Historic Ubud - Bali (continues)

The Ayung River winds its way through several Ubud villages on its way to Sayan and on to the sea.

The Royals

Skipping ahead almost a millennium, we come to the founding of the royal house in the greater Ubud area. In the 17^th century, a rebellion occurred in the royal house of Gelgel, the then-capital of Bali, which started a surge of many small skirmishes and conflicts between royal houses. Nine kingdoms finally emerged (eight of which are now the established regencies in Bali, with the Mengwi kingdom absorbed into the others when it was defeated in battle in the 1880s).

In the early 1700s, the Dewa Agung Jambe (king) of Klungkung sent his son, the Dewa Agung Anom Wijayasunu, to Sukawati (called Timbul at the time) to found a palace there and establish a centre of power and beauty. Many artists and artisans from Klungkung and Mengwi came to build the palace in Sukawati, which was one of the finest in the land. Once their job was over, the artists did not want to go home and they remained there.

In the late 1700s, Puri Sukawati sent two of its retainers to the Ubud area as administrators to secure the area. Gusti Lanang Dauh formed the community of Padang Tegal (where Hanoman, Sugriwa and Jembawan streets now are) and the younger cousin Gusti Made Taman went further north to Taman (north of the main road in Ubud and east of the market). A fierce rivalry existed between them and fighting broke out between the two villages. In order to pacify the Tjokorde Ngurah Tabanan to Peliatan and Tjokorde Tangkeban to Sambahan, Ubud (a village north of the market and puri) to establish palaces and authority.

The younger brother of Dewa Agung Gede, king of Sukawati, I Dewa Agung, reigned in Peliatan from 1775-1800. It was here that he established a puri in Peliatan in order to guard against incursions from Mengwi and to expand the power base, again bringing with him an enclave of artists as well as people from every caste. His half-brother Tjokorde Batuan also built a puri in Peliatan. The kingdom of Peliatan ranged from Tegalalang to Mas and included Ubud village. Batuan’s older brother, Tjokorde Made Kandel, was sent to Mengwi to become sovereign there. The oldest son Tjokorde Putu kandel, went in search of holy water (tirthayatra).

Tjokorde Made kandel (who had ‘disappeared’) wanted to see the battlefield. The Pe;oatan troops numbered only 16, whereas Mengwi had thousands. Tjokorde Putu Kandel stepped onto the battlefield brandishing the keris Ki Betara Batukaru (said to have such magical powers that the enemy would flee) and the Mengwi army did indeed flee. Tjokorde made Kandel was not pleased with this and went to see why his soldiers had retreated. He got quite a shock when he realized that the Peliatan army was not being led by his uncle, Tjokorde Putu Kandel! They embraced and all was well. In fact, people fro Mengwi came to Ubud to help populate the area. All of this took place in the village now known as Tanggayuda (place of battle) around 1800.

From 1850-1880, the grandson of Tjokorde Putu Kandel, Tjokorde Rai Batur, became king and this is when Ubud began to really prosper. Batur was more inclined to steep himself in spiritual rather than military matters. The next sovereign was the pious Tjokorde Gede Sukawati (1880-1917). Rice was in abundance and the economy was booming. At this time a number of sacred in various temples around Ubud.

In the mid-19^th century, the new Dewa Agung (king) of Klungkung began and anti-Dutch campaign. Mengwi was defeated at this time and its land divided up between the victors. The punggawa (district leader) of Negara near Sukawati aligned himself with Klungkung and wanted to take over Sukawati, which extended throughout all of Western Gianyar, including Peliatan and Ubud.

The next ruler was a spiritual leader but, by default, became a great military man as well. By mustering forces from Peliatan, Ubud and Tegalalang, the Tjokorde Gede Sukawati, in 1890, was able to defeat Negara and occupy itslands all the way from Ketewel to Taro. The Tjokorde had a special keris, which, by simply piercing the earth would make the enemy run away. He also had a special power called bau siu whereby the enemy thinks it’s seeing many more soldiers than are actually there. Many more political intrigues and battles took place with the Dutch helping to fuel conflicts among the rivals.

