MY LIFE TRIP: PUPPET PEOPLE Acceptance JAVA, IN SURAKARTA, CENT...

MY LIFE TRIP: PUPPET PEOPLE
Acceptance JAVA, IN SURAKARTA, CENT...: PUPPET PEOPLE Acceptance JAVA , IN SURAKARTA , CENTRAL JAVA , INDONESIA   Puppet people also called wayang won...

MY LIFE TRIP: MALAM 1 SURO DI KRATON SURAKARTA HADHININGRATIND...

MY LIFE TRIP: MALAM 1 SURO DI KRATON SURAKARTA HADHININGRAT

IND...: MALAM 1 SURO DI KRATON SURAKARTA HADHININGRAT INDONESIA ADALAH NEGARA BERBUDAYA

MALAM 1 SURO DI KRATON SURAKARTA HADHININGRAT

INDONESIA ADALAH NEGARA BERBUDAYA

MY LIFE TRIP: BATIK LEGACY OF ANCESTORS WHO HAVE A GREAT MEANING...

MY LIFE TRIP: BATIK LEGACY OF ANCESTORS WHO HAVE A GREAT MEANING...: BATIK LEGACY OF ANCESTORS WHO HAVE A GREAT MEANING INDONESIA Laweyen is the central one in the Solo Batik. Surely this villa...

BATIK LEGACY OF ANCESTORS WHO HAVE A GREAT MEANING

INDONESIA

Laweyen is the central one in the Solo Batik. Surely this village there are a lot of history left in this kapung and became icons Batik Solo
History of batik in Indonesia is closely linked with the development of the Majapahit empire and the spread of Islam in Java. In some records, the development of batik is mostly done in times of Mataram kingdom, then in the work of Solo and Yogyakarta.So this batik art in Indonesia has been known since the days of work and continues to evolve to the Majapahit kingdom, the kings of the next. As for starting the spread of this batik art belongs to the people of Indonesia and Java in particular tribe is after the end of the eighteenth century or early nineteenth century. Produced batik batik is all up to the early twentieth century and is known batik new world of unity after the war finished, or about 1920. The connection with the spread of Islam. Many areas in the central Javanese batik are areas Batik students and later became a tool of economic perjaungan by the leaders of Muslim merchants against the Dutch economy.

Batik art is art image on the cloth for clothing that was one of cultural keluaga Indonesia kings of old. Batik initially worked in the palace alone are limited and the results for the king's clothing and family and his followers. Because many of the followers of the king who lived outside the palace, the art of batik was brought by the palace and carried them out in place of each.

Old-old art of batik was imitated by the people nearest and further extends into the work of women in the household to fill his spare time. Furthermore, batik clothes that used only the royal family, became a popular folk clothing, both women and men. White fabric that is used when it is the result of homespun.Coloring materials are being used consist of native plants Indonesia made itself among others of: noni tree, tall, Soga, indigo, and the material made from soda ash soda, and salt made from tanahlumpur.

MajapahitBatik has become a culture in which the royal Majahit, pat traced in Mojokerto and Tulung Court. Mojoketo is closely associated with the Majapahit kingdom during the first and the origin of the name has something to do with the Majapahit Majokerto. Relation to the development of batik Tulung Majapahit Agung is grown in the development of batik history of this area, can be extracted from the relics at the time of the Majapahit empire. At that time the most Tulungagung area consists of wetlands in the history of the area known as Bonorowo, which at the time of Majapahit bekembangnya area ruled by a Duke benama Kalang, and would not submit to the kingdom of Majapahit.

Told that the police action launched by Majapahati, Duke Kalang supposedly killed in the fighting around the village which is now reportedly named Kalangbret. Thus the army officers and families, Majapahit kingdom settled and lived in the region that is now named Bonorowo or Tulungagung, among others, also carry original art of batik making.Local batik is now in Mojokerto contained in Kwali, Kirkcaldy, Betero and Sidomulyo. Outside of the district is in Jombang Mojokerto. In the late nineteenth century there are some people who are known batik in Mojokerto, the materials used at that time a white cloth woven by himself and the drugs of soga jambal batik, noni, indigo tom, height and so on.Foreign drugs known as post-war new world of unity which are sold by Chinese traders in Mojokerto. Batik is known along with the influx of drugs from abroad batik. Cap made in Bangil and batik entrepreneurs can afford market Mojokerto Porong Sidoarjo, Porong market before the economic crisis the world is known as a bustling market, where the results of production and Jetis Kedungcangkring Sidoarjo batik are sold. Time of economic crisis, entrepreneurs crippled batik Mojoketo participate, because most of the entrepreneurs of small businesses. Batik activities after the crisis comes back to Japan to Indonesia, and the Japanese occupation of batik activities paralyzed again. Batik activities appear again after the revolution which has become the occupation Mojokerto.Characteristic of batik Kalangbret of Mojokerto is similar to batik batik-output Yogyakarta, which is basically white and color coraknya brown and dark blue. Known since more than a century ago where batik village Majan and Simo. The village also has a history as a relic of the days of the war Diponegoro 1825.Although known since ancient batik Majapahait but the development of batik began to spread rapidly since the area of ​​Central Java, Surakarta and Yogyakata, in the era of the kingdom in this area. It appears that the development of batik in Mojokerto and subsequent Supreme Tulung more dipenagruhi style batik Solo and Yogyakarta.In the wake of clash between the Dutch colonial army with troops of Prince Diponegoro then most of the troops withdrew Kyai Mojo towards the east and up to now called Majan. Ever since Dutch colonial times until the time of independence Majan rural village status Merdikan (Special Region), and the village head was a chaplain whose status Uirun-temurun.Pembuatan batik is an instinct Majan (relics) of the art of making batik Diponegoro wartime.

