East Java, Indonesia

This Hindu Temple is located between Gresik-Surabaya, precisely located at Jalan Ikan Lumba lumba No1, Perak Barat, Surabaya. The location is quite, suitable to pray. Once you enter the complex, there are flowers creating certain nuance united with dark color of the temple.

The temple complex is 7.703 square meters. There are various area in the complex such as: Mandala Utama (the main building), Mandala Madya (Middle building) and Mandala Nista. In Mandala Utama, here are padmasana, pepelik, penglurah, ganesha statue, bale pawedan, bale pesantian, kori agung and penyengker. IN Mandala Madya there are  beji, bale gong, bale sebaguna, bale pewaregan, candi bentar, bale pesanekan, penyengker, and office of  PHDI Jawa Timur. And in Mandala Nista there are Bale Manusa yadnya, Pasraman, Dewi Saraswati statue , and other facilities such as bathroom, toilet, parking area and office of banjar Surabaya.

This temple was built in 1968 and a year  after on Saturday 29 November 1969, this temple was officially opened by the Head of Kodamar V Maritime Comodore R Sahiran. That day was also Sarasvati day to commemorize Dewi Saraswati, the goddess of knowledge.

About 1987, this temple was restorated and later officially opened by Mr Wahono, the governor if East Java in 20 Sept 1987, and made inscription:

Karya Agung Lenteg Linggih
Pura Agung Jagat Karana
Saniscara Umanis Watugunung
tang . ping 3 sasih kapat 1909 C
Bale manusya yadnya

It was renovated again in 2003, for 2 years, that the main building  has 2 pepelik, 2 apit lawang and bale pesantian.

In Surabaya this temple is used as the center of Hindu activities. In Silence Day, there are various ritual held here such as nancep karya, melasti, tawur panca sata, ngembak geni.

In Melasti rutial, it starts from the temple and the  head to the coast , 3 km from the temple carrying ritual tools. Offerings, banners, and umbrellas were carried as well. They wear their special costumes accompanied with any instrumets they carry. The also put offering to the sea as the symbol of purification.

Tak hanya diikuti oleh umat Hindu dari Surabaya, pada upacara Melasti ini biasanya juga diikuti oleh umat Hindu dari daerah sekitarnya seperti Sidoarjo, Lamongan dan Gresik. Karena itu jumlahnya bisa mencapai ribuan orang. Dengan mengenakan pakaian berwarna putih, mereka berjalan kaki dan membawa berbagai peralatan.

In Tawur ritual, which is held one day before the Silence day, the Hindus parade ogoh ogoh effigies and this is also carried to Surabaya city area.

The rituals usually are held in these days: Kuningan, Galungan, Nyepi (Silence Day), Saraswati, Saka new year, Saturday night and full moon.

Gili Island, Gresik, East Java, Indonesia

Gili Island is one of 13 islands owned Gresik. With an area of approximately 2017 hectares, the island is filled with 400 houses with a population of 1280 inhabitants. The main livelihood of the population here as fishing.
To reach this island travelers must take a boat from the village of Sidogedungbatu.

Gili is actually the name of a local village. Eight RT in Gili entry Sidogedungbatu Village area under Sub Sangkapura, Gresik regency, located about 125 kilometers from the Port of Gresik. The island has sea products like lobsters, groupers, pearl, and sea cucumber has a nature that is still clean, hill located in the west still looks green, there is no illegal logging and mangrove forests are still awake. Sea water so clear we could see making the sea floor with the naked eye
The Island is still  unspoiled by electricity. The diesel engine is the only power here. There are 3 diesel engine that only turns starting at 6 pm until 10 pm. You can go round the island easily by walking.

The sea around the island of Gili abundant coral reefs with colorful fish. As background potential of this object is:
1. Beautiful beach is a tourist attraction that is very attractive to many tourists to visit the unique character of each beach.
2. Object location is just 10 KM from Port Sangkapura Bawean as the entrance to the island of Bawean make this object may be an option for tourists to visit based on the distance
3. Texture fine sand beaches safe enough for bare feet tourists.
4. Noko existence of which is uninhabited desert island that can be used as a sunbathing area for foreign tourists without having much contact with people Bawean.

