Tourism Bandung - west java
Art and culture
Seni Bangreng
Bangreng art is the development from art "Terbang" and "Ronggeng".Terbang art is actually an art that uses "Terbang", which is a kind rebana but the size is three times that of the ordinary rebana. Played by five players and two people for the big and small drum.The first emergence of Terbang art is when the spreading of the Islam Religion that was carried out by the Kusumah Dynasty where Terbang art was made the as spreading medium. Whereas "Ronggeng" is the term for the dancer and at the same time the singer or is acknowledged also as "Nyi Ronggeng". Because of its term of "Nyi", then ronggeng is a woman.According to the speech on the art experts (the artist), art bangreng this came from the Sumedang Regency and normally was shown in the entertainment agendas and the special agenda like; the house exorcism, making new building and other occasions.
Ketuk Tilu
Ketuk Tilu is a social dance as well as entertainment which is usually performed in marriages party, event closing entertainment show or performed specsifically in a large place. The emergence of this dance in the society has nothing to do with particular culture or sacred ceremony but it is pure as entertainment show and socializing medium. Because of that, the dance of ketuk tilu is widely enjoyed by the people especially in the villages with rare entertainment show. Read more
Kuda Renggong (Dancing Horse)
Kuda Renggong or Kuda Depok is one type of performance which present in the Regency of Sumedang, Majalengka and Karawang. The way of performing it is by a horse or more decorated with colorful ornaments, circumsized boy who rides on the back of the horse, the Boy wear the costume of a King or Knight, can also imitate the costume of Dalem Baheula, wearing Bendo, takwa and selop.
There is a Pelatuk in front of the dancing horse. Pelatuk is one of the player of Kuda Renggong, who acts as the guide and coordination leader of the group.
The music consist of big Kendang, Goong, Tarompet, Genjring or Terbang Gede or Dulag, in fact there is also Sinden and several male and female dancers. The group walks in the direction which has been decided before.
Kuda Renggong moves all the time as if it was dancing, because it is trained and used to listening to the music. Its movements are in harmony with the played sounds. If the rhythm is slow, the dancing horse will move its body slowly too, in the contrary if the rhythm becomes fast, the dancing horse will move its body fast.
Beside the horse’s legs movements, the head also make nodding movements. In front or in the side of the dancing horse there are several dancers, either from the group itself or from the audience or relation of the one who held the party. They dance together with happiness, this way it increase the luster of the show.
It is said that the taking care of dncing horse is very prioritized. Besides being grass feed, young horses are also feed with honey, milk, and eggs. Its voice is also properly maintained, guided with ribbon and decorated with colorful accessories with various beautiful colors.***
There is a Pelatuk in front of the dancing horse. Pelatuk is one of the player of Kuda Renggong, who acts as the guide and coordination leader of the group.
The music consist of big Kendang, Goong, Tarompet, Genjring or Terbang Gede or Dulag, in fact there is also Sinden and several male and female dancers. The group walks in the direction which has been decided before.
Kuda Renggong moves all the time as if it was dancing, because it is trained and used to listening to the music. Its movements are in harmony with the played sounds. If the rhythm is slow, the dancing horse will move its body slowly too, in the contrary if the rhythm becomes fast, the dancing horse will move its body fast.
Beside the horse’s legs movements, the head also make nodding movements. In front or in the side of the dancing horse there are several dancers, either from the group itself or from the audience or relation of the one who held the party. They dance together with happiness, this way it increase the luster of the show.
It is said that the taking care of dncing horse is very prioritized. Besides being grass feed, young horses are also feed with honey, milk, and eggs. Its voice is also properly maintained, guided with ribbon and decorated with colorful accessories with various beautiful colors.***
Rengkong
Rengkong is one of the traditional arts that are bequeathed by the community's Sundanese ancestors. Emerged around 1964 in the area of Cianjur Regency and the person that the first time brought it up and popularised it was H. Sopjan. The form of this art has been taken from the conduct of the Sundanese community beforehand when burying rice to reaped it. The term rengkong is taken from the name of an implement to bear rice from the paddy-field.This implement is made from bamboo type of ¿gombong¿ and to tie his rice used injuk rope. If it is brought while bearing rice could produce the voice resulting from the rope friction injuk with bamboo. It seems reportedly that voice sound from this implement interesting to be presented so as to become the idea to be made by a performance. Art equipment rengkong that is used for a performance consist of, bamboo gombong, the banner, the rope injuk and one association of the stem of rice weighing 10 kg. Its player wears clothing that consist of: bat clothes, trousers pangsi, headband and do not use any footwear.This traditional art is usually carried out when the ceremony to harvest rice but gradually often is performed for others such as; welcoming the arrival of the guest or the national ceremony of the public holiday warning. The number of its players between 5 primary schools. 6 people and its performance always done in an open space for a long time time around one hour.In times of globalization era and digitalization, the art of rengkong almost not developing at all and is hard to be found. Expect because the player has to be found and gathered first since they’re already rare and old generation. The young generations are usually don’t like this performance, that is why it is so hard to do its regeneration.
Angklung
Angklung is an instrument or artwork that is made from specific bamboo which is founded by Mr. Daeng Sutigna around the year of 1938. In its early usage, angklung was still limited to local or traditional artwork.
However because of the sounds it produces have local and international content such as duremi fa so la si du sounds and daminatilada thus angklung developed rapidly not only to be shown to local group but also to regional group, national and international. In fact, angklung show was once shown in front of national leaders during Asian African Conference at Merdeka Building Bandung in the year of 1955. The amount of angklung players ranges between one person to many people even can be played in a group of 50 until 100 people and can be integrated with other instruments, such as piano, keyboard, guitar, drum, etc. The show can also be combined with group of bands and orchestra.Other than acting as an artwork and instrument, angklung also used as souvenir or gifts after being decorated with other accessories.
After Daeng Sutigna left, the creation of angklung artwork is followed by Mang Ujo and Erwin Anwar. Mang Ujo even has made the center for production and development of angklung artwork creation which called “Saung angklung Mang Ujo” located in Padasuka Cicaheum Bandung. One of the program which he do specifically to support angklung art is to introduce angklung to every level of students starting from kindergarten until senior high school and even has become one of the curriculum in local academic program (mulok).
However because of the sounds it produces have local and international content such as duremi fa so la si du sounds and daminatilada thus angklung developed rapidly not only to be shown to local group but also to regional group, national and international. In fact, angklung show was once shown in front of national leaders during Asian African Conference at Merdeka Building Bandung in the year of 1955. The amount of angklung players ranges between one person to many people even can be played in a group of 50 until 100 people and can be integrated with other instruments, such as piano, keyboard, guitar, drum, etc. The show can also be combined with group of bands and orchestra.Other than acting as an artwork and instrument, angklung also used as souvenir or gifts after being decorated with other accessories.
After Daeng Sutigna left, the creation of angklung artwork is followed by Mang Ujo and Erwin Anwar. Mang Ujo even has made the center for production and development of angklung artwork creation which called “Saung angklung Mang Ujo” located in Padasuka Cicaheum Bandung. One of the program which he do specifically to support angklung art is to introduce angklung to every level of students starting from kindergarten until senior high school and even has become one of the curriculum in local academic program (mulok).
Reog
It is not yet known definitely what is meant with the "Reog" term and from where as well as whoever the first time formed art "reog".
