traditional game boy-boyan

traditional game boy-boyan


Traditional games with a total of five to ten people. Game model that is compiling a stone slab, usually taken from the floating roof or pocelen which are relatively small. Ball varies, usually made of bundles of plastic-coated paper, soft and not hard, so it does not hurt. One person as a guard plate, the others then take turns throwing the rock pile with the ball until the collapse of all. After collapsing, the guards have to take the ball and threw it to another member who threw the ball earlier. A ball that hit a guard lempengannya gan death.

SAUCE

TAUN LULANG SAUCE

LULANG This is the name of the java object is a cow skin that has been burned to disappear until it was time fur ox hair scraped up missing black color ... pastu boiled until tender ... This usually orangg java lulang who diligently working on why it 's history was given the name because the epidemic in the Javanese word meaning many epidemic tu ni ... meaning sauce may durable heating if diligently so that two weeks may hold more

Ingredients:
1 / 2 kg of calf skin
1 1 / 2 Liter milk from a coconut seed
6 peel onion
5 garlic peel
1 inch ginger
RM1 rice chilli
2 pillowslip galangal
cooking oil
Sugar 3 large blades
Salt 2 large blades
One-chip gelugur acid

How to Make:
FIRST Heat the oil in a skillet. Saute until crisp racik materials.
then hirisan enter galangal and chili paddy (rice chilli so simple enter). let a minute until slightly wilted.
after that Cut lulang agak2 2 cm long. do not cut a big input into because it will expand again.
then Enter lulang in stir earlier. it adds water. about cap leave on for 15 minit.
and finished when gently insert lulang dah coconut milk. so let me bubbling coconut milk.

Most delicious if you eat beserved with chips

Dhalang (puppeteer) traditional work

Dhalang (puppeteer)

The dalang (Javanese: dhalang) is the puppeteer in an Indonesian wayang performance.

In a performance of wayang kulit, the dalang sits behind a screen (kelir) made of white cotton stretched on a wooden frame. Above his head, hanging from beams attached to the top of the screen, is the lamp (blencong), which projects the shadows onto the screen. In front of the dalang is a stage (debog), traditionally made from the trunk of a banana tree, into which the sharpened control rods of the puppets can be pushed to keep them in position during the performance. To his left is the puppet chest (kotak), and to his right is the puppet chest's lid, on which the puppets sit ready for use.

In addition to moving the puppets and speaking their lines, the dalang is also responsible for giving cues to the gamelan. This is done principally by playing the kepyak, a metal plate or set of plates played with his foot, or by rapping on the puppet chest (kotak) with a wooden mallet held in the left hand.

The art of puppetry (pedhalangan) was traditionally handed down within families, and dalangs formed a type of informal caste within Javanese society. The women of these families traditionally were expert players of the gendér, an instrument which has a particularly important role in accompanying wayang performances. The sons of dalangs were often apprenticed out around the age of 13 to another dalang. His role included helping to set up the screen ahead of a performance, performing the afternoon show before a main all-night wayang, and sometimes acting as an accompanying musician or as an assistant puppeteer. He would also frequently end up marrying his master's daughter, who would have been trained as a gendér player by her mother. The social aspects of the dalang caste are covered by Victoria Clara van Groenendael's book "The dalang behind the wayang" (Dordrecht, 1985)

Much of the traditional training of dalangs was in the form of a practical apprenticeship, with a certain amount of spiritual training thrown in. This included meditation and a form of ascetic exercise known as kungkum, in which meditation is carried out naked at night while immersed up to the neck in water. Such practices are felt to be essential in building up the stamina to perform for nine hours at a stretch. A further ascetic element is that dalangs never eat during the performance, although almost all drink sweet tea and many also smoke heavily.

In recent times, however, schools teaching pedhalangan have been founded, such as the Habirandha school within the Kraton Yogyakarta, which teach a standardized version of pedhalangan. The Habirandha school published its own textbook, the Pedhalangan Ngayogyakarta, in 1976. Standardized pedhalangan is also taught at Indonesian state institutions such as the Indonesian Institute of the Arts, Yogyakarta.