Tourism and the First Westerners

The 1930’s saw the first real development of tourism on the island of Bali. Much of this was centre dint he Ubud area due to the entrepreneurial savvy of Tjokorde Gede Agung Sukawati. Tjokorde Gede Agung was born in 1910. At an early age he moved in with an uncle in Puri Belaluan in Denpasar, across the street from the Bali Hotel. At age fifteen, he stopped school and began his work as a ‘guide’ by approaching the guests at the nearby hotel and picked up English and Dutch languages. At the age of seventeen, he married (his first wife of eleven!) and moved back to Ubud where he established a small guest house in the Puri Saren Agung (now run by his son Tjokorde Gede Putra Sukawati). In that same year, 1972, his older brother Tjokorde Raka Sukawati from Puri Kantor across the street invited the composer-painter Walter Spies to come to Ubud to live, where he did for the next eleven years. Spies, along with other resident foreigners, such as Willem Hofker and Rudolf Bonnet, both painters, began to entertain celebrities from far and wide, including Charlie Chaplin, Noel Coward, Barbara Hutton, H.G. Wells and Vicki Baum, who in turn told their friends about Ubud. The Tjokorde Agung was instrumental in developing tourism in Ubud as he made very visitor feel like family.

When the Balinese talking about magic, they mean actually something completely different. The power of magic is still revered to in Bali, where more than 90 percent of the population accept magic as a part of daily life.

Boom Times

In the ‘70s, backpackers and researches alike flocked to Ubud. The serene atmosphere was conductive for painters and one could study music and dance with some of the greats. It only took a brief fifteen years before Ubud changed from a sleepy, dirt road village of the past into the bustling tourist town it is today. Yet still Ubud remains a draw for artists, dancers, musicians, students and anthropologists of all stripes.

Even in the 21^st century, Balinese firmly believe in the power of the unseen world. There is a tiny tree with six branches on it that lives inside a box within the Pura Batukura temple in Ubud. This tree sprouts kepeng of Chinese coins on it which reflect the economic tenor of the times. The last time the box was opened, there were four coins in it. In the 1960s, during the economic crisis, there were just three. Tjokorde Gede Oka Sukawati stated that perhaps at the end of the 19th century, during his grandfather’s time, that there might have been six.

Rangda.. the Widow who turn herself into balck magic world and transformed herself into monster.

Another barometer of sorts for Ubud is a celulak mask, which is used in the tale of the black magic dance-drama, the Calonarang. This mask was given to a Western couple back in the 1960’s as a wedding gift. It traveled around the world with them, bringing nightmares to those in close proximity. The woman recipient was said to unhitch herself off walls and float around her house. Finally she has came to rest in Puri Saren and if you are out around one in the morning, you will see her lurking in front of the Puri. A paranormal told Ubudians that she has come here to protect the people of Ubud. There are numerous stories like these.

Kecak Dance - Ubud, Bali

Why is it that the Ubud area has such a rich artistic tradition? Some will tell you it is the beauty of the land, but there are places far more breathtaking than Ubud on the island. Others will tell you it is due to the spiritual energy created by the confluence of the river waters at Campuhan. Whatever it is, Rsi Markandeya was the first to discover what visitors have been coming back to for centuries.

Addapted from material prepared for the book ‘Ubud is a Mood’ by Rucina Ballinger

Historic Ubud - Bali

Historic Ubud - Bali

"Today the entire world is a museum available to those who have the desire to see. In this museum, Bali is one of the most impressive collections, and while I have seen relatively little of Bali, I am convinced that Ubud is the principal gem of the entire collection. Ubud contains not only the precious mementoes of Bali's glorious past but also the living representations of its impressive present and hopeful future. Some may worry about the change that modern energy and drive will bring to Bali, but I do not. The creative urge of the Balinese, the natural instinct for beauty and contentment, will prevail." - 17 September, 1959, C. McVicker, of Jakarta; in a Puri Saren Agung Ubud guestbook.

These women all seem to be princesses vying for special roles in an ancient Asian pageant. Their finery, however, is part of daily traditional style in tis village

Those words, written almost half century ago, could still be written today. Even though enormous changed have occurred on the island in the past twenty-five years, particularly in the tourist enclaves which include Ubud, there is still a feeling of balance that prevails. Ubud is indeed one of Bali's many gems.