Is it only in the Priangan area or in the other area also is Reog Ponorogo Art exists? The answer is not yet received by clear information and not yet there are those that investigate the history of the this reog art.However, the publics community know widely art reog when TVRI presented periodically Reog Art that was played by Republic of Indonesia State Police with its performers including "Mang Diman Cs" (Gup BKAK). Or around 1967 emerged the association Woman Reog with its leading figure Mr Emen and Ms Anah and the possibility in other area also sprang up art reog yet only not recorded clearly.There is an opinion that said that the term ":reog" is the abbreviation from Reorganisation ogel (art ogel, the joke and the dance), there si also an opinion that reog comes from keseniak Reak, or the other opinion, that reog comes from ugal-igel (because of its player moves the body member to dance with the amusing dance or while joking). It was sid that since the time of the guardians of this art has been and is normally played by the students. Till 1953 emerged the group reog including the Group Reog Single Wargi headed by Pa Amen Mihardja and the Reog Ajendam Group headed by Pa Dase.As any other arts, art reog is also liked by the community especially the community in rural areas and urban community because it contains entertainment elements and the attraction of the rhythm of the drum (dogdog: the Sundanese Language) that is stricken in a various manner as well as combined with the movement of the funny dance and the song lyrics that dense with social and religious message.Although the art that is imported from the west increasingly abundant but in certain community reog art is still liked. Only the player and his or her organisation group increasingly difficult to be found and having them usually from the old generation group. Its performance has also been increasingly rare because of the shortage order.Even when in Independence birthday entertainment, there are not a lot of committee which schedule the performance of reog because the society prefer dangdut and western bands. Art reog is usually played by four people with the structure; a mastermind, that controlled the game, a representative of the mastermind, and another two people as the servant. The mastermind held the drum or dogdog that measures around 20 cm that is called dogdog Tilingtingtit, the masterminds servant held the drum measuring 25 cm or called Panempas and the third player used dogdog with the measurement of 30-35 cm and is called Bangbrangserta the fourth player held dogdog with the measurement of 45 cm that is called Badublag.The third and fourth player usually plays a role as the comedian whereas the first player and the second control the plot scenario.For a long time the show revolves between one to one half of the hour and for the complementary songs are the instrument players with their instruments are: two sarons, gendang, rebab, goong, gambang et cetera.In the development at this time some that possibly the decline in the quality of art reog is because of its players too long to joke whereas dogdog player only plays it only for a moment, so as come up the hint in the Language Sundanese Cul dogdog remained igel, meaning that dogdog is left (is not played) igel (ibing and its joke) that is given priority.Although beginning to be eliminated, there are still many community members that hope the media like; TVRI, and private enterprises Television Station presents artistic performance like this reog.Finally the Government of the Bandung City held the Reog festival that was followed by approximately 32 groups and this indicated the existence of Reog art in the Sundanese community environment especially in the Bandung City. Certainly in other area it must be only because the nonexistence of coordination or non existence of such meeting festival causes them not to emerge or they only playing in the surrounding environment.
Is it only in the Priangan area or in the other area also is Reog Ponorogo Art exists? The answer is not yet received by clear information and not yet there are those that investigate the history of the this reog art.However, the publics community know widely art reog when TVRI presented periodically Reog Art that was played by Republic of Indonesia State Police with its performers including "Mang Diman Cs" (Gup BKAK). Or around 1967 emerged the association Woman Reog with its leading figure Mr Emen and Ms Anah and the possibility in other area also sprang up art reog yet only not recorded clearly.There is an opinion that said that the term ":reog" is the abbreviation from Reorganisation ogel (art ogel, the joke and the dance), there si also an opinion that reog comes from keseniak Reak, or the other opinion, that reog comes from ugal-igel (because of its player moves the body member to dance with the amusing dance or while joking). It was sid that since the time of the guardians of this art has been and is normally played by the students. Till 1953 emerged the group reog including the Group Reog Single Wargi headed by Pa Amen Mihardja and the Reog Ajendam Group headed by Pa Dase.As any other arts, art reog is also liked by the community especially the community in rural areas and urban community because it contains entertainment elements and the attraction of the rhythm of the drum (dogdog: the Sundanese Language) that is stricken in a various manner as well as combined with the movement of the funny dance and the song lyrics that dense with social and religious message.Although the art that is imported from the west increasingly abundant but in certain community reog art is still liked. Only the player and his or her organisation group increasingly difficult to be found and having them usually from the old generation group. Its performance has also been increasingly rare because of the shortage order.Even when in Independence birthday entertainment, there are not a lot of committee which schedule the performance of reog because the society prefer dangdut and western bands. Art reog is usually played by four people with the structure; a mastermind, that controlled the game, a representative of the mastermind, and another two people as the servant. The mastermind held the drum or dogdog that measures around 20 cm that is called dogdog Tilingtingtit, the masterminds servant held the drum measuring 25 cm or called Panempas and the third player used dogdog with the measurement of 30-35 cm and is called Bangbrangserta the fourth player held dogdog with the measurement of 45 cm that is called Badublag.The third and fourth player usually plays a role as the comedian whereas the first player and the second control the plot scenario.For a long time the show revolves between one to one half of the hour and for the complementary songs are the instrument players with their instruments are: two sarons, gendang, rebab, goong, gambang et cetera.In the development at this time some that possibly the decline in the quality of art reog is because of its players too long to joke whereas dogdog player only plays it only for a moment, so as come up the hint in the Language Sundanese Cul dogdog remained igel, meaning that dogdog is left (is not played) igel (ibing and its joke) that is given priority.Although beginning to be eliminated, there are still many community members that hope the media like; TVRI, and private enterprises Television Station presents artistic performance like this reog.Finally the Government of the Bandung City held the Reog festival that was followed by approximately 32 groups and this indicated the existence of Reog art in the Sundanese community environment especially in the Bandung City. Certainly in other area it must be only because the nonexistence of coordination or non existence of such meeting festival causes them not to emerge or they only playing in the surrounding environment.
Buhun Tutunggulan Art
Traditional "Tutunggulan" art is often compared with gondang art, in fact in its implementation is different because if tutunggulan is not followed by songs or the simultaneouse quatrain whereas gondang used the song and tease. However the instrument and medium used are the same which the pestle and lisung. The word tutunggulan is derived from words "nutu" that meanis "pounding" something. Something which is pounded that usually dry unhulled rice until becoming the rice, or from the rice to flour. To Pound unhulled rice til become rice usually is done by women between three to four people and the pestle swing concerning mortar that caused the typical voice, meaning that could be rhythmic, with the aim so that it will not be boring while pounding rice. This is carried out until the work is finished.From the habit finally emerged art tutunggulan but when being played it do not pound rice but directy pound the pestle to mortar. From the pestle swing produced voices in accordance with the wish that who plays it. It is said that songs that come out of tutunggulan is like; the jumpig monkey, striped snake, moonlight etc.. Each group has special kind of song.Art tutunggulan is played by six people and is shown to the community whenever the occurrence of ¿samagaha¿ or is acknowledged as the lunar eclipse during the night or often is used to attract the resident in order to be present in the conference agenda at the village hall. Later, this traditional art was used to welcome the guest in a certain ceremony, usually the appointment ceremony of the project, the guest reception, etc..Where did art buhun tutunggulan come from? It is the Wanayasa Kec Village community. Wanayasa Kab. Purwakarta became the pioneer of the emergence of buhun Tutunggulan art. And at this time there are three groups of the art player tutunggulan whom all of them are already old. To conserve this art, the Disbudpar Regency office of Purwakarta is holding regeneration through invitation efforts against the young generation and through trainings in the place especially being aimed at the community around the Wanayasa Village, as well as the holding of the Tutunggulan Art race each year by involving other subdistricts.These efforts were meant to develop the peformer group of art tutunggulan so that it can flourish in the Regency of Purwakarta.
