Belgrade, June 11, 2012

Embassy of the Republic of Indonesia - Belgrade - Serbiawww.kemlu.go.id/belgrade

Faces of Indonesia

Ambassador of the Republic of IndonesiaH.E. Mr. Semuel Samson

Dear friends of Indonesia,It is my great pleasure to welcome you in the premises of Indo-

nesian Embassy on this beautiful afternoon in spring 2012. On be-half of the Indonesian Government, I would like to extend a warm greeting to all my dear colleagues, in presentation of Indonesia Cultural Heritage today.

Today’s event served as series of many Embassy programs in strengthening relationship between Indonesia and Serbia that has lasted more than 50 years. We are hoping that by intensify coop-

eration between the two countries will develop understanding between the both countries, as well as increasing number of visit of our Delegations from Indonesia to Serbia, vice versa.

Culturally, Indonesia and Serbia have many in common, where both are rich with its traditional cultural heritage. Indonesia with its more than 13.000 islands is a home for more than 300 ethnic groups, that each carry their own unique language, culture and traditions, passed on from gener-ation to generations until present day. With the spirit to introduce Indonesia culture to the public all around the world, the Embassy has participated in the 34th International Fair of Tourism in Belgrade, last February 2012. Our effort to intensify friendship relationship between the two countries did not stop there; the Embassy has held also several Indonesian cultural events such as ‘Tedak Siten’ at the IWC Coffee Morning, and ‘Sales Mission’ as well as ‘Fashion Show’, at May 2012.

On this opportunity, Delegations from Indonesia led by my best friend, Mr. Fadli Zon, has arrived in Belgrade to introduce some of Indonesia unique cultural heritage for our friends in Belgrade. Some of the cultural heritages present today are the Indonesia traditional woven ‘Songket’, ‘Ba-tik’, traditional puppet of ‘Wayang Golek’, traditional weapon of ‘Keris’, series of amazing pho-tographs of Indonesia by Mr. Asrian Mirza, as well as poet reading by Indonesia legendary Mr. Taufiq Ismail, and presentation of Sumatera traditional performance by ‘Mak Katik’.

Special for today’s event are poetry reading from one of Indonesia legendary poet, Mr. Taufiq Ismail. He is considered as one of Indonesia legend in terms of his achievement and activities in the literature world. He received the award “Anugerah Seni” from the Government of the Re-public of Indonesia (1970), “Cultural Award” from the Goverment of Australia (1977), “South East Asia Write Award” from the Kingdom of Thailand (1994), “Penulisan Karya Sastra” from the Language Centre, Department of Education and Cultureof Indonesia (1994). He was twice invited as guest writer by Iowa University, USA (1971-1972 and 1991-1992), and once by the Council for Languages and Books, Kuala Lumpur, Malaysia (1993).

Even though today’s presentation are only a small part of Indonesia diverse culture, I hope you will enjoy today’s event and I also hope by seeing today’s presentation will tempt you to come to Indonesia to explore and experience directly of Indonesia unique culture.

- Welcome speech of the Ambassador of the Republic of Indonesia, H.E. Mr. Semuel Samson - Greeting from Mr. Fadli Zon- Poetry reading, poem “Sumatra” (Milos Crnjanski) by Viktor Lazic- Poetry readings by Taufiq Ismail and Fadli Zon- Saluang traditional music by Mak Katik - Poetry reading by Mrs. Mirjana Bulatovic and Mr. Branislav Veljkovic- Poetry readings by Taufiq Ismail and Fadli Zon- Traditional performance of Pencak Silat (Martial arts) by Mak Katik- Reading excerpts of the book “In the heart of Sumatera” (Viktor Lazic)- Exhibitions of: Keris Wayang Golek Songket Batik Photopraphy “Faces of Indonesia” by Mr. Muhammad Asrian Mirza- Cocktail

Program

Profiles

Taufiq IsmailBorn in Bukittinggi, West Sumatera, on 25 June 1935. Taufiq Ismail

grew up in Pekalongan, Central Java. A legendary poet of Indo-nesia, he has written verses since the 1950’s. Hewas brought up in a family of teachers and journalists who were fond of reading. He has wished to become a man of letters since he was small.

