ADNAN DOYLE: October 2010

Thursday, October 28, 2010

Youth Pledge (Sumpah Pemuda)

Youth Pledge is authentic evidence that on 28 October 1928 the Indonesian nation was born, therefore it should have all the Indonesian people commemorate the momentum of 28 October as a day of birth of the Indonesian nation, the birth of the Indonesian nation is the fruit of the struggle of people oppressed for hundreds of years under the authority of the colonialists at the time, conditions of oppression is what then encouraged the youth at that time to resolve to appoint Harkat and Dignity of People Living Indonesian Original, determination that is the commitment of the Indonesian people struggle to successfully achieve its independence 17 years later ie on 17 August 1945.
The formulation of the Youth Pledge was written Moehammad Yamin on a paper when Mr. Sunario, as a messenger of scouting the middle of a speech at the last session of Congress. Oath was originally read by Soegondo and then explained at length by Yamin

Content
Youth Pledge original version

    First
    We the sons and daughters of Indonesia, one who confesses blood bertoempah, Indonesian soil.
    Kedoea
    We the sons and daughters of Indonesia, who confesses one nation, the Indonesian nation.
    Third
    We the sons and daughters of Indonesia, mendjoendjoeng language of unity, the Indonesian language.
Youth Pledge Modified version of Spelling Yang:

    First :
    Our sons and daughters of Indonesia, admitted that one bertumpah blood, the homeland of Indonesia.
    Second :
    Our sons and daughters of Indonesia, admitted that one nation, the Indonesian nation.
    Third :
    Our sons and daughters of Indonesia, uphold the national language, Indonesian.

Indonesian Youth Congress
Second Congress of Indonesian Youth

The idea of organizing the Second Youth Congress comes from the Student Association of Indonesian Students (GN), a youth organization which membered students from all over Indonesia. On the initiative GN, congresses held in three different buildings and divided in three meetings.
The first meeting, Saturday, October 27, 1928, in Building Katholieke Jongenlingen Bond (KJB), Waterlooplein (Banteng Square now.) In his speech, chairman GN Sugondo Djojopuspito hope the conference will strengthen the spirit of unity in the hearts of youth. The event was followed by a description Moehammad Yamin on the meaning and relationship of unity with youth. According to him, there are five factors that can strengthen the unity of Indonesia, namely the history, languages, customary law, education, and willingness
The second meeting, Sunday, October 28, 1928, in Oost-Java Bioscoop Building, to discuss education issues. Second speaker, Poernomowoelan and Sarmidi Mangoensarkoro, argued that children should receive education nationality, must also be a balance between education at school and at home. Children also should be educated in a democratic manner.
At the closing meeting, on Clubgebouw Indonesische building on Jalan Raya Kramat 106, Sunario explain the importance of nationalism and democracy in addition to scouting movement. While Ramelan argues, the scouting movement can not be separated from the national movement. Scouting movement since the early to educate children and self-discipline, the things that are needed in the struggle.
Before the congress closed played the song "Indonesia Raya" by Wage Rudolf Supratman who played with the violin without poetry, on the advice Sugondo to Supratman. The song was greeted with a very lively by Congress participants. Congress was closed by announcing the formulation of the congress. By the youth in attendance, it is pronounced as an oath formula Faithful.

Participants
Second Youth Congress participants come from various representatives of youth organizations that exist at the time, such as Jong Java, Jong Ambon, Jong Celebes, Jong Batak, Jong Sumatranen Bond, Bond Islamieten Jong, Sekar Pillars, GN, Youth The Betawi, etc.. Among them there were also some Chinese youth as an observer, namely Oey Kay Siang, John Lauw Tjoan Hok and Tjio Djien Kwie but until now unknown background organization that sent them. Meanwhile, Thiam Kwee Hiong was present as a representative of the Jong Sumatranen Bond. Initiated by the AR Baswedan arab descent youth in Indonesia, held a congress in Semarang and extol the Youth Pledge of Arab descent.