Jaipongan Dance Art
Jaipongan is a genre of art that was born from creativity of a Bandung artist, that is Gugum Gembira. His attention in the people's art which one of them is Ketuk Tilu made a person like Gugum Gembira know and recognize the value of the movement pattern of available tradition dance Kiliningan/Bajidoran or the Tilu Beat. The movements of the aperture, Pencugan, nibakeun and several styles of the movement minced from some art above is enough to have the inspiration to develop the dance or art that currently is known by the name of Jaipongan.However before such form of art emerged there had been the influence that background this association. In West Java for example, the social dance is the influence from Ball Room, that usually in showing social dances is not free from the Ronggeng existence and Pamogoran. Ronggeng in the social dance does not function as ceremony activity, but for entertainment or socializing method. The Ronggeng existence in art shows the attraction that invited the sympathy of the group pamogoran.For example in the Tilu Beat dance that is known by the Sundanese community, it was estimated this art popular around 1916. As art shows the people, this art is only supported by simple elements, like waditra that covered the rebab, kendang, two kulanter, three bang beats goong.Likewise with the movements of the dance that do not have pattern of the standard movement the dancer's costume is simple as the populist reflection.Together with the fading or such artistic performance, former pamogorar (the spectator who played an active role in art of Beat of Tilu/Doper/Tayub), changed his attention in art performance of Kiliningan, that in the area of the North West Javanese Coast (Karawang, Purwakarta, Bekasi, Indramayu and Subang) is known with the Kiliningar term, Bajidoran which its ibing movement and the incident of the show has the resemblance with the previous art (Ketuk Tilu/Doger/Tayub). The existence of Topeng Banjet is enjoyable enough, especially in Karawang, where several movement pattern of Bajidoran are taken from Topeng dance. This Banjet, choreographically still shows the pattern of tradition (Ketuk Tilu) where exists opening movements, pencugan, nibakeun and several variation of minced movements which in turn becomes the base of jaipongan dance creation. Several basic movements of Jaipongan dance beside Ketuk Tilu, Ibing Bajidor and Topeng Banjet are TAyuban and Pencak Silat.
The emergence of dance created by Gugum Gumbira was at first called Ketuk Tilu as the development came from Ketuk Tilu. The first work of Gugum Gumbira is still strong of the color of ibing Ketuk Tilu, both choreographically as well as the harmony which later become popular with Jaipongan.The first Jaipongan work that was known by the community was Pufus Keser Bojong leaves dance and the Rendeng Bojong dance, both of them were the paired female dances (the son and the daughter). From the dance emerged several names of the dancer Jaipongan that was competent like Tati Pious, Yeti Mamat, Eli Somali and Pepen Dedi Kurnaedi. The beginning of this dance emergence could become discussions, where rumours of its centre were the erotic movement and vulgar. However from exposure of several printed medias, the name Gugum Gumbira began to be known by the community, everything after the Jaipongan Dance during 1980 was staged in TVRI the Jakarta central station. The impact of this popularity was even more increased by the frequency showed, both in the television media, hajatan and celebrations that were held by private enterprise's side and the government.The presence of the Jaipongan Dance gave the contribution that was quite big against the artist of dance art to be active again in the kind of the people's dance that was inattentive before. With the Jaipongan dance emergence, it was made use by the instigators of dance art to held Jaipongan dance courses and was made use also by night pubs businessmen to attract invitation, where the further development of the efforts of such opportunity was formed by the instigators of dance art as an effort to strengthen the economics by the name of the Tan Studio or groups in several areas of the West Javanese territory, for example in Subang with Jaipongan style of kaleran.The typical Jaipongan characteristics of kaleran style, namely purity, eroticism, the humorist, the spirit, spontaneity and simplicity (natural/the way it is). It is reflected in the pattern of the dance presentation during performance, there are also those who are given the pattern (Pattern of Ibing) like in Jaipongan art available in Bandung, there are also dances that without any pattern (Ibing Saka), for example in Art jaipongan Subang and Karawang. This term could be experienced by us in Jaipongan the Kaleran style, especially in the Subang area. In its presentation, Jaipongan style of kaleran is as follows: 1) Tatalu; 2) the Gadung Flower 3) Kawung Gopar; 4) the Opening Dance (Ibing the Pattern), usually brought by single dancer or Sinde Tatandakan (a person of Sinden but not singing but dancing the song of sinden/juru kawih); 5) Jeblokan and Jabanan, is a part of the show when the audience (Bajidor) scatter money (Jabanan) while doing salam. The term Jeblokan is interpreted as the couple staying between sinden and the audience (bajidor).The next development of the Jaipongan happened in the year 1980-1990s, where Gugum Gumbira created other dance like Toka-toka, Setra the Main Point, Sonteng, Pencug, Kuntul Mangut, Iring-iring Daun Puring, Rawayan and the Dance of Kawung Anten. From such dances emerge several Jaipongan dancers who were competent including Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepi, Agah, Aa Suryabrata and Asep Safaat.Today the Jaipongan Dance might be acknowledged as one of the identities of West Javanese art, this is visible through several important events that in connection with the guest from foreign country that comes to West Java, then it is welcomed by Jaipongan Dance.Likewise with artistic missions to foreign countries always have been supplemented with the Jaipongan Dance. The Jaipongan dance often influencs other arts available in the West Javanese community, either in the puppet performance art, degung, genjring/terebangan, kacapi jaipong and almost all public performances as well as modern dangdut music are collaborated with Jaipong to become the art of Pong-Dut.
The emergence of dance created by Gugum Gumbira was at first called Ketuk Tilu as the development came from Ketuk Tilu. The first work of Gugum Gumbira is still strong of the color of ibing Ketuk Tilu, both choreographically as well as the harmony which later become popular with Jaipongan.The first Jaipongan work that was known by the community was Pufus Keser Bojong leaves dance and the Rendeng Bojong dance, both of them were the paired female dances (the son and the daughter). From the dance emerged several names of the dancer Jaipongan that was competent like Tati Pious, Yeti Mamat, Eli Somali and Pepen Dedi Kurnaedi. The beginning of this dance emergence could become discussions, where rumours of its centre were the erotic movement and vulgar. However from exposure of several printed medias, the name Gugum Gumbira began to be known by the community, everything after the Jaipongan Dance during 1980 was staged in TVRI the Jakarta central station. The impact of this popularity was even more increased by the frequency showed, both in the television media, hajatan and celebrations that were held by private enterprise's side and the government.The presence of the Jaipongan Dance gave the contribution that was quite big against the artist of dance art to be active again in the kind of the people's dance that was inattentive before. With the Jaipongan dance emergence, it was made use by the instigators of dance art to held Jaipongan dance courses and was made use also by night pubs businessmen to attract invitation, where the further development of the efforts of such opportunity was formed by the instigators of dance art as an effort to strengthen the economics by the name of the Tan Studio or groups in several areas of the West Javanese territory, for example in Subang with Jaipongan style of kaleran.The typical Jaipongan characteristics of kaleran style, namely purity, eroticism, the humorist, the spirit, spontaneity and simplicity (natural/the way it is). It is reflected in the pattern of the dance presentation during performance, there are also those who are given the pattern (Pattern of Ibing) like in Jaipongan art available in Bandung, there are also dances that without any pattern (Ibing Saka), for example in Art jaipongan Subang and Karawang. This term could be experienced by us in Jaipongan the Kaleran style, especially in the Subang area. In its presentation, Jaipongan style of kaleran is as follows: 1) Tatalu; 2) the Gadung Flower 3) Kawung Gopar; 4) the Opening Dance (Ibing the Pattern), usually brought by single dancer or Sinde Tatandakan (a person of Sinden but not singing but dancing the song of sinden/juru kawih); 5) Jeblokan and Jabanan, is a part of the show when the audience (Bajidor) scatter money (Jabanan) while doing salam. The term Jeblokan is interpreted as the couple staying between sinden and the audience (bajidor).The next development of the Jaipongan happened in the year 1980-1990s, where Gugum Gumbira created other dance like Toka-toka, Setra the Main Point, Sonteng, Pencug, Kuntul Mangut, Iring-iring Daun Puring, Rawayan and the Dance of Kawung Anten. From such dances emerge several Jaipongan dancers who were competent including Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepi, Agah, Aa Suryabrata and Asep Safaat.Today the Jaipongan Dance might be acknowledged as one of the identities of West Javanese art, this is visible through several important events that in connection with the guest from foreign country that comes to West Java, then it is welcomed by Jaipongan Dance.Likewise with artistic missions to foreign countries always have been supplemented with the Jaipongan Dance. The Jaipongan dance often influencs other arts available in the West Javanese community, either in the puppet performance art, degung, genjring/terebangan, kacapi jaipong and almost all public performances as well as modern dangdut music are collaborated with Jaipong to become the art of Pong-Dut.
