Batik that is only used at Jogja weddings

In a traditional Javanese wedding procession, especially in Jogja, customs and manners cannot be let go when using tie-dye.Batik signifies the social status and expectations of the wearer, with this tie-dye recognized by UNESCO. Even, it has manners and suitability for wedding motifs.

According to Carik Kawedanan Radya Kartiyasa Keraton Jogja Nyi R Ry Noorsundari, the use of tie-dye in weddings is tailored to the stages of the wedding procession. In a traditional Javanese wedding, the procession includes silaman, middareni, consent and pangi.

According to Noorsundari, in a wedding procession, the event begins with a meaningful splash to purify someone's bad. The tie-dye used is the Gronpole motif, which signifies unity between individuals who remain united as a family. "The event starts with us splashing the bad stuff and washing it away. With the Gronpole motif, the Gronpole motif is like a little bunch of grapes. Small, but one." I wish we could be like wine, they have their own personalities, but they are still united within the family," Noorsundari said at the palace.

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After the procession of Siraman, the process of Middareni follows, especially for palace weddings with a Trantum motif. This motif signifies the blooming of flowers and the readiness to enter the stage of marriage. Lay people usually wear Wahyu Thamrung patterned tie-dye fabric during Middareni. In Middaleni's palace, the daughter usually uses the motif of the trantum, which is still in bud and about to bloom, and is called a trantum. If you want to get married, start something new. Like a flower that is about to bloom, I would like to prepare first. Norsundari said.

Although the community commonly uses generational revelation in the Mid-Dalenian matrix. This motif means a gift that pours down on a person. Beauty is also hope," she said R. Ry. Norsundari.

After the middarleni procession ends, the marriage registration procession continues the next day. In the consensual procession, the bride and groom usually use trantum or nithik claws.The chicken claw motif itself implies new responsibilities, thus changing the family's life for the better. I wish you new luck. "Ijab usually uses a truntum or a chicken claw nitik. The chicken claw nitik is in the shape of a dot, but the model is the chicken claw. It creates new responsibilities and changes the family life for the better. I hope that happiness will be born," he said.

After approval was given, the procession continued at Pangi. When joining the Panggih procession, they usually use Sido motifs, such as Sido Noble, Sido Asih and even Cement Romo. “After consent is given, the name Pangi usually uses sid motifs, such as Sid Mukti, Nobler Sid, Sid Asif, Cement Romo. I hope it will come," he said. 

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Politeness using batik according to the palace

Batik as a treasure of Indonesian culture lives on for centuries. At that time, tie-dye was one of the basic garments.To date, tie-dye is still growing and becoming a social trend.However, in the traditional setting of the Yogyakarta royal palace, tie-dye fabrics are worn There are still proper manners and procedures to follow.

According to Carik Kawedanan Radya Kartiyasa Keraton Jogja Nyi R Ry Noorsundari, the use of tie-dye in the Yogyakarta Palace is adjusted according to a person's social status, occurrence, age and status. As we age, our use of tie-dye fabrics is constantly changing.

“Battik dyeing expresses social status in the box itself. There are various ways to use tie-dyeing depending on age and position. Get to know Keraton Batik, full of spirit. ”Norsundari also gave an example. Many children now dress up in tie-dye and wear buns.In his opinion, buns can only be used if they are girls or adults, so the use of buns themselves should not be used for children. . Additionally, using flowers in bread signifies a person's marital status. "When you enter puberty, you can wear a bun and see a bun. If there are no flowers, it means you are not married. Only married people use flowers." Nur Sundari said.

Next, how to wear a girl's tie dye with the word wallel belt. The fabric uses a fabric that is not too cold just by twisting it. This is so that children can continue walking and playing. "Children's names run and play, so it's not like the cloth is usually covered with wire," Noorsundari said. When a woman enters puberty, the pagoda is allowed to use her model. Finally, you can use the tank top as a matching dress until the wedding stage. For boys, there is not much difference from girls, but the difference is the direction of the fabric. In general, clockwise for women and counterclockwise for men.

