Administratively Kalisuci carst is located at Jetis village, Pacarejo, Semanu, Gunungkidul, Yogyakarta.

Kali is Javanese for river.  Kalisuci is a river attraction of 5 to 10 meters width with clean water. Only this river is under the earth surface, flowing through caves in Gunung Kidul that empty to the southern sea of Java.

This phenomenon is the result of carst region, one of Gunung sewu carst region that spans over 3 regencies, Gunung Kidul, Wonogiri and Pacitan. In Gunung Kidul the carst region consists of 10 areas, covering 13.000 skm with ecocarst character, and endocarst character. Ecocarst constitutes of positive forms ofkarst hills (conical limestone) and doline and negative forms such as poltje and carst lake. And endokarst phenomenons are such as stalactite and stalagmite plus underground river.

In 1993, International Union of Speleology suggested that Gunungsewu carst region including Gua Kalisuci and one of world heritage. And President Yudhoyono launched it as eco-carst region.

Carst Kalisuci located in Semanu offers a cave tubing adventure for its visitors, caving and rafting with low rapid grade. Visitors can ride a floating rubber to explore this cave.

Kalisuci carst is one of 3 cave tubing center in the world, after Mexico and New Zealand.Kalisuci cave tubing constitute of exploring five caves, Cave Suci, Cave Glatikan, Cave Gelung, Cave Buri Omah and Cave Brubug. The underground river depth vary from 5 to 10 meters, and is very fresh and clear.

This cave is also an interesting place for education and learn Speology, Speleogenesis and carst morphology.

 

Gunung Kidul regency of Yogyakarta has many beautiful caves and pretty Oya river. This river passes carst mountain, rock cracks, and have active role for million years creating cave with its decorations. One of the beautiful caves in Gunung Kidul passes Oya river is Gua Pindul or Pindul cave, located 12 km  north of Wonosari. Administratively the cave is located in Gelaran village II, Bejiharjo, Kalimonggo, Gunung Kidul, Yogyakarta. In Cave Pindul, visitors can enjoy cave tobing, mix of body rafting and caving.

Pindul cave offers adVenture sensation, unlike other caves and can be explored without equipment, but visitors should be accompanied by local guide, wearing life vest, head lamp, rubber as this cave is streamed by underground river. The equipment is provided by the management of the cave. The depth of the river reach 10 meters. The river is calm and it is save for child and adult activity. The best hour to do cave tubing here is from 9 am or 10 am, as the water is not too cold, if the weather invites there will be sunlight appears through crack on cave roof. For 45 to 60 minutes visitors will enjoy an adventure along 300 meters on a floating rubber.

On cave mouth, visitors will be welcomed by drapery, column and other types of stalactite. This cave was used since hundreds years ago by men to meditate and the like. Other legend about this cave is that there was a linga-like stone and small curve that always drop water, it said that men that touch the lingga-like stone and women that catch water drop from the curve will be forever young.

Inside the cave is very dark and only flashlight can light the cave chamber, there is the fourth biggest stalactite in the world and it is still active. In the middle of the cave there is a big pool, where visitors can rest and swimming. Also visitor can find a gong stalactite that if it is hit it will make a gong sound and echoed by cave walls. On the ceiling there are inlets made by bats. And in the end of the adventure, there is a light hole that make this cave even prettier. This spot is the starting point for cavers to jump, by climbing rock wall, and then jump from 3 meters high.

There are few temples in East Java, especially located in Malang that are related to history of Singasari Kingdom. Singasari dynasty is the descendant of Ken Dedes with her two husbands, Tunggul Ametung the Tumapel district leader and Ken Arok.

Singasari history has a legend about keris weapon made by Mpu Gandring who was popular among East Javanese. In legend, Ken Arok was the son from affair of women in Panawijen village, Ken Endog with Barata Brahma. Not long after Ken Arok baby was discarded in a cemetery, and found by a skillful thief. His foster father taught Ken Arok about tactics of gambling, stealing and robbery.  He grew up as a skillful robber in Tumapel. Oneday, Ken Arok met a Brahmana, Lohgawe, that advised him to leave his dirty life. With Lohgawe support, Ken Arok became knight of Tumapel.