Majan babaran batik colors and Simo is unique because of the color red babarannya light (from the bark of Morinda citrifolia) and other colors of the tom. As batik Setra since time immemorial the village area is also famous Sembung, batik entrepreneurs who are mostly from Tulungagung Sala came in the late nineteenth century. Only now there are still some families who settled batik from Sala Sembung area. Apart from places where there is also a local batik proficiency level in Psychology and also a couple in Karachi, but the nature of most batik handicrafts and batik babarannya.Age Spread of IslamHistory of batik in the areas of East Java is in Roxburgh, whose story is related to the spread of Islam in this area. Batik history. Mentioned problem areas Ponorogo batik art is closely connected with the development of Islamic religion and the kingdoms first. That said, in Batoro Katong area, there is a descendant of the Majapahit empire whose name is the younger brother of Prince Raden Katong Broken. Batoro Katong is what brought Islam to the existing petilasan Ponorogo and now is a mosque area Patihan Wetan.Selanjutanya developments, at Roxburgh, in the area there is a boarding school Tegalsari Kyai Hasan Basri who cared or known as the Great Tegalsari Kyai. Tegalsari boarding is in addition to teaching the religion of Islam also teaches administrative sciences, sciences and literature of war. A famous disciple of the field of literature is Tegalsari Ronggowarsito Raden. Kyai Hasan Basri was taken into the king's daughter by Kraton Solo.Batik art at that time confined within the palace. Therefore Solo royal daughter became the wife Kyai Hasan Basri then brought into Tegalsari and followed by a retinue. besides that there are many Solo royal family dipesantren this study. This event is brought out of the palace of art bafik towards Roxburgh. Young people who are educated in this Tegalsari when it came out, the community will donate dharma batik in areas kepamongan and religion.Long batik areas that we can see now is the area that is Kepatihan Wetan Kauman now and from here spread to the villages Ronowijoyo, Mangunsuman, Kertosari, Setono, Cokromenggalan, Duchy, Nologaten, Bangunsari, Cekok, Banyudono and Ngunut. At that time the drugs used in batik is made in our own country of such timber; tom trees, noni, tall timber. While homemade kainputihnyajugamemakai materials from woven carrying. Bam white cloth known in Indonesia import about the end of the 19th century.Batik-making in the new Roxburgh known after the first world war brought on by a Chinaman named Kwee Seng of Banyumas. Roxburgh area beginning of the 20th century in the famous batik indigo coloring that does not fade and that's why entrepreneurs Solo batik from Banyumas and give employment to many businessmen in Ponorogo batik. Due to the production of batik known Ponorogo after World War until the outbreak of the First Instance of the second world war famous for his rough batik batik blue mori. Market batik rough Roxburgh then famous throughout Indonesia.Batik Solo and YogyakartaOf work-in Solo and Yogyakarta royal environs 17.18 and 19 century, batik and widespread, especially in Java. Batik was originally just a hobby of the royal family on the passing ornate clothing. But subsequent developments, the batik pleh perdagamgan developed into a commodity.Solo Batik is famous for its traditional batik patterns and patterns in the cap and the batik he wrote. The materials used for staining was still a lot of use of domestic materials such as Soga Java is already known since the first. The pattern remains, among others, famous for "Sidomukti" and "Sidoluruh".While the origins of batik area since the kingdom of Mataram Yogyakarta is known to any-I with a Panembahan Senopati raj. The first area is the village Plered batik. Batik at the time confined within the royal family environment is done by the women helpers queen. From here batik extends to the first trap on the other the wife of the royal family of courtiers and soldiers. At the official ceremony of the royal family royal men and women wear clothes with batik kombonasi and striated. Because of this kingdom had a visit from the people and the people attracted to the clothes worn by the royal family and imitated by the people and eventually spread out batik out of the palace walls.Due to the time of the ancient war between the kings of the family and the Dutch colonial past, many families are displaced and the king settled in areas such as the new Banyumas, Pekalongan, and stricken East Roxburgh, Tulungagung and sebagainy a. Meluasny a local batik to the stricken areas, according to the historical development of Indonesian struggle beginning of the 18th century. Families who fled the palace is that developed all over the island of Java that existing and developing new areas of nature and according to it.Diponegoro war against the Netherlands, urged the prince and his family and his followers had to leave the kingdom. They then spread to the East and West. Then in the new areas that the family and followers of Prince Diponegoro develop batik.East to Solo and Yogyakarta batik batik patterns that have been perfected in Mojokerto and Tulung Court. It also spread to Gresik, Surabaya and Madura. Westward batik being evolved in Banyumas, Pekalongan, Tegal, Cirebon.Batik developments in other citiesDevelopments in Banyumas batik Sokaraja centered in the area carried by the followers of Prince Diponegero after selesa-Inya war in 1830, their most-ap menet Banyumas