Sisingaan
Sisingaan is a folk art or artistic show of people which done with pageant in the form of helaran. The show is usually presented at circumcision’s event or special event like: greet guest, opening entertainment amusement, activity of Indonesia’s Independence Day and activity of other large days.
In art sisingaan there are elements like; dance, sport ( Pencak Silat and Jaipongan), artistic karawitan, artistic literature and dress art. All the element unite and synergy in the form of songs and dances and frequently added with acrobats motions forming formation like standen.
Equipments which applied in every show consisting: sisingaan’s stretcher, trumpet, knocked, kempul, goong and manacle. The player cloth apply clothes of custom sunda like: kampret pants, headband, belt, Moslem clothes and apply shoe kelenci and the sisingaan rider is usually child of circumcision using clothes of circumcision.
Etymologically, sisingaan come from word ‘lion’ that is a form of stretcher looking like lion body. Why have to form lion? It is said that lion animal symbolize is strong and heroic, strength and bravery.
According to note of artist (actor), sisingaan’s art first time emerge in the year 1957 in Countryside Ciherang around 5 Km southerly Subang town. Then grow to area Cigadung and other area around Subang town. Figures popularizing it for example Ki Demang Ama, Bintang, Ki, Rumsi, Chief Of Village Jani Mama, Narasoma, and Ki Alhawi.
Until present moment, artistry of sisingaan has rapidly grown and noted is about 165 groups with amount of the actors 2.695 people. The growth is not only in Subang area but has grown in Bandung and Sumedang Sub-Province.
Because the growth that is, hence to preserve this art is Government of Subang Sub-Province always perform a festival routinely and promote into level of province and national especially among Government and business world.
In art sisingaan there are elements like; dance, sport ( Pencak Silat and Jaipongan), artistic karawitan, artistic literature and dress art. All the element unite and synergy in the form of songs and dances and frequently added with acrobats motions forming formation like standen.
Equipments which applied in every show consisting: sisingaan’s stretcher, trumpet, knocked, kempul, goong and manacle. The player cloth apply clothes of custom sunda like: kampret pants, headband, belt, Moslem clothes and apply shoe kelenci and the sisingaan rider is usually child of circumcision using clothes of circumcision.
Etymologically, sisingaan come from word ‘lion’ that is a form of stretcher looking like lion body. Why have to form lion? It is said that lion animal symbolize is strong and heroic, strength and bravery.
According to note of artist (actor), sisingaan’s art first time emerge in the year 1957 in Countryside Ciherang around 5 Km southerly Subang town. Then grow to area Cigadung and other area around Subang town. Figures popularizing it for example Ki Demang Ama, Bintang, Ki, Rumsi, Chief Of Village Jani Mama, Narasoma, and Ki Alhawi.
Until present moment, artistry of sisingaan has rapidly grown and noted is about 165 groups with amount of the actors 2.695 people. The growth is not only in Subang area but has grown in Bandung and Sumedang Sub-Province.
Because the growth that is, hence to preserve this art is Government of Subang Sub-Province always perform a festival routinely and promote into level of province and national especially among Government and business world.
Sintren
It is said that Sintren art performance has its own uniqueness and beauty. It can be seen from the use of musical instruments which are made of ceramics or gembyung and bamboo which when stricken with particular way can create unique sound. According to Mr. Warnali (Culture Observer of Sub districts Indramayu City), the term Sintren is derived from two words, “Sinyo” and “trennen”.
Sinyo means young man and trennen means training, so it means young people of Indramayu who are training arts. The way of playing sintren is similar to that of magic show, in which a female dancer wears daily clothing at the start after being inserted into a cage as big as a chicken coop and then another clothing (dance costume) is also inserted into the cage, then in several moments the dancer’s clothing will be converted into dancing costume. During the changing process “dupa” (incense) continuously smoked as the sign of magical influence in the show. After that, magical dances are performed until the end of the show.
This art is very rare and the performance can not be found very often, that is why this art is made traditional art which still has unique characteristics and developed in the region of Indramayu and Regency of Cirebon.
Sinyo means young man and trennen means training, so it means young people of Indramayu who are training arts. The way of playing sintren is similar to that of magic show, in which a female dancer wears daily clothing at the start after being inserted into a cage as big as a chicken coop and then another clothing (dance costume) is also inserted into the cage, then in several moments the dancer’s clothing will be converted into dancing costume. During the changing process “dupa” (incense) continuously smoked as the sign of magical influence in the show. After that, magical dances are performed until the end of the show.
This art is very rare and the performance can not be found very often, that is why this art is made traditional art which still has unique characteristics and developed in the region of Indramayu and Regency of Cirebon.
Blantek
West Java Traditional Art Show from Bogor Region
In the region of Bogor there are several public theater art show. One of them is Blantek. Blantek which exists in the region of Bogor is included to the cluster of tipeuh art, that is why it is called Blantek mask.
The term Blantek in this art means mixed, unorganized, improper, or in the stage of learning. Beside that, there are some who said that Blantek is acronym from Blan and Tek. Blan derived from rebanan music which is used to go along with Blantek. Whereas, tek derived from kotek name of one of the rebana in the instrument of such art. Blantek in the meaning of unorganized, mixed, and improper is based on the assumption that such art in its show combining other art elements such as rebana, ketuk tilu, and topeng (mask). This form of art is not far from mask originated from Cisalak.
In the region of Bogor there are several public theater art show. One of them is Blantek. Blantek which exists in the region of Bogor is included to the cluster of tipeuh art, that is why it is called Blantek mask.
The term Blantek in this art means mixed, unorganized, improper, or in the stage of learning. Beside that, there are some who said that Blantek is acronym from Blan and Tek. Blan derived from rebanan music which is used to go along with Blantek. Whereas, tek derived from kotek name of one of the rebana in the instrument of such art. Blantek in the meaning of unorganized, mixed, and improper is based on the assumption that such art in its show combining other art elements such as rebana, ketuk tilu, and topeng (mask). This form of art is not far from mask originated from Cisalak.
Wayang Golek
A lot of people think that the art of wayang puppet come from the country of India. In fact, according to R. Gunawan Djajakusumah in his book Introduction to West Java Purwa Wayang Golek (Pengenalan Wayang Golek Purwa di Jawa Barat) that it is not true. He says that wayang puppet is an original Indonesian culture (specifically in Java Island).
The saying which derived from Wad an Hyang, means “ancestor” but some also say that it comes from and means “shadow”. Those who think that wayang puppet comes from India may have been basing it from the origin of its story which taking place in the setting of Ramayana and Mahabrata (originated from Hinduism Holy Book). But afterwards, those stories are changed and adapted with the culture of Javanese.
In West Java, the art of wayang is called “Wayang Golek”. It means performing the art of wayang using wooden made puppets which similar to human face and body. There are four types of figures in wayang golek, which are Rahwana (the golek wears makuta in the model of sekar kluwih and engraved with carvings which similar to that Pajajaran and Mataram Kingdom with his decendants Suyudana and Dursasana), figure Arjuna (describing the figure of handsome and courageous true warrior; its clothing uses supit urang; in the same generation are Bima and Gatotkaca), figure Garuda Mungkur (the face of garuda with sticking out tongue), figure Bineka Sari (like a casuarina tree arranged upwards like in the wayang of Kresna, Baladewa, Arimbi, Rama and Indra, figure Kuluk, its clothing accessories wears the image of garuda or sumping such as existing in the wayang of Batara Guru, Karna and Kumbangkarna. These figures are made using ugaran and based upon their own art talent (based upon personal taste). The makers of wayang are present in the area of Bogor (selacau Batujajar) and Cibiru Bandung.