Building
Building on Jalan Raya Kramat 106, recited the Pledge of Youth, is a lodging house for students and students belonging Sie Kok Liong
Building 106 was renovated Kramat Jakarta Government 3 April to 20 May 1973 and inaugurated Governor of DKI Jakarta, Ali Sadikin, on May 20, 1973 as a Youth Pledge Building. This building was re-inaugurated by President Soeharto on May 20, 1974. In the course of history, never managed the Youth Pledge Building Jakarta Government, and is currently managed by the Ministry of Culture and Tourism.

Mbah Maridjan

Mbah Maridjan ("Grandfather Maridjan") (1927 – 26 October 2010) was the spiritual guardianof the Indonesian volcano Mount Merapi. He was killed at the age of 83 by a pyroclastic flow that hit the village of Kinahrejo during the 2010 eruption of Mount Merapi.
Maridjan was the son of the previous guardian. He was appointed to the palace staff of the Sultan of Yogyakarta, Sri Sultan Hamengkubuwono IX, in 1970 and was given the title of Mas Penewu Suroksohargo. He replaced his father as gatekeeper in 1982.
The spiritual guardian of the mountain is believed by local people to have the power to speak to the spirits of Mount Merapi, which the Javanese consider to be a sacred mountain. Maridjan led ceremonies to appease the spirits of the volcano by presenting them with offerings of rice and flowers in and around the crater. One of his most important duties was the performance of the annual Labuhan sacrificial ceremony dedicated to the spirits of Mount Merapi. A procession from the royal palace on Yogjakarta led by the gatekeeper sacrifices to the volcano spirits a set of ritual offerings including textiles, perfume, incense, money and, every eight years, a horse saddle.He described his job, for which he was paid $1 a month, as being "to stop lava from flowing down. Let the volcano breathe, but not cough."

Maridjan was known for his dedication and loyalty to the king and became an Indonesian icon. He lived only about 5 kilometres (3.1 mi) from the peak in his home village of Kinahrejo. Many villagers believed that he would be warned in a vision if an eruption was imminent. In May 2006, he refused to leave his village despite a mandatory evacuation order after scientists warned of an imminent eruption. He went with fifty other men to the village mosque when the volcano began to erupt. Following his example, a hundred other families also refused to evacuate. He was badly burned in a subsequent blast and spent five months in hospital after being rescued from his collapsed house. He became a popular hero because of his refusal to leave his village and his insistence that it was his duty to discharge his responsibility for the welfare of the people. He said that "the people of Kinahrejo feel that it was their destiny to be born to be a fortress to protect the welfare of the kraton (royal palace) and the people of Mataram (central Java)." During an interview in 2006, he said, "Everybody has their duty. Reporter, soldier, police, they have their duty. I also have a duty to stand here".
He again refused to evacuate prior to the 26 October eruption in 2010, telling a friend that he could not leave because he had a responsibility, and that because "my time to die in this place has almost come, I can't leave." Thirteen other people, who were in his home trying to persuade him to leave, were killed along with him when his house was hit by a pyroclastic flow. Only the mosque in his village was left standing. Maridjan's body was found in a praying position; he was thought to have been killed instantly by the 1,000-degree Celsius cloud of gas and ash.
The Yogyakarta Palace subsequently confirmed his death. Gusti Prabukusumo, the brother of Sultan Hamengkubuwono X, said that they had "known long before it happened that Mbah Maridjan would be taken by Merapi. Now that he's gone, we have to choose a new guardian soon". Maridjan was survived by his wife and five children.