In that period Tumapel was reigned by Tunggul Ametung, under Kediri Kingdom. Tunggul Ametung married Ken Dedes, daughter pf Mpu Purwa lived in Panawijen. They had a son, Anusapati. Oneday, Ken Dedes returned home from Panawijen seeing her father. When she disembark from carriage, wind blew and her dress was blown and showing her legs. Ken Arok the guard of Ken Dedes carriage saw that and he saw that Ken Dedes sparkling light. He could not forget her. Ken Arok then asked about this ti Mpu Purwa and Mpu Purwa explained that the light he saw was  sign that Ken Dedes was destined to be a woman that would have descendants of kings in Java Island.

Ken Arok then ordered a keris from a keris crafter, or Mpu in Tumapel, Mpu Gandring. To make a powerful keris it took time to create and followed with rituals. As keris was not finished on time as Ken Arok wanted, he became pissed and killed Mpu Gandring with the unfinished keris he ordred. Before Mpu Gandring died, he cursed that Ken Arok would die with the same keris and the keris would take 7 lives.

Keris made by Mpu Gandring then borrowed by Ken Arok friend who liked to show off, Kebo Ijo. Kebo Ije showed the keris to his fellow friends in military and said that the keris was his. After people recognized that keris was Kebo Ijo’s, Ken Arok stole it and used it to kill Tunggul Ametung. People accused Kebo Ijo as the murderer and replaced Tunggul Ametung as akuwu of Tumapel and married Ken Dedes.

After he became akuwu, Ken Arok conquered Kediri Kingdom that was reigned by King Kertajaya (1191-1222) and he established Singasari Kingdom. He crowned himself as King of Singasari I, with title Rajasa Bathara Sang Amurwabhumi. With Ken Dedes he had son, Mahisa Wongateleng, and with his other wife Ken Umang, a son names Tohjaya. Mpu Gandring cursed prevailed. Ken Arok was killed and replaced by Anusapati. Anusapati was murdered and replaced by Tohjaya. Tohjaya was murdered and replaced by Ranggawuni. Ranggawuni then crowned as king with title  Jayawisnuwardhana  and reigned Singasari from 1227 to 1268. Jayawisnuwardhana was replaced by his son Joko Dolog, or Kertanegara (1268-1292).

Kertanegara was the last king of Singasari. His regime was subverted by King of Kediri Jayakatwang. But Jayakatwang could be defeated by son in law of Kertanegara, Raden Wijaya. Raden Wijaya was the descendant of Mahisa Wongateleng and King Udayana from Bali and later built Majapahit Kingdom with capital in Tarik (now Trowulan).

Exclusive Photos of Candi SIngosari

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Candi Kethek is located 500 meters from Candi Cetho. But the access to this temple is not that good, only narrow path with pine trees. This could be a good place for someone who loves nature and adventure. Kethek derives from local people belief that that the upper part of the temple resembles hanoman, a white monkey (kethek), in Ramayana Epic.

Candi Kethek is a Hindu temple as other temples on the foot of Mt Lawu. Candi kethek design is punden berundak, terraces, in various sizes and grown by grass. Partly this temple is still buried under soil, and located in the middle of lush pine trees. This temple is estimated to be constructed in the 15th century, though it was discovered in 1842, the restoration was held in 2005. And excavation is still done until today to seek for artefact or inscription.

Candi Kethek has 7 terraces, there are 20 steps on the first terrace stairs. It said that when the restoration was ongoing, found small turtle statue on each entrance stairs steps. Turtle is the symbol of Wisnu. Turtle statues are also found in Candi Sukuh and Candi Cetho.

Roof of Candi Kethek is gone and now the temple is completed with altar painted in gold. And the altar is used by Hindus as shrine.

Candi Canggal is also known as Candi Gunung Wukir, located at Canggal village, Salam, Magelang.  This Hindu site is located on hill peak, where also found Canggal inscription, oldest inscription that explained a bit about Old Mataram civilization.

Canggal inscription was written in 732 by Sanjaya Dynasty that built the temple to worship Siva. The worship of Siva can be seen from the lingga, yoni and nandi. Date when the sacred place like candi made is considered as the establishment date of a kingdom. In Canggal inscription mentioned that Sanjaya  is the founder of this kingdom or known as Rakai Mataram, as the Kingdom he reigned. Initially, Mataram was a small kingdom, and the capital was in Medang Bhumi Mataram (this place is currently not known yet)

Candi Gunung Wukir has one main temple faces east and 3 perwara temple. Perwara temple faces to the main temple and there is Nandi statue inside each perwara temple. On left and right sideof Perwara Temple were estimated having Angsa and Garuda statuary, but those statues are gone. None of the buildings in the compound are intact. The main temple is only floor and a yoni left. From the size, this temple is estimated as big as Candi Sambisari. Around the temple there are stone blocks, no statues. Not far from the main temple located is a stone mortar that was found nearby river under the hill where the temple located.

