Country Profile [CIA, 2007]
The Dutch began to colonize Indonesia in the early 17th century; the islands were occupied by Japan from 1942 to 1945. Indonesia declared its independence after Japan's surrender, but it required four years of intermittent negotiations, recurring hostilities, and UN mediation before the Netherlands agreed to relinquish its colony. Indonesia is the world's largest archipelagic state and home to the world's largest Muslim population. Current issues include: alleviating poverty, preventing terrorism, consolidating democracy after four decades of authoritarianism, implementing financial sector reforms, stemming corruption, and holding the military and police accountable for human rights violations. Indonesia was the nation worst hit by the December 2004 tsunami, which particularly affected Aceh province causing over 100,000 deaths and over $4 billion in damage. An additional earthquake in March 2005 created heavy destruction on the island of Nias. Reconstruction in these areas may take up to a decade. In 2005, Indonesia reached a historic peace agreement with armed separatists in Aceh, but it continues to face a low intensity separatist guerilla movement in Papua.
Location Asia
Coordinates 5° 0' S 120° 0' E
Capital Jakarta (Pop: 9.4)
Main Cities Bandung, Jayapura, Medan, Palembang, Surabaya
Area 1919440 km2
Boundaries (km) 2,830 - East Timor 228, Malaysia 1,782, Papua New Guinea 820
Coastline (km) 54,716
Timezone (GMT) 7 to 9
Population 234,693,997 (July 2007 est.) For Demographics search with google search
Public Holidays Independence Day, 17 August (1945)
Currency Rupiah (Rp)
GDP $869.7 billion (2005 est.) For look Economic data search in google search
Main Exports oil and gas, electrical appliances, plywood, textiles, rubber
Climate tropical; hot, humid; more moderate in highlands
Natural Hazards occasional floods, severe droughts, tsunamis, earthquakes, volcanoes, forest fires
Physical Features Awu volcano, Krakatoa, Tambora volcano, Galunggung volcano
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Country Map(s)
Map of Indonesia
2nd Map of Indonesia
These data have been taken from the CIA World Factbook 2007 and are used with permission
Reog
This Reog From ponorogo
Tuesday, February 19, 2008
Tuesday, January 15, 2008
Indonesian culture
Indonesian culture has been shaped by long interaction between original indigenous customs and multiple foreign influences. Indonesia is central along ancient trading routes between the Far East and the Middle East, resulting in many cultural practices being strongly influenced by a multitude of religions, including Hinduism, Buddhism, Confucianism and Islam, all strong in the major trading cities. The result is a complex cultural mixture very different from the original indigenous cultures.
Examples of cultural fusion include Agama Hindu Dharma, a denomination of Hinduism now practiced by 93% of Balinese, the fusion of Islam with Hindu in Javanese Abangan belief, the fusion of Hinduism, Buddhism and animism in Bodha, and the fusion of Hinduism and animism in Kaharingan; others could be cited.
Indonesian art-forms express this cultural mix. Wayang, traditional theater-performed puppet shows, were a medium in the spread of Hinduism and Islam amongst Javan villagers. Both Javanese and Balinese dances have stories about ancient Buddhist and Hindu kingdoms, while Islamic art forms and architecture are present in Sumatra, especially in the Minangkabau and Aceh regions. Traditional art, music and sport are combined in a martial art form called Pencak Silat.
Western culture has influenced Indonesia most in modern entertainment such as television shows, movies and songs. India has notably influenced Indonesian songs and movies. A popular type of song is the Indian-rhythmical dangdut, which is often mixed with Arab and Malay folk music.
Despite the influences of foreign culture, some remote Indonesian regions still preserve uniquely indigenous culture. Indigenous ethnic groups of Mentawai, Asmat, Dani, Dayak, Toraja and many others are still practising their ethnic rituals, customs and wearing traditional clothes.