area. His followers were known at the time was Najendra and he developed a batik dyed in Sokaraja. Materials used mori homespun results and color additives used drugs tom trees, trees and Noni pace that gives the red color of yellow artificiality.Eventually the people Sokaraja batik spread and by the end of the nineteenth century is directly related to batik Solo and Roxburgh area. Local batik in Banyumas been known since before the motifs and colors in particular and is now called batik Banyumas. After World War unity of batik from China also done by batik materials in addition to their trade. .Similarly, the batik in Pekalongan. Diponegoro followers who settled in this area and develop business sekitara batik in coastal areas, namely in areas other than their own Pekalongan, batik grew rapidly in Buawaran, Pekajangan and Wonopringgo. The existence of batik in these areas almost simultaneously with other areas of batik is about nineteenth century. Developments in areas outside of batik from Yogyakarta and Solo apart closely related to the development history of the kingdom of Yogyakarta and Solo.Widespread batik out of the palace after the end of the war Diponegoro and the number of the royal family who had moved out of stricken areas of Yogyakarta and Solo for not kejasama with the colonial government. The royal family took his followers stricken on the ground that new and batik continued and then into work for a living.Batik patterns in this new area as well adapted to the circumstances surrounding area. Pekalongan especially viewed from the process and designya much influenced by the batik of Demak. Until the early twentieth century the process of batik is batik known morinya substance made in the country and also some import. After the war new world of unity known batik fabrication and use of foreign medicines made in Germany and the UK.At the beginning of the 20th century first recognized in Pekajangan is weaving that produces its own spun yarn Stagen and simple. In recent years new known batik is done by people who worked weaving sector. Growth and more rapid development of batik weaving Stagen and never sugar mill workers in Wonopringgo and Tirto companies ran into batik, because wages are higher than the sugar factory.Tegal batik was known in late nineteenth century and that used a homemade time taken from plants: pace / noni, indigo, timber Soga and homespun fabric. Tegal batik color is the first time and babaran Sogan gray after known indigo plant, and then increased to a red-blue color. Tegal batik market when it was out of the region such as West Java taken by entrepreneurs in their walk and this is according to the developing history of batik in Tasik and Kudat besides other immigrants from the cities of Central Javanese batik.In the early twentieth century was known mori import and import drugs known as post-war new world of unity. Batik entrepreneurs in Tegal mostly weak in capital and raw materials derived from Pekalongan and with credit and batik are sold in China that provide raw materials such credit. Time of economic crisis Tegal batik batik-go and lethargic new enterprising back around 1934 to the beginning of the second world war. When Japan entered batik activities to die again.Pila thus the history of batik in Purworejo along with batik in Kebumen is derived from Yogyakarta around the XI century. Batik developments in Purworejo than in Kebumen faster in Kebumen. Production as well as Yogyakarta and other Banyumas.While in the Bayat, Sub-Klaten Tembayat Kebumen located approximately 21 Km east of Klaten. Bayat area is a village located at the foot of the mountain but the land is arid and minus. These areas include the environment and Klaten Surakarta and the history of batik here is certainly closely related to the history of the former royal palace in Surakarta. The village is now pertilasan Bayat which can be visited by people in certain times of the "tomb of Sunan Bayat" on the mountain Jabarkat. So Bayat batik village has existed since the time of first job. Batik entrepreneurs in Bayat had most of the handicrafts and batik workers in Solo.While batik in Kebumen is known about the early nineteenth century brought by immigrants from Yogya in order to preach Islam among other things known are: PenghuluNusjaf. He is that developed in Kebumen and batik place was first settled east Lukolo time now and there are also relics of the mosque for his efforts. Kebumen first batik process called teng-brother or Blambangan and then the final process is done in Banyumas / Solo. Around the early twentieth century to create pattern used turmeric capnya made of wood. Kebumen motifs: trees, birds. Other materials used are trees pace, and indigo kemudu tom.Use of drugs imported in Kebumen known around the year 1920 which was introduced by the employees of Bank Rakyat Indonesia, which finally left homemade ingredients, as it saves time. The use of copper cap is known about the year 1930 brought by Purnomo of Yogyakarta. Kebumen local batik in the village: Watugarut, Tanurekso a lot and there are several other villages.Judging by the relics which are now, and the stories passed down through generations of the past, then the estimated area known since ancient batik Tasikmalaya "Tarumanagara" where the relics of the existing number of trees is obtained there are useful Tarum un-tuk batik-making time . Heritage village which still exists today it is the crude batik: batik Wurug known for their industriousness, Sukapura, Mangunraja, Maronjaya and Tasikmalaya city.