Pedhalangan falls into three main areas - musical, vocal and puppetry. The musical aspects include the direction and cueing of the gamelan and the singing of mood-setting songs (sulukan), the vocal includes the recitation of set texts at scene-openings (kandha) and the extemporisation of dialogue showing mastery of Javanese linguistic etiquette, while the puppetry itself (sabetan) involves a complex system of movements and positions. There is an extensive study of sabetan in English by Roger Long (see further Reading)

Hide and seek traditional game

Hide and seek is a kind of game that can be played by at least two people, but if more and more will be more exciting.
[Edit] How to play

Starting with Hompimpa to determine who the "cat" (as a search of his friends who were hiding). The cat was later will close my eyes or turn around while counting to 10, usually he's facing a wall, tree or anything what so she would not see their friends move to hide (where this case has a different name in each region, for example in some areas in Jakarta There was a call INGLO, in other areas there are also calls that the check and called that place HONG). After a count of ten (or count of a mutually agreed, for example if the area is open, the count is usually increased to 15 or 20) and after his friends in hiding, begin the "cat" in action to find those friends.

If the "cat" to find his friend, he will mention the name of his friend, touching INGLO or Bon or HONG, if only his name only, then the "cats" are considered lost and repeat the game from scratch. What if is, when the "cat" guerrilla find her friends are hiding, one child (whose status is still as "operating target" or not found) can be sneaked into INGLO, receipts or HONG, if successful touch, then all the friends who had previously been found by the "cat" freed hostage aka the "cat" shall be deemed never to be found, so the "cat" should be re-count and repeat the game from scratch.

The game finished after all the friends found. And the first was found to be the next cat.

There is one more term in this game, the 'fire' referred to here is when a friend caught by a cat who hid the cat due to being told by friends that have been found in cats ahead of hiding

Gamelan the musical traditional instrument

Gamelan the musical traditional instrument

1. The Gamelan is the musical instruments. In the Javanese Wayang, these instruments nowadays consist of at least 15 different types, mostly made of bronze and generally of the percussion type, mostly made of bronze and generally of the percussion type; a small bamboo flute (suling), one or two horizontal drums on wooden stands (kendang), a two stringed violin-like instrument (rebab) and a wooden xylophone (gambang) are the non percussion and/or non-bronze musical instruments used to accompany a wayang purwa performance.

2. The kothak or wooden chest. The kothak normally functions as a storage box for the wayang puppets and other equipment such as the kelir, chempala and kepyak. To store a professional set consisting of around 200 puppets, its measurement should be approximately 150 cm. long, 80 cm. wide and 60 cm. high (with lid on).

3. The chempala or wooden knockers are usually made of teak wood. There are two kinds, one about half size of the other. The larger of these is approximately 20 cm. long with a diameter of about 5 cm. This is usually held in the dalang's left hand, is used to knock the kothak to produce the sound effects and coded orders he requires. When his two hands are busy manipulating the puppets, he uses the small chempala for the same purpose by holding it between the toes of his right foot, for he sits cross-legged, his right foot crossing his left thigh. As mentioned above, the knocking sounds not only produce sound effects, but also serve as the coded orders/signals of the dalang, orders to the musicians on what melodies to play, to slow down or quicken the rythm, to play it loudly or softly, or stop the music.

4. The kepyak or metal rappers. This is usually made of three pieces of bronze plate measuring approximately 15 cm. long and 10 cm. wide suspended on small cords or chains to the outer side of the kothak. The dalang hits it with the toes of his right foot or with the small knocker held between the toes of his right foot. The function of this tool is mainly to produce sound effects; occassionally it functions as a chempala in giving the coded signals.

by.Pandam Guritno, Wayang Purwa Program (Festival of Indonesia: USA 1990-1991), Indonesia: Studio'80 Enterprise, 1991.

