Reog (Ponorogo) History

Reog Ponorogo art is one hallmark of cultural arts Ponorogo East Java Indonesia.Basically there are five versions of the popular story that developed in the community about the origins and Warok Reog, but one of the most famous story is the story of the rebellion Ki Ageng lice. Isah Demat Ki Ageng Flea Suryonggalan who want to satirize the King of Majapahit, Brawijaya V. King The King at that time often did not meet its obligations because it is too influenced and controlled by the empress. Therefore made of leather Barongan kingpin tiger (Java Tiger) who rides the peacock. The King is represented as a peacock while riding the tiger symbolizes the empress. In addition, for insinuation is safe, Ki Ageng protect it with trained troops, reinforced by the powerful ranks of the warok mandraguna. In the reign of the Duke of Roxburgh Batorokatong who ruled about 500 years ago, reog began to develop into folk art. Duke companion named Ki Ageng Mirah use reog to expand his power.

Reog used as a means to collect mass and an effective communication channel for the rulers at that time. Ki Ageng Mirah and then make a legendary story about the Kingdom Bantaranangin which by most people Ponorogo trusted as history. Duke Muslim Batorokatong Barongan also utilize it to spread Islam. Lions name later changed to Reog Barongan, which comes from the word Riyoqun, which means Khusnul khatimah meaningful despite all his life wallowing in sin, but when finally realized and devoted to God, then heaven guarantee. Furthermore reog art continues to grow in line with the times. The story continues to retell the story of creation reog Ki Ageng Mirah who passed mouth to mouth, from generation to generation.

Reog refers to several Chronicle, One of them is a chronicle Kelana Sewandana. Babad Klana Sewandana said to be the original standard of performance art reog. Similar stories in legend Lara Bondowoso Jongrang, Klono Sewondono Chronicle also tells about the love of a king, Sewondono of the Kingdom Jenggala, which almost rejected by the Goddess Sanggalangit of the Kingdom of Kediri. The princess asked Sewondono to bring the entire contents of the forest to the palace as a dowry. In order to meet the demand of the princess, must beat Sewandono forest watchman, Singa Barong (sudden peacock). But it is certainly not easy. The warok, soldier, and governor of Jenggala also become victims. Armed with heirloom Samandiman whip, Sewondono down itself to the scratch and beat Singobarong. Reog illustrated with dance performances soldiers who not only dominated the men but also women, motion bringasan the warok, and dashing and high-profile Sewandana costume, the king of love seekers.

ELEMENTS - SUPPORTING ELEMENTS

MUSIC SOS :
Musical instruments used in such a drum and there are also musical instruments such as angklung, and the prospect. Musical instruments used there is no official rule, an important artnya out sounds - sounds that smart, and beating with a constant, dung-dung-dung.
While the instrument retinue, kempul, tap, konong, handheld, ketipung, anglung and pelok that gave rise to the mystical atmosphere, strange, exotic dansekaligus excite.

 Costume :

Warok
Using wore black with polished face red.
Jatilan
black pants
Jarik
white shirt
Udeng (headband)
Bujangganong
Shorts  eccentric
T-shirt reog
Wearing masks
Kelono sewandono
Wearing clothing queen
Crown
Cemeti
Barongan
Black trousers
T reog 

History Of Wayang Kulit (shadow puppets) In Indonesia

Wayang one of the nation's top arts and culture of Indonesia's most prominent among the many works of other cultures. Culture Wayang include acting, singing, music, speech arts, literary arts, painting, sculpture, and art is also symbolic. Culture Wayang, which continues to grow over time, also a lighting media, propaganda, education, entertainment, philosophical understanding, and entertainment.

 
According to the research of historians of culture, culture is a culture of wayang native to Indonesia, particularly in Java. The existence of Wayang was many centuries before the Hindus go to the island of Java. Although a popular puppet story in today's society is an adaptation of the works of Indian literature, the Ramayana and the Mahabharata. Both the main story in the puppet undergone many changes and additions to adapt them to the original philosophy of Indonesia.

Wayang Kulit is a unique form of theatre employing light and shadow. The puppets are crafted from buffalo hide and mounted on bamboo sticks. When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen.

Wayang Kulit plays are invariably based on romantic tales, especially adaptations of the classic Indian epics, "The Mahabarata" and "The Ramayana". Some of the plays are also based on local happenings (current issues) or other local secular stories. It is up to the conductor or "Tok Dalang" to decide his direction.

The Dalang is the genius behind the entire performance. It is he who sits behind the screen and narrates the story. With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the Dalang modulates his voice to create suspense thus heightening the drama. Invariably, the play climaxes with the triumph of good over evil.