Formerly the center of government and the crowd is famous Sukapura village, which lies just off the town Indihiang Tasikmalaya now. Approximately the end of the seventeenth century and the beginning of XVIII century a result of the war between the kingdom in Central Java, then a lot of people in that area: Tegal, Pekalongan, Ba-nyumas and Holy stricken wander west and settled in Kudat and Tasikmalaya. Most of them are local batik entrepreneurs and headed towards the West while trade batik. With the arrival of new residents, both wearing pembutan next dikenallah Soga who came from Central Java. Tasikmalaya batik production now is a mixture of batik, batik from Pekalongan, Tegal, Banyumas, Ghost of various patterns and colors.

Batik is known in Kudat about nineteenth century after the completion of Diponegoro war, where followers are leaving Yogyakarta Diponegoro lot, head south. Some have a settled area Banyumas and some have continued their journey to the south and settled in Kudat and Tasikmalaya now. They are gone down with keluargany a new place and settling into the population and continue to live and work procedures. Some of them were skilled in the craft of batik as domestic work for women. Eventually, this work could be developed on the surrounding residents due to daily life or family relationships. The materials used for weaving your own fabric and paint materials made from trees such as noni, tom tree, and so forth.Kudat motif result is a mix of Central Javanese batik and its own regional influence especially Garutan motifs and colors. Until the early twentieth century batik in Kudat growing little by little, of their own needs into the production market. 're In the area there kaintannya Cirebon batik with aerah kingdoms, namely Kanoman, Kasepuahn and Keprabonan. The main source of batik Cirebon, the case is the same as those in Yogyakarta and Solo. Batik appears the palace, and carried out by the courtiers who reside outside the palace. Ancient kings delighted with the paintings and before the cotton is known, the painting was placed on the palm leaves. It happened around the XIII century. It has something to do with batik motifs on the fabric. Characteristic of most of batik Cirebonan motivated images of forests and wildlife symbol. While the motive for marine natural dipengaruhioleh Chinese thought, which was once the imperial Cirebon edit Chinese princess. Sementra Cirebonan batik depicting eagles as influenced by Yogya and Solo batik motif.

Solo's is one of the famous batik fabric shopping tour in Indonesia. Here there are many centers of batik cloth, which is famous among other areas and regions Laweyan Kampung Batik Batik Kauman.Batik Tourism Village is one of our towns and cities have become Icon solo.khas solo batik is known throughout Indonesia and became the best selling products export.

          Solo Batik is famous for its traditional batik patterns and patterns in the cap and the batik he wrote. The materials used for staining was still a lot of use of domestic materials such as Soga Java is already known since the first. The pattern remains, among others, famous for "Sidomukti" and "Sidoluruh".

PUPPET PEOPLE
Acceptance JAVA, IN SURAKARTA, CENTRAL JAVA, INDONESIA

 

Puppet people also called wayang wong (Javanese) is a puppet who is played by using the person as a character in the story of the puppet. The puppet was created by Sultan Hamangkurat I in 1731.

According to the name is called, is no longer staged puppet plays dolls with wayang (shadow puppets are usually made ​​of buffalo skin or other), but show human beings as a substitute for the puppet dolls. They wear the same clothes as the ornaments are worn on leather puppets. In order to shape the face or up their faces like shadow puppets (when viewed from the side), the puppet players often are changed / decorated his face with additional drawings or paintings.

 

 

 The puppet is a form of manifestation of the shadow play that was exhibited by humans.So the traditional performance art is a reflection of the shadow puppets. The difference is, this person can move the puppet and the dialogue itself.Functions and performances Puppet People, as well as the usual spectacle is sometimes also used to meet nadzar.As the shadow puppets, the play usually sung in Puppet People also come from the Chronicle Purwa Mahabharata and Ramayana. Art Puppet People living today is basically composed of two streams, namely Surakarta style and Yogyakarta style.Differences that exist between the two streams are mainly on intonation dialog, tan, and costumes.Dialog in the Puppet People Surakarta style is more realistic according to the level of emotion and atmosphere of the place, and the intonation is somewhat varied.Puppet People in Yogyakarta style distilisasinya dialogue in such a way and have a monotonous pattern.Almost all the groups that were found using the Puppet People Surakarta style dialog.If ever there was one difference, the difference is only occasionally found on the dance or the costume.To conduct puppet show full of people, typically necessary support as many as 35 people, composed and:(1) 20 people as a player (made up of men and women);(2) 12 people as gamelan wiraswara concurrently;(3) 2 people as waranggana;(4) 1 person as a puppeteer.The puppets in the show, which is also the mastermind behind the function of directors is not as extensive as the shadow puppets.Puppeteer move people to act as a regulator of the scene, which is characterized by mysticism voice or monologue.In the dialogue spoken by the players, there is little interference mastermind. Puppeteer only provide clues outline only. The next player, who must improvise a dialogue according to the story line that has been given by the puppeteer.The pattern of costume and make-up Puppet People adapted to the form (patron) puppet, so that the pattern we never find in everyday life. The puppet show using the concept of stage performances that are realistic.Every movement of the players performed the dance, both when entering the stage, out of the stage, the war or the other.Gamelan is also used as the shadow puppets and slendro slendro is not complete and is usually used when the slendro only.Old man puppet show is usually around 7 or 8 hours for a single act, usually done at night.Performances at noon is infrequent.Before the show began to frequently appear in the pre-show attraction in the form of dance called Extra, which has nothing to do with the main story.

 

 

Javanese dance culture is beautiful and unmatched

 

Arjuna dance sosoro Sumantri

BEDHOYO DIRODO METO

                                       BEDHOYO MATARAM SENOPATEN DIRODO METO
Njeng Pangeran Dipati Mangkunagara Nindhihi ing ajurit Mangamuk anyakra gandewanya lir kilat...