"For males, the name is almost the same as Missed. The direction of rotation that distinguishes is mostly upper right for males and upper left for females. Counterclockwise for males and clockwise for females," Noorsundari said.After the boy hits puberty, a fabric model is sewn in. Some accompanying clothing items such as blangkon and keris can also be used. When we talk about batik, we cannot escape the motifs involved, so there are some motifs that cannot be used in general from the point of view of etiquette and usage. this is a royal prerogative

"Speaking of tie-dye, there is also talk of motifs. There are some tie-dye motifs that cannot be universally used because of the prerogative of the Sultan as king," said Noorsundari. especially those with high philosophical value, are declared forbidden in batik. Batiks exiled in Yogyakarta Palace include Palang Damaged Barong, Palang Damaged Gendre, Palang Krisik, Semen Gede Sawat Gulda, Semen Gede Sawat Lal, Udang Lilith, Rujak Sente, Palang Palangan, Semkiran, Kaung, Huk It is included. 

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Do you know the Caucasian Buffalo which is often used as a ritual for the Solo Palace people ?

In some areas, preparations have begun for the tradition, which usually takes place on the night of Suro.

Including the Surakarta Palace, which is once again hosting 1 Suron Night Carnival after a two-year absence due to the Covid-19 pandemic.Penggeng Parentah Keraton Solo Kanjeng Gusti Prince Haryo (KGPH) Dipokusumo said that even if someone has foot and mouth disease (PMK), the foreigner will still be included in the queue after quarantine.

"The carnival ceremonies continue on the night of the first slot and a quarantine is required for procedures to return to normal. Some of the Buffalo preparing for the carnival have already been quarantined."

Dipo revealed that his five Kebo Caucasians at Surakarta Palace will join his carnival parade one night after his in Suro. Origin of Kebo Bule On the eve of the Islamic New Year, or the night known as 1 Sulo Night, a carnival tradition takes place at the Surakarta Palace.

This tradition has been practiced for hundreds of years and is passed down from generation to generation.

From the king and his courtiers to the general populace, thousands of people participate in this one suloh carnival.One Suro Night Carnival aims to reflect on past mistakes and create a new page in the hope that they will not be repeated.

His one of the most famous icons of the One Suron Night Carnival at the Surakarta Palace is Kebo (Buffalo) Bure, his cucuk lampah (Guardian) of the Carnival, and Kebokyay, a descendant of his slamet. The Kebo-Caucasians are later in the front row, guarding other heirlooms in Kyai Slamet's palace.

A buffalo with reddish white skin is not just a water buffalo.

Kebo Caucasians are important family heirlooms and also Paku Buwono II's clan or favorite pets.

According to Yosodipuro, a famous poet of Surakarta Kasunanan Palace, Kebo Bure was originally a gift from Kyay Hasan Beshari Tegarsari Ponorogo to King Pak Buwono II.

When Pakubuwono II returned from his Tegalsari refuge in Pondok, riots erupted in Chinatown and the Karta Surah Palace burned down, the buffalo were sent to the palace's heirloom lampars (guards) called Kiyai Islamet. member). The Royal Palace has never attempted to explain what form the Kyai Slamet heirloom took.

“Because he is in charge of preserving and preserving the heritage of Kiyai Sulamet, the municipality erroneously calls this foreigner Kebo Kiyai Sulamet,” said Deputy Keraton Surakarta Penghen Sassono Willopo. , Kanjen Raden Aryo (KRA) Winarno Kusumo said.In 1725 when Pakhi Bwono II was looking for a site for a new palace, Kebo Bokbo his Caucasian ancestors were released. 

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Why is There a Sekaten in Every Mulud Month?

Secaten is an annual event held in the city of Solo since the 15th century. This event is a tradition to mark the birthday of Prophet Muhammad SAW. The Secaten program is closely related to the history of the spread of Islam to Java. The Wari Sangha is the main person behind the birth of the secaten tradition. Sekaten was used by the Wali Sanga to spread Islam in Java. Originally, Secaten was a continuation of a traditional ritual practiced by Javanese kings since the Majapahit period as a salvation ceremony to keep the kingdom safe. Gradually, however, the secaten tradition has changed and is now being used as a vehicle to spread Islam, especially in Central Java, where the spread of Islam is through the medium of gamelan his art.