Spring was an important thing for a temple as water was considered as holy. A perfect site for a temple should be be nearby lake, sea or river. If there is no water nearby, a pond should be made in front of temple. Therefore, mortar stone was made as water jug.

Canggal inscription found in the temple site was written in Pallawa letter with candransangkala Cruti Indriyasa (654 Saka or 732 ) in Sanskrit language, with 12 lines :

Line 1 : Lingga was made by King Syailendra on Sthirangga hill 654 Saka (732)

Line 2-6 : Praise Brahma, Wisnu and Siva. There are 3 verses for Siva.

Line 7 : About the soil and nature of Java Island that is fertile, rich of paddy, gold mines, rivers, forest and elephant.

Line 8-9 : Praise to gentlr King Sanna.

Line 10-12 : Sanjaya is the predecessor of King Sanna, the son of Sahanna (sister of King Sanna), a brave and well repected king for he wrote book, having ocean belt, and mountain chest, people live in peace, and Dewi Kali could not do anything to the kingdom.

Canggal inscription is the biggest inscription in Indonesia, 1 meter long made of andesite. On the lower left is broken, the upper part is in accolade shape with padma or lotus decoration, the symbol of sacredness.

For Buddhist and Hindus, candi is a sacred place. Candi is maintained well as Buddhit and Hindus believe that gods live there. Nonetheless, now numerous temples are not intact anymore, for disaster, or human acts or they were unfinished work.

Candi Ngawen is situated at Gunungpring village, Muntilan, Magelang, Central Java, Indonesia and one of Buddhist Temples located in Magelang. This temple is not known by people, even for people living in Magelang. This temple is located not far from Muntilan market, at Jalan Pemuda Muntilan, this temple has an ease access.

Initially, Candi Ngawen was discovered by Dutch and then restored in 1911. According to records, Candi Ngawen was constructed in 8th century, notably in Syailendra dynasty (Buddha) period and Rakai Pikatan (Hindu) Period. This temple is classified as Buddhist temple though it was built during two different dynasties. As it was built in transition period of 2 dynasties, it is called as candi peralihan (transition temple).

At a glance, Candi Ngawen similar to Hindu temple as it is slim and pointed. But if we look very closely, this temple has stupa and terraces, the typical of Buddhist temple. Candi Ngawean also similar to Candi Mendut, one of Buddhist temple series located 5 km from this site.

Candi Ngawen compound constitutes of 5 temples located in line. There are 2 main temples and 3 flank temples or Candi Apit. Candi Apit is the companion of main temple, so main temples are located on the second and forth location. The first main temple is the only intact building among others. Though it was the most complete, the stupa of this temple is broken to few pieces since it was discovered, that the stupa is not attached to the temple but stored. As the most intact temple, this temple has most amount stone blocks at most. When restored, cement was used to attached the stone blocks. The original stone blocks were already broken and substitute with new plain stone, without relief as the original stones.

Different than the first main temple, the second one is in worse condition as the blocks are broken and missing and the stupa is even gone. Maybe only 50 percent of the blocks which are in good condition. So this temple is standing but not perfectly performed. Only floors left, no wall, no roof.

The stone blocks on the temple yards are not only parts of main temple and flanked temples but also other building parts that are not known the function yet.

This temple is used by few Buddhas for Vesak ritual.

In 1755, Giyanti treaty was signed and Kasultanan Mataram was split to Yogyakarta and Surakarta. The internal conflict was used by Dutch to split this kingdom, Pangeran Mangkubumi reigned in Yogyakarta and title as Sultan Hamengkubuwono I, and Sinuhun paku Buwono III reigned in Surakarta. Both kingdom evolved with their own way , that they have different and unique daily custom.

Blangkon Jogja has buldge or mondolan, while Surakarta blangkon has no buldge. In the old time, Javanese men has long hair that they curved the hair behind their head with headband. Other people think that the hair curved was like a disgrace that should be hidden, self disgrace or others disgrace. Keeping their own feelings to keep others feeling. Keep smiling though their hearts crying or angry. Those are the general typical of Javanese. While in Solo, as it was closer to colonial government, men cut their hair short that blangkon Solo had no buldge and the end of the blangkon fabric were tied to each other and it was symbolizes two testimonies of faith in Islam.