He rendered into poetry the transition from the Old Order to the New Order in mid-1960s. He capture the rumble of the demonstrations by high-school and university students after the Gestapu in collections of poems called Tirani(1966) and Benteng(1966)which spread far and wide at the time.The poems were published initially in the anthol-ogy Manifestasi (1963). Together with Ali Audah and Goenawan Mo-hamad, he translated the philosophical work of Muhammad Iqbal, The Reconstruction of Religious Thought in Islam (1964). His other works include Buku Tamu Musium Perjuangan(1972), Sajak Ladang Jagung

(1974), Kenalkan, Saya Hewan (poems for children, 1976), Puisi-Puisi Langit (1990), and reprint of Tirani and Benteng (1993).Taufiq Ismail was the founder of the prominent literary magazine in Indonesia, Horison (1966). He writes not only

poetry, but also short stories, dramas, essays, columns on abundant and diverse themes abundant and diverse. A productive writer and editor, he has had published 19 books. As a poet, he has performed poetry recitation at vari-ous literary festivals and forums in many cities in Asia, Europe, the USA, Australia, and Africa, since 1970.

Many of his poems have been used as lyrics for their songs by Himpunan Musik Bimbo and other well-known Indonesian singers such as God Bless, Ian Antono, Ucok Harahap, Chrisye, Niki Astria, Erwin Gutawa, Armand Maulana, Gita Gutawa, etc.His poems have been translated into English, Arabic, Russian, Japanese, German, French, Mandarin, and Sundanese.

He received the award “Anugerah Seni” from the Government of the Republic of Indonesia (1970), “Cultural Award” from the Goverment of Australia (1977), “South East Asia Write Award” from the Kingdom of Thailand (1994), “Penulisan Karya Sastra” from the Language Centre, Department of Education and Cultureof Indonesia (1994). He was twice invited as guest writer by Iowa University, USA (1971-1972 and 1991-1992), and once by the Council for Languages and Books, Kuala Lumpur, Malaysia (1993).

His latest book is Mengakarke Bumi, Menggapai ke Langit (2008), a collection of almost all of his works in 4 vol-umes. Soon he will compile another work, Rerumputan Dedaunan, containing the translations of 160 poems by American poets from the 1850s to the 1980s.

Fadli ZonBorn in di Jakarta on 1 June 1971, completed his university education

at the Russian Study Program, Faculty of Cultural Knowledge, University of Indonesia andearned a Master of Science (MSc) degree in Development Studies from the London School of Economics and Political Science (LSE), England.

He is a politician and cultural figure, Vice-Chairman of Partai Gerakan Indonesia Raya (GERINDRA) since 2008, was a member of the People Consultative Assembly of the Republic of Indonesia (1997-1999), Chair-man of Badan Komunikasi Partai Gerindra (2010 until present), lecturer at the University of Indonesia and chairman of Ikatan Alumni Fakultas Ilmu Pengetahuan Budaya UI (ILUNI FIB UI). He is also active as the Secretary General of Himpunan Kerukunan Tani Indonesia (HKTI) 2010-2015, Exec-utive Director of the Institute for Policy Studies (IPS) since 1997,Editorial Board member of the literary magazine Horison since 1993, Chief editor of the magazine Tani Merdeka (2007- present), Commissioner of palm oil company PT Tidar Kerinci Agung.

Fadli Zon was a student activist at the beginning of the 1990’s, elected as Mahasiswa Berprestasi (Teladan I) UI and Mahasiswa Berprestasi III na-

tional level (1994). Fadli Zon has written several books, among other, Gerakan Etnonasionalis: Bubarnya Imperium Uni Soviet (Sinar Harapan, 2002); The IMF Game: The Role of the IMF in Bringing down the Soeharto Regime (IPS, 2004); andPolitikHuru Hara Mei 1998 (IPS, 2004); The Politics of May Riot 1998 (Solstice, 2004). He alsoserved as editor of 10 books and wrote for anthologies.

Fadli Zon founded the Fadli Zon Library in Jakarta and Rumah Budaya Fadli Zon in West Sumatera. The collection contains books (45.000, mostly old books and rare), keris, songket, long-play records of Indonesiafrom the 1930s, old newspapers, stamps, coins, medals, paintings and sculptures.