Gamelan was used as a medium to spread Islam because Javanese people at that time loved Gamelan, Javanese art. It was not until the celebration of the Prophet Muhammad's birthday at the Secaten event that the tambourine fell out of use and the gamelan was used as an accompaniment to the blessing chants. In Solo, night market activities usually follow Secaten performances for a month. The cue for the Secaten performance is the sound of the gamelan played inside the mosque. The event is held on her Rabiul Awal from the 5th to her 12th and the gamelan is played consecutively on this day. Events will then continue at Tumplak Wajik and Grebeg Maulud.

Tumplak Wajik is held his two days before Grebeg Maulud is held. The Tumplak Wajik ceremony takes the form of singing songs in kotekan or kentongan. This is used as a sign that the production of Gunungan has begun. Songs performed at Tumplak Wajik include Lompong Keli, Owal Awil and Tudhung Setan.

The next series of events is Grebeg Maulud. This event took place on his 12th in Rabiul Awal. Grebeg Maulud is the pinnacle of the Sekaten tradition. Grebeg Maulud has mountains of sticky rice, fruits, groceries and vegetables. This Gunungan is intended as a form of prayer and salvation, symbolizing the prosperity of the kingdom. After prayer, this gunungan is distributed to the congregation.

Sekaten is still maintained and implemented today. Secaten has been suspended for two years due to the effects of the new coronavirus infection, but we will resume Secaten's activities this time. This happened because the pandemic was loose enough. Now we can hold another secaten. Those wishing to visit Sekaten should head directly to the city of Surakarta to enjoy the lively performance of the event. 

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Would you like to settle down in Yogyakarta?

Would you like to settle down in Yogyakarta? You can stop by Kampong Batik Giliroyo. Not only will you have a beautiful natural backdrop, but you will also learn how to make batik.

Giliroyo Batik Village is located in the Imogiri area of ​​Bantul Regency. The village is located about 15 kilometers or 40 minutes by car from Yogyakarta city. detikcom and Traveloka stopped by Kampung Batik Giriloyo a while ago. 

The drive to this village is really enjoyable as travelers can take in the views of the rice fields on both sides of the road. The green rice fields that the capital lacks are another medicine for travelers weary of traffic jams and skyscrapers. Also, the air in imogiri is cool and pleasant. Once in the village, travelers can see batik shop signs in front of residents' homes. Not surprisingly, most of the residents of Giliroyo Batik Village work as tie-dyeers.

Giliroyo Batik Village is said to be one of the oldest batik-making villages in Yogyakarta. People have had a close relationship with batik since the Mataram Kingdom in the 17th century. Next to this village is the tomb of the famous potato cutter king.

We stopped at the Giliroyo Batik Lighting Gallery not far from the village entrance. There you will learn how to make batik. The tie dye we make is written as tie dye. There are tools and materials used to create tie-dye i.e. cloth, wax, canting, kiln and dye.

Batik making at Giliroyo Batik Village was fun as participants were directly accompanied by the batik craftsmen. They patiently led us to draw cantings on the patterns we had previously drawn on the cotton cloth. Tie-dyeing as a beginner is not easy. The traveler must endure the hot night by canting and scratch the cloth in a slightly inclined position. If you take the wrong measures, the night will not come out or will overflow.

Therefore, patience and thoroughness are required. Mr. Wasihatun, a craftsman who accompanied me, explained that tie-dyeing helps develop the taste. “You don’t have to rush the tie-dyeing, you have to be focused and patient. If something goes wrong, you can use it as a new shape, so the tie-dyeers also need to be creative,” he said. Told. 

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Old fashioned marble dresser

“During the post-independence struggles, he sold his inherited items. Later, his ancestor Pak Mu bought it for 150,000 rupiah in the 50s. I can have 150,000 in," said Mbah Hadi, without explaining who Pak Muh called, was the dressing table buyer for the Pakualaman aristocrats who were hooked on Kulon Progo after the Revolutionary War.

The commode, which is still very stable, is Mbah Hadi's favorite object. But how did this story find its way into the hands of the Simba family, who already have five great-grandfathers? The dressing table is part of the treasure-finding adventure.

"It makes me sad to say that," he said, confirming that his money was used to buy the dresser.