There are two philosophies of blangkon. The first is about product put on head is an idea, and should be concomitant to Islam values, not let it free but directed to benefit others as well. In short, idea should be rahmatan lil alamin (bless for universe). The second philosophy is blangkon is like macrocosms (the universe) and head is microcosm (human).This means that human should act as khalifah fil ardhi (leader of the earth) and should obey God.

Surjan and Beskap
Daily traditional blouse for Yogyakarta men is surjan. There are two surjan motives, striated and floral surjan. In Surakarta, the daily traditional blouse for men is called beskap, a cloak that was designed by Dutch derives from beschaafd means civilized. The difference between surjan and beskap is very obvious. This can be seen from button, if Surakara buttons lining on the side, while surjan Yogyakarta buttons designed in the middle.

Keris
Surakarta keris is called as ladrang while in Jogja called as Branggah. Branggah has slender keris seathe and more simple without intense decoration as senopaten style and Sultan Agung style.  Kris is ornamented with Madurese styme motives from Mpu Brojoguno. Surakarta decoration is more refine than Yogyakarta. The kris handle, kris curve and other features are differents between kris from both regions, and each has its own philosophies.

Wiru (pleated)
Pleated in jarik (batik fabric) between Surakarta and Yogyakarta are also distinctive. Wiru Yogyakarta shows white line on the end of jarik and sometimes was featured with with folds.  Wiru of Surakarta hide the white end.

Batik motives of Solo and Yogyakarta
Jogja batik is white and the motive is black while Surakarta batik is yellow without white motive. In Yogyakarta, there is standard about the batik design in occations. For wedding, batik used are Sidomukti, Sidoluur, SIdoasih, Taruntum or Grompol. While for mitoni (7 months pregnancy) ceremony, batik used are Picis Ceplok Garudo, Parang Mangkoro, or Gringsing Mangkoro.

Yogyakarta Palace and Surakarta Palace  origin are same, from Mataram palace patterns. But they evolved differently. There are same patterns only the names are different. For instance in Surakarta a motive is called as Parang sarpa, in Yogyakarta called as golang galing. In Surakarta called Pola Liris, in Yogyakarta called as Rujak Senthe. One obvious difference is in wearing parang and lereng motive. In Surakarta style batik is wrapped from right upper and tilt to lower left, while Yogyakarta style tilt from upper left to lower right.

Other difference between batik Yogyakarta and Surakarta are the design of Parang in Solo from upper left to lower right, while in Yogyakarta from upper right to lower left. For good quality of batik, it can be worn two sides, so no difference. And only the difference is the tradition how to put on, Surakarta or Yogyakarta style.

Basic colors from both styles are distinctive. Yogyakarta uses geometric motives. And according to a research, the classics geometric designs are also exist on old objects and among them are more than 1000 years. Few people estimated that batik was already exist in that period. And other opinion said that those old motives might be known in that period only were not applied in batik arts. Every geometrical design has name and symbolical meaning.

Pager Bagus (Men of Honors) & Pager Ayu (Maid of Honors)
In Surakarta, Pager Bagus usually are young, and glamour while in Yogyakarta, Pager Bagus were mature emphasizing humbleness and knowledge. In Yogyakarta, person is more beautiful when they are knowledgeable.

Bride and Groom Costume and make up.
Surakarta costume has dept philosophies, and inspired by Kasunanan Surakarta king and royal members costumes. Solo Putry Style, or Bride of Surakarta style wears long classic kebaya of black velvet with golden manggar flower ornaments coupled with Sidoasih prada batik. Groom wears beskap langenharjan with blangkon and Sidoasih Prada Batik.  The bride make up is completed with black paes on her forehead like royal princess. Hair is dressed in big bight hairdo, decorated with jasmines, comb, and cundhuk menthul. Modification of Surakarta bride costume is long lace kebaya, but later other colors used in Javanese wedding.

Beside Solo Putri, other popular style is Solo Basahan. Solo Basahan costumes consist of dodot or kampuh in dark alas-alasan (animals) motive and plants batik.  But later motives and colors of dodot is more vary, though still appropriate for bride and groom. Basahan symbolizes giving and let the future goes as God will. Basahan costume for bride is tanktop as bustier, dodot or kampuh, sampur or shawl, sekar abrit and matching batik, plus garlands of pandan leaf and flowers to avoid disaster or bad luck. Basahan for groom is kampuh or dodot with same motive as the bride’s, kuluk as headgear, stagen (long fabric corset), belt, epek, cinde sekar abrit cinde, keris warangka ladrang, buntal, kolong keris, slippers, and necklace.
Sikepan Ageng costume or Basahan Keprabon is one of basahan style inherited from Javanese kings and royal family tradition. Groom wears dodotan with takwa design, beskap that was worn only by Ingkang Sinuhun (king). Bride wears kampuh or dodot with long sleeves short bolero made of velvet to cover shoulders and chest.