Tarian itu menampilkan tujuh prajurit pria membawa trisula dan busur. Berblangkon, mereka mengenakan selempang di dada, kalung, pelat bahu. Mereka berbelit kain Dodot Alas-alasan hitam-lambang tolak bala-bermotif penyu, burung, pepohonan yang disepuh warna prada emas.

Pola koreografi tujuh tamtama itu berubah terus. Tiga prajurit pembawa trisula mula-mula berada di tengah, sementara di samping kanan kiri para prajurit yang membawa gandewa. Lalu semuanya bergerak melingkar, hingga akhirnya terbentuklah dua garis sejajar. Tombak itu diarahkan ke depan. Panah seolah siap ditarik....

Lebih dari seratus atau dua ratus tahun lalu, tarian itu pernah ada di lingkungan Pura Mangkunegaran, tapi tak seorang pun tahu seperti apa bentuk tarian malam itu. Mungkin mirip, mungkin bisa berbeda sama sekali. Mungkin lebih mistis, atau bisa jadi tarian ditampilkan lebih gagah seperti bunyi tembang di atas yang melukiskan bagaimana sang pangeran mengamuk ke semua arah, gandewa berkelebat bagai kilat. Mungkin para prajurit tak hanya membawa busur dan tombak, tapi juga gada, tameng....

Semua hanya spekulasi. Satu-satunya "saksi mata" yang pernah melihat tarian itu seabad-dua abad lalu adalah Kiai Kanyut Mesem, ensembel gamelan tua yang sehari-hari berada di pendapa Mangkunegaran. Gamelan tersebut diyakini dibuat pada 1750-an dan telah mengiringi segala tarian sakral di Mangkunegaran. Kini malam itu sang gamelan (bersama Kiai Udan Arum) "kembali" mengiringi.

Hujan mengguyur Solo sebelum pertunjukan. Udara dingin menusuk pendapa Mangkunegaran. Selama 30 menit, Dirodo Meto disajikan di hadapan undangan, termasuk para donatur seperti Martin Gray King dari Sampoerna dan Iwan Tirta, yang mendesain kostum. Terlihat kebanyakan penonton ber-usaha mereka-reka yang disajikan tarian itu.
 

Inilah salah acara utama memperingati 250 tahun Pura Mangkunegaran. Membangkitkan tari yang sudah punah ciptaan pendiri Mangkunegaran: RM Said atau Mangkunegara I (1725�1795). Disebut punah karena sudah seratus tahun tidak pernah ditarikan dan sedikit sekali acuan yang tersedia.
RM Said adalah seorang pangeran yang mendapat julukan Lelana Handon Yuda, seorang lelaki yang berkelana terus-menerus melakukan pertempuran. Sejarah hidupnya menunjukkan bahwa ia paling sukar tunduk kepada kumpeni.

Ia tak mau kompromi, hidupnya berpindah dari hutan ke hutan, bergerilya menggunakan taktik menghindar-menyerang. Ia bentrok dengan penguasa Keraton Yogya, Hamengku Buwono I (P. Mangkubumi) yang merupakan mertuanya sendiri dan Paku Buwono II , Raja Keraton Solo. Keduanya dianggapnya kooperatif dengan Belanda.

Untuk mengenang pertempuran-pertempurannya, dibantu dua empu: Kiai Kidang Wulung yang merupakan ahli tari dan Demang Seca Karma, ahli karawitan, ia mencipta tiga tarian. Pertama, Bedhaya Anglir Mendung, yang merupakan kenangannya atas pertempuran di Ponorogo 1752 yang menewaskan 600 prajurit Mangkubumi. Bedhaya Anglir Mendung ini sering disebut Bedhaya Ketawang Alit, sementara Bedhaya Ketawang yang ada di Keraton Solo adalah Bedhaya Ketawang Ageng.
Seluruh penari, pesinden, dan penabuh Anglir Mendhung adalah perempuan. Jumlahnya masing-masing tujuh orang. Mungkin ini dibuat untuk menghormati laskar perempuannya. RM Said terkenal memiliki legiun prajurit estri yang dinamakan Pasukan Ladrang Mangungkung dan Jayeng Rasta.
Kedua, Bedhaya Dirodo Meto (Gajah Mengamuk). Ini untuk mengenang perang di Rembang pada 1756. Pada usia 30 tahun di hutan Sitakepyak, Rembang, RM Said dikejar oleh gabungan dari dua detasemen kumpeni, pasukan Kasultanan Solo, juga Keraton Yog-ya yang menyewa serdadu-serdadu Bali dan Bugis.
Dari segi jumlah, pertempuran itu bagai David lawan Goliath. Namun, RM Said mampu membangkitkan moral pasukan setelah ia dapat membunuh Kapten Van der Pol, memenggal kepalanya, dan dengan dijinjing tangan kiri, menyerahkannya ke selirnya, Ajeng Wiryah. Tercatat 85 orang serdadu Belanda tewas, sementara di pihaknya hanya 15 orang.

