INDONESIA heritage Heritages of Indonesia Belgrade, May 21, 2012 Batik Van Java Embassy of the Republic of Indonesia Belgrade - Serbia www.kemlu.go.id/belgrade wonderful Indonesia
Ambassador of the Republic of Indonesia H.E. Mr. Semuel Samson Dear friends of Indonesia, It is my great pleasure to welcome you at the presentation of Indonesian culture on this beautiful day in spring 2012. On behalf of the Indonesian Government, I would like to extend a warm welcome to all my dear colleagues and counterparts, in our presentation of Batik fashion show by one of our talented designer Dian Pelangi, accompanied by the beautiful melody of Angkung and Gamelan. The techniques, symbolism and culture surrounding hand-dyed cotton and silk garments of Batik, has become the unique clothing style of Indonesian everywhere in the world. As Batik became part of Indonesian daily life, so as Angklung and Gamelan, the traditional music instruments from the island of Java. The beautiful melody produced by the instruments guaranteed will relax your mind as its melodies and songs describe the philosophy of Indonesian way of life. With its unique art and traditions passed on from generations to generations, Batik and Angklung has been pronounced as UNESCO Intangible Cultural Heritage of Humanity in 2009 and 2010. In this opportunity, we would like to convey our gratitude towards the Indonesian Ministry of Tourism and Creative Economy, presented by Mr. Dody Prianto and Mr. Deni Priadi, for the opportunity to present these beautiful presentation of Indonesian traditional culture here in Serbia. Also, for the valuable support and efforts to increase the cooperation between Indonesia and Serbia in the field of tourism through Table Top meeting that has been successfully realized today at our Embassy. We would also like to thank Ms. Dian Pelangi, for her beautiful creations, Mrs. Venny Afwany Alamsyah from Batik House Indonesia for promoting batik techniques in the world, Mr. Yayan Mulyana for his wonderful Angklung performance from Saung Mang Udjo, our Gamelan team, to our respected sponsors that gave their support and those are hotel Moskva, Tutto per Tutti, Indo Serbia Food, Bali Paradizo, Gras Garden, Ivona, Byzart and Beoprint, and also to our partner companies for this event, Inovations and Fashion Studio Click led by respected Mr. Nenad Radujević. Last but not least, we hope that you will enjoy the presentation as much as I enjoy preparing and present it to you all. Hvala lepo!
Program - Welcome speech of the Ambassador of the Republic of Indonesia, H.E. Mr. Semuel Samson - Fashion Show by Indonesian designer, Ms. Dian Pelangi - Angklung performance by Saung Mang Udjo - Cocktail - Demonstration of batik technique from Batik House Indonesia
Batik Origins of Indonesian batik The 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 decorated 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 Indonesia is certainly the heart of the Batik. This way of painting and coloring on textile cloth has reached its higher degree of excellence in the Island of Java, in cities like Solo, Yogyakarta, Pekalongan 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.
Batik, Indonesian art of textile The techniques, symbolism and culture surrounding hand-dyed cotton and silk garments known as Indonesian Batik, 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 using 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. Often 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. Unesco recognized batik as Indonesian cultural heritage 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 Intergovernmental 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 symbol 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 patterns 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.
Batik in modern fashion Indonesian rising star designer - Dian Pelangi Dian Pelangi was 18 years old when she made her debut at the the Jakarta Fashion Week in November 2009. With her unique designs to incorporate bright colors into her fashions along with her unique ways of styling her hijabs on her models, she has captured the attention of the Muslim Fashion world. Her love for color has brought a bright statement. After finishing junior high school at an Islamic school in Bogor, West Java, Dian studied at SMK Negeri I, a vocational high school in Pekalongan, Central Java, majoring in fashion design. While at school, Dian also started working for her parents garment business and had moved its base to Pekalongan. After finishing high school, Dian moved to Jakarta to study at ESMOD fashion school, majoring in pattern making and fashion design. In 2011, mass media from TV, newspaper, magazine and online media in Indonesia raced to feature her as a young and promising designer. She declared herself as a Muslim fashion designer, with a leading product in tie dye, she entered the market and she gained unbelievable popularity in a very short time. She is also awarded as best selling designer by IIFC (Indonesia Islamic Fashion Committee). Following this success, Dian Pelangi boutiques were aggressively opened in many cities in Indonesia, to meet the increasing demand of her creations. She is now the youngest member at Association of Indonesian Entrepreneur in Fashion Design (APPMI). Her target to go international has appeared to be within her reach in any time soon, as now she s already getting a lot of attention from global market, by regularly participating in various shows and exhibitions both inside and outside the country such as Malaysia, Singapore, Australia, United Kingdom and UAE. Dian Pelangi who is born on 14 January 1991 in Palembang (Sumatera) is now conducting the parent s business in fashion industry as the main designer.