Yogyakarta costume is inspired by Keraton Yogyakarta. There are few styles of Yogyakarta’s costumes, namely Paes Ageng or paes Ageng Kanigaran. Jogja Putri and Kesatrian. The most popular is Jogja Paes Ageng where bride and groom wears dodot or kampuh with various ornaments. Paes hitam with gold roound the outside applied bride’s forehead, hair is dressed in bun, and other woman accessories. Groom wears kuluk as headgear, and pigtail with comb and small cunduk mentuk.

Paes Ageng Jangan Menir is another style of Yogyakarta costume. Groom wears velver decorated with embroidery, belt of shawl and kuluk kanigara as headgear. Paes Ageng Jangan Menir does not use kampuh or dodot.

Jogja Putri costume style is a little bit different than Paes Ageng. Bride wears hair bun decorated with big menthul facing back with gunungan made of metal. Bride wears long embroidery velvet kebaya and prada batik. As modern style influenced the traditional costume, appears KEsatrian Modification that was inspired by Jogja Putri. But the difference is that here bride wears lace kebaya with prada batik, hairbun decorated with cundhuk menthul (kembang goyang) and jasmin garland dangling before chest. Groom wears white beskap with batik prada and blangkon.

Other Jogja style is Jogja Contemporary, a mix of Paes Ageng with white long lace kebaya with Yogyakarta prada batik .

Kraton Knights (Prajurit) of Yogyakarta wears costume that reflects norms and cultural values. For Javanese, outfit is an important cultural elements, as popular in an expression “ajining dhiri saka lathi, ajining raga saka busana, ajining awak saka tumindak”

Here are examples of costume of Kraton Ngayogyakarta Hadiningrat:
a. Sabukwala Padintenan
Headgear : tlesepan (right hairpin).
Fittings : Handmade batik, kebaya, lonthong, kamus
Accessories : earings, necklace, bracelet
This dress is worn daily for boys and girls

b. Kencongan
Headgear: curving comb
Fitting: batik, silk surjan, lonthong, kamus
Accessorie: sangsangan tanggalan.
This costumes is for male

c. Pinjung Padintenan
Headgear: ukel tekuk with hairpin
Fittings: Pleated batik, lonthong, kamus, udhet polos.
Accessories: subang, sangsangan, gelang, cincin.
This is a daily costume is for teenage girls in Kraton.

d. Ubet-Ubet
Headgear: ukel tekuk.
Fittings: Batik for nyamping, semekan batik, embong, kamus, gesper kupu  and samir.
Accessories : subang, cincin.
This costumes is for bedaya.

e. Semekan Tritik
Ukel: tekuk, ceplok-jenthit.
Fittings: Painted batik, seredan, semekan tritik, kacu, dan bros.
Accessories: subang.
This is worn by single princes and to attend small occasions such as tedak siti ritual, tinggalan ndalem.

f. Semekanan Rasukan Blak-blakan
Ukel: tekuk, tusuk kondhe from gold and diamonds
Fittings: Painted batik, semekan batik, short kebaya.
Accessories: subang, ring.
This is worn by mature princess, unmarried, and to attend small occasion.

g. Penganthi Putri
Ukel: tekuk, comb, ceplok-jebehan.
Fittings: kain cindhe, kain lerek fordodot, blenggen, udhet cindhe, slepe.
Accessories: subang, brooch
This is worn by female penganthi
h. Penganthi kakung
Ukel: tekuk with comb, kuluk kanigara.
Fittings: celana cindhe, sikepan, kampuh
This is worn by male penganthi

i. Keparak
Ukel: tekuk.
Fittings: white batik,black batik, red udhet, wedhung.
Accessories: subang.
This is worn by Dalem Keparak.

Special costumes for Kraton Yogyakarta knights (Prajurit)

1. PRAJURIT WIRABRAJA
Wirabraja derives from wira means brave and braja means sharo, both words were Sanskrit. Philosophically, wirabraja means troop of knights that are brave fighting against enemies and having sharp and sensitive sense.
Banner or flags of wirabraja is Coconut Sugar (Gulo-Klopo), rectangular with white basic color and on every corner is decorated with red centhung resembles tip of red peper (Kuku Bima/ Bima’s Clawn), in the middle there is a red squares and in the center is white octagon. Gula-Klapa derives from Sugar and Coconut, and philosophically, means that the troop is brave to defense righteousness.