Sea transport links between the island of Gili Island Bawean, served from Labuan beach, near Pamona Sidogedungbatu. It took over 30 minutes to cruise by rising Kelotok (fishing boat). Every day there are 2 boats serving transportation purposes Bawean Island -Gili Island

KETOPRAK PART 3: The Javanese Ketoprak

Pak Randimo is the elder of Ketoprak community of Taman Balekambang Surakarta. He has been 50 years becoming actor of srandul (old fashioned ketoprak to modern ketoprak. In his early career he played in ketoprak srandul for 3 years in the last 1950ies. He had experienced being ketoprak tobong (emergency stage) actor in Taman Hiburan Rakyat, nearby Pojok Beteng Wetan Yogyakarta and then itinerant on the city fringe.

Srandul is a traditional drama performed at night and enlightened by oil torch made of cut papaya. The instruments were 2 angklung and two terbang. In that period there were very few women walked on the street, that all srandul actors were males. The female characters were played by males. According to Randimo, srandul emerged first and then ketoprak lesung, and this had been very popular in Gunungkidul and Prambanan.

As make up was very expensive, Randimo used langes (black smoke from oil lamp) to thicken his eye brows. To reddened his lips, he used teak leaf, yet he said that for half month the color couldnot be removed.

Randimo said that in the past artists were more honoured than lecturer. His srandul troupe and later became tobong ketoprak went from village to village. In the past ketoprak was not performed for money, they just know if they played they would get food, he said.

Randimo is a tailor for traditional or ketoprak costume, yet at night he plays in ketoprak show at Taman Balekambang. As an elder, he is also responsible to create a story and acts as director in his community. Shortly, he is the ‘dalang’ of ketoprak in Balekambang which plays every Saturday night. He has been in Taman Balekambang since 1961.

Taman Balekambang was established by KGPAA Mangkunegara VII in 1921. Yet, the troupe entertained public in about 1950, using emergency stage. Taman Balekambang is a pool garden which is dedicated to king’s princesses, GRAy Partini and GRAy Partinah. Later this place has created comedian which involved in Srimulat. Currently a theater building  erected in 1980s becomes the arena of kletoprak atrists.

Historians believe that the ketoprak embryo had emerged on the second half of the 19th Century in Kasunanan Surakarta. According to local, ketoprak was initially grew in Plesungan Village, a village in Surakarta with toponimi lesung. Their instruments were lesung and the packed in a circle of audience and instituted as folklore. Later, this show used keprak which adopting the sound of lesung.Lesung can be found in agrarian society. It is used by farmers to pond paddy, corn, casava and many more.

It seems there is a relation between ketoprak and ‘prak…prak…prak’ created by lesung. Yet, some assume that ketoprak term is related to soud of kethuk pr keprak brought by dalang in floklore show.

15 km east of Surakarta, there is a ketoprak stage called as Pelok. Polok show is about the daily life of batik workers in laweyan Surakarta in the beginnning of 20th Century. They fill their break time with jokes, singing and dancing, they also add farmers’ life. They used bamboe to dry batik to create sound accompanying their singing and dancing.

Batik and Keraton (palace)have very close relation, that batik workers can play ketoprak in kepatihan. There is a jackfruit tree which was cut and made lesung to accompany the show.

KRT Wreksodiningrat, an official and a historian of Kasunanan Surakarta who has great service to the notation of Javanese karawitan, gathered artists of ketoprak lesung to play in jis pendapa in 1908. He support this new art.  That ws when emerged ketoprak lesung wiwitan framed in story and managed well.

Until today there is no written record about the history of ketoprak, as ther are records which are still questionable.

In 1920s, Kasunanan Surakarta was in good spirit in arts. Wreksodiningrat was not the only official supporting arts in the palace. In 1911 Pakubuwono X blessed Wayang Orang Sriwedari which takes place in a garden formerly known as Kebon Raja.