Typical Wedding Clothe FITTINGS MOJOKERTO

Typical Wedding Clothe FITTINGS MOJOKERTO

Typical Wedding Clothe FITTINGS MOJOKERTO
Custom bridal apparel Mojokerto, can be divided into two: the first dress that is still original and the second a modified fashion. Especially for this second dress was even recognized by the Governor of East Java as a typical wedding dress Mojokerto. Efforts to preserve the traditional bridal dress from Mojokerto society is done by directing the modification, ie changing some parts to adjust to changing times. This effort apparently received positive responses from various circles both local government and society in general. It is therefore not surprising that in a relatively short time, traditional clothing is very well known modification of Mojokerto.
According to information from various resource persons who successfully contacted, obtained a picture that attempts to modify the traditional bridal dress custom made after partial Mojokerto the Mojokerto people began to leave the traditional clothing and replace with a wedding dress and even style of Surakarta, Yogyakarta or there are some who choose European clothes, so that feared that if not immediately adjusted to the changing times, the typical traditional clothes Mojokerto will disappear altogether. Even so to track the original custom clothing is very difficult, obstacles encountered, among others, was dressed very simply, apart from that most clothing only has a broken (bridal makeup), even according to some broken (bridal makeup), even according to some information, the clothes really last original show's been around years ago in 1950, after which the clothes are gradually disappearing. Trends and developments society tastes very influential on the type of wedding dress is chosen, because most people choose a wedding dress from Central Java and Yogyakarta even cosmetic pcngantin Europe hence the Mojokerto area more traditional outfit pcngantin menyowakan these areas. For more details, will be described below original wedding dress and wedding dress Mojokeno Mojokerto which has been modified.

Original Wedding Dress Mojokerto

As we know that in order to survey the wedding dress should be made on certain months, which at that time done a lot of marriage ceremonies. But as time has urged the survey had to be done without adjusting the month-month term, even though there are some who carry out the intent of marriage dipilihpun clothes are not clothes but clothes that modified the original.
Further tracking dtujukan to fracture (bridal makeup artist) Watesnegoro village, Kec. Ngoro, namely Mbah Tun. Mbah Tun is a former cosmetic which includes older generation began to decorate the bride around the year 1970, and has now aged around 70 years. According to the story Mbah Tun, at around mid-year 1960 many brides who refuse to wear real clothes Mojokerto, because it was considered obsolete or outdated.
There bcberapa thing he remembered about the traditional bridal dress original Mojokerto, there are two (2) the type of clothing is clothing that is used by the duke and clothes used by ordinary people. The following description of the clothing worn by nobility.

Trousseau

Head ornaments:

Leaves of Java bun filled with flowers rocking (cunduk mentul) made of paper.
Diadem as a head covering.
A pair of gold earrings.
Gold necklace.

Front section:
Dipaes forehead (drawn) with the langes (charcoal) to black in color godheg groove formed like the shape of the ear curves.
Face up to his body parts with Atal polished, so that his body is yellow and clean and adds beauty impressed.
Her eyebrows are painted with charcoal, sharpened to look like a crescent.
Her lips were polished with Sumba or substances that are red food coloring using a stick that has been flattened.

Body Part:
Wearing a long cloth motif kawung, grinsing, or Sido mukti.
Kemben to cover the chest.
Belt / pending as abdominal binder.
Chocolate shoulder on both arms.
A pair of bracelets.
Diamond ring I fruit.
Leg Sections: Wearing kelompen or sandals as footwear.
Groom Apparel
Headdress: Blangkon typical Mojokerto.
Front section:
Part eyebrows and mustache painted with charcoal.
The face polished with Atal.

Body Part:
Wearing a long cloth that his motive is adjusted with the bride.
Long harness fabrics.
Chocolate shoulder on both arms.

Leg Sections: Wearing kelompen or sandals as footwear.