2. PRAJURIT DHAENG
Dhaeng derines from Makasar language, a title to Makasar royals. Philosophically, Dhaeng is an elite squad as Makasar knights fought against Dutch in the past. HIstorically, Dhaeng knights was knights transported by Dutch to strengthen Raden Mas Said troop when he was quareling with P Mangkubumi. These two men was actually fighting against Dutch. RM Said divorced from his wife, the daughter of Hamengkubuwono I. When he sent his wife to her parents, he worried that Hamengkubuwono I would be upset. So in case things happened, he sent his ex wife, Kanjeng Ratu Bendoro, acccompanied by elite squad, Dhaeng squad. Arriving at Kraton Yogyakarta, they were welcomed decently. As the friendly welcome, Prajurit Dhaeng did not want to return to Surakarta and serve Hamengku Buwono I, and later named as Bregada Dhaeng by Sri Sultan HB I.

Panji-panji/bendera/klebet/dwaja prajurit Dhaeng adalah Bahningsari, berbentuk empat persegi panjang dengan warna dasar putih, di tengahnya adalah bintang segi delapan berwarna merah. Bahningsari berasal dari kata bahasa Sansekerta bahning berarti ‘api’ dan sari berarti ‘indah / inti’. Secara filosofis bermakna pasukan yang keberaniannya tidak pernah menyerah seperti semangat inti api yang tidak pernah kunjung padam.

3. PRAJURIT PATANGPULUH (40 Knights)
The name has nothing to do with the amount of knights in this squad. Flag of Patangpulug Knight is Cakragora, rectangle with black basic and in the middle there is red 5 pointed star. Cakragora derives from Sanskrit, cakra means serrated weapon and gora means formidable. Philosophically, this troop has outstanding power.

4. PRAJURIT JAGAKARYA (Jagakarya Knights)
Jagakarya derives from jaga and karya. Jaga means take care and karya derives from Kawi language means duty. Philosophically, Jagakarya means squad to secure government.

Flag of Jagakarya squad is Papasan, a red rectangle  and in the middle there is a green circle. Papasan derives from papas means destroying. Philosophically, papasan means brave men that destroy enemies.

5. PRAJURIT PRAWIRATAMA
Prawiratama seric=ves from prawira and tama. Prawira derives from Kawi language means brave or officials or knights, while tama means primary, derives from Sanskrit, in Kawi tama means smart or expert. Philosophically, Prawiratama means brave, smart squad and always wise even in battle.

THe flag of Prawiratama is Geniroga, black rectangular shape with red circle in the center. Geniroga derives from geni means fire and roga means pain. Philosophically, squad that always defeat enemies easily.

6. PRAJURIT NYUTRA
Nyutra derives from sutra or silk. Sutra in Kawi means superior while in new Javanese language means refined fabric. Nyutra Knight are Sri Sultan’s guards. Philosophically, refined troops as silk that always keep Sri Sultan save and having outstanding skill. Nyutra’s weapons are spear, towok, shield, riffle and arrow. Before period of HB IX, Nyutra members should have dancing skills.
Flag of Nyutra is Podhang ngingsepsari and Padma-Sri-Kresna. Podhang ngingsep sari for Red Nyutra Knights, yellow rectangle with red circle in the middle.  Padma Sri Kresna is for Black Nyutra Knights, yellow rectangle with black circle in the middle of it.

Podhang ngingsep sari derives from podhang means orioles bird, ngingsep means suck and sari means extract. Philosophically, red nyutra means a troop that always maintain and hold on good deeds. Padma Sri Kresna derives from sanskrit, padma means lotus, sri means light, and beautifula and kresna means black. Philosophically, black nyutra is a troop that always get rid of evil just like Sri Kresna as the manifestation of Wisnu.

7. PRAJURIT KETANGGUNG
Ketanggung derives from Javanese, ‘tanggung’ means burden, philosophically, ketanggung means troops with a heavy burdens. Flag of this squadron is Cakra Swandana, a black rectangle flag with a white hexagon in the middle. Cakra means jagged wheel and swandana means vehicle or carriage. Philodophically, Ketanggung means a troop brings cakra weapon to destroy enemies.