In appreciation of the cultural works he has undertaken, Fadli Zon received traditional honorary titles of Tuanku Muda Pujangga Diraja from Daulat Yang Dipertuan Raja Alam Minangkabau in 2009, Kanjeng Pangeran Kusu-mohadiningrat from the Keraton of Surakarta in June 2011, from Sri Susuhunan Pakubowono XIII, and Kanjeng Pangeran Aryo Kusumo Yudho (2012). In his home town, in Kabupaten 50 Koto, West Sumatera, Fadli was bestowed the traditional title of Datuk Bijo Dirajo Nan Kuning.

Profiles

Musra Dahrizal (Mak Katik)He was born, with given name Musra Dah-

rizal, and later bearing the traditional Minang-kabau title Katik Jomang Kuto, in Padang Pan-jangon 18 August 1950. His nickname is Mak Katik. In 1963 Musra Dahrizal Katik Rajo Mang-kuto did not complete his elementary school education, in 1963. However, he was invited to give lectures on Minangkabau tradition by the University of Hawaii, Manoa, USA, and by Akademi Seni Warisan Budaya Kebangsaan, Malaysia.

Mak Katik teaches at the Universitas Neg-eri Padang and Universitas Andalas, Padang. After teaching for one year in Malaysia, he would return this semester to Universitas Neg-eri Padang to teach Minangkabau Ethnology and Minangkabau Philosophy.

He has studied Minangkabau tradition since 1959. His teachers were Rangkai Tuah Kabun, Mak Etek Jaka, and Datuk Tongga. He learned from them until their deaths in the 1980’s. He studied all aspects of the tradition

and cultures from those teachers, whose hometown is the same as his, Batipuah, Padang Panjang, West Sumatera. He studied poetry, wrote anuscripts for randai (traditional performing art of Minangkabau, performed by groups involving play and dance, originating from pencak silat (martial art), skilled in playing the saluang (flute), skilled in pencak silat and playing the talempong (percussion).

In addition to being a lecturer, Mak Katik was also involved several times as supporting actor in films related to Minangkabau, such as Siti Nurbaya, Sengsara Membawa Nikmat, Wajah-Wajah dalam Cermin, Sorong Patah Siku, Simarantang, Maran Pado, Anak Galanggang and Dendang Cintadari Pesisir. He is also a presenter and resource person for BAM (Budaya Alam Minangkabau/Cultural World of Minangkabau) at TVRI, West Sumatra, until today.

Muhammad Asrian MirzaMuhammad Asrian Mirza, born in Kayu Agung, South Sumatera, on 16 April 1965. He is a professional photogra-

pher who started his journalistic career at Senang Magazine (1989–1990) as photo editor. He was Chief of Camera-person and Acting Manager for News Support at Metro TV, Jakarta in 2004.

Asrian has received several awards, First Prize Miss ASEAN Photo Contest (1989), Silver and Bronze Medal The First ASEAN Art Photo Festival, Hanoi (1997), and in September 2005 he received the First Prizein Photography Contest 2005 in Indonesia.

Since1990, Asrian has held exhibitions of his photos in Jakarta, Bali, Yogyakarta, Manila, and Hanoi. In 2008, he held solo exhibitions in Turin, Geneva, and Amsterdam on Indonesian workers, in cooperation with the International Labour Organitation (ILO). Also in 2008, he held solo exhibition in Indonesia with the theme My Work, My World: A Portrait of Child Labourers in Indonesia.

His most memorable experience has beenhis being appointed as THE ONLY ASSIGNED PHOTOGRAPHER by White House for President Bush trip in Indonesiain 2007. He continues to express his art through his photos; also, he still serves the ILO as photographer.

Outside photography, Asrian serves as Chairman of the Information and Communication Section of Himpunan KerukunanTani Indonesia (HKTI), and Chairman of the information and Communication Section of Partai Gerindra.

Esiyati IsmailEsiyati Ismail is the Managing Director of the literary magazine Horison and Taufiq Ismail’s wife.

