This some event from Bali.

Event from Bali

Tooth Filing Ceremony

Tooth Filing Ceremony is one of the Hindu rituals in Bali which is vital importance on the way of human life, because this ceremony owns very high esthetics and meaning. In this case, the tooth filing ceremony is only conducted for adult or who has stepped on adolescent. This matter because, their tooth have been strangely assumed to be filed and will not grow again. Tooth Filing Ceremony in this case is only smoothing down the frontage of teeth including eye-tooth as a meaning of the elimination the nature of passion, arrogances and savageness, which are well known with Rajas and Tamas (Balinese Word). As religious ceremony in Bali , the preparations of this ceremony have cleansed the energy and time to launch the continuity of this ceremony. Tooth Filing Ceremony is the part of the Human being ceremony and according to the local resident believe in Bali that human being have to be able to manufacture the feeling of avariciously covet, ugly passion and gluttony. By performing this ceremony, it is expected that all above matters can lose from human being body and life.

Ngaben, Bali cremation ceremon

One of the most spectacular ceremonies in Bali is probably the cremation ceremony. In Balinese this ceremony is called Ngaben. Ofcourse, like any ceremony in Bali, the cremation ceremonys size and spectacle depends on the importance of the deceased, and the money spend. While the poorest of the Balinese are buried, and finally cremated in group cremations, the people with some more money to spend are cremated right away. One thing is for sure, the body needs to be burned to set the soul free from worldly ties, and to start a new life in a world that is supposed to be as beautiful as Bali itself. Ngaben or the Cremation Ceremony is the ritual performed to send the dead through the transition to his next life. The village Kul Kul, hanging in the tower of the village temple, will sound a certain beat to announce the departure of the deceased. The body of the deceased will be placed at Bale Delod, as if he were sleeping, and the family will continue to treat him as if he were still alive yet sleeping. No tears are shed, for he is only gone temporarily and he will reincarnate into the family.

The Priest consults the Dewasa to determine the proper day for the ceremony. On the day of the ceremony, the body of the deceased is placed inside a coffin which is then placed inside a sarcophagus in the form of a buffalo (called Lembu) or a temple structure called Wadah made of paper and light wood. The Wadah will be carried to the village cremation site in a procession. The climax of Ngaben is the burning of the Wadah, using fire originating from a holy source. The deceased is sent to his afterlife, to be reincarnated in the future.

Attraction from java

Jaipongan

In 1961, Indonesian President Sukarno prohibited rock and roll and other western genres of music, and challenged Indonesian musicians to revive the indigenous arts. Gugum Gumbira took up the challenge, and studied rural dance and festival music for twelve years. Jaipongan, or Jaipong, was the most popular result of his study, derived from the updating of a village ritual music called ketuk tilu, with moves from Pencak Silat, the Indonesian martial art, and music from the masked theater dance, Topeng Banjet, and the Wayang Golek puppet theater. In the original ketuk tilu, the group typically consists of the ketuk tilu pot-gong, other small gongs, a rebab (spike fiddle), barrel drums, and a female singer-dancer (ronggeng) who is often also a prostitute, who invites men to dance with her sensually. Gugum expanded the drum section as part of an urban gamelan orchestra, sped up the music, redefined the singer as just a singer (sinden), and came up with the catchy onomatopoeic name. Many listeners consider the music very complex, with the dynamic rhythm liable to change seemingly randomly. Jaipongan debuted in 1974 when Pak Gugum and his gamelan and dancers first performed in public. Sporadic government attempts to suppress it due to its perceived immorality (it inherited some of the sensuality of ketuk tilu) just made it more popular. It survived even after the official Indonesian ban on foreign pop music was lifted after a few years, and became a craze in the 1980s. Since the mid-1980s Jaipongans importance as a social dance has waned, but it remained popular as a stage dance, performed by women, mixed couples or as a solo. The most widely available album of Jaipongan outside Indonesia is "Tonggeret", featuring singer Idjah Hadidjah and Gugum Gumbira's Jugala orchestra, released in 1987, and rereleased as part of "WestJava: Sundanese Jaipong and other Popular Music", by Nonesuch Records under their Explorer Series label

Madura : The Bull race ( Kerapan Sapi ) of One of the Attractions of the Tour

the bull race was the typical attraction from the Madura island that was the race (the race) cattle. Probolinggo that his inhabitants's majority of the Madura ethnic group or the mixture (between Madura and Java), then the bull race also became the attraction that was conserved. An attraction masyarakt typical Madura, that is the race or the race (the bull race) cattle. In Probolinggo with the inhabitants's majority bersu I Madura or the mixture Madura Java (Pendalungan), the bull race also became the attraction continue to. Regional Government Probolinggo in this case the Perhubungan Service and Tourism, accommodated the aspirations of this community by preparing the forum for the bull race activity 2 (two) the time in one year. That is the Ritual Kasada Ceremony that was packed in the agenda PreKasada and the struggle Trophy Regent Probolinggo in the BIRTHDAY of the Probolinggo Regency.