In the beginning Ubud itself was originally a small portion of land centred around Campuhan (meaning 'rivers meeting') and the puta (temple) Gunung Lebah. Yet Ubud, as it is known in the 21^st century, spans many villages and is a kecamatan (district), and kelurahan (sub-district), as well as a desa (village).

In the West, history consists of tangible events and things that can be recorded. In Bali, history and life itself consists of the seen or conscious world (sekala) and the invisible or psychic realm (niskala) and Balinese are able to move between there two worlds with easy. One could not exist without the other. Therefore, some of the tales about to be told may seem fantastical to the visitor, but to the Ubudians it is a part of their history. Magic keris (daggers), cannibalistic giants and coin-sprouting trees may serve as allegories but they also stand on their own, as you shall soon see.

A lontar (traditional palm leaf book)

Almost all sources begin Ubud's history with the coming of the great Hindu Indian mystic sage, Rsi Markandya in the 8^th century. A lontar (traditional palm leaf book) called the Markandya Purana describes how he spread Hinduism throughout Bali. He had been told to journey east from Mount Raung in Java and to convert the inhabitants of Bali to Hinduism. Bali had a reputation of being filled with dangerous spirits and many travellers never returned. walking through Java, he made his way to Bali with 800 followers. His goal was the holy mountain of Gunung Agung, where Besakih temple stands today. However, his followers succumbed to a cholera epidemic and, in fear for their health and safety, he took those who survived back to Java.

The temple of Pura Gunung Lebah in Campuhan, on the fringes of Ubud.

While in Java, he received a divine revelation that he was to return to Bali and bury panca dhatu (five precious metals which are buried under temples to give them more power) at the place where Besakih temple is today. he returned with four hundred followers. From there, he was drawn to a place in the central part of the island which was pulsing with light and energy: Campuhan, Ubud. Here, where two branches of the Wos River (named Lanang and Wadon, or male and female) meet in a confluence, he settled, meditated and built the temple Pura Gunung Lebah (Low Mountain temple). These two rivers swirl around each other as two naga (dragons or serpents) might do. The naga in the Balinese belief system symbolise all that sustains humanity: shelter, food and housing and, of course, spiritual sustenance. The water in the Western branch of the river is used for holy water in local temple festivals and the water in the Eastern branch is used for cleansing oneself; both physically and metaphysically.

Rsi Markandeya founded many temples along the Wos River. In the most northern part of his journey, he built the first (some claim) Hindu temple on the island: Pura Gunung Raung (later named Pura Agung) in the village of Taro. Just north of here in the village of Puakan (Pa-subak-an) the sage created the unique irrigation system for rice fields called subak and divided up the lands among the small populace at that time. He is also credited with the formation of the banjar (hamlet, subdivision of a village) and desa (village) systems.

The Balinese philosophy of Tri Hita Kirana, the relationship of humans with their environment (subakor rice fields), humans with each other (banjar or hamlet) and witht he Supreme Being (desa ot village, represented by the three main village temples) was first established here by Rsi Markandeya. Subsequent sages and priests have developed and expounded upon this but this was the foundation of Balinese Hinduism in its purest form, called appropriately Agama Tirta or 'Religion of Holy Water'.

Campuhan is indeed a special centre of power. People have been meditation here for centuries and bathing in its curative waters which spurt out of pancoran or fountains along the river banks. In 1961, this site was chosen as the place to form a religious body recognized by the Indonesian government and known today as Parisadha Hindu Dharma Indonesia, a symbolic tribute to Rsi Markandeya's founding of Hinduism in Bali over a millennium before.

The name Ubud is derived from the word 'ubad', meaning medicine, and refers to the myriad variety of healing plants found along this riverside and in the surrounding environs.

Historic Ubud - The Royals (continues..)

Badui Community in Banten – Sacred Lives

Badui people

In a fast-changing world, the Badui community in Banten reminds an enigma. A deeply spiritual community, a wholly unique and closed society, the Badui people of Banten steadfastly maintain their ancient ways, rejecting most trappings of modern society.