"It was brought everywhere, even to Indramayu, someone said they wanted to buy it at a high price, but they didn't buy it. He said people who wanted to buy were scared because there was a guard under the table,” recalls Mbah Hadi.

correct. This old table doesn't seem to want to change hands. Seeing that no one wants to buy it even though it has been transported to various places from West Java to East Java. The myth of translucent marble, so popular in the 1980s, proved fruitless for Mbah Hadi. "Yes, the results can take care of that old dressing table. No one really wanted to buy it, so someone was waiting under the table. Indramayu's last prospect was scared. I ultimately decided not to sell it," he explained.

Mbah Hadi takes great pride in not wanting her dressing table to change hands. Even after the days of antique hunting were over, he seems to have been bidding on someone's favorite chest of drawers. However, Mbah Hadi decided not to sell it. One of Mbah Hadi's sons told him there were guards under the marble table. Besides loving the old, he also understands spiritual things. That's why I asked him to share his father's favorite dresser in a separate room.

"It's taken as superstition when you say you have a guardian. But to me, this is an object that needs to be protected from business interests," said his Masdjo, son of Mbah Hadi. rice field. 

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Rubies and History

Ruby is a precious gemstone, prized for its beauty and rarity. The red color of ruby is caused by the presence of chromium in its crystal structure. Ruby is a type of corundum, a mineral that is colorless in its pure form, but when impurities are present, it can form in a variety of colors.

Ruby is the birthstone for July and is often given as a gift for 15th and 40th wedding anniversaries. Rubies can range in color from light pink to deep red, and the most valuable specimens are those with a rich, saturated red hue.

Ruby has been prized as a gemstone for centuries, and has been used in jewelry, carvings, and other decorative objects for thousands of years. In ancient times, ruby was believed to bring good fortune and was thought to have magical powers. It was also believed to protect the wearer from harm and to bring success and prosperity.

Ruby is found in many countries around the world, but the most valuable rubies come from Myanmar (Burma), where they have been mined for centuries. Other important sources of ruby include Thailand, Cambodia, India, and Africa.

Ruby is a hard and durable gemstone, with a hardness of 9 on the Mohs scale, making it one of the hardest materials after diamond. This makes it ideal for use in jewelry, as it is resistant to scratches and other damage. However, ruby can be prone to chipping or cracking if it is struck too hard or subjected to sudden temperature changes.

Ruby is typically cut into a round, oval, or cushion shape, and can be faceted or cabochon cut. Faceted rubies are highly prized for their brilliance and fire, while cabochon-cut rubies are valued for their smooth, rounded surface and rich, velvety color.

The price of ruby can vary greatly depending on factors such as its size, color, clarity, and origin. Rubies that are large and of high quality can fetch prices in excess of several million dollars per carat. Smaller, lower-quality rubies are more affordable, and can be purchased for much less.

In addition to being used as a gemstone, ruby has a number of industrial uses. It is used as an abrasive in some applications, and is also used as a heat sink in electronic components due to its high thermal conductivity. Ruby is also used as a laser gain medium, as it can be excited by light to emit laser light.

Ruby is often treated to improve its appearance and increase its value. One of the most common treatments is heating, which can improve the color and clarity of ruby. However, this treatment can also cause cracks and other defects, so it is important to be aware of any treatments that have been applied to a ruby when purchasing it.

In conclusion, ruby is a precious gemstone that has been prized for its beauty and rarity for thousands of years. It is a hard and durable gemstone that is highly valued for its rich red color and is used in jewelry, carvings, and other decorative objects. The price of ruby can vary greatly depending on factors such as size, color, clarity, and origin, and it is often treated to improve its appearance and value.

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How to Care for Keris During the Suro Month

The cleansing of Jamathan heirlooms or heirlooms is one of the rituals often performed in palaces when the month of Sulo comes.One heirloom that has always had its own sentimental value in this process is the keris. However, apart from Keris, there are also spears included in the Age of Legacy.

The cleaning of heirlooms, including keris, usually takes place on the night of Sulo. Kelis doesn't necessarily have to be cleaned that night, though. The process of cleaning Keris on the night of Soros is just a belief. "It doesn't have to be a slo, it's just a line. Cleaning is always possible. Especially if the keris is very rusty, don't wait for a slo. It will be damaged later," says restoration work since 1993. said he is doing Nasip delivered this statement to the Javanese community on UN Day 2019, Indonesia's Heritage for World Peace and Sustainable Development at the National Library of Indonesia. Process of washing heirloom keris

When washing her keris that reads prayers, the most important process is to wash it properly so that it is well cared for. During this process, Nasip admitted that he only read regular prayers before going through the process of cleaning Kelis.