Parts of wayang art consist of : Dalang (the one who plays the puppets based on the story),the puppets themselves (hundreds in number), nayaga (group or people who play gamelan, kendang, goong, rebab (scrape musical instrument) and juru kawih as well as juru alok). All of those parts become on unity which can not be separated. One and another synergizes according to the rhythm and story.
Wayang show is usually done during traditional parties, marriages, and circumcision, Agustusan or during special occasion (usually called ruwatan). The showtime could reach whole night or only several hours. The content of the story adapts the principle of galur (take wholly based on Ramayana and Mahabrata stories) and some use the principle of sempalan (take only several parts which usually interesting for the audience such as: battles, and humors).
Wayang show which use the principle of galur usually takes whole night whereas sempalan only one to two hours only. Let alone if the show is broadcasted through television station which has limited broadcasting time, it can only reach 45 minutes only. In the condition of society with high social activity and requiring extra fast time, then the show which has short time but with dense story and interesting humor dialogues will be more favored than the one using galur principle as its story. For older generation audience and galur principle fanatics, they will like the original storyline even though they’ve already watched and heard it repeatedly. But for younger generation who thirst for instant entertainment, stories with the principle of sempalan are mostly liked.
How many wayang character which in the same time is the amount of the puppet itself?
The answer, according to R. Gunawan Djajakusumah, is that there are 623 character and not all of them are put up during the show.
According to our observation (the editorial staff) in one show usually presenting betweet 20 to 30 puppets and the one which oftenly appears is mostly the figures which already known to the public such as: arjuna, pandawa lima especially si Cepot, gatotkaca, bima, rahwana, anggota pasukan Kurawa.
The amount of dalang which is recorded until the year of 2002 is not more than a hundred and the one who is liked by the people are Asep Sunarya, Ade Sunarya, Dede Amung. These puppetmaster have high technical ability to play the wayang, able to tell the story well, interesting humor and communicative with the audience.
The saying which derived from Wad an Hyang, means “ancestor” but some also say that it comes from and means “shadow”. Those who think that wayang puppet comes from India may have been basing it from the origin of its story which taking place in the setting of Ramayana and Mahabrata (originated from Hinduism Holy Book). But afterwards, those stories are changed and adapted with the culture of Javanese.
In West Java, the art of wayang is called “Wayang Golek”. It means performing the art of wayang using wooden made puppets which similar to human face and body. There are four types of figures in wayang golek, which are Rahwana (the golek wears makuta in the model of sekar kluwih and engraved with carvings which similar to that Pajajaran and Mataram Kingdom with his decendants Suyudana and Dursasana), figure Arjuna (describing the figure of handsome and courageous true warrior; its clothing uses supit urang; in the same generation are Bima and Gatotkaca), figure Garuda Mungkur (the face of garuda with sticking out tongue), figure Bineka Sari (like a casuarina tree arranged upwards like in the wayang of Kresna, Baladewa, Arimbi, Rama and Indra, figure Kuluk, its clothing accessories wears the image of garuda or sumping such as existing in the wayang of Batara Guru, Karna and Kumbangkarna. These figures are made using ugaran and based upon their own art talent (based upon personal taste). The makers of wayang are present in the area of Bogor (selacau Batujajar) and Cibiru Bandung.
Parts of wayang art consist of : Dalang (the one who plays the puppets based on the story),the puppets themselves (hundreds in number), nayaga (group or people who play gamelan, kendang, goong, rebab (scrape musical instrument) and juru kawih as well as juru alok). All of those parts become on unity which can not be separated. One and another synergizes according to the rhythm and story.
Wayang show is usually done during traditional parties, marriages, and circumcision, Agustusan or during special occasion (usually called ruwatan). The showtime could reach whole night or only several hours. The content of the story adapts the principle of galur (take wholly based on Ramayana and Mahabrata stories) and some use the principle of sempalan (take only several parts which usually interesting for the audience such as: battles, and humors).
Wayang show which use the principle of galur usually takes whole night whereas sempalan only one to two hours only. Let alone if the show is broadcasted through television station which has limited broadcasting time, it can only reach 45 minutes only. In the condition of society with high social activity and requiring extra fast time, then the show which has short time but with dense story and interesting humor dialogues will be more favored than the one using galur principle as its story. For older generation audience and galur principle fanatics, they will like the original storyline even though they’ve already watched and heard it repeatedly. But for younger generation who thirst for instant entertainment, stories with the principle of sempalan are mostly liked.
How many wayang character which in the same time is the amount of the puppet itself?
The answer, according to R. Gunawan Djajakusumah, is that there are 623 character and not all of them are put up during the show.
According to our observation (the editorial staff) in one show usually presenting betweet 20 to 30 puppets and the one which oftenly appears is mostly the figures which already known to the public such as: arjuna, pandawa lima especially si Cepot, gatotkaca, bima, rahwana, anggota pasukan Kurawa.
The amount of dalang which is recorded until the year of 2002 is not more than a hundred and the one who is liked by the people are Asep Sunarya, Ade Sunarya, Dede Amung. These puppetmaster have high technical ability to play the wayang, able to tell the story well, interesting humor and communicative with the audience.
Cilsalak Mask Dance
Smoke of censer still pufffs among nayaga when a ronggeng (dancer) woman wears toka-toka, apok, kebaya, sinjang and ampreng with bright color turned yellow, red and green of half is bowing forerunner saluting emergence from curtain back. A step then starts to do movement by hand developed and foot semi backward advance.
Some openers dance bases movement for example meetings nindak, tolerant of meeting, pakbang and blongter do her is excellently. Sometimes the accompanied by supple body oscillation is obsession simper of nayaga are correct residing in curtains back. As of strike then of the dancer invert the body overshadows audience without stopping her shake down part of the hips. Take the of white chromatic mask as opener mask dance out of three dance which will play her in Single Mask dance.
Ten musician accompany with rebab, manacle, kulanter, knocked, drum, goong, bende, following a sinden and three dancer awaiting innings coming up. They are merged into Society of Traditional Artistries of Masks Cisalak Group Kinang Putra leader of Equivocation Jioen, one of thinking eight society of Mask Cisalak which still stays in Depok. Read More
Some openers dance bases movement for example meetings nindak, tolerant of meeting, pakbang and blongter do her is excellently. Sometimes the accompanied by supple body oscillation is obsession simper of nayaga are correct residing in curtains back. As of strike then of the dancer invert the body overshadows audience without stopping her shake down part of the hips. Take the of white chromatic mask as opener mask dance out of three dance which will play her in Single Mask dance.
Ten musician accompany with rebab, manacle, kulanter, knocked, drum, goong, bende, following a sinden and three dancer awaiting innings coming up. They are merged into Society of Traditional Artistries of Masks Cisalak Group Kinang Putra leader of Equivocation Jioen, one of thinking eight society of Mask Cisalak which still stays in Depok. Read More
Ceremony of Sundas Tradition
Custom ceremony of marriage of Sunda is additional from event of in essence, that is oath in marriage of Moslems and qobul as obligatory which have by Islamic Religion. Additional of this event oftentimes become event of which waiting by attending because containing things having the character of humorous and is something allotted to attendant.Parts of event of custom which executed cover; nincak endog (step on egg), nincak elekan (step on a kind of bamboo distil), meuleum harupat (burn fistful of 7 piece of cutting of rib), meupeuskeun jar (break jar), ngaleupaskeun japati (discharge japati) and throw kanjutkunang (throw small bag made from cloth) to which present, as is signal that the old fellow marry the last child. Then event of barrier, that is throwing goods like, yellow rice, peppermint, and money as at the same time; singer sings a song containing aphorisms for bride. Yellow rice, candy and money are mundane phonetic symbol to be being searched by specially the side of men and looked after by the side of woman (wife). After barrier then done event of open panto (open door) meant by is study to bride in the case of order in house between wives and husbands. End of event of custom sunda’s bride is pabetot-betot bakakak (is each other drawing roasted chicken) for available for the chicken of large is forerunner will get wealth which many (if laboured),dan huap lingkung, huap deudeuh and huap geugeut with the meaning reciprocating as affection sign.
