Traditional Culture : Wayang Kulit

Wayang kulit, shadow puppets prevalent in Java and Bali in Indonesia, are without a doubt the best known of the Indonesian wayang. Kulit means skin, and refers to the leather construction of the puppets that are carefully chiseled with very fine tools and supported with carefully shaped buffalo horn handles and control rods.
The stories are usually drawn from the Ramayana, the Mahabharata or the Serat Menak.
There is a family of characters in Javanese wayang called Punakawan; they are sometimes referred to as "clown-servants" because they normally are associated with the story's hero, and provide humorous and philosophical interludes. Semar is the father of Gareng (oldest son), Petruk, and Bagong (youngest son). These characters did not originate in the Hindu epics, but were added later, possibly to introduce mystical aspects of Islam into the Hindu-Javanese stories. They provide something akin to a political cabaret, dealing with gossip and contemporary affair.
Historically, the performance consisted of shadows cast on a cotton screen and an oil lamp. Today, the source of light used in wayang performance in Java is most often a halogen electric light. Some modern forms of wayang such as Wayang Sandosa created in the Art Academy at Surakarta (STSI) has employed spotlights, colored lights and other innovations.
The handwork involved in making a wayang kulit figure that is suitable for a performance takes several weeks, with the artists working together in groups. They start from master models (typically on paper) which are traced out onto kulit (skin or parchment), providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A further smoothing follows before individual painting, which is undertaken by yet another craftsman. Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week.
The painting of less expensive puppets is handled expediently with a spray technique, using templates, and with a different person handling each color. Less expensive puppets, often sold to children during performances, are sometimes made on cardboard instead of leather.

Traditional Ceremony : Tingkeban

Mitoni or tingkeban, Pregnancy

This ceremony aims to reject the salvation army and beg ceremony Equipment Group nobility: Sajen: robyong cone, cone bare, Sekul asrep-asrepan, chicken, grain oil, five kinds of cereal and snack market. Feast: rice majemukan, seven pairs of rice, pecel chicken, vegetable min, sticky compote, apem, savory rice, ingkung, rice punar, diamond, rujak and dawet, emping sticky rice, flowers and coconut water tabonan. Commoner groups: Sajen: sego do, snack market, a white brother porridge, porridge baro-baro, emping sticky, tumpeng robyong, golong sego, sego telon liwed and flowers. Banquet: tasty sego, sego ambengan, snack market, sticky compote, apem, plantain, sego snacks, seven cone, porridge, cream flowers and incense Tingkeb means to close, thus closing ceremony tingkeban is during pregnancy until the baby is born. The ceremony is held at age seven months pregnant at the time after the evening prayer, and attended by the mother, husband, family, traditional healers and scholars. There are fish food taboos cork / breech, the meat is hot, eels, crabs, and maja.Upacara durian fruit is divided into: 1.Mitoni for expectant mothers who will have a first child with extra spray. 2.Mitoni for the second child and only done so on slematan kendhuri.

Traditional Dress : Kebaya

There is much speculation as to where the kebaya could have originated from. There are some who say that the kebaya originated in the Middle East, while others argue that it may have come from nearby China. Derived from the Arabic word kaba meaning “clothing” and introduced to Indonesia via the Portuguese language, the term kebaya has come to refer to a garment whose origins appear to be a blouse. It was first worn in Indonesia at some time during the 15th and 16th centuries. This garment is similar to what is described as a “long, fitted, flared kebaya known as kebaya panjang6, worn in the 16th century by Portuguese women arriving on the south-western coast of Malaysia, situated across the Malacca Straits from Sumatra, in northwestern Indonesia.
If we try to define what a kebaya is, it may prove to be difficult as it is constantly changing to reflect the changing times and fashions that Indonesia is experiencing. Nonetheless, it is possible to make some generalizations about the kebaya. Most Kebaya are made from a lace brocade. Most kebaya fabric uses a floral motif either printed or woven into the textile and its length can fall somewhere from above the waist to below the knee. It usually, but not always, has long sleeves. It is usually fastened at the front, and if not, then gives a semblance of doing so. Some variations of the kebaya will use a batik sash, which is coordinated with the kain, draped over the shoulder as an added accessory.
Although women in the market can be seen wearing kebaya, we can also see exquisite variations of them in government gatherings and parties and high society social functions. The beauty of this national dress is undeniable. Some of the most influential women in Indonesia are married in kebaya that can be described as “works of art” with their hand embroidered detailing and beading. Designers such as Ami Amianto have helped to promote the kebaya not only as a important part of Indonesian clothing history but as a very beautiful item of clothing that Indonesian women are proud to wear.
So the next time you see a women wearing a kebaya you will understand that she is not just wearing a functional piece of clothing but she is also wearing a symbol of Indoneia’s cultural history which represents national symbolism and high fashion too!

Traditional game : Congklak ( dakonan )

One of the most fascinating things about living in Indonesia is the discovery of bits of Indonesian culture which are actually not Indonesian at all, but originate in other lands. For centuries, the Indonesian archipelago has been visited by traders from many corners of the world who came to buy spices and other agricultural riches. Indonesian cultural diversity benefited by the many peoples who passed through the archipelago, due to Indonesia's location along the primary trade route between Europe and Asia.
Historical references to Congklak refer to the game played by young girls of Javanese nobility. It is most likely that foreign traders, due to their close contact with the upper classes, introduced Congklak to them. With the passage of time, Congkla' s popularity grew until its now widely played by the common people as well. In most regions, Congklak play is limited to young girls, teens and women in their leisure time and its seen as a 'girl's game'. In only a few regions is Congklak played by men and boys as well.
The playing board is made from wood, with variations from island to island in the number of holes on each side, either 5, 6, 7 or 9 holes. All the boards have two 'store house' holes, one on each end. The design varies from simple, unadorned woods, to boat-shaped boards, to highly decorated playing boards. In Central Java, elaborate designs utilizing the Javanese naga (dragon) are common. Dragons face out from both ends, with their tails decorating the side of the boards and legs suspending the board up off the floor. Congklak boards can be elaborately carved and painted, with gold and red being popular colors. Most, however, are made of relatively plain wood.
As in the archaeological find in Jordan, diggings in Mojokerto, Lamongan and Bondowoso in East Java have unearthed Congklak 'boards' with holes carved into large stones. These were found along with the broken pieces of temple stones and other archaeological remains of earlier times.
Not much has changed since prehistoric times, when Congklak was played with stones or seeds. In Indonesia, stones, seeds and shells are used to play the game, whatever is close at hand. Near a beach shells may be used. Near rivers, the game may be played with smooth pebbles and in agricultural areas, seeds. Commonly used seeds are tamarind, kemiri, sawo and even corn kernels.
Whatever version you play today, and by whatever name you call it, you'll find Congklak a challenging game of patience and skill.