Preparing Ingredients to Clean the Keris To wash the keris, you need to prepare some ingredients such as clean water with flowers, lime juice, water mixed with warangan powder, and soap. Soak the kerris in water and rub it with lime juice. Nasip's first step is to soak the keris in flower water. Then he rubbed the dagger with lime juice.

Lime juice is used to remove rust from the keris. This process continues until the rust begins to disappear. "When it's gone, soak it in water until the lime juice runs out," he said. Soak in warangan water. After using up all the lime juice, soak the kerris in warangan water or water mixed with arsenic. This water is pitch black and has a pungent odor.

Nasip explained that this water helps accentuate the keris motif. This process only runs for 15-20 minutes before the subject reappears. Kelis cleans with soap. After soaking in warangan water, the keris is taken out and soaked again in clear water and washed with soap.

The keris is then rinsed with water and dried with a towel. The kerris is then coated with jasmine oil to give it shine and fragrance. Nasip revealed that most Javanese still believe Keris to be an heirloom with supernatural powers. According to him, you can also ensure the keris' "content" or "happiness" by washing it regularly, with the exception of Sulo's night. Of course, keep Keris from rusting. 

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Yogyakarta Royal Wedding attire

The Royal Wedding of Yogyakarta is a significant event in Indonesian culture and history. The bride's dress is a central aspect of this celebration, as it symbolizes the joining of two families and the start of a new life together. The traditional wedding dress of Yogyakarta, also known as the kebaya, is a beautifully ornate garment that reflects the richness of Indonesian heritage.

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The kebaya is a long-sleeved blouse and a long skirt that are worn together. The blouse is typically made of sheer, lightweight fabric, such as silk or cotton, and is adorned with intricate embroidery, beading, or lace work. The skirt is also elaborately decorated, often featuring ornate pleats and folds, as well as intricate patterns and embellishments. The kebaya is typically worn with a long scarf, called a selendang, which is draped over the shoulder and tied at the waist.

The kebaya originated in the Javanese court during the 17th century, and has since become a staple of Indonesian traditional attire. In Yogyakarta, the kebaya is particularly special, as the city is renowned for its intricate batik designs and rich cultural heritage. For a royal wedding, the bride's kebaya is often customized and tailored to her personal taste and style, making it a unique and meaningful reflection of her personality.

The kebaya is not only beautiful but also deeply symbolic. The intricate designs and embellishments on the dress represent the richness of the bride's family and their cultural heritage, while the long sleeves and flowing skirt represent the bride's purity and grace. The selendang symbolizes the bride's strength and grace, as it is traditionally worn to provide support and protection to the wearer.

The Yogyakarta royal wedding dress is often a fusion of traditional Indonesian design and modern styles and trends. The bride may choose to wear a traditional kebaya, or a modern version with a contemporary twist, such as a shorter skirt or a more fitted blouse. The use of modern fabrics, such as lace or tulle, may also add a contemporary touch to the dress.

In conclusion, the Yogyakarta royal wedding dress is a beautiful and meaningful representation of Indonesian culture and heritage. The kebaya, with its intricate designs and symbolic meaning, serves as a reminder of the rich cultural heritage of Indonesia and the importance of preserving and celebrating this heritage in contemporary times. Whether in its traditional form or with a modern twist, the kebaya remains a stunning and timeless piece of attire for the bride and a testament to the beauty and elegance of Indonesian culture

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Explanation of Keris Semar Mesem

The Kris Semar Mesem is a traditional Indonesian dagger originating from the Javanese and Sundanese communities. It is considered a sacred weapon and is associated with the god Semar, who is considered the patron saint of the Javanese people. The Kris Semar Mesem is not just a weapon, but it is also a symbol of prestige, cultural heritage, and spiritual power.

The Kris Semar Mesem has a unique and distinctive appearance, with a wavy blade that is wider at the base and tapers to a point. The blade is typically between 30-60 centimeters in length and is

made of a type of iron called “pamor” that is believed to have been blessed by spiritual leaders. The blade is often decorated with intricate patterns, and the hilt is made of a variety of materials, including wood, bone, or ivory.