Friday, October 8, 2010

KETIKA TUBUH BERSIMBAH DARAH

21st Century War - Indonesia

GETAH - Parasit Hati

Indonesia War History

INNERBEAUTY - Terbakar Ilusi - Pure Indonesian Gravel

Indonesia facts and history

History Of Indonesia

INNERBEAUTY - Tiada Yang Kekal - Pure Indonesian Gravel

Saturday, October 2, 2010

MAJAPAHIT

Majapahit Kingdom
Kingdom of Majapahit was the name of a Hindu kingdom in East Java. The kingdom was established by Raden Wijaya in 1293. In the reign of King Hayam Wuruk (1350-1389) who was accompanied by Patih Gadjah Mada (1331-1364), Majapahit kingdom experienced its golden ages.Panataran Temple is the largest and most important temple for Hindus in East Java, which was built in the heyday of the Majapahit Kingdom. After King was killed in the incident assault Kertanegara Jayakatwang King (King of Kediri), ended the history of the Kingdom of Singasari. Kertanegara King and other royal officials were killed in the attack. Raden Wijaya (daughter of King Kertanegara) immediately fled to Sumenep, Madura, and get protection from the Aryan Wiraraja, ruler Sumenep. King Jayakatwang highly respected Arya Wiraraja so Raden Wijaya forgiven. After obtaining a pardon from the King Jayakatwang, Raden Wijaya and his followers were allowed to clear the forest Pull (now a Trowulan Village, East Java) into the village. This is where then stood the center of Majapahit Kingdom.
Kertarajasa Jayawardhana
Rat Temple, where relatives of the king of Majapahit baths. In 1293 Kublai Khan's troops from China come with a purpose to destroy the Kingdom Singasari. They do not know that Singasari been destroyed. It is used by Raden Wijava to get revenge on the King Jayakatwang.
The ruler of Majapahit
Raden Wijaya: (1309)Jayanegara: (1309-1328)Tribhuwanatunggaldewi: (1328-1350)Hayam Wuruk: (1350-1389)Wikramawardhana: (1389-1429)Suhita: (1429-1447)Kertawijaya: (1447-1451)Rajasawardhana: (1451-1453)Bhre Wengker: (1456-1466)Singhawikramawardhana: (1466-1468)Kertabhumi: (1468-1478)Ranawijaya / Girindrawardhana: (1478 -?)

Raden Wijaya forces in cooperation with Kublai Khan, who number about 20,000 people. In a short time, the kingdom of Kediri destroyed and King Jayakatwang killed. Kublai Khan's forces back to the harbor, but on the way, Raden Wijaya troops with the help of Sumatra Singasari troops attacked the troops. Kublai Khan's troops to get out of the land of Java and Raden Wijaya became king with the title Kertarajasa Jayawardhana.
Regional Power
Majapahit's territory covers the entire Java (except for land Sunda), most P. Sumatra, the Malay Peninsula, Kalimantan and eastern Indonesia to Irian Jaya. Territorial expansion was achieved thanks to the expansion of politics conducted by Gadjah Mada Patih Mangkubumi. During this period the kingdom of Majapahit reached top glory.
The collapse of Majapahit
After the death of Raden Wijaya, the Kingdom of Majapahit hit several rebellions. The rebellion among others is to insurgency Ranggalawe, Sora, and during the reign Jayanegara Kuti (1309-1328), and the rebellion Sadeng and Keta in the Tribhuwanatunggadewi (1328-1350). New uprising to end the reign of King Hayam Wuruk (1350-1389). After the reign of King Hayam Wuruk, declining prestige of the Kingdom of Majapahit. In 1522, the Kingdom of Majapahit devastated by civil war. In addition, factors that also affect the collapse of the Majapahit Kingdom was the emergence of the kingdom of Malacca and the development of Islamic culture.

Mission Impossible Music ala Gamelan from Indonesia

Making Gamelan

The history of Batik in Indonesia

The history of batik in Indonesia is closely linked with the development and dissemination of the Majapahit empire of Islam in Java. In some records, the development of batik is mostly done in times of Mataram kingdom, then in the work of Solo and Yogyakarta.

        So the art of batik in Indonesia has been known since the time of Majapahit jobs and growing the kingdom and the kings of the next. The start spreading this batik art belongs to the people of Indonesia and Java in particular tribe is after the end of the eighteenth century or early nineteenth century. Produced batik batik is all to the early twentieth century and printed batik is known only after world war unity out or around 1920. The connection with the spread of Islamic teachings. Many areas of batik centers on Java are regions Batik students and later became a tool of economic perjaungan by figures pedangan Muslims against the Dutch economy.