Batik House Indonesia Batik House Indonesia (BHI) is a foundation that is dedicated in the promotion of batik to the international community abroad and through many years has led workshops and presentations in many respected universities and faculties. The workshops are conducted by Mrs. Venny Afwany Alamsyah, an expert and batik instructor that has dedicated many years of her life to preserve batik as one of the cultural heritage of Indonesia. Since its founding in Jakarta, Indonesia in January 2003, Batik House Indonesia (BHI), has trusted to implement and transfer knowledge on The Indonesian Traditional Batik to people around the world by conducting workshop and joint research mostly cooperation with related Ministry, Institution and University in overseas. In Indonesia, the activity is focused to do research on the Indonesian textile and do experiment of natural dyes from the tropical plants of Indonesia and plants that we obtained from several countries. Vision To bring inspiration and innovation substantially to every one in the World by presenting an Intangible Culture Heritage of Indonesia namely the Indonesia Handwritten Batik Mission - Introducing the Indonesian traditional Batik around world - Providing art skill especially on how to make Indonesian Handwritten Batik Traditionally, but high value - Encouraging people around the world to create their own traditional textile by adopting Indonesian s technique - To do research partnership with institution in overseas for the potential natural resources of plants that can be used for dyeing Research & publications about batik Doing research to find out the history and origin technique of batik that producing by regions in Indonesia. Research on the natural plants for dyeing batik Encouraging and Involving the local community in regions to concern with their natural resources which can be used for dyeing textile such batik, weaving and other traditional textile. Over 150 plants in Indonesia can be used for dyeing.
Angklung Angklung is an Indonesian musical instrument consisting of two to four bamboo tubes suspended in a bamboo frame, bound with rattan cords. The tubes are carefully whittled and cut by a master craftsperson to produce certain notes when the bamboo frame is shaken or tapped. Each Angklung produces a single note or chord, so several players must collaborate in order to play melodies. Traditional Angklungs use the pentatonic scale, but in 1938 musician Daeng Soetigna introduced Angklungs using the diatonic scale; these are known as angklung padaeng. The Angklung is closely related to traditional customs, arts and cultural identity in Indonesia, played during ceremonies such as rice planting, harvest and circumcision. The special black bamboo for the Angklung is harvested during the two weeks a year when the cicadas sing, and is cut at least three segments above the ground, to ensure the root continues to propagate. Angklung education is transmitted orally from generation to generation, and increasingly in educational institutions. Because of the collaborative nature of Angklung music, playing promotes cooperation and mutual respect among the players, along with discipline, responsibility, concentration, development of imagination and memory, as well as artistic and musical feelings. Angklung s Philosophy Based on Sundanese ancestor, human s life is symbolized like angklung s tube. The tube is personified the human itself. Angklung is not an angklung if it consists of only one tube. It symbolizes the human that cannot stand alone and describe that human should socialize with others. Besides that, the tube of angklung consists of large and small tube that symbolizes human s growth. The small tube (on the left) is a human s description that has dreams and the effort to become large (the large tube on the right). Both tubes mean human knows and understand about her/his limits, and like the two tubes that play together so they produce harmony, humans live together to create harmonization in society life. Angklung education is transmitted orally from generation to generation, and increasingly in educational institutions. Because of the collaborative nature of Angklung music, playing promotes cooperation and mutual respect among the players, along with discipline, responsibility, concentration, development of imagination and memory, as well as artistic and musical feelings. UNESCO recognized angklung as Indonesian intangible cultural heritage UNESCO has acknowledged Indonesian Angklung as an Intangible Cultural Heritage in the Session of Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage (IGC-ICH) in Nairobi, Kenya on 16 November 2010. One of the reasons why UNESCO appraised Angklung has fulfilled the criteria as intangible cultural heritage is because it is a musical art that has the principles of cooperation, mutual respect, and social harmony, which are the main values of Indonesian culture identity, especially in West Java and Banten.