Tarian ketiga adalah Bedhaya Sukapratama, sebuah tarian untuk mengenang saat ia menyerang benteng Belanda di Yogya dan istana Yogya pada 1757.
Dari tiga tari itu, yang berhasil diselamatkan adalah Bedhaya Anglir Mendung. Setiap tahun bedaya ini dipentaskan saat jumenengan memperingati kenaikan takhta Mangkunega-ra IX. Tahun lalu, saat peringatan jumenengan ke-18, Anglir Mendung juga dipentaskan. Sedangkan Bedhaya Dirodo Meto dan Bedhaya Sukapratama belum pernah ditampilkan sama sekali.

Maka, untuk peringatan 250 tahun ini Mangkunegaran memilih merekonstruksi Bedhaya Dirodo Meto. Tari ini agaknya merupakan harga diri, identitas penting bagi Mangkunegaran. Pada peperangan di Rembang itulah RM Said menunjukkan "nasionalismenya" dibanding kedua keraton lain. Di sinilah, RM Said mendapat julukan yang menggetarkan: Pangeran Samber Nyawa.

Untuk tugas rekonstruksi itu, Mangkunegaran menunjuk dua penari senior Institut Seni Indonesia Solo, Wahyu Santoso Prabowo dan Daryono. "Agak susah rekonstruksinya," kata Wahyu. Ia mengakui adanya keterbatasan data tentang gerak dan lagu Dirodo Meto. Selama setahun waktu digunakan untuk meriset, termasuk membaca Babad Lelamphan yang berisi kisah-kisah sebelum RM Said menjadi raja, dan Babad Tutur sesudah ia diangkat jadi raja.
Hasilnya, tak banyak yang ditemukan. Hanya ada teks tembang Dirodo Meto di Babad Tutur. "Kami ingin mendapat sebanyak mungkin informasi data, tapi ternyata sulit," kata Daryono. Dari yang sedikit itulah mereka bergerak. Wahyu mengakui proses rekonstruksi ini akhirnya adalah sebuah tafsir. "Ini eksperimen" katanya.

Rekonstruksi Dirodo Meto ini, menurut Wahyu, berbeda sekali dengan rekonstruksi-rekonstruksi bedaya lain yang pernah dilakukan. Tentang Bedhaya Anglir Mendung, sebetulnya juga tak ada catatan tertulis yang lengkap tentang tarian itu, tapi di Keraton Solo ada tarian Serimpi Anglir Mendung yang bisa digunakan sebagai rujukan. Demikian juga dengan Bedhaya La-la karya Pakubuwono V.
Karya ini mulanya hampir punah, dan di Keraton Solo pada 1972 dilakukan sebuah rekonstruksi Bedhaya La-la berkisah tentang Dewa Ruci. Kisah pencapaian Bima mendapatkan air suci Prawita Sari. Yang membuat mudah menciptakan ulang Bedhaya La-la, menurut Wahyu, adalah karena notasi Gendhing Lala beserta melodinya masih ada. "Gending itu penting. Biasanya nama tari bedaya mengikuti nama gendingnya," katanya. Juga yang paling membantu saat itu adalah masih hidupnya maestro Marto Pangrawit (1914�1986) yang sangat mengerti gending-gending lama. "Beliau masih ingat betul gending-gending pokoknya," kata Wahyu.

Patokan pertama menghidupkan Dirodo Meto adalah tarian itu dibawakan oleh tujuh penari laki-laki. Dalam catatan, bila Anglir Mendhung dibawakan oleh perempuan, maka para penari, pesinden, dan penabuh Dirodo Meto adalah pria semuanya. "Bedhaya Anglir Mendhung karenanya menjadi pembanding utama," kata Wahyu.

Semua unsur gerak Dirodo Meto diramu dari vokabuler-vokabuler gerak yang diambil dari khazanah tari Mangkunegaran. Karena itu, pihak Mangkunegaran merasa perlu memanggil maestro tarinya yang tersisa yang sudah pensiun tapi dianggap mengetahui khazanah tari Mengkunegaran: R. Suwardi, 85 tahun. R. Suwardi diperlukan untuk terus menjaga proses latihan (lihat Sang Penjaga Proses).
Malam itu Dirodo Meto versi rekonstruksi ini dimulai dengan adegan maju beksan. Dari dalam, muncul tujuh penari diiringi tujuh pengawal keluar mengambil posisi awal. Para penari bersila, selanjutnya menampilkan Beksan Laras, melakukan pola-pola sesembahan dan kemudian humadeg berdiri, lalu bergerak pelan.

Gending Kemanak mengiringi. Suasananya meditatif.
Selain Bedhaya Anglir Mendung, yang juga digunakan untuk pembanding adalah Bedhaya Bedhah Madiun karya Mangkunegara VII. "Bedhaya Bedhah Madiun temanya tentang gerilya," kata Daryono. Ada beberapa vokabuler dari bedaya ini yang dianggap Daryono unik dan digunakannya, terutama gerak melengkungkan telapak tangan, yang disebut gidrah, yang merupakan gerak tangan tari putri. Gerak yang mulanya berkarakter agak kenes oleh Daryono diubah menjadi keras.

Dan, akhirnya, karena tema utama Dirodo Meto adalah tentang pertempuran, maka banyak vokabuler kemudian diambil dari khazanah tari wireng. Wireng adalah tari keprajuritan. Mangkunegaran memiliki banyak catatan tertulis mengenai berbagai tari wireng. "Mangkunegaran ini gudangnya wireng," kata R. Suwardi. Menurut dia, perpustakaan Rekso Pustoko, perpustakaan milik Mangkunegaran, memiliki banyak koleksi buku-buku tentang wireng. Mungkin lantaran pendiri Mangkunegaran adalah seorang senopati tak terkalahkan, maka genre tari yang banyak dikembangkan di Mangkunegaran adalah wireng.