        Batik art is art images on the fabric for clothing that was one of cultural keluaga Indonesian kings of old. Batik initially worked in the palace alone are limited and the results for the king's clothes and family and his followers. Because many of the followers of the king who lived outside the palace, the art of batik was brought by them out palace and place of each work.

        Long batik art was imitated by the people nearest and subsequently expanded into the work of women in the household to fill his spare time. Furthermore, batik clothes that used only the royal family, then became a popular folk clothes, both women and men. White fabric that is used when it is the result of homespun.

        Medium dye materials used consist of plants native to Indonesia who made himself among others of: noni tree, tall, soga, indigo, and the material is made from soda ash soda, as well as salts made from tanahlumpur.

        MajapahitBatik era which has become a culture in the kingdom Majahit, could be traced in the area of Mojokerto and Tulung Court. Mojoketo are areas closely related to the Majapahit kingdom during the first and the origin of the name Majokerto nothing to do with Majapahit. Relation to the development of batik Majapahit Agung is grown in Tulung batik developmental history of this area, can be extracted from the legacy in the days of the Majapahit kingdom. At that time the area is partly Tulungagung consists of a swamp in the history of the area known as Bonorowo, which at the time of Majapahit bekembangnya area controlled by a Duke benama Kalang, and would not submit to the kingdom of Majapahit.

        Told that the police action launched by Majapahati, Duke Kalang supposedly killed in the fighting around the village which is now reportedly called Kalangbret. Thus, the officers and soldiers of the Majapahit kingdom keluara settled and lived in the territory Bonorowo or what is now the Tulungagung among others also bring original art to make batik.

    * History of Batik Pekalongan

       Although no official records began to be known when the batik in Pekalongan, but according to estimates existing in Pekalongan batik around the year 1800. Even according to data recorded at the Ministry, batik was made 1802, like a small tree motif in the form of clothes.

       But significant progress is expected to occur after a major war in 1825-1830 in the kingdom of Mataram which is often referred to as Java Diponegoro war or war. With the onset of this battle royal family and urged his followers were many who left the kingdom. They then spread towards the East and West. Later in the area - a new area that the family and followers develop batik.

       To the east of Solo and Yogyakarta Batik batik patterns that have been perfected in Mojokerto and Tulungagung to spread to Gresik, Surabaya and Madura. Medium westward batik developed in Banyumas, Kebumen, Tegal, Cirebon and Pekalongan. With this migration, the batik Pekalongan that have been there before growing.

       Over time, Batik Pekalongan experiencing rapid development compared to other regions. In this region batik evolved around the coastal areas, namely in Pekalongan city and regional areas Buaran, Pekajangan and Wonopringgo.

    * Batik Pekalongan, between the Past and Present

       BATIK pekalongan become very unique in that it relies entirely on hundreds of small entrepreneurs, rather than on a handful of large employers have capital. Since many decades ago until now, most of the production process of batik pekalongan done in homes.

       As a result, batik pekalongan integrates closely with the community life of Pekalongan is now divided into two administrative regions, namely the City and County Pekalongan Pekalongan, Central Java. Batik pekalongan is the breath daily life resident of Pekalongan. He lived citizens live and Pekalongan.

       Nevertheless, similar to other small and medium enterprises in Indonesia, batik business pekalongan now facing a transition period. The development of an increasingly complex world and the emergence of new competitors, such as Vietnam, challenged the batik industry pekalongan to quickly transform itself into a more modern direction.

       Failed to pass through this transitional period, batik pekalongan may only be remembered for future generations through the history books.

       At that time, work patterns are still strongly influenced batik artisans agricultural cycle. At last the rice planting or harvest time, they were fully employed in farming. However, in between planting and harvest time, they work entirely as a handyman batik.

       AGE has changed. Workers in Pekalongan batik is now no longer dominated by farmers. They are mostly from local young people who want to make a living. Their lives may be entirely dependent on batik work.

       What pekalongan batik industry faces today is probably the same as the problems faced by other industries in Indonesia, mainly based on small and medium entrepreneurs.