The Kris Semar Mesem is considered a sacred weapon because it is believed to contain spiritual energy and to be capable of performing miracles. It is said that the power of the weapon depends on the quality of the blade, the materials used in the hilt, and the skill of the person wielding it. The weapon is also believed to have the power to protect its owner from harm and to bring good luck and prosperity.

In traditional Javanese society, the Kris Semar Mesem was often given as a gift to honor and respect an individual. It was also used as a symbol of authority and power, and was often worn by leaders and warriors. The weapon was also used in traditional ceremonies and rituals, and it was often placed on the grave of a deceased person to protect them in the afterlife.

The production of the Kris Semar Mesem is a highly skilled process that involves forging, tempering, and decorating the blade. The process typically takes several months and is performed by skilled blacksmiths called “empu”. The blacksmiths use traditional techniques and materials, and they must follow strict protocols and rituals in order to produce a weapon that is considered to be powerful and sacred.

In recent years, the use of the Kris Semar Mesem has declined, and it is now primarily used in traditional ceremonies and festivals. However, it remains an important part of Indonesian cultural heritage, and it is still highly prized by collectors and enthusiasts.

In conclusion, the Kris Semar Mesem is a traditional Indonesian dagger that is steeped in spiritual significance and cultural heritage. It is considered a powerful and sacred weapon, and it is a symbol of prestige and authority. The intricate craftsmanship and traditional techniques used in the production of the Kris Semar Mesem make it a unique and valuable cultural artifact, and it serves as a reminder of the rich cultural heritage of the Javanese and Sundanese communities.

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Keris Nogososro and History

The Keris Nogososro is a traditional Indonesian dagger originating from the Solo region of Central Java. It is considered a sacred and powerful weapon, and is believed to possess spiritual qualities and magical powers. The Keris Nogososro is not just a weapon, but it is also a symbol of prestige and cultural heritage, and it is often passed down from generation to generation as a family heirloom.

The Keris Nogososro has a unique and distinctive appearance, with a blade that is wider at the base and tapers to a point. The blade is typically between 30-60 centimeters in length and is made of a type of iron called “pamor” that is believed to have been blessed by spiritual leaders. The blade is often decorated with intricate patterns, and the hilt is made of a variety of materials, including wood, bone, or ivory.

The Keris Nogososro is considered a sacred weapon because it is believed to contain spiritual energy and to be capable of performing miracles. It is said that the power of the weapon depends on the quality of the blade, the materials used in the hilt, and the skill of the person wielding it. The weapon is also believed to have the power to protect its owner from harm and to bring good luck and prosperity.

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In traditional Javanese society, the Keris Nogososro was often given as a gift to honor and respect an individual. It was also used as a symbol of authority and power, and was often worn by leaders and warriors. The weapon was also used in traditional ceremonies and rituals, and it was often placed on the grave of a deceased person to protect them in the afterlife.

The production of the Keris Nogososro is a highly skilled process that involves forging, tempering, and decorating the blade. The process typically takes several months and is performed by skilled blacksmiths called “empu”. The blacksmiths use traditional techniques and materials, and they must follow strict protocols and rituals in order to produce a weapon that is considered to be powerful and sacred.

In recent years, the use of the Keris Nogososro has declined, and it is now primarily used in traditional ceremonies and festivals. However, it remains an important part of Indonesian cultural heritage, and it is still highly prized by collectors and enthusiasts.

In conclusion, the Keris Nogososro is a traditional Indonesian dagger that is steeped in spiritual significance and cultural heritage. It is considered a powerful and sacred weapon, and it is a symbol of prestige and authority. The intricate craftsmanship and traditional techniques used in the production of the Keris Nogososro make it a unique and valuable cultural artifact, and it serves as a reminder of the rich cultural heritage of the Indonesian people.

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Lesung is a traditional tool in rice processing

Lesung is a traditional tool used in rice processing by communities in Southeast Asia, particularly in Indonesia and Malaysia. It is a large, flat, circular stone that is used to pound or pound and winnow rice. Lesung is an essential tool in the traditional process of preparing rice for consumption, and it has a significant cultural and social importance in these communities.