Examples of cultural fusion include Agama Hindu Dharma, a denomination of Hinduism now practiced by 93% of Balinese, the fusion of Islam with Hindu in Javanese Abangan belief, the fusion of Hinduism, Buddhism and animism in Bodha, and the fusion of Hinduism and animism in Kaharingan; others could be cited.
Indonesian art-forms express this cultural mix. Wayang, traditional theater-performed puppet shows, were a medium in the spread of Hinduism and Islam amongst Javan villagers. Both Javanese and Balinese dances have stories about ancient Buddhist and Hindu kingdoms, while Islamic art forms and architecture are present in Sumatra, especially in the Minangkabau and Aceh regions. Traditional art, music and sport are combined in a martial art form called Pencak Silat.
Western culture has influenced Indonesia most in modern entertainment such as television shows, movies and songs. India has notably influenced Indonesian songs and movies. A popular type of song is the Indian-rhythmical dangdut, which is often mixed with Arab and Malay folk music.
Despite the influences of foreign culture, some remote Indonesian regions still preserve uniquely indigenous culture. Indigenous ethnic groups of Mentawai, Asmat, Dani, Dayak, Toraja and many others are still practising their ethnic rituals, customs and wearing traditional clothes.
Thursday, January 3, 2008
Tari Pendet
Initially, the Pendet Dance was the worship dance that often was exhibited in the temple. The dance that was created early of the year of some seventy by the artist I Nyoman Kaler this, depicted the reception on the fall of gods and goddesses to nature marcapada that was the statement from a dedication in the form of the ceremony dance.
Gradually, together with the development of the time, the Balinese artists changed Pendet into "congratulations came", although continuing to contain the element that sacred-religious. Flower sowing was spread opposite the guests as the expression welcome.
Pendet was the statement from a dedication in the form of the ceremony dance. Unlike his matter dances showed that needed the intensive training, Pendet could be danced by everyone; pemangkus the man and the woman, women and the village girl. This dance was taught only a with followed moved and rarely was carried out in series. The young girls followed moved from the more senior women who understood their responsibility in giving the good example.
The Pendet dance was the dance of the daughters who had the pattern of the movement that was more dynamic than the Horoscope dance that was brought in groups or teamed up, was put forward after the Horoscope dance in the page of the temple and usually appeared to the side of holy (pelinggih) by putting on ceremony clothes and respectively the dancer brought I, the pitcher, the cup and other ritual offering equipment.
Gradually, together with the development of the time, the Balinese artists changed Pendet into "congratulations came", although continuing to contain the element that sacred-religious. Flower sowing was spread opposite the guests as the expression welcome.
Pendet was the statement from a dedication in the form of the ceremony dance. Unlike his matter dances showed that needed the intensive training, Pendet could be danced by everyone; pemangkus the man and the woman, women and the village girl. This dance was taught only a with followed moved and rarely was carried out in series. The young girls followed moved from the more senior women who understood their responsibility in giving the good example.
The Pendet dance was the dance of the daughters who had the pattern of the movement that was more dynamic than the Horoscope dance that was brought in groups or teamed up, was put forward after the Horoscope dance in the page of the temple and usually appeared to the side of holy (pelinggih) by putting on ceremony clothes and respectively the dancer brought I, the pitcher, the cup and other ritual offering equipment.
Angklung Daeng
ANGKLUNG was defined as waditra that was made from parts of bamboo that was read out by means of being destabiliseed so as to produce certain tones (Rosidi, 2000:51. Rusnandar, et.al., 1996:23).According to mitologi Bali, said angklung came from significant figure words the tone and significant bend words was broken or were lost. Angklung could be afterwards said as the tone or the incomplete harmony (Soepandi and Atmadibrata, 1977:12).
Was not easy decisive since when art angklung began to be in Indonesia, from where from him, and whoever was first created him. However, if being seen from the history of the development of performance art of the West Javanese area, there was the trend angklung that develops today came from the West Javanese area.