       The issue was, among other things, a decline in competitiveness as indicated by the product selling price is higher than the selling price of similar products produced in other countries. In fact, quality products that dihasikan country better than any competitor product Indonesian businessmen.

       The cause of this problem varies, ranging from low productivity and skills of workers, lack of initiative of entrepreneurs to innovate products, to support machine tools usangnya production process.

Sejarah Batik Indonesia

Batik secara historis berasal dari zaman nenek moyang yang dikenal sejak

abad XVII yang ditulis dan dilukis pada daun lontar. Saat itu motif atau pola batik masih didominasi dengan bentuk binatang dan tanaman. Namun dalam sejarah perkembangannya batik mengalami perkembangan, yaitu dari corak-corak lukisan binatang dan tanaman lambat laun beralih pada motif abstrak yang menyerupai awan, relief candi, wayang beber dan sebagainya. Selanjutnya melalui penggabungan corak lukisan dengan seni dekorasi pakaian, muncul seni batik tulis seperti yang kita kenal sekarang ini.

Jenis dan corak batik tradisional tergolong amat banyak, namun corak dan variasinya sesuai dengan filosofi dan budaya masing-masing daerah yang amat beragam. Khasanah budaya Bangsa Indonesia yang demikian kaya telah mendorong lahirnya berbagai corak dan jenis batik tradisioanal dengan ciri kekhususannya sendiri.

Perkembangan Batik di Indonesia

Sejarah pembatikan di Indonesia berkaitan dengan perkembangan kerajaan Majapahit dan kerajaan sesudahnya. Dalam beberapa catatan, pengembangan batik banyak dilakukan pada masa-masa kerajaan Mataram, kemudian pada masa kerajaan Solo dan Yogyakarta.

Kesenian batik merupakan kesenian gambar di atas kain untuk pakaian yang menjadi salah satu kebudayaan keluarga raja-raja Indonesia zaman dulu. Awalnya batik dikerjakan hanya terbatas dalam kraton saja dan hasilnya untuk pakaian raja dan keluarga serta para pengikutnya. Oleh karena banyak dari pengikut raja yang tinggal diluar kraton, maka kesenian batik ini dibawa oleh mereka keluar kraton dan dikerjakan ditempatnya masing-masing.

Dalam perkembangannya lambat laun kesenian batik ini ditiru oleh rakyat terdekat dan selanjutnya meluas menjadi pekerjaan kaum wanita dalam rumah tangganya untuk mengisi waktu senggang. Selanjutnya, batik yang tadinya hanya pakaian keluarga istana, kemudian menjadi pakaian rakyat yang digemari, baik wanita maupun pria.

Bahan kain putih yang dipergunakan waktu itu adalah hasil tenunan sendiri. Sedang bahan-bahan pewarna yang dipakai terdiri dari tumbuh-tumbuhan asli Indonesia yang dibuat sendiri antara lain dari : pohon mengkudu, tinggi, soga, nila, dan bahan sodanya dibuat dari soda abu, serta garamnya dibuat dari tanah lumpur.

Jadi kerajinan batik ini di Indonesia telah dikenal sejak zaman kerajaan Majapahit dan terus berkembang hingga kerajaan berikutnya. Adapun mulai meluasnya kesenian batik ini menjadi milik rakyat Indonesia dan khususnya suku Jawa ialah setelah akhir abad ke-XVIII atau awal abad ke-XIX. Batik yang dihasilkan ialah semuanya batik tulis sampai awal abad ke-XX dan batik cap dikenal baru setelah usai perang dunia kesatu atau sekitar tahun 1920. Kini batik sudah menjadi bagian pakaian tradisional Indonesia.

Batik Pekalongan

Meskipun tidak ada catatan resmi kapan batik mulai dikenal di Pekalongan, namun menurut perkiraan batik sudah ada di Pekalongan sekitar tahun 1800. Bahkan menurut data yang tercatat di Deperindag, motif batik itu ada yang dibuat 1802, seperti motif pohon kecil berupa bahan baju.