Members of the innermost community, the badui Dalam (inner badui people), live in one of three villages, Cibeo, Dikertawana and Cikeusik, nestled amongst the forested foothills around Mt. Kendang, southeast of Rangkasbitung. Deliberately spurning all contact with the world beyond their group, the Badui Dalam are completely surrounded by a protective buffer zone of badui Luar (outer Badui people).

The 400 or so members of this community believe they are the direct lineal descendants of the first people to occupy the Earth, the land they are born from is a living mandala, a representation of the entire universe. To prevent devastation and calamity throughout the world, they strive to live in harmony with the earth and in conformity with the ways prescribed by their ancestors. Thus, there are no schools, no medical facilities and no government offices of any kind. Each of the three Badui Dalam villages is headed by a “puun”, a hereditary spiritual and temporal leader whose person is sacred. The land within Badui Dalam territory is also regarded as sacred, and outsiders, including the Badui Luar, are forbidden to till its soil or settle there.

Badui Luar Village (outter Badui village)

The Badui Dalam are not permitted to wear any cloth but the rough white homespun they weave themselves. The may not cultivate cash crops, use fertilizers, eat any four-legged animals, domesticate any livestock apart from chickens or use any medicine except their own herbal preparations. They agriculture is limited to “lading” or shifting cultivation, which relies on the natural fertility of newly cleared ground seldom productive for more than two seasons.

The Badui Luar, or Outer Badui community. Of almost 8000 individuals living in 67 villages, speak the same archaic dialect of Sundanese as do the insiders, to whom they are related by ties of blood, marriage and ritual. The taboos and rules that govern this group are considerably less rigorous than on the inside, although the use of vehicles, machinery, electricity, and chemicals within their territory is still forbidden, as is the cultivation of commercial crops. Members of the Badui Luar may travel in motorized vehicles when journeying outside the area, however, and have far more frequent interactions with the outside world. Although obliged to wear only their homespun blue or black cloth, and forbidden to wear trousers, some of the Luar people now proudly sport the colorful sarongs and shirts favored by their Sundanese neighbors.

A bridge made of bamboo

Other elements of civilizations such as toys, money and batteries are rapidly infiltrating especially in the villages to the north, and it is no longer unusual for an outer Badui to make a journey to Jakarta, or even to work outside as a hired hand during the rice planting and reaping seasons. Some even work in big towns and cities like Jakarta, Bogor and Bandung. Animal meat is eaten in some of the outer villages where dogs are trained for hunting, though animal husbandry is still forbidden.

The origins of the Baduis are obscured by the absence of a recorded or written history, though ethnically they appear to come from the same stock as the Sundanese and the Javanese. There was a popular suggestion that they are remnants of the last Hindu Kingdoms in West Java, Pajajaran, but this fails to account for their unique nature or their religion, which shows no Hindu influence. Theirs is a strange blend of animism and certain Islamic elements, with some original ideas thrown in for good measure.

The Badui’s most hallowed ground lies on Gunung Kendeng, in a place called Arca Domas, which is annually visited (and only) by “puun” of the inner communities. It is possible to visit some of the villages on the northern rim of the badui Area; the most easily accessible is Desa Kaduketug, which is a good four-hour hike from Leuwidamar, 24 kilometers south of Rangkasbitung.

North Sumatera Cultural Art

The native people consists of all kinds of ethnic groups namely the Malayans, Batak Toba, Simalungun, Karo, Pakpak Dairi, Pesisir, Mandailing and Nias. They reside in their own area, nevertheless there is an assimilation among the migrants in some areas especially in big cities.

The majority of the population earn their living by farming. In the coastal area there are a lot of them who live as fishermen. And some of them carry on trade, become labourers and officials especially cities and plantation areas.

Since a long time ago North Sumatera has been open for the outer world. This is not only caused by the existing communication facilities such as the ocean harbours Belawan and Sibolga and the airport of Polonia Medan but, also Indonesian ethnic groups especially many of those from Java have lived in this province since the opening of the plantation in Dutch Colonial time.