Hinduism arrived in Indonesia from India even before the Christian era, and was slowly adopted as the local belief system. Sanskrit became the literary and court language of Java and later of Bali. The Hindus changed the Wayang (as did the Muslims, later) to spread their religion, mostly by stories from the Mahabharata or the Ramayana. Later this mixture of religion and wayang play was praised as harmony between Hinduism and traditional Indonesian culture. On Java, the western part of Sumatra and some smaller islands traditionalists continued to play the old stories for some time, but the influence of Hinduism prevailed and the traditional stories either fell into oblivion or were integrated into the Hinduistic plays.

The figures of the wayang are also present in the paintings of that time, for example, the roof murals of the courtroom in Klungkung, Bali. They are still present in traditional Balinese painting today.

When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of painting and shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from the Muslim religious leaders. As an alternative, the religious leaders converted the wayang golek into wayang purwa made from leather, and displayed only the shadow instead of the figures itself.

Instead of the forbidden figures only their shadow picture was displayed, the birth of the wayang kulit.

The figures are painted, flat woodcarvings (a maximum of 5 to 15 mm thick -- barely half an inch) with movable arms. The head is solidly attached to the body. Wayang klitik can be used to perform puppet plays either during the day or at night. This type of wayang is relatively rare.

 

Wayang today is both the most ancient and most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers, dalang, who command extravagant fees and are international celebrities. Some of the most famous dalang in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunarya, Ki Sugino, and Ki Manteb Sudarsono.

Lumping Horse (Kuda Lumping)

Lumping horse also called braid or jathilan is a traditional Javanese dance featuring a group of soldiers was on horseback. This dance is using a horse made of wicker and bamboo in the cut like a horse. Matting this horse decorated with colorful paint and fabric. Lumping horse dance is usually only shows the saber scene, but some performances will also serve lumping horse possessed attractions, immunity, and magical powers, such as the attraction of eating glass and immunity against flogging whip. Jaran braid is part of the dance performances reog. Though this dance came from Java, Indonesia, this dance is also inherited by the Javanese settled in Malaysia and Singapore.

Lumping horse dance is an art that is played with a horse property imitation, made from woven bamboo or braid. None of the historical record can explain the origin of this dance, only verbal history passed down from one generation to the next.

According to history, art Kuda Lumping born as a symbol that people also have the ability (superiority) in the face of the enemy or against the power elite who have the royal army. In addition, also as a medium for presenting entertainment that cheap but the phenomenal to the people at large. 
 
  Kuda Lumping is the art of dance that uses a fake horse made of woven bamboo and accompanied by gamelan music such as: gong, kenong, drums, and trumpet are able to make the audience was amazed by the attractions of each rider (dancer) Kuda Lumping. Remarkably, the traditional dancers of the original Kuda Lumping generally played by girls who dress like a soldier boy kingdom. Currently, more lumping horse players acted by boys. The sound of a prod (whip) of the players who deliberately imposed this art, became the beginning of the game and the entry of a mystical power that can remove the player's consciousness. With the climb of woven bamboo horses, horse rider who was given his ankles began to rattle this prancing, jumping up rolling on the ground. In addition to jumping, Kuda Lumping dancers also perform other attractions, like eating glass and peel the coconut with his teeth. Glass (glass) that is eaten is the usual light bulb as the torch home. He avidly ate like a shard of people starving, do not wince in pain and no blood at the time he ate the glass-shard. 
 
When viewed from the overall game Kuda Lumping, sound prod the never ending series of attractions that appear to dominate. Presumably, each prod done by the rider against itself, that on foot or other body parts, will give a magical effect. That is, when the crack length of woven rattan and on the feet and swung his body, the dancer lumping horse will feel stronger, more powerful, more Digdaya. Generally, in that condition, he will be more wild and the power of doing things and not abstruse absurd healthy normal humans.     

Bursts of fire coming out of the mouths of the other player started with gasoline accommodate in their mouth and then sprayed on a fire that burns in a bunch of small iron tip is made in such a manner so that fire does not die before and after the gas was sprayed from his mouth. Kuda Lumping on the game, the different meanings contained is the color. The colors are very dominant in this permaian namely: red, white and black. The red color symbolizes the courage and spirit. The white color symbolizes purity which is in the heart is also thought to reflect on all five senses so that it can serve as a role model in black.
 

As an attraction full of mystical and dangerous, lumping horse dance done under the supervision of a "supernatural leadership." Usually, this leader is a person who has a high magic that can restore the dancer back to consciousness as usual. He is also responsible for the way of attractions, as well as heal pain experienced by the players Kuda Lumping if there is something undesirable and cause illness or injury to the dancer. However, when viewed from the perspective of psychology, the person making the process as above is known as a medium. The person is only a means other than a soul which, in conveying something (another soul was often considered a ghost, ie, the souls of the dead). Is associated with a trance medium, namely the situation where a person is experiencing dissociation and loss of consciousness of the surroundings as well as perform a variety of automatic motion. In the above case, happen to a player who was possessed by spirits.