8. PRAJURIT MANTRIJERO
Mantrijero derives from ‘mantri’ and ‘jero’. Mantri is Sanskrit means spokesman, minister. And jero means inside or internal. So literally, Mantrijero means internal  spokesman or minister. Philosophically, Mantrijero means troop having authority in decision making inside Kraton.

Flag of Mantrijero troop is Purnamasidhi, a black rectangle flag with white circle in the center. Purnamasidhi derives from Sanskrit , purnama means full moon and sidhi means perfect. Philosophically, Purnamasidhi means troop expected to light the dark.

9. PRAJURIT BUGIS
Bugis derives from Bugis language. Before Hamengkubuwono IX was in duty in Kepatihan as guard of Pepatih Dalem (Prime Minister). Since Hamengkubuwono IX, Bugis troops was united to Keraton military unit and  is in charge to guard gunungan in Garebeg ritual. Philosophically, Bugis squad is a powerful troop as the origin of Bugis , Sulawesi. The flag of this squad is Wulan-dadari, black rectangle with golden yellow circle in the middle. Wulan means moon and dadari means bloom. Philosophically, this troop was expected to enlight in the darkness, as fullmoon at night substitute the sun.

10. PRAJURIT SURAKARSA
Surakarsa derives from the words sura and karsa. Sura derives from Sanskrit means brave and karsa means will or desire. Surakarsa knights have duty to guard Pangeran Adipati Anom or Royal Prince, and not part of kraton military units. Philosophically, Surakarsa is a brave troop that is dedicated to keep the safety of royal prince. Since period of Hamengkubuwono IX, the troop is united to kraton unit and in Garebeg ritual, its duty is to guard gunungan. Flag of Surakarsa troop is Pareanom, a green rectangle flag and a yellow circle located in the middle. Pareanom derives from pare (bitter gourd), and anom means young. And philosophically, Pareanom means troop that are always have enthusiastic and spirited.

Blangkon is headgear of Javanese men. Blangkon is a ready-to-wear head band  made of batik.  There is no record in history about this fashion. There was a legend about Ajisoko and he wore headband. By his headband he could defeat Dewata Cengkar, a giant ruled Java. Ajisoko was later known as the creator of Javanese calendar.

There are few theories about blankon that was influenced by Hindu and Islam culture. According to experts, Moslem visited Java were from China and Gujarat. THe Gujarat traders were Arab descendants and they wore headband called Sorban, long and wide fabric. This sorban inspired Javanese to wear headdress.

Other theory said that in the past headband was worn and wrapped manually. But as there was war crisis, that fabric was hard to get, therefore keraton officials asked artists to create headgear with more economical fabric and later called as blangkon.

In the past, blangkon was only made by expert artists with standard quality and design. A culture expert, Becker made a research about the making of blangkon that took a skill called as virtuso skill. He stated that “That an object is useful, that it required virtuso skill to make –neither of these precludes it from also thought beautiful. Some craft generete from within their own tradition a feeling for beauty and with it appropriate aesthetic standards and common of taste”.

The beauty of blangkon was seen from the standard quality and depends on the taste determined by social standards. The standards was not only prevail the crafter but also the wearer. Becker wrote that  “By accepting beauty as a criterion, participants in craft activities on a concern characteristic of the folk definition of art. That definition includes an emphasis on beauty as typified in the tradition of some particular art, on the traditions and concerns of the art world itself as the source of value, on expression of someone’s thoughts and feelings, and on the relative freedom of artist from outside interference with the work”.

Blangkon is made of headband with rectangle and square, usually around 105 cm x 105 cm. Only half of the size used for blangkon. Blangkon size was taken from the distance between left and right  ear through forehead and upper-head. Generally, 48 is the smallest and the biggest is 59. There are 2 types of blangkon, blangkon with bulge on its back and blangkon without bulge. Blangkon with bulge is Yogyakarta style and the buldge was hair tied up with the headband, as in the past men had long hair. Blangkon without buldge is Surakarta style, and this was modified from Yogyakarta style as today most of men have short hair. This type was crafted by sewing mondolan (buldge) at the back of blangkon. Beside Javanese, other ethnics in Indonesia also wear headband resembles Javanese blangkon such as Madura, Balinese, and others. Only each headband has different standard.

This might be helpful for your visit in Java, and Indonesia in general:

Javanese and most of Indonesian shake hands when meeting or introducing themselves. Use right hand to  hand shake, and usually they will put their hand on to the chest after shaking hand. Indonesian moslem women shake hands with men, but few sects they dont shake hands with men. So be careful, do not offer you hand unless the woman offer hers first.