KETOPRAK PART 2: Ketoprak History

1887: An initial report about drama show in fullmoon performed by farmers community in a village south of Yogyakarta. The show was accompanied by the rhythm of lesung (traditional wooden mortar), which performed daily story.

1908: Kanjeng Raden Tumenggung Wreksodiningrat, an official of Kasunanan Surakarta, became the first man to gather artist of ketoprak lesung to play in his house. This simple sjow is full of jokes. The instruments used were lesung, gendang, suling and rebana.

1908: Ketoprak lesung got attention when performed in the wedding of Kasunanan Surakarta family.

1920: Cipto Mangunkusumo played ketoprak in Surakarta to show sympathy for tobacco farmers used by the officials. The show was critized by the colonial.

1914: Wreksodiningrat died. The effort of his community members to commercialized the show faced a dreadlock.

1925: One of Krida Madya Utama’s players, an former player of Wreksodiningrat left Surakarta to Klaten and Prambanan. They played in Demangan Village, Yogyakarta. Tehre are ketoprak groups appeared on the fringe of Yogyakarta. Ketoprak started to be performed in Sultan’s family.

1925-1926: Ketoprak Wreksatama Troup was established by KI Wasangkara in Surakarta.This period became a transition period as they did not only uded lesung, yet also simple gamelan, plus violin and guitar. The theme, costume and show were advanced.

1926-1927: After communist’s coup colonial surpress political movement and limit cultural life. Royal family ended their involvement in ketoprak.

1928: A newspaper reported that there were at least 300 ketoprak troupes in Yogyakarta. At least there were 4 troupes in every kampong.

1930s: Ketoprak Gardanela was established in Yogyakarta, and the show was enhanced with comprehensive gamelan. It performed chronicles, folklore, and story adopten from China.

1930/1931: Most of the troupes were dismissed by senior royalties in Yogyakarta as they considered, because the rise of cost and boredom.

1933: KGPAA Mangkunegara VII established SRV (Solosche Radio Vereeniging) which broadcasted karawitan from Kepatihan Mangkunegaran. Also Ketoprak and wayang wong of Taman Balekambang.

1935: Krida Raharga Troupe was appointed by the colonial government to play ketoprak. The show was broadcasted weekly in govt radio (Maatschappelijk Vereeniging voor Radio Omroep), now RRI Yogyakarta.

1942-1945: During Japanese occupation, the ketoprak troupes’ activities were declining.

1946-1949: The ketoprak actors joined in Sandiwara Rakyat which was performed by govt.

1950-1960: Cokrojiyo and Sudjati, later became popular, started to be involved with ketoprak Mangkusuman in Yogyakarta.

1955-1965; Ketoprak was involved in Indonesia politics. In Yogyakarta ketoprak was divided into two lines: Partai Nasional Indonesia (Indonesia National Party) and Partai Komunis Indonesia (Indonesia National Communist) which was affiliated LEKRA (Lembaga Kebudajaan Rakjat)

1957: Ketoprak actors formed Badan Kontak Orhanisasi Ketoprak Seluruh Indonesia (BAKOKSI) under PKI. The first congress had 275 groups.

1958: Siswondo Hardjo Suwito established Sisto Budoyo group in Tulungagung. One of the oldest ketoprak which is managed professionally.

1960: BAKOKSI published ‘ketoprak’ magazine. The content was about ketoprak history, language, music, and recruiting young talents and protested about entertainment tax which hardened ketoprak troupes.

1964: BAKOKSI congres II, which had favoured 371 groups.

1966-1967: After LEKRA political conflict, the artists were hunted, exiled, and killed. Ketoprak was almost gone.

1968: Ketoprak Budi Rahayu was established by a Chinese descendant and Dahono Mataram was supported by military in Yogyakarta.

1971: KODAM VII Diponegoro established Sapta Mandala ketoprak troupe supported by Budi Rahayu. Dahono Mataram was changed to be Wringin Dahono supported by KODIM 0374 Yogyakarta.

1985: Sapta Mandala performed ketoprak in Bahasa Indonesia which received critics.