Even later they have assimilated with the native people. Also many foreign citizens live here; especially in big cities. Plantations form the most important economical potential of north Sumatera. A big plantation area is especially found in plains in the Eastern part.

Like the other areas in Indonesia, North Sumatera is characterized with all kinds of art. And caused by the regional condition, the existence of a particular style of art is of nothing incredible in every region. Also various kinds of ethnic groups found in North Sumatra, have created sorts of art showing where the ethnic groups come from.

As a really open area for comers it is obvious that the influence of outer culture will easily enter this area. This influence is seen obviously on the nature of art inherited up to the present. This doesn’t mean that the original form of their art has disappeared. The inheritance shows that some tribes, especially in the inlands still practice the art. Like art life in other areas, the birth and creation of art in North Sumatra contains magic/religious and aesthetic aspects. These two values appear in all kinds of arts.

HISTORICAL BACKGROUND

According to the myth of the tribes, there were all kinds of antecedents of the people of North Sumatera.

Batak tribe for example believes that their ancestors came down from heaven to the top of mouth Busuk Buhit, and lived in Sianjur area. It first around Samosir island and later its generation developed and spread everywhere in its surroundings. Nias tribe believes that their ancestors came from them most beautiful heaven called Tetoholi Ana’a, and went down to the Gomo area in the middle part of Nias and later spread to all part of the island. Some of the Malayan tribe believes they were originated from the descendants of Iskandar Zulkarnaen who came down on the hill of Siguntang in Palembang.

Nothing could fix the antecedents of the people of North Sumatera, however, according to the historical of the spreading of the tribes like the other Indonesian people the ancestors were supposed to come from further India coming to this area in groups. Therefore people consisting of all kinds of tribes developed by themselves in their own areas.

As the result of the pluralistic condition art as moral expression of the tribes, they have their own various style and kinds. Like the various kinds of its tribes in North Sumatra there are all kinds of traditional art, namely Malayan art, Batak Toba art, Simalungan art, Karo art, Pakpak Dairi art, Angkola mandailing art, coastal and Nias art. These traditional arts have their own kinds, style and local characteristics.

War Dance, Nias

The style and characteristics of ethnic art, are later influenced by outer culture. The influence of the older megalithic art is found in the cultural environment of the population of Nias archipelago. The Hindu influence is felt especially in the Batak ethnic environment whereas Islam influence in the coastal populated area. Megalithic art for example has left its remnants in Nias in the form of stone monuments and sacrificial ceremony by scarifying a pig. Also in several places around Samosir there are statues and cemeteries of the ancestors. The Hindu influence is around in all kinds of aspects of life in this area. In all kinds of spoken language and medical books of Batak called Pustaha there are Sanskrit words. Even the form of the original Batak characters are very much influenced by Hindu, so are the textile handicraft.

The temples found in South Tapanuli are proofs of Hindu remainder in architectural field. The temple complex spread in a large area.

Some names of “marga” in Dairi and Karo, are considered to have originated from the influence of social structure in Hindu culture, such as “marga-marga” Brahmana, Padia, and Colia. So are the influences of religion and Islam cultures. Especially in the art of this area, there are all kinds and sorts of typical Islamic items. Gambus, rebana, adrah, bordah and qasidah are Islamic art of music. Whereas in field of art dancing for example there is one called “tari zapin” which is liked by people of the coastal area.

Batak traditional house

Mosque and palace are the products of Islamic architecture. The Grand Mosque in Medan and Azizi Mosque in Tanjungpura, with their beautiful ornaments have a high Islamic architecture, so are the Maimun on palace in Medan and the Datuk Lime Laras Palace in Asahan.

The Dutch Colonial rule later built some buildings in European style such as City Hall and Post office. Since this era, the new art had developed as individualistic among the middle class people who was living in the city. Whereas the traditional art was still supported by the ethnic group although it was not developed by the colonial government.

In general the new art forms activities on literature and play which develop in Medan. The well known play groups at that time were Keris (creese) Opera, Blue White, Miss Alang etc. The period of the Japanese occupation formed a paralyzing period for art. The people potential supporting traditional art grew weaker and weaker. Some kinds of art had disappeared and the appreciation of the people toward art was decreasing. The daily stress of life which was so burdensome influences the attention and attitude of people toward their traditional art.