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Lesung is typically made of stone, such as granite or basalt, and it is designed to be sturdy and durable. The size of lesung can vary, but it is usually around 1-2 meters in diameter and 30-40 centimeters in height. Lesung is used in conjunction with a wooden or bamboo pestle, which is called a “batu giling” in Indonesia and a “batu lesung” in Malaysia.

The traditional process of rice processing using lesung begins with the harvest of the rice plants. The harvested rice is threshed to remove the grains from the stalks and then cleaned to remove any debris or impurities. The cleaned rice is then poured onto the lesung and pounded with the pestle to remove the husk and chaff from the grain. This process is called “menguli” in Indonesia and “memukul” in Malaysia.

After pounding, the grain and husk are separated using a winnowing basket, a process called

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Historically, the original Dayak pig chain

The Dayak people are indigenous communities living in the interior of Borneo, an island in Southeast Asia. They have a rich cultural heritage, and one of their traditional customs involves the use of pig chains.

Pig chains, also known as “tambi”, were an important symbol of wealth and status among the Dayak communities. They were made from iron or brass and were worn around the waist like a belt. The chains were decorated with intricate designs, and the length and weight of the chains signified the wealth and status of the wearer.

In the past, the Dayak people practiced a traditional form of agriculture known as “swidden”, or slash-and-burn, in which they would clear a patch of forest to grow crops. Pigs were one of the most important livestock raised by the Dayak people and were used in many traditional rituals. The pigs were considered to be a symbol of wealth and prosperity, and owning many pigs was a sign of wealth and status.

The Dayak people also believed that pigs had magical powers, and they were often used as a form of currency in traditional exchanges. When a Dayak person wanted to buy a wife or arrange a marriage, they would offer pigs as a form of payment. The number of pigs offered was often proportional to the wealth and status of the person making the offer.

The pig chains were often given as gifts to show appreciation and respect, and they were also used to repay debts. They were also used in traditional rituals, such as the “Ibanngit” ceremony, which was a celebration of a successful harvest. During the ceremony, the pig chains were displayed and danced around to the beat of gongs and drums.

The production of pig chains was a highly skilled process, and the chains were made by blacksmiths using traditional techniques passed down from generation to generation. The blacksmiths were highly respected members of the Dayak communities, and they were often commissioned to make pig chains for important events and ceremonies.

In recent years, the use of pig chains has declined among the Dayak people, as they have become less common in daily life. However, they remain an important part of Dayak cultural heritage, and many Dayak people still treasure the pig chains passed down to them from their ancestors.

In conclusion, the Dayak pig chain is a symbol of wealth, status, and cultural heritage for the Dayak people of Borneo. The intricate design and craftsmanship of the chains reflect the importance of pigs in Dayak culture and the belief in their magical powers. The pig chains serve as a reminder of the rich cultural heritage of the Dayak people and their traditional customs and beliefs.

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The history of the "Kujang" heritage in West Java

The cleaver, or "parang" in Indonesian, is a type of knife that has a long and rich heritage in West Java, Indonesia. Cleavers have been an important tool in West Java for centuries, serving a variety of purposes ranging from agriculture to self-defense. Over time, the cleaver has also become an important symbol of the cultural heritage of West Java, and is deeply intertwined with the history and traditions of the region.

The use of cleavers in West Java dates back to the days of the Sundanese kingdom, which ruled over the region from the 7th to the 17th centuries. During this time, the cleaver was used for a variety of purposes, including farming, hunting, and as a weapon for self-defense. The cleaver was also an important symbol of power and status, and was often carried by high-ranking officials and soldiers.

With the arrival of the Dutch colonial empire in the 17th century, the use of cleavers in West Java changed. The Dutch banned the carrying of weapons, and as a result, the cleaver became less important as a tool of self-defense. However, it continued to be used as a tool for agriculture, and its importance as a symbol of the cultural heritage of West Java remained strong.

The use of cleavers in West Java underwent another change in the 20th century, with the arrival of modernization and the introduction of new tools and technologies. The use of cleavers for agriculture declined, and the cleaver became less important in daily life. However, the cleaver remained an important symbol of the cultural heritage of West Java, and was often passed down from generation to generation as a symbol of family and cultural heritage.