One day before event of marriage is started done beforehand event of siraman to both brides (separately) by both their parent. This event cover activity: flower bath, run superior of seven piece of samping cloth and pray as expression application of safety. This event of siraman meant as last old fellow affection sign specially in bathing them because after marriage is delivered to each.
The duration this event of custom is about two hour and guided by makeup expert and also MC the place is usually in front of house (front yard) or carried out peculiarly in building of place of reception on the chance of can be witnessed by invitation guest.
One day before event of marriage is started done beforehand event of siraman to both brides (separately) by both their parent. This event cover activity: flower bath, run superior of seven piece of samping cloth and pray as expression application of safety. This event of siraman meant as last old fellow affection sign specially in bathing them because after marriage is delivered to each.
The duration this event of custom is about two hour and guided by makeup expert and also MC the place is usually in front of house (front yard) or carried out peculiarly in building of place of reception on the chance of can be witnessed by invitation guest.
Genjring Bonyok Dance
Artistry of genjring Bonyok has life pattern and growth which rather differing from other artistry which emergence and grows in District of Pagaden Subang Sub-Province. This artistry can grow is quicker, get quicker popularity and received by public as traditional artistry that available to being enjoyed.
Understanding of Genjring Bonyok comes from Genjring and Bonyok. Genjring is waditra husk wearing a kind of earring made from bronze or iron as decorator like rebana, while Bonyok is local name in countryside Pangsor District of Pagaden, Subang Sub-Province. The meaning of Genjring Bonyok is artistry of Genjring of the beginning onset resided in area Bonyok. Artistry is one of traditional music art type (karawitan) which the instrument is consisted of Genjring, Bedug, Manacle, Tarompet and Goong. Read more
Understanding of Genjring Bonyok comes from Genjring and Bonyok. Genjring is waditra husk wearing a kind of earring made from bronze or iron as decorator like rebana, while Bonyok is local name in countryside Pangsor District of Pagaden, Subang Sub-Province. The meaning of Genjring Bonyok is artistry of Genjring of the beginning onset resided in area Bonyok. Artistry is one of traditional music art type (karawitan) which the instrument is consisted of Genjring, Bedug, Manacle, Tarompet and Goong. Read more
Gembyung
One of the inheritances of Islamic culture in Cirebon is Gembyung Art. This art is the development of Terbang art that lived in pesantren environment. It is said that terbang art is one of the art type which is used as medium to spread Islam in the region of Cirebon and its surrounding. Gembyung art is commonly shown during Islamic religious ceremony such as the commemoration of Maulid Nabi, Rajaban and 1 Syuro activity which is done around religious site. No one knows who has the idead to develop this flying art and when. That which certain is Gembyung art emerges in the region of Cirebon after flying art lived long enough in that area. Gembyung is musical ensemble which consists of several flying instruments with trumpet that is type of art with the breath of Islam. In spite of that, the reality in the field shows that several Gembyung art was found to be not using trumpet instrument. Read more
Kacapi Suling
Kacapi Suling is Sundanese instrument tool which can be found in every region of Land of Sunda. The instrument consist of Kacapi and Suling. The Kacapi consist of Kacapi Indung or Kacapi Parahu or Kacapi Gelung.
Beside shown by instrument, Kacapi Suling can also be used in harmony with Juru Sekar who sings Anggana Sekar song or Rampak Sekar. Available songs are: Sinom Degung, Kaleon, Talutur et cetera.
The used key is Salendro key, Pelog, or Sorog. Different from Kacapi Suling or Kacapian if it uses Kacapi Siter. It is commonly known beside Kacapi Siter and Suling the additional 1 set of Kendang and 1 set of Goong. The used key is the same as the key which is usually used for Kacapi Suling which uses Kacapi Parahu that is Salendro key, Pelog, Sorog. Kacapi Suling which uses Kacapi Siter, beside showing instruments, it is also used in harmony with songs (kawih) either in form of Anggana Sekar as well as Rampak Sekar.
Songs in the form of Anggana Sekar are : Melati di Gunung Guntur, Sagagang Kembang Ros and many more. Whereas for the Rampak Sekar are Seuneu Bandung, Lemah Cai and many more.
In its development both Kacapi Suling which either uses Kacapi Parahu or Kacapi Sitter, is often used to accompany Sundanese Narration in Ngaras and Siraman Panganten Sunda occasion, Siraman Budak Sunatan, Siraman Tingkeban. Besides the instruments, the songs are also performed adapted to the need of the event that will be done. The songs which are performed are taken from Tembang Sunda songs.
Such are Candrawulan, Jemplang Karang, Kapati-pati or Kaleon etc. There are also those who take kawih songs or Panambih songs in Tembang Sunda such as Senggot Pangemat, Pupunden Ati and many else.
Besides Kecapi and Suling set of instrument, there is also Kecapi Biola and Kecapi Rebab which performs the same songs. In its performance, Kecapi plays the frame of the rhythm whereas the songs are played by whistle, violin, or rebab. The keynote exists in Karawitan Sunda is called Surupan, there are also those which are called Salendro, Pelog, and Sorog.
Kacapi Suling nowadays is widely enjoyed by Young People, either in the villages or in the cities. Because to learn it can imitate from recorded Kacapi Suling cassette which widely distributed in the society.
Special for the kecapi instrument, these days it is often used by several comedy groups as a complement. It can be seen that, during Mang Ukok show, Kecapi becomes the main complement which sound not only supplementing Sundanese songs, but also foreign songs. (Source : www.westjavatourism.com)
Beside shown by instrument, Kacapi Suling can also be used in harmony with Juru Sekar who sings Anggana Sekar song or Rampak Sekar. Available songs are: Sinom Degung, Kaleon, Talutur et cetera.
The used key is Salendro key, Pelog, or Sorog. Different from Kacapi Suling or Kacapian if it uses Kacapi Siter. It is commonly known beside Kacapi Siter and Suling the additional 1 set of Kendang and 1 set of Goong. The used key is the same as the key which is usually used for Kacapi Suling which uses Kacapi Parahu that is Salendro key, Pelog, Sorog. Kacapi Suling which uses Kacapi Siter, beside showing instruments, it is also used in harmony with songs (kawih) either in form of Anggana Sekar as well as Rampak Sekar.
Songs in the form of Anggana Sekar are : Melati di Gunung Guntur, Sagagang Kembang Ros and many more. Whereas for the Rampak Sekar are Seuneu Bandung, Lemah Cai and many more.
In its development both Kacapi Suling which either uses Kacapi Parahu or Kacapi Sitter, is often used to accompany Sundanese Narration in Ngaras and Siraman Panganten Sunda occasion, Siraman Budak Sunatan, Siraman Tingkeban. Besides the instruments, the songs are also performed adapted to the need of the event that will be done. The songs which are performed are taken from Tembang Sunda songs.
Such are Candrawulan, Jemplang Karang, Kapati-pati or Kaleon etc. There are also those who take kawih songs or Panambih songs in Tembang Sunda such as Senggot Pangemat, Pupunden Ati and many else.
Besides Kecapi and Suling set of instrument, there is also Kecapi Biola and Kecapi Rebab which performs the same songs. In its performance, Kecapi plays the frame of the rhythm whereas the songs are played by whistle, violin, or rebab. The keynote exists in Karawitan Sunda is called Surupan, there are also those which are called Salendro, Pelog, and Sorog.
Kacapi Suling nowadays is widely enjoyed by Young People, either in the villages or in the cities. Because to learn it can imitate from recorded Kacapi Suling cassette which widely distributed in the society.