Daryono sendiri sebagai penata tari melakukan riset intensif atas berbagai jenis wireng ini. Menurut dia, pemilihannya tidak boleh asal comot. "Saya akhirnya mengambil motif gerak wireng Sancaya Kusuma Wicitra dan Wirun Narantaka." Pertimbangannya: kedua wireng itu menonjolkan unsur kesedihan. Daryono melihat Dirodo Meto sebagai sebuah tari yang menampilkan kesedihan Mangkunegara I mengenang 15 prajuritnya yang gugur. Ia menganggap ekspresi perang dalam Dirodo Meto bukan ekspresi lahiriah semata. "Kedua wireng itu cocok karena menampilkan perasaan kehilangan," katanya.
Ia juga mengambil gerak dari khazanah pertempuran putri. "Srimpi Muncar yang diciptakan Mangkunegara VII." Ini sebuah tari yang menceritakan seorang putri Jawa bernama Kelaswara yang terbakar cemburu ketika suaminya, Wong Agung Menak, jatuh hati pada seorang putri Cina bernama Ada-ninggar. Kemudian terjadilah pertempuran antara kedua putri cantik itu. Kelaswara melawan Adaninggar. "Saya ambil gregetnya."

Penggambaran adegan perang ini diiringi gending Ladrang Dirodo Meto. Gending ini biasanya dipakai dalam adegan-adegan tertentu pertunjukan wayang. Bila biasanya tidak memakai vokal, oleh Wahyu gending ini diisi gerongan, yakni koor pria dengan syair-syair yang ditemukan di Babad Tutur itu.

Drakk! Tiga trisula dipadukan. Semua penari kemudian duduk bersimpuh. Seorang diri seorang penari (Daryono) membawa tombak mengitari para penari yang bersimpuh.... Ia tampak tengah mempersiapkan mental prajurit.

Tak syak, keingintahuan penonton melihat pertunjukan ini disebabkan oleh nama tarian yang berarti gajah mengamuk. Seakan menyiratkan bahwa pertunjukan akan dipenuhi koreografi yang gemuruh. Tapi bagi yang mengharapkan tontonan yang energetik, dinamik, atraktif, pertunjukan ini memang di luar ekspektasi. Keheroan pasukan Mangkunegara lebih diungkapkan pada lirik, sementara eksekusi tarinya tenang.
Tapi itulah bedaya. Dalam sebuah laporan Belanda, laskar perempuan RM Said dilukiskan begitu cekatan. Mereka terampil berkuda, juga dalam menggunakan senapan panjang dan pendek. Mereka mampu berganti senjata dengan cepat dan menembak salvo secara serempak. Tapi dalam Bedhaya Anglir Men-dhung semua begitu mengalir, anggun, tanpa gejolak.

"Saya kira tontonan ini puitis sekali, kena sekali," kata penari muda, Fajar Satriadi, mengomentari Dirodo Meto versi Daryono dan Wahyu ini. Penari Elly Luthan melihat itu sebagai sebuah tontonan tari klasik yang berhasil. "Tapi sebagai sebuah rekonstruksi, dia menyandang beban terlalu berat," katanya.
Apa pun, pergelaran ini patut dicatat sebagai sebuah usaha konservasi yang langka. Mungkin yang ingin melihat tontonan kolosal bisa menunggu sampai November nanti. Sebagai penutup rangkaian acara 250 tahun Mangkunegaran, untuk menggambarkan kegagahan pasukan Pangeran Samber Nyawa, direncanakan tari yang melibatkan 300-an penari.

"Tunggu 11 November, tari ini sampai melibatkan pasukan berkuda dan gajah, "janji Agus Haryo Sudarmojo, ketua penyelenggara.
Seno Joko Suyono (Solo)

KRATON SURAKARTA

KRATON SURAKARTA HADININGRAT

Keraton Surakarta (Solo) atau disebut sebagai Keraton Kasunanan Surakarta Hadiningrat merupakan keraton dengan gaya dan arsitektur yang sangat unik. Keraton ini tertelak di kota Surakarta biasa disebut dengan nama Solo yang berada di Propinsi Jawa Tengah. Keraton Solo merupakan perpaduan yang khas antara gaya eropa dan etnik Jawa dalam setiap sudut dan tata ruang Keraton. Secara sejarah Keraton Solo di bangun oleh Pakubuwono II sekitar tahun 1744. Berbicara tentang Keraton, tak lepas dari sejarah kerajaan-kerajaan islam yang penah berjaya di tanah jawa. Ketika Kerajaan Islam Pajang mulai memperlihatkan titik surut, maka mulailah berdiri kerajaan mataram yang didirikan oleh Sultan Ageng Hanyokrokusumo. Dalam beberapa dekade, kerajaan ini sangat kuat dan jaya, namun akhir kerajaan Mataram Islam tidaklah semanis masa jayanya. Kerajaan Mataram Islam harus terpecah menjadi dua bagian barat dan timur pada tahun 1755 dengan sebuah perjanjian yang disebut perjanjian Giyanti. Dalam kesepakatan tersebut membagi Mataram Islam menjadi Keraton Ngayogyakarta Hadiningrat yang berada di sebelah barat kali Opak Prambanan dan Keraton Surakarta Hadiningrat yang berada di sebelah timurnya. Untuk sisi sebelah barat telah dikupas ditulisan sebelumnya dan sekarang lebih mengenal tentang Keraton Solo yang merupakan perpaduan antara kemegahan Eropa dan Keunikan etnik Jawa yang mempesona.