Namun perkembangan yang signifikan diperkirakan terjadi setelah perang besar pada tahun 1825-1830 di kerajaan Mataram yang sering disebut dengan perang Diponegoro atau perang Jawa. Dengan terjadinya peperangan ini mendesak keluarga kraton serta para pengikutnya banyak yang meninggalkan daerah kerajaan. Mereka kemudian tersebar ke arah Timur dan Barat. Kemudian di daerah - daerah baru itu para keluarga dan pengikutnya mengembangkan batik.

Ke timur batik Solo dan Yogyakarta menyempurnakan corak batik yang telah ada di Mojokerto serta Tulungagung hingga menyebar ke Gresik, Surabaya dan Madura. Sedang ke arah Barat batik berkembang di Banyumas, Kebumen, Tegal, Cirebon dan Pekalongan. Dengan adanya migrasi ini, maka batik Pekalongan yang telah ada sebelumnya semakin berkembang.

Seiring berjalannya waktu, Batik Pekalongan mengalami perkembangan pesat dibandingkan dengan daerah lain. Di daerah ini batik berkembang di sekitar daerah pantai, yaitu di daerah Pekalongan kota dan daerah Buaran, Pekajangan serta Wonopringgo.

Perjumpaan masyarakat Pekalongan dengan berbagai bangsa seperti Cina, Belanda, Arab, India, Melayu dan Jepang pada zaman lampau telah mewarnai dinamika pada motif dan tata warna seni batik.

Sehubungan dengan itu beberapa jenis motif batik hasil pengaruh dari berbagai negara tersebut kemudian dikenal sebagai identitas batik Pekalongan. Adapun motifnya antara lain batik Jlamprang diilhami dari Negeri India dan Arab, batik Encim dan Klengenan, dipengaruhi oleh peranakan Cina, batik Pagi Sore oleh Belanda, dan batik Hokokai, tumbuh pesat sejak pendudukan Jepang.

Perkembangan budaya teknik cetak motif tutup celup dengan menggunakan malam (lilin) di atas kain yang kemudian disebut batik, memang tak bisa dilepaskan dari pengaruh negara-negara itu. Ini memperlihatkan konteks kelenturan batik dari masa ke masa.

Batik Pekalongan menjadi sangat khas karena bertopang sepenuhnya pada ratusan pengusaha kecil, bukan pada segelintir pengusaha bermodal besar. Sejak berpuluh tahun lampau hingga sekarang, sebagian besar proses produksi batik Pekalongan dikerjakan di rumah-rumah. Akibatnya, batik Pekalongan menyatu erat dengan kehidupan masyarakat Pekalongan yang kini terbagi dalam dua wilayah administratif, yakni Kotamadya Pekalongan dan Kabupaten Pekalongan.

Pasang surut perkembangan batik Pekalongan, memperlihatkan Pekalongan layak menjadi ikon bagi perkembangan batik di Nusantara. Ikon bagi karya seni yang tak pernah menyerah dengan perkembangan zaman dan selalu dinamis. Kini batik sudah menjadi nafas kehidupan sehari-hari warga Pekalongan dan merupakan salah satu produk unggulan. Hal itu disebabkan banyaknya industri yang menghasilkan produk batik. Karena terkenal dengan produk batiknya, Pekalongan dikenal sebagai Kota Batik. Julukan itu datang dari suatu tradisi yang cukup lama berakar di Pekalongan. Selama periode yang panjang itulah, aneka sifat, ragam kegunaan, jenis rancangan, serta mutu batik ditentukan oleh iklim dan keberadaan serat-serat setempat, faktor sejarah, perdagangan dan kesiapan masyarakatnya dalam menerima paham serta pemikiran baru.

Batik yang merupakan karya seni budaya yang dikagumi dunia, diantara ragam tradisional yang dihasilkan dengan teknologi celup rintang, tidak satu pun yang mampu hadir seindah dan sehalus batik Pekalongan.

ADNAN DOYLE

Pages

Search This Blog