Wedding dress worn by most of society is as follows:

Bride

Head decoration: Wearing bun and covered with a veil of Java long.

Front section:
His face was polished with Atal to the body.
His eyebrows were painted with charcoal in order to appear like a crescent.
Her lips are painted with red Sumba.
A pair of Subang.
Necklace.

Body Part:
Kebaya wearing white or red.
Long cloth motifs kawung, grinsing or sidomukti.
Setagen as long cloth binding.
A pair of bracelets.

Part Feet: A pair of black sandals or rubber sandals as footwear.

Groom:

Section Head: Using typical blangkon Mojokerto.

Front section:
Eyebrows and mustache painted with charcoal.
Polished face with Atal.

Body Part:
Wearing a white shirt (shirt taqwa).
Trousers.
Belt which is used to men.

Leg Sections: black sandals or slippers as footwear, of rubber.

Modified Existing Wedding Dress

As of today, have made efforts to modify the traditional bridal dress Mojokerto has a characteristic that is not the same as a wedding dress from other areas. Clothing from this Mojokerto highlight some aspects of regional culture Mojokerto mainly relics of the past is heavily influenced by the culture at the time of Majapahit.

Before determining the shape and style of a typical wedding dress from Mojokerto, assorted rembug to exchange views and seek common ground be done either in the form of meetings, workshops and so forth. Various officials from relevant agencies and experts on beauty and cultural observers and historians of the region involved in Mojokerto join this determination. Until finally, the various results of these meetings led to a typical wedding dress Mojokerto was already confirmed in the Mojokerto Regency Pendapa and carried right on to the 703 anniversary of Mojokerto on Thursday night of May 30, 1996. The modifications made wedding dress is a reflection of the Majapahit Kingdom dressmaking. Based on archaeological data can be seen that the center of Majapahit kingdom in Mojokerto area, so that local bridal fashion layout is now also refers to the traditional clothing at the time of Majapahit first heyday. Data for this were taken from several terracotta statues, and reliefs of the temple relics of the Majapahit. With reference to the Majapahit this fashion, bridal fashion expected "Loro Pangkon" typical Mojokerto really other than to the others, is not affected by the bridal fashion from other regions. Besides trying to mempekenalkan typical fashion, the local government also attempted to popularize Mojokerto long cloth that is named "Grinsing Mojokerto." Grinsing Mojokerto is typical of Mojokerto in the form of batik cloth cloth filled with motifs grinsing gate while, mango, duck, and cashew. These motifs are based on the results and typical of Mojokerto. Similarly headdress, worn bun form, called "Creambath Keling". Bun idea is based on the observation data in the field based on the statues and temple reliefs tarakota, from there shows that the model knot of women at the time of Majapahit, based on the right side (like a chignon briefly Balinese women). In addition to data from the sculptures and reliefs, the bun shape also inspired by sanka forms (shells) which is an attribute of the god Visnu. The form during the Majapahit sankha very popular as a symbol of ongoing life (regeneration). It seems that this form is used as a prototype of a typical bride Mojokerto bun, which was given the name of the rivet bun. While for the bridegroom to the top hair in a bun as well, as the picture of the grand vizier Gajah Mada hairdo.

Besides the clothing worn by the 20 people called Pager Ayu escort woman, also a long cloth motif Grinsing Mojokerto kebaya completed with a yellow color with embroidery motif decoration on the bottom of the temple shortly before their kebaya. Likewise, a pager Good berjumiah 20 people also wear taqwa (Moslem) and yellow color motif gerinsing Mojokerto long cloth worn with folded side, so that only cover part of the thigh. The lower part was still wearing long pants to match her dress. The Good Paging is also wearing distinctive headgear Mojokerto.

The dominant color in all the traditional clothing of Mojokerto is yellow and golden yellow. This color symbolizes the majesty and splendor to commemorate the first heyday of the Majapahit Kingdom.