Saung Mang Udjo Angklung is almost extinct, because of the time consumed. But now, it goes global because of the willingness and hard work of Mang Udjo. He is the founder of Saung Angklung Udjo in 1966. With a strong will and dedication to preserve and develop the Arts and Culture of the Sundanese tradition, he illustrated nature and culture in harmony. Not surprisingly, Saung Angklung Udjo become tourist destinations from around the world and has been accepted as a world cultural heritage preservation. Saung Angklung Udjo also dedicates itself to the conservation and preservation of the natural environment. As a form of environmental responsibility, Saung Angklung Udjo cooperates with the Ministry of Forestry, getting involved in the Indonesia Planting Campaign, known as Kampanye Indonesia Menanam, and created the Forestry Counseling Centre. Together, they run the One Man, One Tree program, educating visitors about the importance of planting trees and giving them the chance to participate in the program. This symbolizes the close relationship between culture and nature, as one cannot separate angklung from bamboo. Located in the bustling eastern part of Bandung, Saung Angklung Udjo attempts to manifest beautiful harmony of vibrating bamboos that echo from this simple amphitheatre all the way to the other side of the world. It spreads the values of simplicity, co-operation, unity and togetherness, as well as maintaining mutual relationship between human and the environment. It teaches visitors the true meaning of conservation for both the cultural and natural environment through simple and enjoyable ways, namely by playing angklung and planting trees.
Gamelan Gamelan is a musical ensemble from Indonesia, typically from the islands of Bali or Java, featuring a variety of instruments such as metallophones, xylophones, kendang (drums) and gongs; bamboo flutes, bowed and plucked strings. Vocalists may also be included. The term refers more to the set of instruments than to the players of those instruments. A gamelan is a set of instruments as a distinct entity, built and tuned to stay together instruments from different gamelan are generally not interchangeable. The word gamelan comes from the Javanese word gamels, meaning to strike or hammer, and the suffix an, which makes the root a collective noun.
History of Gamelan music The gamelan predates the Hindu-Buddhist culture that dominated Indonesia in its earliest records and instead represents a native art form. The instruments developed into their current form during the Majapahit Empire. In contrast to the heavy Indian influence in other art forms, the only obvious Indian influence in gamelan music is in the Javanese style of singing. In Javanese mythology, the gamelan was created by Sang Hyang Guru in Saka era 167 (c. AD 230), the God who ruled as king of all Java from a palace on the Maendra mountains in Medangkamulan (now Mount Lawu). He needed a signal to summon the gods and thus invented the gong. For more complex messages, he invented two other Gongs, thus forming the original gamelan set. The earliest image of a musical ensemble is found on the 8th century Borobudur temple, Central Java. Musical instruments such as the bamboo flute, bells, drums in various sizes, lute, and bowed and plucked string instruments were identified in this image. However it lacks metallophones and xylophones. Nevertheless, the image of this musical ensemble is suggested to be the ancient form of the gamelan. In the palaces of Java are the oldest known ensembles, the Munggang and Kodokngorek gamelans, apparently from the 12th century. These formed basis of a loud style. A different, soft style developed out of the kemanak tradition and is related to the traditions of singing Javanese poetry, in a manner which is often believed to be similar to performance of modern bedhaya dance. In the 17th century, these loud and soft styles are mixed, and to a large extent the variety of modern gamelan styles of Bali, Java and Sunda resulted from different ways of mixing these elements. Cultural contex In Indonesia, gamelan often accompanies dance, wayang puppet performances, rituals or ceremonies. Typically players in the gamelan will be familiar with dance moves and poetry, while dancers are able to play in the ensemble. In wayang, the dhalang (puppeteer) must have a thorough knowledge of gamelan, as he gives the cues for the music. Gamelan s role in rituals is so important that there is a Javanese saying, It is not official until the gong is hung. Some performances are associated with royalty, such as visits by the sultan of Yogyakarta. Certain gamelans are associated with specific rituals, such as the Gamelan Sekaten, which is used in celebration of Mawlid an-nabi (Muhammad s birthday). In Bali, almost all religious rituals include gamelan performance. Certain pieces are designated for starting and ending performances or ceremonies. When an ending piece (such as Udan Mas ) is begun, the audience will know that the event is nearly finished and will begin to leave. Certain pieces are also believed to possess magic powers, and can be used to ward off evil spirits.
wonderful Indonesia Heritages of Indo Serbia Food d.o.o. Vojni put blok II br. 276-c www.indofood.com Byzart Digital Print Embassy of the Republic of Indonesia Belgrade Hotel Moskva Balkanska 1 www.hotelmoskva.rs Gras Garden Embassy of the Republic of Indonesia Račkog Belgrade 6 - Serbia Andre Nikolića 9 www.byzart.net www.kemlu.go.id/belgrade www.gras.rs Respected sponsors Bali Paradizo Ugrinovački put 72 www.bali.rs Cvećara Ivona Delta City - Jurija Gagarina 16 11070 Novi Beograd Ministry of Tourism and Creative Economy of the Republic of Indonesia Tutto Per Tutti Embassy of the Tošin Republic bunar of 179 Indonesia 11070 Novi Belgrade Beograd - Serbia www.kemlu.go.id/belgrade Beoprint Kneza Višeslava 63/00.12 www.beoprint.rs