Please use right hand to give, to point, to accept anything to or from Indonesian. Left hand is considered to be impolite. When you are involving in a conversation, or asking information, do not put your hands on your hip, as it is rude in Indonesian culture. Pointing with index finger is considered as impolite as well. Indonesian pointing with their hand.

When meeting or having eye contact with Indonesian, smile and nod or bow a bit. Indonesian is very friendly and visitors are expected to be friendly as well. When you enter village, address them with Selamat Pagi (Good Morning), Selamat Siang (Good Afternoon) or Selamat Malam (Good Evening). If you are willing to take picture of the locals, ask them first. “Boleh?” and usually they will say yes. If passing people working, saying “Permisi” is appreciated.

The majority of Indonesian is moslem, and they are very decent in dressing. So visitors better respect this and dress conservatively. Especially if you enter village, it is suggested to avoid wearing mini dress, or hot pants.

When entering tourist attraction or bus terminal, usually there will be many people offering their becak, taxi, food and the like. Visitors can say “Tidak” to them and if you know local language will be better. In Central Java and East Java, you can say “Mboten”, a NO in refined Javanese word.

Few Indonesian take off shoes or sandals in their house. And sit decently, and do not show soles of your feet to anyone. When entering mosque, people should take off their shoes and sandals, and wearing long sleeves covering their arms and for women they wear veil covering their hair.

Homosexuality is considered as something not common in Indonesia. In big cities like Jakarta, Denpasar or Surabaya maybe homosexuality is not that a problem, but in village or smaller cities, not showing affection in public, even for couple. Locals will not show how impolite those people for them, but you will get a strange look.

Gandrung is performanced in various events such as wedding, pethik laut, circumcision, and Indonesia independence event. This performance started in 21.00 until 04.00.

The first Woman Gandrung Dancer, in history, was known as Gandrung Semi, when a 10 years old girl performed in 1895. Semi had an illness, that could not be healed though she had need taken to dukun. Her mom vowed “Kadhung sira waras, sun dhadekaken Seblang, kadhung sing yo sing” (If you are healed, i will make you a seblang, if not, i won’t make you so). Semi was healed and she was happened to be seblang and Gandrung was started to danced by woman.

Historically, Gandrung was performed initially by men that were dressed as women, and according to Scholte (1927), the main instrument in this Gandrung Lanang (men) was kendang. Violen has been used as well, but Gandrung lanang was disappeared gradually in Banyuwangi in 1890s, and estimated that Islam banned any form of transvestism.   And Gandrung Lanang disappeared completely in 1914, after the death of the last dancer, Marsan. According few sources, Gandrung was born initially to entertain forrest loggers, and performed in thanksgiving ritual ceremony.

Gandrung tradition then followed by Semi’s sisters and used Gandrung as name of the stage. This performance then evolved and was  popular in entire Banyuwangi and becomes the icon of the regency. Initially, Gandrung was performed by the descendants of Gandrung dancers, but since 1970s young girls were interested to be gandrung dancers for occupations but until the end of 10th century, the existence of Gandrung dancer was gradually ignored.
Gandrung dance constume is unlike other dance in Java, there is influence of Balinese , Blambangan. The body costume is made of black velvet and  decorated with gold ornaments and sparkling beads wrapping neck to chest, and shoulders and half back are bare. Neck wears decoration that covers chest. Arms wears decoration and something like belt decorated the hip with colorful scarf. Shawl is worn on shoulder. The head wears crown-like ornament called omprok made of bull leather and decorated with Antasena figure in gold and red. Antasena is the son of Bima, with human head but snake body and antasena ornament covers hair of the dancer.

In the past Antasena ornament was not attached to the crown but like wings on the dancer. Since 1960s, tail of Antasena ornament was attached to the crown until today. The crown was also decorated with silver ornament that makes the dancer having egg-round face, and completed with flower ornament called as cundhuk menthul. Often, omprok was also put incense for magical impression.
Gandrung dancer wears batik with various morives, but usually they wear gajah oling morives, plants motives with elephant trunk on white fabric. Before 1930s, gandrung dancers did not wear socks.
In the past gandrung dancers  bring 2 fans for the performance, but today, only one fan, and 2 fans are brought only in few sequences such as in seblang subuh sequence.
Musical accompaniment of Gandrung dance is 2 kempul, one kluching, one or two violin, 2 kendang, and pair of kethuk.