Edin HadzalicEdin Hadzalic is the manager of Rumah Budaya Fadli Zon in West Sumatera Barat, Indonesia. He is active in orga-nising traditional and modern arts performances at this Rumah Budaya.

Kerisby Fadli Zon

Identity has become an important discourse in the midst of globalisation that has shrunk space, time, and distance. Cultural strives and indeed the clash of cul-tures have become unavoidable. A question is being raised regarding the domination of a culture by another culture. There is also a discourse on high culture and low culture in cultural interactions. Our perspective on cul-ture determines the manner we perceive globalisation. In today’s world, identity has increased in importance, as the factor that protect oneself from the assault of the process of generalisation and domination by powerful entities. Admittedly, identity is not something that re-mains constant; it continues to shift dynamically, expe-riencing production, reproduction, and reconstruction, in accord with the experience of the individual or the group concerned. In fact, to understand the dynam-ics of the formation of an identity, personal narration or personal/group experience plays an important role.

None could outshine keris as a cultural artefact created by Indonesians. Keris is a masterpiece of the people of Indonesia that came to existence handed down from generation to generation since the era of the ancient Nusantara kingdoms. As a cultural arte-fact, keris possesses historical, artistic, philosophical, symbolic, and religious values.

Keris is a manifestation of the soul of the people of Indonesia, representing the times and events Nusan-tara has gone through. Hence, the emergence of keris as a cultural expression in the form of a concrete object cannot be separated from certain space and time. Keris cannot be separated from history. All prod-ucts of the activities of human beings in a certain pe-

riod revealed their historical journeys. Historical relics are material culture that serves as objects for the reconstruc-tion of past events. To ascertain material culture requires the writing of the biography of the objects that are being studied so as narrations are established, which constitute the basic facts to be interpreted. What is unique is that keris exists not merely as an object of the past, but it has persevered and been able to penetrate space and time long in dimension and become sustainable and ever-lasting because of its continuous production.

Keris is not merely a weapon or part of ceremonial attire; it is a symbol that reflects the identity of its owner and the wishes engraved on it during its creation. Keris represents norms, beliefs, and the conducts of the community. It follows that keris has “content” since it represents the soul of human beings.

Keris is not ain animate object, but a subject that plays a part in cultural changes. The face of the world shapes keris, and keris shapes the face of the world. That is why keris is not an inert artefact that serves only as an object of retrospective interpretation. Keris has existed through the ages, undergoing metamorphoses and improvements. Keris has become a dynamic medium that represents hopes for the achievement of better life.

As Woodward (Understanding Material Culture: 2007) says, human beings have the tendency to feel superior in relation toobjects because of their perception that human beings exercise control over objects. However, objects, again according to him, also exercise control over human beings. The control is not in the sense that objects could exploit the desireto consume or the domination of technology, but in the sense that humans beings need objects to comprehend their existence and cultural change. This interaction between subject and object produces culture. Objects could symbolise class, social status, subculture affinity, and, in fact, could create social meanings and re-produce social structures. As a material culture, keris need to be interpreted within the context of the situations of production, utilisation, termination of utilisation, and re-utilisation.

Lingkaran Keris Indonesiaor Indonesia Keris Circle is a group of keris aficionados who wish to conserve and introduce Indonesian keris widely within the country and abroad. It wishes to reach out wider audiences, from all walks of life, from all kinds of backgrounds, and across generations, who have passion for keris. It wishes to overcome political, economic, social, and cultural barriers that often compartmentalise the people of Indonesia. It wishes to strengthen Bhinneka Tung-gal Ika. Lingkaran Keris Indonesia endeavours to contribute to the cultural advancement of Indonesia through keris.

Keris is a material culture that represents the identity of Indonesia in the world of cultural cross-currents. It was given by the UNESCO in 2005 the title Masterpiece of the Oral and Intangible Heritage of Humanity.

• Fadli Zon, Chairman of Lingkaran Keris Indonesia (Indonesian Keris Circle), bearer of traditional honorary titles of Kanjeng Pangeran Kusumohadiningrat and Kanjeng Pangeran Aryo Kusumo Yudho bestowed by Sunan Pakubuwono XIII.