Special for the kecapi instrument, these days it is often used by several comedy groups as a complement. It can be seen that, during Mang Ukok show, Kecapi becomes the main complement which sound not only supplementing Sundanese songs, but also foreign songs. (Source : www.westjavatourism.com)
Rampak Kendang
Rampak Kendang is once creation of traditional music played together by two to tens of players. Stoke together simultaneously according to the performed music. The stroke has the effect of loud sound which attract the audience.
In Rampak Kendang, the instrument is not only kendang, but also varied with other instruments such as: gamelan, rebabm guitar, etc.
In playing it, can be done by itself, which means that rampak kendang itself that make the song, or played in harmony with Jaipongan dance.
In performance art show, Rampak Kendang Show has been accepted as one art creation and has been performed in formal occasions, in the scope of Government, private or public.
In Rampak Kendang, the instrument is not only kendang, but also varied with other instruments such as: gamelan, rebabm guitar, etc.
In playing it, can be done by itself, which means that rampak kendang itself that make the song, or played in harmony with Jaipongan dance.
In performance art show, Rampak Kendang Show has been accepted as one art creation and has been performed in formal occasions, in the scope of Government, private or public.
Museum Tourism
Museum
1. National Museum of Geology
It is located across the Satay Building. It is the museum that could give information about the geological formation of islands in Indonesia, the Pithecanthropus Erectus discovery, and phenomena of volcanic in the Pacific.
2. West Java Museum of Sri Baduga
It is located was across the Monument of Bandung Sea Of Fire. It keeps the collection about the traditional agricultural tools, the musical instrument, and ornaments
3. National Museum of Stamps
It is located in the complex of the Satay Building. This museum keeps many stamp collections and unique postal equipment.
4. Asia Africa Museum
This museum recorded the Conference of Asian Africa in 1955 complete with the collection of this event’s photographs.
Etno Botany Museum
The museum Etno Botany was established during 1982 by Prof Dr. B.J. Habibie. The inside exhibited the utilization of Indonesian plants and the collection of the wood fossil, grew - plants that were utilized to make traditional medicine like herbal tonic that was supplemented with its creation procedure as well as the utilization show of bark as the production material of the Dayak people’s clothes in Kalimantan. There’s also the collection of preserved leaves. Open at every day on Monday till Friday at 08.00-16.00 WIB.
Museum of Struggle, Jl. Merdeka - Bogor
Bogor Struggle Museum was established in 1957, keeps various objects from the rifle that was utilized by the freedom fighters, and the loot rifle from Japan and England as well as supplemented with the diorama that depicted the meeting in the Bogor area and surrounding area. This museum is opened for the public from 08 00 up until 14 00 WIB, this museum is easy to be reached by public transport.
Museum Tanah, Jl. Ir H. Juanda 98
Museum Tanah is located in the road of Ir. H. Juanda face to face with the Bogor Botanic Garden keeps the land collection and the stones in Indonesia. This museum is in the central building of the Land Research, is opened every day only in the working hours and is opened for the public
1. National Museum of Geology
It is located across the Satay Building. It is the museum that could give information about the geological formation of islands in Indonesia, the Pithecanthropus Erectus discovery, and phenomena of volcanic in the Pacific.
2. West Java Museum of Sri Baduga
It is located was across the Monument of Bandung Sea Of Fire. It keeps the collection about the traditional agricultural tools, the musical instrument, and ornaments
3. National Museum of Stamps
It is located in the complex of the Satay Building. This museum keeps many stamp collections and unique postal equipment.
4. Asia Africa Museum
This museum recorded the Conference of Asian Africa in 1955 complete with the collection of this event’s photographs.
Etno Botany Museum
The museum Etno Botany was established during 1982 by Prof Dr. B.J. Habibie. The inside exhibited the utilization of Indonesian plants and the collection of the wood fossil, grew - plants that were utilized to make traditional medicine like herbal tonic that was supplemented with its creation procedure as well as the utilization show of bark as the production material of the Dayak people’s clothes in Kalimantan. There’s also the collection of preserved leaves. Open at every day on Monday till Friday at 08.00-16.00 WIB.
Museum of Struggle, Jl. Merdeka - Bogor
Bogor Struggle Museum was established in 1957, keeps various objects from the rifle that was utilized by the freedom fighters, and the loot rifle from Japan and England as well as supplemented with the diorama that depicted the meeting in the Bogor area and surrounding area. This museum is opened for the public from 08 00 up until 14 00 WIB, this museum is easy to be reached by public transport.
Museum Tanah, Jl. Ir H. Juanda 98
Museum Tanah is located in the road of Ir. H. Juanda face to face with the Bogor Botanic Garden keeps the land collection and the stones in Indonesia. This museum is in the central building of the Land Research, is opened every day only in the working hours and is opened for the public
Astronomy Tour
The year of 1920 was the special year for the Boscha Observatory, because idea of founding the observation station of the star began to be rolling with the Nederlandch Indische Sterrenkundige Vereeniging establishment (the Association of Dutch East Indies Astronomy Knowledge) that was pioneered by Karel Alber Rudolf Bosscha.
On September 12 1920 , the first NISV meeting was held in the Hotel of Homman Bandung deciding to build an observatory to promote Astronomy Knowledge in the Dutch East Indies . The Pioneer NISV, Mr. Bosscha promised to give help in the form of the purchase of modern telescope.
Mr. Bosscha and Mr. Dr. J. Voute (the astronomer who eventually become the director of the first observatory) during 1921 departed for Askania Werk Germany to order ¿Meredian Circle¿ and Carl Zeiss - Jena ordered - Double Refractor.
After ordered meredian circle and Carl zeiss Jena , afterwards both of them held the research to decide the exact location to build the place of the observatory. Results of the research appointed, one of the children Mount Tangkuban Perahu, that is in 15 Km to the north from the Centre of the Bandung City was considered suitable for the observatory considering the cool air and far from the bustle. Scenery to the east and west that was clear and had the height 1300 meter above sea level. The land that was chosen incidentally the grant from siblings named Ursone measuring 6 hectare.
During 1922 the development of the observatory was begun till January 1 1923 some of the buildings have been finished and immediately was declared by the Governor-general Mr. D. Fock and Dr. Voute was appointed as the director of the first observatory.
On September 12 1920 , the first NISV meeting was held in the Hotel of Homman Bandung deciding to build an observatory to promote Astronomy Knowledge in the Dutch East Indies . The Pioneer NISV, Mr. Bosscha promised to give help in the form of the purchase of modern telescope.
Mr. Bosscha and Mr. Dr. J. Voute (the astronomer who eventually become the director of the first observatory) during 1921 departed for Askania Werk Germany to order ¿Meredian Circle¿ and Carl Zeiss - Jena ordered - Double Refractor.
After ordered meredian circle and Carl zeiss Jena , afterwards both of them held the research to decide the exact location to build the place of the observatory. Results of the research appointed, one of the children Mount Tangkuban Perahu, that is in 15 Km to the north from the Centre of the Bandung City was considered suitable for the observatory considering the cool air and far from the bustle. Scenery to the east and west that was clear and had the height 1300 meter above sea level. The land that was chosen incidentally the grant from siblings named Ursone measuring 6 hectare.
During 1922 the development of the observatory was begun till January 1 1923 some of the buildings have been finished and immediately was declared by the Governor-general Mr. D. Fock and Dr. Voute was appointed as the director of the first observatory.
After long time awaited, finally on January 10 1928 the double refractor telescope arrived and according to Prof. Dr. Bambang Hidayat, the trip of telescope mobilized various personnel and equipment.
The double refractor telescope zeis heas diameter of 60 cm, 11 meters length, on January 10 1928 and was dropped off from the ship ¿kertosono¿ belonging to Rotterdamsche lioyd. Twenty-seven big containers of 30 ton were carried by the Company of the Countrys Train (SS) free to Bandung . Batlyon Genie A. D was carrying it for free also from Bandung to Lembang. The bureau of the Perjan K. A Building (S. S) was assigned to make the dome concrete building with the sophisticated instrument. At the same time the telescope was installed.