The shape of the bridal dress Mojokerto (East Pangkon) as follows:

A. Bride Dress (Paes Mojoputri)

Head ornaments:

Keling bun (hair styling sankha model / mussel)

Long hair (fir = Java) placed at the bottom bun rivets, described under the wound which has assembled a jasmine flower.

Ornamental hairpin motif string of jasmine-olan olan (jasmine strands wound around the base of the rivet until the end of the bun bun)

Fireworks rocking (cundhuk mentul) as much as seven pieces of metal chrysolite floral yellow gold. Flower stalk consists of two parts, the lower part shaped like a wire with a pointed tip to ease somewhat when plugging in the hair. The upper part is made of small wire spiral, so it can mentul-mentul when the bride's head moves.

Diadem crown princess is a carved decorative motifs similar to the period of the Majapahit kingdom, which was imposed following the era of Queen Kenconowungu.

Sumping kundhup jewel or ornament on the ear is made of metallic golden yellow color, an interesting way of using this Sumping facing backwards (Sumping generally used by Javanese brides do not like this).

Ronyok earrings (diamond), which can be real gold ear ornaments, or imitation.

Diamond necklace patterned garden kings (a necklace consisting of a string of flower-shaped jewel cape).

Wreaths of jasmine and magnolia flowers to decorate the front hair, which hung to the right and left chest.

Necklace made of long strands of jasmine flowers to the extent subject to the abdomen.

Hand decoration:

Bracelet made of gold jewelry (you can also imitation)

Gold diamond ring could be genuine or imitation

Body Part Decoration

Yellow headband (inner clothing before wearing kebaya)

Surya Majapahit black dress of velvet embroidered with gold thread motive Surya Majapahit.

Belt or pending which is made of black velvet cloth embroidered with gold thread gold ornaments. This belt other than as decoration also serve as a binder headband, Dodot, long cloth-ilatan and physical defect.

Hip Ornament

Long batik cloth prada Grinsing Mojokerto motif, which bears the bottom section (most of).

Dodot fabric (usually colored green with a temple motif prada minute) after the cloth worn Grinsing. Fabrics are subject only to the extent below the knee.

Physical defect-ilatan (embers - embers Samir) a pair of black velvet cloth embroidered with gold thread. Some are adorned with nine jewels of fruit. Worn on the right and left on the fabric Dodot.

Randi (sampur golden yellow or green)-ilatan subject to prior physical defect, with both ends hanging down the bottom left to right.

The foot

Footwear in the form of black slippers embroidered with gold thread

B. Groom Clothing (Surya Majapahit)

Headdress

Bun rivets (fashion hairdo I Oft Gajah Mada)

Equipped with a diadem crown decorated with motifs Kasatriyan geomatris swasa materials made from golden yellow color at its center is decorated with a green gemstone.

Sumping kudhup bertahtakan diamonds or jewels worn to below the ear to briefly resemble earrings.

Diamond necklace.

Necklace made of jasmine garlands to the waist.

Hand Decoration

A pair of bracelets kana (hand) could be made of real gold or imitation (like its model Sigar kangkong)
Diamond ring.

Decoration Body Parts
Yellow headband podang (for underwear).

Kasatriyan dress black velvet embroidered with gold thread Surya Majapait motive.

Pending a black belt or embroidered with gold thread, velvet material. Functions headband, fabric Dodot, sampur, physical defect-ilatan, long cloth and kris grinsing motif.

Necklace with a crescent-shaped pendant, motifsulur-suluran a three tiered.

Keris decorated with jasmine garlands of orchids and magnolia, garlands of flowers is tied around the handle end of the keris. Keris was pinned in the front right side of the abdomen. The significance of the placement of the dagger is at any time if there is an enemy of the groom is ready alert to.

Decoration Part Hips
Trousers motif batik prada grinsing Mojokerto.

Dodot prada green cloth decorated with motifs of the temple while. Imposed after a pair of pants, the fabric is subject only to the extent below the knee.