Unesco recognized batik as Indonesian cultural heritage

The role of UNESCO

It is undeniable that since the recognition of keris as the world cultural heritage by the UNESCO,keris lovers show their appreciation by making new keris pieces, both those that follow the padhuwungan and those with new design that deviate slightly from the padhuwungan or do not use padhuwungan at all. This is exciting. Although for UNESCO, in its appraisal, whatare intangiblesare the non-objects, the proposal of Indonesia to the UN (UNESCO) on keris as a world heritage, was considered by its appraisers as the best proposal from among those submitted by other countries for their respective cultural items to be recognised as a world cultural heritage. The intangibles include:

1. History:Here history means all things that are connected with mythology, fairy tale, legend, chronicles and history related to

the time the keris was made, gleaned from stories about the ancestorsthat are very subjective and non-scientific and of-ten defy common sense. We are familiar with the story about Empu Gandring the craftsman and his magical keris, which was used by Ken Arok (the customer) to kill Empu, its creator, and Tunggul Ametung and also claimed Ken Arok’s life and four more men. Then there is the story about Kyai Sengkelat keris crafted by Empu Supa which was stolen by Adipati Blam-bangan, and Condhong Campur keris which was involved in a duel with Kyai Sengkelat keris, in Majapahit era. There is also the story of Aryo Penangsang and his Setan Kober keris, etc. These stories can be classified as legends or folktales. We are also familiar with the myth of keris kadewatan which was said to have been made and used by gods, as written in the book Pratelan Dhapur Dhuwung saha Waos. This tells about Sri Paduka Mahadewa Buda (Bathara Guru) who com-manded Empu Ramadito make certain kinds of weapons, among other keris dapur (shape and design) Lar Ngatap, Pasopati and Cundrik. Keris not only plays an important role in history, but also in making history. For instance, General Soedirman and Bung Tomo always tucked in a keris in their belts when leading the fight against the colonial power. There are many more stories to be found in the Javanese ancient manuscripts and Malay Annals.

2. Tradition:Tradition is the practices of the community that comprise certain rituals for the actualisation of keris as a traditional

object, such as of community wedding ceremony, circumcision ceremony, granting of awards, house watch, etc.

3. Social Function:Keris is an object which is made in earnest, intricate and without thought as regards time span, labour and cost;

it is a very special art object. It could function as a symbol of martial prowess, royalty, brotherhood, social status, vic-tory, defeat, or as a ceremonial accessory, but also as a substitute for a bride groom if he cannot due to whatever reason be present at his wedding ceremony.

4. Arts aspect:Arts in keris world include the shape and the pamor (damascene) wrought technique, which constitutes the first at-

traction to the material aspect of keris. Pamor wrought technique of the past has remained a mystery and a well-kept

secret (ngelmu ingkang sinengker) that gave the impression that keris making involved the intervention of the gods or supernatural power, which sometimes is misleading and in fact could harm the world of keris science of today.

5. Philosophy:Attitudes, beliefs and advices from the “holy man” constitute the world view of the Javanese keris aficionados,

in particular of those who see keris as a symbol of the unity of the Creator (God) and His creation (human beings) and are expressed in very beautiful words, such as curiga manjing warangka, warangka manjing curiga, jumbuh-ing kawula Gusti (or Pamoring kawula Gusti). These ad here especially to those who strive intensely to be near God through purification, submission, and asceticism in order to achieve a higher level of life, which is taqwa (piety). Those that have succeeded are called insane kamil (perfect man).

6. Symbolism:Symbols in keris world, acknowledged or not, are much influenced by foreign cultures – Cina with its naga (dragon)

and singa (lion), Arab with its calligraphy, and India with its Buddha and Hindu. The shape, warangka (sheath), jejeran (handle) and the design of pamor (damascene) on bilah (blade) of keris are also replete with symbols, for instance: • Straight keris, a symbol of steadfastness, the fusion of creativity with intent.• Wavy keris, symbol of harmony and the vagaries of life.• Jejeran (handle) Nunggak Semi, a symbol of extinct old ideas that is still used as a source of inspiration or spark of life for life values that are growing and will grow.• Pamor (demascene), a symbol of the name of patterns, such as beras wutah (scattered rice grains), a symbol of abundance of clothing and food; udan emas (rain of gold), a symbol of wealth and riches; wengkon (winengku), a symbol of safety and protection from God and so on. • Ganja and pesi (tang), symbols of lingga and yoni or the coming into one of male and female and the continuity of the life of humankind.• And other symbols that cannot be enumerated here.Basically, the symbols are prayers that are visualised in forms, rendering them as if being uttered continuously, and they are permanent. From these permanent prayers would emerge the hope that they would be granted.In fact, for a a certain small number of men, those symbols or prayers serve as if they were a guarantee of hope.