1990: Funny ketoprak based on various standard stories were often performed in Yogyakarta and Surakarta.

1991: Siswonso HS established Sekolah menengah Kesenian Indonesia Siswo Budoyo in Tulungagung.

2001: Krtoprak Humor was popular in television. Nowadays there are performance which mix traditional show and humor on TV.

Sukorejo Teak Furniture, Bojonegoro, East Java, Indonesia

Sukorejo, is a village located in Bojonegoro, East Java, Indonesia and has been famous for good quality teak furniture product. The motives and design are updated as new trends. They produce wardrobe, table, desk, chair, and bed. There has been held Bojonegoro Wood Fair which is annually held. This fair usually will last for a month. If you want to browse for the products you can just walk along Brigjen Katamso street, which nestles about one kilometer.

Sumber Pitu Spring Waterfall, Tumpang, Malang, East Java

It is located in Duwet Krajan vilage, 7 km east of Tumpang. It has mountain scenery with apple and vegetable field. Sumber means source or spring and pitu means seven. Actually there are many springs here. Located nearby this area is Ringin Gantung Waterfall, it is named so as there is a banyan tree or ringin grows attached to the waterfall. Sumberpitu is located 3 km on the north of Duwet Krajan Village. To reach the waterfall, we need to trek for 30 minutes, passing green refreshing environment.

Picture Source.


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KETOPRAK PART 1: The Javanese Ketoprak Journey

This area has various functions, such as water inflitration,  city lungs, public recreation, and also as the cultural center for the city dwellers. And, seems, this place has been part of culture evolution. Well, yes, this place is Taman Balekambang, located in Surakarta, Central Java.  Here we can watch ketoprak show, as one of agenda when visiting Surakarta.  In 1921, KGPAA Mangkunagoro VII, erected Taman Balekambang. Initially this park was a pond, and city forest dedicated to the king’s princesses, GRAy partini and GRAy. Partinah, and later in teh future made history in the evolution of ketoprak in Java. Balekambang ketoprak troupe entertained Surakartans and people in the vicinity in 1950, with a very modest stage.  Nowadays a theater building built in the end of the 80ies, replaces the old building and used as the arena of ketoprak artists.

Historian believe that ketoprak arised in the second half of the 19th century in the vicinity of Kasunanan Surakarta and Kasultanan Mataram Yogyakarta. Ketoprak is a new art and it is an agrarian art.

The agrarian culture can be seen vividly in hardwork to cultivate the land together, and the merry of harvesting time together. When they work there are jokes. Actually the jokes are the elegancy of the Javanese  who live in harmony as the embryo of folks drama. This became the base of expression.

As a local wisdom, ketoprak art is very close to society-legends, characters and pronunciation. Psyshologically, ketoprak is just like Homo Ludens, humans who like to play.

Kethoprak is not only evolving in the center of Javanese culture. We can visit Blora which can be reached by driving to the northeast of Surakarta, where located a village which tries to conserve ketoprak. This village is Wado, one of 17 villages in Kedungtuban district. Wado is accessible from Cepu-nearby East and Central Java border, which is popular for its oil industry.

Visiting Wado is very joyful. We can interact with friendly locals. The village houses are mostly Limasan, made of teak wood and have been dwelled from generation to generation. Blora traditional peformances can also be seen here, such as ketoprak, tayub, barongan, wayang kulit, wayang wong. In the past there was krucil performance yet, it is no longer exist. Currently there are 5 villages with ketoprak troupe.

Ketoprak is performed in Wado village in 1960s. There were two troupes: Wado Kidul and Wado Lor. Yet, since 1980s, this traditional performance faded.  Wado has Krida Madya Budaya troupe. After 2012 harvest, they started their first debut, collaborated with Kridha Mudha from Tanjung village. The show of ketoprak in Wado Village perform its local people daily life.

Nowadays, the troupe still rent stage, costume, gamelan, sinden and pengrawit. Some of the actors are from other villages. All ketoprak actors are  village officials.