In recent years, the cleaver has undergone a resurgence in popularity in West Java. A growing number of young people are interested in learning about their cultural heritage and traditions, and the cleaver is once again becoming an important symbol of this heritage. In addition, the cleaver is now used for a variety of new purposes, including cooking, camping, and even as a decorative item in homes.

The cleaver is made from a variety of materials, including iron, steel, and wood. The shape of the cleaver is highly distinctive, with a broad, flat blade and a handle that is typically made from wood or bamboo. The blade is sharpened on one edge and is used for cutting, chopping, and slicing. The other edge is typically blunt, and is used for pounding and crushing.

The production of cleavers in West Java is a highly skilled and traditional craft that is passed down from generation to generation. Cleaver makers use a variety of techniques and tools to create the perfect cleaver, including forging, heat-treating, and honing. The process of making a cleaver is long and complicated, and requires a great deal of skill and knowledge.

Cleaver makers in West Java often belong to traditional blacksmith communities, and the cleaver is an important part of their cultural heritage. Many of these blacksmiths have been making cleavers for generations, and they take great pride in their work. In addition, they are also proud of their cultural heritage, and they are committed to preserving the traditions and

ARIF BLOG 10:23 AM

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History of the Yogyakarta Palace

The Yogyakarta Palace, also known as the Kraton Ngayogyakarta Hadiningrat, is a palace in the city of Yogyakarta, Central Java, Indonesia. It is the seat of the Sultan of Yogyakarta, who is the hereditary ruler of the Yogyakarta Sultanate and a key figure in Indonesian culture and politics. The palace is also one of the most important cultural and historical landmarks in Indonesia, and is a major tourist attraction in the country.

The origins of the Yogyakarta Palace can be traced back to the 18th century, when the Sultanate of Mataram was established in the region. The first palace in Yogyakarta was built by Sultan Hamengkubuwono I in 1755, and was located in the northern part of the city. Over time, the palace underwent several renovations and expansions, reflecting the changing political and cultural landscape of the region.

One of the most significant events in the history of the Yogyakarta Palace occurred in the late 18th century, when the Sultanate of Mataram split into two separate sultanates: Yogyakarta and Surakarta. The Yogyakarta Sultanate became the center of Javanese culture and politics, and the Yogyakarta Palace became the center of the Sultan's power.

During the colonial period, the Yogyakarta Palace underwent significant changes, as the Dutch sought to exert greater control over the region. The palace was occupied by Dutch troops, and the Sultan's powers were greatly reduced. However, the palace remained an important cultural center, and the Sultan continued to play a key role in the preservation of Javanese culture and traditions.

In the post-independence era, the Yogyakarta Palace regained its importance as the center of the Sultan's power and as a symbol of Indonesian independence. The palace was extensively renovated, and the Sultan's powers were restored. Today, the Yogyakarta Palace is a major cultural and political institution in Indonesia, and continues to play a significant role in the country's cultural and political life.

The Yogyakarta Palace is known for its elaborate and beautiful architecture, which reflects the Javanese cultural and religious traditions. The palace is divided into several different sections, each with its own unique character and purpose. The central section of the palace is the Keraton, which is the heart of the palace and the main residence of the Sultan. This section of the palace is surrounded by an inner courtyard, which is surrounded by several smaller courtyards and buildings.

One of the most important buildings in the Yogyakarta Palace is the Pendopo, which is used for important ceremonies and events. The Pendopo is a large open-air building, which is supported by columns and features a beautiful roof made of teak wood. The Pendopo is used for a wide range of events, from weddings and religious ceremonies to state banquets and political meetings.

Another important building in the Yogyakarta Palace is the Taman Sari, which is a beautiful garden that was built by Sultan Hamengkubuwono I in the 18th century. The Taman Sari is a peaceful and relaxing place, which is filled with beautiful flowers, trees, and ponds. The garden is also home to several historic buildings, including the Royal Baths, which were used by the Sultan and his family for bathing and relaxation.

The Yogyakarta Palace is also home to a number of museums, which showcase the rich cultural heritage of the Javanese people. The museums display a wide range of artifacts, including traditional weapons, jewelry, textiles, and musical instruments. The museums

ARIF BLOG 9:45 AM

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