In his development, according to the document that was written by Rahman A.K. Faith from the Saung Angklung Udjo Document, angklung spread widely in almost all the West Javanese corner and was utilised as the supportive artistic implement traditionalceremonies and this tradition of areas. In the Banten area, Baduy, Sukabumi, Cirebon, et cetera, angklung had the main function as ritual means like the ceremony ngaseuk pare (buried the rice seed), nginebkeun pare (kept rice for the time being), ngampihkeun pare (kept rice), seren taun (the annual ceremony), nadran (berziarah), ngunjung the Jati Mountain train (the ritual ceremony to the Jati Mountain), heleran (rolled rice), etc..
In the function as these ritual means, angklung was played to honour Dewi Sri as the fertility goddess, in order to agree to shower the fertility blessing to the agricultural crop or the activities that were carried out by the inhabitants, in the hope that, results can bring the benefit and the blessing for the inhabitants.
Apart from functioning as ritual means, angklung also was played for the interests of entertainment. In this function, angklung often was played with other traditional art. Known afterwards angklung degung, angklung that accompanied the kuda lumping, angklung that was played in art badeng and accompanied kawih (the Sundanese song), angklung that accompanied the dance, etc..
Art angklung, apart from being utilised in royal ceremonies, also was utilised as art that accompanied warfare. In warfares that were carried out by Sultan Agung Banten, his troops's attack always was accompanied by war music that was played by art angklung. As art that accompanied peperangaan, angklung also was utilised by Pajajaran royal troops in the Bubat cauldron of war.
In his development afterwards, angklung spread only was not played in the palace circle, but began to be played by the people, especially in parties of the people and agricultural ceremonies to honour gods and request the blessing to engage in farming.
From the palace, art angklung developing fast to areas of Banten Selatan and Priangan Timur, like the Garut area, Tasikmalaya, Ciamis, and the other area.
Many efforts to place came back angklung in the level of his honour. Efforts that were considered most succeeded in being efforts that were carried out by Daeng Soetigna by carrying out the modernisation of the instrument angklung during 1938 so as afterwards emerged angklung on a scale the ladder of the diatonic tone that could achieve popular musical repertoires.
Traditional Angklung
Was based on his kind angklung was divided two, angklung traditional and angklung modern. That including Angklung Tradisional was Angklung Baduy, Angklung Buncis, Angklung Gubrag, and Angklung Bungko. Whereas Angklung Modern was angklung that was developed by Daeng Sutigna and was often acknowledged as Angklung Daeng.
Angklung Baduy was not known from where the origin and since when the kind angklung this began to emerge. To the Baduy Jero community, Angklung Baduy was utilised as supportive art the traditional traditional ceremony honored Hyang Asri or Dewi Sri as the agricultural goddess and the fertility. This ceremony was known by the name of ngaseuk pare, that is the ceremony that was carried out during planting of the rice seed in the field, and the ceremony ngampihkeun pare, that is when carrying yield rice to the barn.
Angklung traditional developed together with the development of gamelan music art.
These arts filled up each other and equipped. Forms that afterwards emerged from this development were art prakpilingkung, bangkolung, angklung degung, etc. (the Saung Angklung Udjo Document, t.t.).
Modern Angklung
Angklung modern was angklung results of the development of angklung traditional that originally simple and only on a scale the ladder of the tone pentatonis, to angklung the complex that on a scale the ladder of the diatonic tone. Angklung this afterwards was known by the name of Angklung Daeng or normally to be acknowledged also as Angklung Padaeng. Because angklung this was results of the Daeng findings, a teacher Hollandsch Inlandsche School (HIS) in the Kuningan Regency, West Java (1938) that it was thought succeeded in well placing again the position angklung in the middle of the community by carrying out the modernisation of the musical instrument angklung.
Seen from the conduct played and the scale of the ladder of his tone, Angklung Daeng enabled covered popular song repertoires, not only that was met in the national musical treasury, but also West music other (Koesoemaatmadja, 1989:3).