Bedhoyo Ketawang Dance

According to Wedbapradangga, the creator og Bedhoyo Ketawang dance is Sultan Agung (1613-1645) the first king and the most glorious king of Mataram Kingdom with Kanjeng Ratu Kencanassari, the ruler of the southern sea or also known as Kanjeng Ratu Kidul. Before the dance created, Sultan Agung ordered gamelan expert to create a gendhing, called as Ketawang. It said that the creation became perfect after Sunan Kalijaga gave favor to this gending. Bedhoyo Ketawang dance then performed in coronation of new king and once a year to commemorate the coronation day or Tingalan Dalem Jumenengan.

Bedhoyo Ketawang performed in the period of Sri Susuhunan Paku Buwana XII, only the philosophy value has changed. The performance has transformed in its mystical or political aspects. The performance is still like the old ritual , yet the value has shifted into a cultural heritage which should be conserved. The costume of this dance is dodot Ageng with Banguntulak alas alasan motive making the dancers look graceful. Gamelan accompanying this performance is very special, gamelan Kyai Kaduk Manis and Kyai Manis Renggo. Gamelan instruments consist of Kemanak, Kethuk, Kenong, Kendhang Ageng, Kendhang Ketipung and Gong Ageng. Those instruments have special sacred names. Two Kendang Ageng are named as Kanjeng Kyai Denok and Kanjeng Kyai Iskandar, two rebab are named as Kanjeng Kyai Grantang and Kanjeng Kyai Lipur, a gong is named as Kanjeng Kyai Kemitir. Bedhoyo Ketawang in the period of Sri Susuhunan paku Buwana XII was performed in the second day of Ruwah Month or Sya’ban in Javanese calendar.

Bedhoyo Ketawang is a masterpiece. It is classified as dance for ceremony, Sacred, religious and love and marriage dance.

Ceremonial Dance

Bedhaya Ketawang is not only entertaining performance, as it is only performed for a special event and in an official ambience. The atmosphere will be very sacred, as the dance is performed only in coronation and coronation commemoration day.

Sacred Dance

Bedhaya Ketawang was created by a king and queen of other realm. People even believe that when this dance performed, the creator comes to dance with the dancers. It said sometimes in rehearsals, she comes to correct the dancers, and the dancers can feel her appearance.

Religious Dance

This can be seen from the lyrics of the dance performance ‘ …tanu astra kadya agni urube, kantar-kantar kyai, …yen mati ngendi surupe, kyai?” (……if die, where is the purpose, Kyai?).

3. Love and Marriage Dance

The dance symbolized love of queen of southern sea to Sultan Agung. This is shown in hand and body moves, on how to hold sondher and the like. All the dancers are dressed as if they are bride to meet groom. In the lyrics can be clearly seen that the song shows love felt by the queen to the king. If the words felt, for current opinion, can be considered as impolite as it can easily evoke sense of desire.

The dance was actually 2.5 hours and in the period of Sinuhun Paku Buwana X became only 1.5 hours. For everyone involved directly and indirectly in the performance have special obligation. A day before the performance all relatives of Sinuhun should purify themselves, heart and soul. This was not easy, yet they follow the obligations as Bedhoyo Ketawang is a sacred heritage.

For the dancers the rule is more strict, as according to belief, they will make direct contact to Kanjeng ratu Kidul. Therefore they should be in consecrated condition in the period of rehearsal or on the performance time. As mentioned earlier, Kanjeng Ratu Kidul present can only be felt by those who are touched by her, if they do not dance correctly. Thus, in rehealsals are held on Anggarakasih (Selasa Kliwon), every dancer and all gamelan players and pesinden should be in consecrated condition.

Preparations for Bedhoyo Ketawang should be done carefully. If they are in period (menstruation), they should not register. There are stand-by dancers. There are also prohibitions for the dancers that usually dancers with mature sould are selected, that their absorption and persistence are more guaranteed.