7. Mysticism:It is not possible that we should try to treat equally the mysticism surrounding a keris each individual holds on to,

given the influence of the strength of ethnicity, belief system, wangsit, dhawuh, personal experience and mystical training that is still highly subjective. However, with the passage of time the mystical value has started to grow thin in tandem with the increase in interactions, education, and information about keris, which has gained appreciation from the intellectuals. However, it remains undeniable that mysticism still exists; in fact for certain persons it still has importance, such as keris with meteorite pamor, which is seen as the union of bapa angkasa (father from the sky) with Ibu Pertiwi (mother earth), where meteorite comes from the sky, while iron or originates from the earth. Hence, the creation of a keris is not an easy affair, it is indeed very complex, such that a keris craftsman or Empu could be lookedupon as a holy man who possesses very high mystical value.

Batik

Origins of Indonesian batikThe word “batik” is Indonesian in origin, even if the concept

was known by Egyptians and Indians. It is known to be more than a millenium old, and there are evidences that cloth deco-rated through some form of resist technique was in use in the early centuries AD in several West African, Middle-Eastern and Asian communities.

The word Batik is originally an Indonesian-Malay word and derives propbably from ‘titik’ which means ‘to dot’ .This art of textile is well spread in the hindu and malay world, but Indone-sia is certainly the heart of the Batik. This way of painting and coloring on textile cloth has reached its higher degree of excel-lence in the Island of Java , in cities like Solo, Yogyakarta, Peka-longan or Cirebon. From Java this ‘batik’ cloth was exported to other islands of the archipelago and to the Malay peninsula.

On the 17th century, the Javanese sultanate of Mataram accorded important ceremonial functions to the Batik clothes. Sultan Agung of Mataram is known to have dressed in white cotton decorated with Indigo blue, and his court dancers wore ‘kain kembangan’ colored with a red organic dye. He could be considered as a pioneer in the usage of the the batik clothes in the Javanese Courts.

During the past two or three centuries, batik has become one of the principal means of expression of the spiritual and cultural values of Indonesia.

The techniques, symbolism and culture surrounding hand-dyed cotton and silk garments known as Indonesian Ba-tik, permeate the lives of Indonesians from beginning to end: infants are carried in batik slings decorated with symbols, designed to bring the child luck, and the dead are shrouded in funerary batik. Clothes with everyday designs are worn regularly in business and academic settings, while special varieties are incorporated into celebrations of marriage and pregnancy and into puppet theatre and other art forms. The garments even play the central role in certain rituals, such as the ceremonial casting of royal batik into a volcano. Batik is dyed by proud craftspeople who draw designs on fabric us-ing dots and lines of hot wax, which resists vegetable and other dyes and therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with boiling water and repeating if multiple colours are desired. Of-ten handed down within families for generations, the craft of batik is intertwined with the cultural identity of the Indonesian people and, through the symbolic meanings of its colours and designs, expresses their creativity and spirituality.

Batik, Indonesian art of textile

Batik Indonesia was officially recognized by UNESCO with the inclusion into the Representative List as a Cultural Heritage objects Tak-Man (Representative List of the Intangible Cultural Heritage of Humanity) in the 4th Session of the In-tergovernmental Committee on Cultural Heritage of non-object in Abu Dhabi, Union Arab Emirates, on October 2, 2009. UNESCO recognizes Indonesian batik along with 111 nominations from 35 countries of cultural currency, and put it in the Representative List of 76 eyes of culture.