After the fight for freedom especially after 1960s’ traditional activity being neglected for a long time and as the result of change in attitude and progress of the era gradually could attract the interest of the people. Probably caused by the strength of the Batak people in holding and applying their tradition, the spreading of art from one area/tribe to the other became difficult. Consequently, particular style of art of each area/tribe was created.

Lampung Cultural Art

The culture of Lampung has begun since prehistoric time based on the prehistoric inheritance of Lampung including the spreading area of megalith and bronze Culture, this is based on the discoveries of bronze drums or “nekara” and statues of ancestors of megalithic era in specific Pasemah style of Art.

At the beginning of the first century the Hindu influence was supposed to enter Indonesia. The influence of the Kingdom of Sriwijaya had left Hindu culture in Lampung which further developed until the era of the kingdom of Majapahit. The traditional of Lampung Community has an effect from Hindu and Buddha even up to the present. Such as the structure of its community, the way of thinking and the traditional ceremonies. Like other areas in Sumatra, the development of Islam was begun with trading activities which was then strengthened by the Kingdom authorities. Islam was supposed to enter Lampung from West Sumatra, however history has proved that the development of Islam in Lampung were among others caused by the fact that this area was used by preachers from Banten to practice the teaching of Islam under the reign of Sultan Hasanuddin. This does not mean the influence of Islam did not come from Sumatra. The Sultanate of Palembang in its trading activities particularly in pepper trading, had also given an Islamic culture effect in the Northern part of Lampung.

"Tulang Bawang" was known as Lampung pepper plantation which drew much attention to the traders from outside this area. It was not surprising that Lampung was the area where all kinds of cultural factors came from outside such as from Minangkabau, Malaya, Palembang, and Java, particularly from Banten. These cultural factors from outside have become the foundation of the traditional Culture of Lampung.

The ancient belief in prehistoric time formed a tradition of believing supernatural power, creatures and spirit of the ancestors. The belief in “Gali-Gasing”, giant of heaven which pounced on the moon, "Satatuha", a tiger as the substance of spirit of the ancestors; such a belief created incantations, prohibitions and all kinds of ceremonies which were obeyed as traditional cultural heritage. Some kinds of traditional village ceremonies showed mixture of both factors faith and religion. The "Gahak Pepadun" ceremony, a ceremony of achieving a title according to Lampung Pepadun Community, was one of the village ceremonies indicating sinkretism of some kinds of element of faith and religion. Since Islam rules were of most importance and very much respected, ceremonies according to the Islamic calender among others “Nyungsum Bulan” was held on the birthday of Prophet Muhammad S.A.W. “Ngaru belas” was held on mauled of Prophet Muhammad S.A.W., beside other ceremonies like those generally found in other communities in Indonesia. The influence of Hindu and Islam could be seen in its literature legends, poems and epigrams from generation to generation.

The influence of Hindu is left on the story of Raden Jambat Mangkirat in the form of poem, the adaptations of the story of "Rama and Shinta", which later changed its theme and form caused by the influence of Islam. The old texts ever uncovered among others contained those story of animals and local events, beside those containing elements of education and history.

Proverbs or phrases in the form of epigrams or verses delivered on ceremonies. If the proverbs contains some advice or guidance of life epigrams become variation which was uttered by replying each other in the ceremony. The literature mentioned above was among others that which become the source of stage drama such as the legend of Raden Jambat. The story teller acted as the story reader or ”dalang” in the drama of "wayang kulit (leather puppet) by imitating, the movement or the words of every prominent figure being told.

The series of traditional ceremony in the region always involved activities in arts. Consequently traditional art in the region was supported by traditional rules on the community which were very much obeyed. Traditional classical dances of the Lampung region were displayed on traditional events such as wedding ceremonies, visitors welcome ceremonies, installation of title ceremonies (cakak pepadun) etc. This traditional dances was accompanied by musical instrument such as “kelintang Lampung” or “Talo and Rebana”. Traditional garment including supplements of facilities containing values of art of decoration and art of regional handicraft.
“Tari Ngambai/Sambai”, traditional classical dance from Aceh, displayed by young people in honour of guests. “Tari Kipas” known of its dynamic movements, “Tari Seruping”, or war dance; “Tari Piring” with all kinds of dance movements.