Who is the creator of Bedhoyo Ketawang, that the dance is considered as very sacred? Even humming the song is prohibited. According to tradition, Bedhoyo Ketawang is considered as the creation of Kanjeng ratu Kidul Kencanasari , the ruler of invisible realm in Java. Her palace is under the Hindian Ocean. The center of her region is Mansingan, Parangtritis, Yogyakarta. Everyone is afraid of her. All of her rules may not be broken.

Yet, according to RT Warsadiningrat (abdidalem niyaga), actually Kanjeng Ratu Kidul only added 2 dancers, become 9 dancers, and then presented to Mataram. Further, he stated that the creator was Bathara Guru, in year 167. In the beginning formed 7 goddess formation to dance Lenggotbawa. And gamelan which accompanied this only 5: pelog , pathet lima:

1. gending – kemanak 2, laras jangga kecil /manis penunggul;
2. kala – kendhang
3. sangka – gong

4. pamucuk – kethuk
5. sauran – kenong.

If so, Bedhoyo Ketawang is Siwaistic and the age of this dance is quiet old, older than Kanjeng ratu Kidul. According to G.P.H. Kusumadiningrat, the creator of  “lenggotbawa” is Bathara Wisnu, when he was sitting in balekambang. Seven beautiful jewels were created by him and then changed to be seven goddess, they danced and encircled Bathara Wisnu clockwise. Seeing this, Bathara was so happy. As it was improper that god turn his head right and left, then he created so many eyes, which are located scaterred on his body.

According to Sinuhun Paku Buwana X, Bedhoyo Ketawang delineating love, lust and affection of Kanjeng Ratu Kidul to Panembahan Senopati. All the moves show gentle persuasion and flattery lust, but it can always be circumvented him. The queen then asked Kanjeng Ratu Kidul, that he would not go home, yet stayed in the ocean and sit on Sakadhomas Bale Kencana throne, a throne which was deposited by King Ramawijaya in the ocean bottom.

Sinuhun did not follow the intention of Kanjeng Ratu Kidul, as he wanted to reach sangkan paran. Yet he would like to take her as his wife, until his descendants.  His descendants who reign java will marry him on their coronation. She was asked to come to the island to teach Bedhoyo Ketawang dance to the king’s dancers. The rehealsals take place on Anggarakasih day and teh queen will turn up.

Gendhing accompanying Bedhoyo Ketawang is called as Ketawang Gedhe. This gendhing can not be played as klenengan as officially this is not gendhing but including tembang gerong Gamelan which consists of kethuk, kenong, kendhang, gong and kemanak. In the musik kemanak sound is very loud and clear. The dance is divided into 3 parts. Oddly, in the midst of all parts of the barrel changed to slendro dances briefly (up to two times), and then back again to pelog, until the end.On the first part, accompanied by Sinden Durma, and then to Retnamulya. When accompanying the dancers to enter and exit to Dalem Ageng Prabasuyasa, the gamelan is added with rebab, gender gambang and suling, which create harmonious atmosphere.  During the dance, keprak is not used at all. Dancers enter Pendapa Ageng Sasanasewaka from Dalem Agung Prabasuyasa, walking one by one. They encircle Sinuhun who sits on dhampat (throne). The difference between this dance to the others is that the dancers always encircle Sinuhun, he sits on the right side of the dancers. In common bedhaya or srimpi, dancers enter and exit from the right of Sinuhun and return on the same path.

There is another dance which is also sacred, entitled as Srimpi Anglirmendhung. The dance  less old than Bedhaya Ketawang. The similarities of the dances are:
a. MENDHUNG = means cloud ; and cloud is located in the sky (=TAWANG)
b. Kemanak is the main instrument to accompany the dances
c. The dances are divided into 3 parts.

According to R.T. Warsadiningrat, Anglirmedhung was created by K.G.P.A.A.Mangkunagara I. There were only 7 dancers and later dedicated to Sinuhun paku BUwana. Yet for the will of Sinuhun Paku Buwana IV, the dance was changed a bit, becane Srimpi with four dancers only. This dance is as sacred as Bedhaya Ketawang though this can be performed wherever and whenever, unlikt Bedhoyo Ketawang which is performed once a year and in certain place only.