UNESCO recognizes that Batik Indonesia has the technical and cultural sym-bol that identifies the Indonesian people from birth to death. It was seen from carried babies with patterned batik cloth symbols that bring good luck, and who died covered with batik cloth. In addition, clothing with the daily pattern is also used routinely in business and academic activities. While many other pat-terns used in wedding ceremonies, pregnancy, also in the puppet, the needs of non-clothing and various artistic performances. Batik cloth and even play a major role in certain rituals. Various symbolic meanings of colors and patterns to express creativity and spirituality of the people of Indonesia.

Unesco recognized batik as Indonesian cultural heritage

Wayang GolekOrigins of Wayang Golek

Wayang or shadow puppet theatre is one of the pinnacles of the arts of the people of Indonesia, the most prominent from amongst other arts. Wayang comprises performing art, singing, music, oral tra-dition, literature, painting, carving, and also symbolic art. Wayang culture, which has continued to grow from era to era, also serves as a medium for information dissemination, religious education, secular education, entertainment, and philosophical insights.

The term “wayang” is believed to have come from the Javanese word “wewayangan”, which means shadow. This conjecture is af-firmed by the fact that the perfomance of Wayang Kulit uses kelir (sheet), a piece of cloth, as a divider between dalang (puppeteer) who manipulates the wayang, and the audience on the other side of kelir. The audience views the wayang movements through the shadows falling on kelir. In the days long past wayang performance had simple accompaniment, made up of a set of gamelan orches-tra consisting of saron, todung (flute) and kemanak.

The arrival of Islam in Indonesia in the 16th century also greatly influ-enced wayang culture, in particular with regard to the religious con-cept of the philosophy of wayang. At the beginning of the 15th centu-ry, in the era of the kingdom of Demak, an oil lantern of specific shape called blencong began to be used in wayang kulit performance.

Wayang golek (wooden puppet) is a wayang performance whose puppets are made of wood. The property for the performance con-sists of Sundanese gamelan (salendro) made up of two saron, one peking, one selentem, a set of boning, a set of boning rincik, a set of kenong, a couple of gong (kempul and gong), and a set of kendang (a kendang indung and three kulanter), gambang and rebab. The performance of wayang golek is led by dalang (who also in tones suluk, vocalises the anta wacana, conducts the gamelan, accom-panied by sinden (singer). Today, wayang golek is more dominant as a people performing art in that it has relevant functions pertaining to the needs of communities, both spiritual and material.

Songket is a traditional Malay woven gold-cloth in Indonesia. It be-longs to the brocade family of textiles. It is hand woven, in silk or cot-ton, and intricately patterned with gold and silver threads. The metallic threads stand out against the background cloth to create a shimmer-ing effect. The term songket comes from the Malay/Indonesian word sungkit, which means “to hook” or “to punch”. This has something to do with songket making; to hook and pick up a group of threads, and then slip the gold threads in it. The word menyongket means ‘to em-broider with gold and silver threads’.

Songket is a luxury product traditionally worn for ceremonies. It can be worn as sarong, shoulder cloths, or head ties. Tanjakor songket headdresses are worn at the courts of the Malay Sultanates. Tradition-ally, only adolescent girls wove songket. However, boys and men are also weaving songket today.

Songket was woven using Malay wood-frame implement. Intricate patterns are created by introducing extra gold or silver threads using a flat needle. Usually, songket motifs feature animals and plant. Oftern, they are also called by the names of traditional Malay delicacies, such as serikaya, wajik, and tepung talam, which were the favourites of nobility.

Exclusive songket took three months to finish, while ordinary song-ket took only about three days. Originally, men used songket as head gear. Only thereafter that Malay women started to wear songket sa-rong with their long apparel. Today, songket is a popular choice for Malay wedding ceremony; it often serves as one of the wedding gifts from the bridegroom to his bride.

One of Indonesia’s songket is Minangkabau songket from West Su-matra. Minangkabau songket possesses its own meaning and value of togetherness. In its development, it was pulled into the acculturation processes that were going on in Minangkabau society, particularly since the arrival of Islam. In West Sumatera,Minangkabau songket are produced in several places, such as at Pandai Sikek, Pitalah, Batipuh, Payakumbuh, and a number of other centres.

Origins of Songket

Belgrade - Serbiawww.kemlu.go.id/belgrade

Embassy of the Republic of Indonesia