Beside the traditional classical dance mentioned above there is a certain new dance a greater part of which is based on the traditional pattern though not exactly bound to the rules and movement and rhythm of dance like that standardized in classical dance.
These dance are for example: tari Sembah, Tari Manjau, Tari Sebambangan, Tari Sorai, Serumpun etc, like in the art of dance, music of Lampung, either vocal or instrumental is based on tradition. The main basis of Lampung music is vocal music whereas instrumental music comes from outside.

Vocal music is art of recital which in several areas of Lampung is called Muanjay “Adi-adi Hatang” and “Pisaan” can be recited individually or in group. “Diker” or Zikir” which belongs to instrumental music is accompanied by instruments such as "kendang" and "rebana", it is by nature a religions music (Islam). The introduction of new musical instruments such as harmonium, guitar, violin, have created new songs which become popular among the community of Lampung. This new creation has developed in "gambus" orchestras, Malayan orchestra with Malayan and Indian rhythm of songs.

Classical music instrument in Lampung is ike a flute made of thin bamboo with one hole on the bottom and three holes on the upper side. "Kulintang" belongs to this bamboo made musical instrument which has been pushed aside by Javanese "gamelan" recently.

EAST JAVA CULTURAL ART

East Java (Indonesian: Jawa Timur) is a province of Indonesia. It is located on the eastern part of the island of Java and also includes neighboring Madura and Bawean islands. The administrative center of the province is located in Surabaya, the second largest city in Indonesia and a major industrial center and port.

East Java also hosts a significant population of other ethnic groups, such as Chinese, Indians, and Arabs. In addition to the national language, Indonesian, they also speak Javanese. The major religion in East Java is Islam. This comes from earlier history, when Islam spread from northern cities in Java where many traders from Gujarat, India visited, bringing Islam. The eastern part of East Java, from Surabaya to Pasuruan, then following various cities along the coast line, and turning back in Banyuwangi to Jember, is well known as the "horseshoe area" in context with earlier Muslim communities living there.

East Java's history dates back to the famous ancient kingdoms of Kediri and Singhasari, which is now a city near Malang. The Majapahit dynasty centered at Trowulan, Mojokerto East Java and around East Java, began the foundations of an empire that was to dominate the entire Indonesian archipelago, the Malay Peninsula and part of the Philippines for hundreds of years. This was the beginning of profitable trade relations with China, Cambodia, Siam, Burma and Vietnam. As power in Central Java declined in the 10th century, powerful kingdoms rose in East Java to fill the power vacuum. During the reign of King Erlangga both East Java and Bali enjoyed lucrative trade with the surrounding islands, and an artistic and intellectual renaissance. Parts of the Mahabarata epic were translated and re-interpreted to conform to an East Javanese philosophy and view of life, and it was from this era that East Java inherited much of its temple art. The Eastern Java region was the part of the Mataram kingdom during its peak.

East Java offers many insights into Indonesia's rich cultures and crafts as diverse as the people themselves. East Java is a true melting pot of the country for many ethnic groups. It is understandable that it is cause of its vast area and different kinds of condition between one place and another. The characteristics of its cultural art is also different. Various kinds of the existing culture have their own particular characteristics and certain functions either those in the territory of East Java or in other territories outside East Java.

Reog Ponorogo

The dance known as Reog is a very spectacular dance with several dancers wearing bright colorful costumes accompanied by merry gamelan music.

In Madura, race bull is a very popular sport and spectacle

The island of Madura, famous for its bull races (karapan sapi), is also part of the province and has its own traditions, culture and language.

Mask dance (Tari topeng) performance

Malang is famous for its dances. Mask dance (tari topeng) has been known by Malang society and this dance is tradition which cannot be left off hand.

"Kuda Lumping" dance

Horse trance dancing, or "kuda lumping" in Indonesian, is currently the most popular style of folk art being performed regularly in East Java.