Here are the distinctions of Bedhoyo Ketawang:

1. The dance is onlu performed in Anggarakasih day. Even the rehearsals are held also only in Anggarakasih days.

2. The dancers always encircle Sinuhun clockwise, when entering and leaving Dalem Ageng.

3.The costume of the dancers and lyrics of teh sinden. The dancers wear dodot banguntulak. As the lower layer they wear purple cindhe kembang with pendhing and bunta. The make up resembles as bride make up. The hair bun proned and decorated by centhung, garudha mungkur, sisir jeram saajar, cundhuk menthul and tiba dhadha (garlands which is hung on the right chest).

4.The lyrics sung by singers depicts seduction that can stimulate the sense of lust. From there it can be estimated that Bedhaya Ketawang can also be classified in the “Fertility Dance” in the temple, which describes the essence of hope to have many offspring.

5.Gamelan-barreled pelog, without keprak , that Bedhaya Ketawang can be classified as a classic dance.

6.Assembled dance and different role name. In the beginning of the lane once, we see the dancers sitting and dancing in the order illustrated below in

In performing this role the dancers are called:

1. Batak
2. Endhel ajeg
3. Endhel weton
4. Apit ngarep
5. Apit mburi
6. Apit meneg
7. Gulu
8. Dhada
9. Boncit

When dancing the assembles are not constant, yet changing, according to the scene delineated. On the closing scene, the dancers sit creating 2 lanes with three dancers each lane. In this formation, Bedhaya Ketawang is ended and then continued by accompaniment and returnto Dalem Ageng, with encircling Sinuhun clockwise.

7. Bedhaya Ketawang also can be related to astronomy, as in the lyrics of the song:

Anglawat akeh rabine Susuhunan, nde,
Anglawat kathah garwane Susuhunan, nde,
SOSOTYA gelaring mega, Susuhunan kadi Lintang kusasane.
(In the visit, Susuhunan does a few marry ,
In the visit, Susuhunan has a few empresses
Jewels scattering in the extend sky
Susuhunan is ruling, like stars)

The king’s dominion is like stars. Javanese also recognize astronomy and know name of stars like: Lintang Luku, Lintang Kukusan, Gemak Tarung, Panjer Rina, Panjer Sore.

Bedhaya Ketawang is  considered being created by queen of the invisible realm. People even believe that everytime this dance performed(rehearsal or real performance), the creator always presents. Not everyone can see her. As it is considered as sacred, it is assumed that this dance is a dance which is danced in a temples.


Who is Kanjeng Ratu Kidul? Is she real or she is just in fairytale? She is invisible, and usually people know about her orally.

According to story believed by people, her name was Dewi Ratna Suwida, a princess from Pajajaran Kingdom, daughter of Prabu Mundingsari, from his wife, Dewi Sarwedi, the grand daughter of Sang Hyang Suranadi, great grand daughter of king of invisible realm in Sigaluh. The princess escaped from palace and meditated on Mt Kombang. When meditating , reat power showed, she changed to be male, then to be female and again. She did not marry and became queen of all invisible creature in Java. Her palace is under the Hindian Ocean. This was because she was the descendant of invisible creature.

After the princess became a queen, she was entitled as Kanjeng Ratu Kidul or Nyi Rara Kidul. And some call her as Mbok Lara Mas Ratu Kidul, Lara derives from rara means virgin girl/ unmarried.

Once upon a time, Dewi Ratna Suwida who was very pretty got a leprosy sickness. To cure this she should bathe and soak in a lake nearby to the ocean. One day, when she was washing her face, she saw the reflection of hers on the water surface. She was shock to see her face was very ugly, then she jumped to the ocean and never returned ashore, she turned to be invisible creature.