Concerning the telescope itself, as explained by Prof. Dr. Bambang Hidayat, that is consisting of two refractors in which each had the objective lens 60 cm. One teleskop was acknowledged as photographic for investigating parallax at the suggestion of Prof. Kapteijn from Groningen . Other telescope is named visual telescope. Both telescopes are isolated in one tube with diameter of 1,66 meters. Its view could sweep almost all northern and southern sky. When it was being established, the telescope was ranked number three of his kinds ( Melbourne , 122 cm and La Plata 70 cm).
The double refractor telescope zeis heas diameter of 60 cm, 11 meters length, on January 10 1928 and was dropped off from the ship ¿kertosono¿ belonging to Rotterdamsche lioyd. Twenty-seven big containers of 30 ton were carried by the Company of the Countrys Train (SS) free to Bandung . Batlyon Genie A. D was carrying it for free also from Bandung to Lembang. The bureau of the Perjan K. A Building (S. S) was assigned to make the dome concrete building with the sophisticated instrument. At the same time the telescope was installed.
Concerning the telescope itself, as explained by Prof. Dr. Bambang Hidayat, that is consisting of two refractors in which each had the objective lens 60 cm. One teleskop was acknowledged as photographic for investigating parallax at the suggestion of Prof. Kapteijn from Groningen . Other telescope is named visual telescope. Both telescopes are isolated in one tube with diameter of 1,66 meters. Its view could sweep almost all northern and southern sky. When it was being established, the telescope was ranked number three of his kinds ( Melbourne , 122 cm and La Plata 70 cm).
Located in 107o37 BT and 6o49 30 LS. It has the height of 1300 meters above sea level and 630 meters on the Bandung plateau. Due to Bandung City to the north as far as 15 Km. In the normal situation the condition for the minimal temperature weather at night 16 degrees (in June and in July) and the maximum during the day 23 degrees, average humidity 80%-90%. The clear night for observation of astronomy 150 days per year whereas for observation of photometry is weaker than that.
Getting to the Boscha Observatory is really easy. Trip by four wheel vehicle from the direction of Bandung take up to approximately 30 minutes. If there is traffic jam that usually happens on the Saturday and on Sunday, the trip spends approximately 40 minutes. Regarding parking lot, especially for the personal vehicle, can be parked on the location. However for public vehicle bus, is parked in Street of Lembang. That too, for three buses only. The distance from Lembang Street to the location approximately two kilometers and for those who do not bring their own vehicle can use the service Ojeg by the tariff approximately Rp 3000 - Rp 5000.- Walking on foot, while having body exercise in the same time apparently become the choice of most visitors, if compared to using the vehicle ojeg.
Getting to the Boscha Observatory is really easy. Trip by four wheel vehicle from the direction of Bandung take up to approximately 30 minutes. If there is traffic jam that usually happens on the Saturday and on Sunday, the trip spends approximately 40 minutes. Regarding parking lot, especially for the personal vehicle, can be parked on the location. However for public vehicle bus, is parked in Street of Lembang. That too, for three buses only. The distance from Lembang Street to the location approximately two kilometers and for those who do not bring their own vehicle can use the service Ojeg by the tariff approximately Rp 3000 - Rp 5000.- Walking on foot, while having body exercise in the same time apparently become the choice of most visitors, if compared to using the vehicle ojeg.
Merchandise
Bamboo Studio
The chair and artistic table are made from bamboo by the craftsman in Cianjur City. This Bamboo chair is suitable to be installed in the common room. This bamboo studio received the appreciation upakarti in 1992.
Lentera Gentur
The Gentur Lantern is made from brass and colored glasses material with artistic design which is one of the Cianjur people's craftwork that have been famous, located in the Warungkondang Sub district.
Ceramics
Ceramic craftwork is located in the Ciranjang Sub district at one of the production centers and one business unit is handled by five craftsmen. The rooms of the house will become more elegant and artistic when this craftwork is installed in a harmonious manner.
Kecapi Miniature
Kecapi miniature craftwork is made from metal or wood that is made in accordance with its original form. This musical instrument is normally used to accompany the Cianjuran lyric including various Sundanese songs.
Bird Cage
The birds Cage, one craftwork with economical productive value is located in the Karangtengah Sub district. This craftwork of the birds Cage received the National Upakarti appreciation in 1994.
Tenun Ikat Sutera Alam
Natural silk Weaving Industry in the Garut Regency exists since 1961, studied by Mr H. Aman Sahuri (the Deceased). The industry of Natural Silk could develop because of several factors which are:
Several weaving tool machines (ATM) can be made personally;
Silk worm cultivation is well supported
Various leather craftwork
That which included to the leather craftworks are all form of processed leather beside clothing, expecially leather jackets. This differentiation is based to thedata which is also distinguished by Industrial and Trading Commission Regency of Garut as the main source of data. In reality, it should be admitted that the popularity of Garut’s leather jackets is more prominent compared to other leather craftwork commodities. One of the reason is that supplier for the leather jacket can fulfill the demand less than shoes, belts, gloves, wallet suppliers.
Nevertheless, the passion to continue increasing the quality and the production capacity is continuously improved, in line with the increase in purchasing power and trend of the community. One of the notes that is received about the number of production capacities of leather craftwork per the year was: gloves totalling 168.000 pairs, the wallet totalling 31.500, as well as shoes and sandals totalling 135.000 pairs. Along are the potential for leather craftwork business in 2003:
Akarwangi Craftwork
As one of the world’s biggest nominative producer of fragrant root (see Unique Product – Fragrance Root Oil), the people of Regency of Garut have tried maximum utilization of natural resources which they have by making craftwork based on fragrant root materials in a form of wall ornament, table cloth, flower vase, candle case, etc
The request for fragrant root craftwork of the Garut Regency continued to increase both in the local and international level. At least it is seen in the export trading that was reported Garut Regency Disperindag that the volume of fragrant root craftwork in 2003 increased by as many as 850% compared to the year beforehand which was totalling 900 kg with the price 9.766.00 US$.
Bamboo Craftwork
This industry is located in centers which naturally grow through inheritance with skills and expertise that originated from the prior generation. This industry can naturally grow because of several factors:
Availability of bamboo in almost every region of Garut Regency,
The Result of bamboo plait is needed by the people for household tools,
The Availability of bamboo in the year of 2003 was big enough. It was noted that bamboo garden has the area of 323,10 Ha with 726.492,00 ton yields. Bamboo Plaited Product is still limited to function/usage only, whereas variation of plaited product is still possible in regard of quality enhancement as well as increasing the income for the craftsmen.
Batu Aji
Caringin is the area of the excavation of charm stone. Various kinds of agate could be ordered like Liontin stone for the ring, ear studs et cetera in a polished manner that is very neat. The kind that really popular is that which colored light green.
The kind is very heterogenous like krisopras - the Garut Emerald, native copper (the Vein Stone of Copper), agate, quartz/kalsedon (kecubung), kriskola, jaspir, graveled wood fossil, et cetera. The export opportunity foreign countries is quite prospectus where krisopras could achieve the price of US$ 300/kg. And the multicolored wood fossil of US$ 25/kg.
Various Craftwork of Poultry Hair
Poultry Hair Craftsmen produced various accessories, among them are tie, brooch and many others. The raw material is taken from poultry hair which is formed with unique design and feature. Its location is in Kec.Leles, the distance from the Garut city is approximately 15 km.
Tourists who visits there and the Cangkuang Temple which also located at Sub district in Leles consider this unique craftwork as one of the gift they choose to be brought home to their home region.
With the population of poultries in the Garut Regency totalling 1.887.740 animals, of course this craftwork’s raw material is not difficult to be obtained. Activation efforts of this business is the management of its processing to increase creativity, the innovation, and the promotion to widen the market share
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