REOG PONOROGO

The dance known as Reog is a very spectacular dance with several dancers wearing bright colorful costumes accompanied by merry gamelan music. It is always played in the open terrain, such as in a square, street etc. This dance which always draws a lot of spectators is a traditional art dance combined with magical show or a trance dance. The reog dates back during the Hindu period in East Java. The story is related with the legend in Ponorogo Kingdom (+/- 70 km South East of Solo). Nowadays reog dance groups can be found also in other regions of Solo, Yogya, Other Towns in East Java, Kalimantan, Jakarta, even in Suriname. One of the famous group is Reog Prambanan in the border of Yogyakarta Solo. The Story The powerful King Kelono Sewandono of Ponorogo Kingdom was famous with his fighting skills and magical power, accompanied by his Patih (Prime Minister) Bujanganom & his strong soldiers were attacked by King Singabarong, The King of Lions of Kediri Jungle, supported by his army, consisted of Lions and Peacocks. At that time the Ponorogo's group were on the way to The Kingdom of Kediri guarding King Sewandono to marry Dewi Ragil Kuning, a princess of Kediri Kingdom. There was a big fight between mighty warriors having magical power. The peacocks flew up and down flapping their wings to support The Lions Singa Barong. Bujanganom with his magic whip, supported by some Waroks in black traditional dress defeated The King Lion with all his followers.

The King of Ponorogo and his soldiers merrily continued their way to Kediri on horse back. Singa Barong joint the procession The Peacocks kept close to Singa Barong opened their tail feathers which looked like beautiful fan. (Warok of Ponorogo is a man with strong magical power, always dresses in black costumes) The Performance The central figure of this dance is The Lion King Singa Barong represented by a dancer wearing a mask of a Lion carrying a large peacock feather fan on top of the mask (this mask is locally called : Topeng Dadak Merak). It weight around 50 kg. The dancer has to use his teeth to hold the mask from inside. He must have a very strong set of teeth and neck to move around the mask Dadak Merak. On top of this, he has also to carry a lady representing Princess Ragil Kuning. Or sometimes, he has to demonstrate his skill and strength by carrying another mask dancer on top of him, and still he could dance with vigorous and fantastic movements. King Kelono Sewandono wearing a mask and a crown is a stylish dancer, Bujanganom also wearing a mask is an acrobatic dancer. The Waroks in black costumes, Jatilan - good looking young soldiers riding flat bamboo horses (Kuda Kepang). Caplokan - Wears a dragon mask to lure Singa Barong to dance more livelly. It is important to note that a reog dance group must have at least one "Wong Tuwo" (Old Man) or "Wong Pinter" (Clever Man) dealing with magical matters. In a certain celebration several reog groups could perform together, sometimes until 100 groups. Nowadays there is a reog groups with all dancers are woman, the only one is from Wonogiri regency, district of Slogohimo (50 km South of Solo)

"Culture, Nature, & Harmony of Angklung and Saung

Angklung Udjo, Before, Now & Then"

THE HISTORY OF ANGKLUNG Based on the Balinese mythology, angklung consist of two words, angka which mean is tone, and lung which mean is broken, incomplete, or gone. Then, angklung could be meant as broken or incomplete tone. By those definitions, arranged that angklung is one of the traditional musical instruments made of Bamboo, and to sound it by shaking the angklung to produce certain tone. But, if we are really consider the history of development of sundanese arts and culture performances, strongly believed that angklung originally invented and developed in West Java, Indonesia. In its development, angklung spreaded and reached almost all region in West Java, and being used to enriched the traditional ceremonial in Banten, Baduy, Sukabumi, Cirebon, etc. Angklung has its special functions related to religious and ritual matters. Angklung played to honor the Dewi Sri as the Goddes of Fertility in Indonesians ancient believe. Beside functioned as religious and ritual matters, it also used for the entertainment purposes. In this function, angklung played along with other Sundanese traditional arts and culture, and later known as Angklung Degung, that played as musical background in traditional dancing or traditional plays. And further, developed until Angklung Padaeng that already has diatonic tone scale and it made possible to play in modern musical arrangements. Angklung, also played in the Royal Ceremony, and used to play to escort the soldiers and warriors before they went to the wars. And then, angklung not played only in the royal functions, but also played in the traditional village functions, to honor the gods and the

goddess before the plantations and the harvesting seasons. The region that developed and spreaded angklung are Garut, Tasikmalaya, Ciamis, Sukabumi, etc. In 1938, Daeng Soetigna the late, modernized the angklung arrangement into diatonic tone scale, so it could be popularized and be known and also could be played many international and popular songs. The angklung history and development, divided into two diversifications, which are: 1. Traditional Angklung. a. Angklung Baduy. b. Angklung Buncis. c. Angklung Gubrag. d. Angklung Bungko. 2. Modern Angklung. a. Angklung Padaeng by Daeng Soetigna the late. b. Angklung Udjo by Udjo Ngalagena the late. I think lombok island also has many big event.