Other story tells that people name heer Kanjeng Ratu Angin angin. According to a research, she was not only the queen of invisible realm but also queen of the southern coast of Java, from Yogyakarta, Banyuwangi, and then separated by Danamulya village (Christian village). The leader of Paga village sais that his coastal village has a tradition to  put offering to the southern sea for Nyi Rara Kidul. The offering is put in a small hut called as sanggar. Coastal of Lumajang also annually hold goat sacrifices for her. Mr Welter, a Dutch who was the deputy of Raad van Indie said that when he was a controler in Kepajen, he saw annual offering in Ngliyep, held specially for Nyai Lara Kidul.

In Pacitan there was a belief that people should not wear light green clothes. Green is believed to be the color of Nyai Rara Kidul’s cloth. If it is broken there will be a disaster. It said that there were Dutch family ignored this and they even made a fun of it. They went to the southern sea with green clothes and suddenly big wave came to them.

According to vision of Theosophist from US, Kanjeng Ratu Kidul was not a male or female. She was a goddess of nature or goddess of ocean.


Jl. Trikora no.6 Yogyakarta
Pertunjukan Wayang Kulit dengan Lakon Ramayana
Setiap hari pada jam 20.00 – 22.00
Sonobudoyo Museum
Leather puppet show entitled Ramayana, everyday at 20.00 – 22.00 WIB

Jl. Brigjen Katamso, Yogyakarta
Ramayana Ballet Performance : Everyday at 22.00 – 21.00 WIB Dangdut Music Performance : Everyday at 21.00 – 23.30 WIB

Jl. Rotowijayan No.1 Yogyakarta
Classical Dance Performance : Every Sunday at 11.00 – 12.00
Javanese Song Perfoemance : Every Monday and Tuesday at 10.00 – 12.00
Wooden Puppet Show : Every Wednesday at 09.00 – 13.00
Gamelan and Pethilan Performance : Every Thursday at 10.00 – 12.00
Macapat Performance (recitation of Javanese six-verse song) : Every Friday at 10.00 – 12.00
Leather Puppet Show : Every Saturday at 11.00 – 12.00

In the Kemandungan Yard of Yogyakarta Palace every TuesdayWage ( Tuesday that coincides with Wage, one of the five days in Javanese Calender) to celebrate Sri Sultan HB X.

5. “MAYASARI” Vocational Course in Kemandungan Hall Kraton Yogyakarta
Including Floral arrangement, fruit decoration and arrangement, young – coconut – leave – arrangement. Every Wednesday.

6. Hati Suci Ganjuran Temple, Bambanglipuro, Bantul
• Mass, Every Thursday 18.00 – 22.00 p.m
• Great Procession in order to Ganjuran Temple’s birthday, Every last Sunday in June at 07.00 a.m

Guidance and coaching of art and culture (dance, fine art, theatre, music, choir) Every Friday at 10.00 – 12.00 a.m

Coaching of ensemble music for children and teenager, Every Sunday.

Guidance and coaching of art and culture (dance, fine art, theatre, music, choir) Every Friday at 13.00 – 15.00 p.m.

South town square of Kraton Yogyakarta.
– The agenda is entering two with the buckeye tree with blindfolded eyes. Everyday at 19.00 p.m

Every Sunday and Holiday at 10.00 – 16.00 WIB

At Indonesian Broadcasting System (RRI) Auditorium, Yogyakarta. Everday at 19.00 p.m

Car exchange every Sunday at 06.00 – 16.00 WIB.

Dangdut music performance. Every Friday at 21.30 – 22.30 p.m

Every Saturday Night in the office yard of Yogyakarta Provincial Tourism Authority, Malioboro Street 56 Yogyakarta at 20.00 until finish.

Mocopat Art every Tuesday (Kliwon) at 20.00 p.m until finish.

• Karawitan Art
Every Thursday at 20.00 p.m until finish
• Hadroh Art
Every Saturday night at 20.00 p.m until finish
• Every eight times at Thursday 2nd week at 20.00 p.m until finish

Gamelan and Mocopat couching, Every Tuesday night.

Shadow puppet show every Saturday night at the thirth week. 20.00 p.m – end

Traditional music performance is held by 18 subdistrict of Gunungkidul Regency. It is held every Thursday night (Javanese Calender) at Bangsal Sewokoprojo, Gunungkidul.