Keraton Surakarta atau Solo terletak di selatan Jawa Tengah, Berada di koordinat 7° 34′ 0″ LS, 110° 49′ 0″ BT. Surakarta sendiri berbatasan dengan Kabupaten Karanganyar dan Kabupaten Boyolali di sebelah utara, Kabupaten Karanganyar dan Kabupaten Sukoharjo di sebelah timur dan barat, dan Kabupaten Sukoharjo di sebelah selatan.

Sampeyan Dalam ingkang Sinuhun ingkang Minula saha ingkang Wijaksana Kanjeng Susuhanan Prabhu Sri Paku Buwana XIII Senapati ing alaga Ngah 'Abdu'l-Rahman Saiyid ud-din Panatagama

Bledug Kuwu di Kabupaten Grobogan

Bledug Kuwu adalah sebuah fenomena kawah lumpur

 (mud volcanoes) 

Bledug Kuwu adalah sebuah fenomena kawah lumpur (mud volcanoes) yang sudah terjadi jauh sebelum jaman Kerajaan Mataram Kuno (732 M-928M).Bledug Kuwu salah satu obyek wisata andalan di Kabupaten Grobogan,selain sumber api abadi Merapen,dan Waduk Kedungombo.Secara etimologi, nama bleduk kuwu berasal dari bahasa jawa,yaitu ’bledug’ yang berarti ledakan/meledak dan ‘kuwu’ diserap dari kata ‘kuwur’ yang berarti lari/kabur/berhamburan.

Menurut cerita turun menurun yang beredar di masyarakat, Bledug Kuwu terjadi karena adanya lubang yang menghubungkan tempat itu dengan Laut Selatan.Konon lubang itu adalah jalan pulang Joko Linglung dari Laut Selatan menuju Kerajaan Medang Kamulan setelah mengalahkan Prabu Dewata Cengkar yang telah berubah menjadi buaya putih di Laut Selatan. Joko Linglung konon bisa membuat lubang tersebut karena dia bisa menjelma menjadi ular naga yang merupakan syarat agar dia diakui sebagai anak Aji Saka,penguasa Kerajaan Medang Kamulan.

 mitosnya :

Ada sebuah cerita turun temurun dari tanah Grobogan, Jawa Tengah. Ada sebuah jalur lubang dari Laut Selatan hingga desa Kuwu kecamatan Kradenan. Lubang itu sebagai jalan pulang seorang Joko Linglung dari laut selatan (samudera Hindia) menuju kerajaan Medang Kamulan setelah mengalahkan Prabu Dewata Cengkar yang telah berubah menjadi buaya putih di Laut Selatan. Joko Linglung konon bisa membuat lubang tersebu karena dia bisa menjelma menjadi ular naga yang merupakan syarat agar dia diakui sebagai anak Aji Saka, penguasa kerajaan Medang kemulan. Dan lubang yang diciptakan tersebut kemudian dikenal sebagai Bledug Kuwu.

Bledug Kuwu sendiri merupakan sebuah fenomena kawah lumpur yang sudah terjadi jauh sebelum jaman Kerajaan Mataram Kuno (732-928 Masehi). Bledug Kuwu merupakan salah satu obyek wisata andalan di Kabupaten Grobogan. Secara etimologi, nama bledug kuwu berasal dari bahasa Jawa. Bledug, berarti meledak. Kuwu, artinya berlari, kabur atau berhamburan.

Secara periodik, akan timbul suara seperti bunyi meriam dari gelembung lumpur bersamaan dengan keluarnya asap, gas dan air garam. Letupan-letupan ini terjadi secara berskala antara 2-3 menit, di daerah dengan diameter kurang lebih 650 meter. Bahkan jarang, letupan lumpur itu bisa mencapai seukuran rumah penduduk.

Selain menikmati keindahan bledug kuwu, di tempat ini banyak terdapat beberapa penduduk yang mencari nafkah dari bledug kuwu dengan memanfaatkan sumber bledug kuwu menjadi garam dapur. Kemasyuran rasa garam bledug kuwu tercatat didalam sejarah keraton Surakarta. Hal ini dapat dibuktikan melalui berbagai keterangan dari masyarakat sekitarnya. Didaerah ini terdapat gunungan-gunungan kecil yang puncaknyanya mengeluarkan lumpur berwarna kekuning-kuningan.

Perjalanan menuju objek wisata ini dapat ditempuh melalui jalan darat. Dari terminal bus Semarang, pengunjung dapat menggunakan bus jurusan Semarang-Purwodadai. Setelah sampai di terminal bus Purwodadi, perjalanan dapat dilanjutkan dengan minibus jurusan Purwodadi-Kuwu.