Samir Ilat-ilatan/bara-bara pair of black velvet decorated with gold thread. Sometimes also adorned with nine jewels. Subjected to the right and left.

Randi (sampur golden yellow and green) were used in rear-ilatan physical defect like a dancer wearing a sampur.

Decoration Part Foot
Footwear, beerupa black slippers trimmed with gold thread.

At a later period of the Mojokerto bridal fashion is no longer divided into two, a garment worn by the nobility and commoners together. Even then with the arrival of European fashion model (long skirt), dress typical of the original Mojokerto increasingly marginalized. Thus more difficult to rnencari truth of the original fashion typical of Mojokerto.

Traditional Wedding makeup Mojokerto inevitable problem of the influence of modernization in all fields is the makeup, especially in manufacturing technology makeup. These tools make-up era is now very modern and varied, both in shape, color and packaging. To take advantage of tools to make up a person just chose the groove, because the variations they are also very varied. From the most expensive with prices with the simple to the most expensive price to the relatively low cost. Use of tools increasingly displaced the traditional makeup, because in addition to how its use is more difficult, required materials are sometimes not easy to obtain. Also makeup processed with this simple easy way faded, and was considered impractical.

Based on field observations, in the first makeup that is used for bridal makeup in the past is still very simple example:

Atal: used as a powder, made from rice and saffron mashed with water and then crushed. Then used as a scrub who smeared all over the body especially the bride.

Boyfriend: A kind of plant whose leaves into small pieces when crushed and mixed with limestone, gambier and black ants are used to dye the hands and feet nails sometimes applied also on the edge of the foot.

According to the prevailing custom in the past, usually a few days before the meeting, the prospective bride diprebolehkan not leave the house or secluded (Java). The goal is that health and safety of prospective brides awake. In periods of secluded, brides usually look after themselves, by putting Atal scrubs made from the whole body so that on the day of "H" will be visible yellow body and shine. The longer and regularly use scrubs result will also be increasingly baik.Selain scrubs, the prospective bride is also required putting a boyfriend leaves long before the day of "H", so that later when he sat on the aisle with her nails will appear bright red color is natural. This custom is still a lot done even by today's bride.

Also in general and female grooms are also required through the ceremony of "bloat teeth" or pangur (Java). The goal is that the teeth look flat, neat and clean especially when smiling. But this now seems to pangur habit is no longer interested, because in addition to already not be in style, also proved that pangur cause tooth decay.

In addition to prenatal care, marriage, the bride also had various performances, such as cutting hair around the forehead / brow / sinom, so that the forehead really smooth and neat when fitted diadem. Likewise, soft hairs around the ears (godeg = Java) must be removed, so that later will produce a perfect shape after Sumping fitted. In general, cutting hair on the forehead and around the ears will remain visible until one month later.

While meeting the bride, of course the bride makeup though with the equipment and make up a very simple. Since it is a special day for both the bride. Makeup used by the bride include:

Dipertebal eyebrows and reshaped, it is usually the preferred model at the time was like a crescent shape. Thicken eyebrows, using charcoal (wood that burned a tip)

Polished lip with Sumba (food coloring) in red by using a stick that has been flattened (considered as kwasnya).

Part skillet is up to all the body, especially parts - parts that look like hands and feet, covered with Atal to appear more clean and bright (Java-manglingi)

The entire nail hands and feet are given herb leaves boyfriend, so reddish.

While for the groom was also given a little make up, especially on the: - eyebrows, usually refined shapes with charcoal - Mustache, usually also diempurnakan to make a picture of charcoal - Lips, too, plus a thin layer with food coloring. During the later use of good makeup for the bride and groom who are already using modern makeup, because in addition to more practical also easier to use. There remain only a few specific ingredients that can not be replaced, for example Atal until now still in great demand just added some specific ingredient that causes the smell fragrant and fresh. If the bridal couple sat in a chair now exclusively reserved for the bride (kwade), at the time the bride just sits on a simple chair.