Was not easy decisive since when art angklung began to be in Indonesia, from where from him, and whoever was first created him. However, if being seen from the history of the development of performance art of the West Javanese area, there was the trend angklung that develops today came from the West Javanese area.
In his development, according to the document that was written by Rahman A.K. Faith from the Saung Angklung Udjo Document, angklung spread widely in almost all the West Javanese corner and was utilised as the supportive artistic implement traditionalceremonies and this tradition of areas. In the Banten area, Baduy, Sukabumi, Cirebon, et cetera, angklung had the main function as ritual means like the ceremony ngaseuk pare (buried the rice seed), nginebkeun pare (kept rice for the time being), ngampihkeun pare (kept rice), seren taun (the annual ceremony), nadran (berziarah), ngunjung the Jati Mountain train (the ritual ceremony to the Jati Mountain), heleran (rolled rice), etc..
In the function as these ritual means, angklung was played to honour Dewi Sri as the fertility goddess, in order to agree to shower the fertility blessing to the agricultural crop or the activities that were carried out by the inhabitants, in the hope that, results can bring the benefit and the blessing for the inhabitants.
Apart from functioning as ritual means, angklung also was played for the interests of entertainment. In this function, angklung often was played with other traditional art. Known afterwards angklung degung, angklung that accompanied the kuda lumping, angklung that was played in art badeng and accompanied kawih (the Sundanese song), angklung that accompanied the dance, etc..
Art angklung, apart from being utilised in royal ceremonies, also was utilised as art that accompanied warfare. In warfares that were carried out by Sultan Agung Banten, his troops's attack always was accompanied by war music that was played by art angklung. As art that accompanied peperangaan, angklung also was utilised by Pajajaran royal troops in the Bubat cauldron of war.
In his development afterwards, angklung spread only was not played in the palace circle, but began to be played by the people, especially in parties of the people and agricultural ceremonies to honour gods and request the blessing to engage in farming.
From the palace, art angklung developing fast to areas of Banten Selatan and Priangan Timur, like the Garut area, Tasikmalaya, Ciamis, and the other area.
Many efforts to place came back angklung in the level of his honour. Efforts that were considered most succeeded in being efforts that were carried out by Daeng Soetigna by carrying out the modernisation of the instrument angklung during 1938 so as afterwards emerged angklung on a scale the ladder of the diatonic tone that could achieve popular musical repertoires.
Traditional Angklung
Was based on his kind angklung was divided two, angklung traditional and angklung modern. That including Angklung Tradisional was Angklung Baduy, Angklung Buncis, Angklung Gubrag, and Angklung Bungko. Whereas Angklung Modern was angklung that was developed by Daeng Sutigna and was often acknowledged as Angklung Daeng.
Angklung Baduy was not known from where the origin and since when the kind angklung this began to emerge. To the Baduy Jero community, Angklung Baduy was utilised as supportive art the traditional traditional ceremony honored Hyang Asri or Dewi Sri as the agricultural goddess and the fertility. This ceremony was known by the name of ngaseuk pare, that is the ceremony that was carried out during planting of the rice seed in the field, and the ceremony ngampihkeun pare, that is when carrying yield rice to the barn.
Angklung traditional developed together with the development of gamelan music art.
These arts filled up each other and equipped. Forms that afterwards emerged from this development were art prakpilingkung, bangkolung, angklung degung, etc. (the Saung Angklung Udjo Document, t.t.).
Modern Angklung
Angklung modern was angklung results of the development of angklung traditional that originally simple and only on a scale the ladder of the tone pentatonis, to angklung the complex that on a scale the ladder of the diatonic tone. Angklung this afterwards was known by the name of Angklung Daeng or normally to be acknowledged also as Angklung Padaeng. Because angklung this was results of the Daeng findings, a teacher Hollandsch Inlandsche School (HIS) in the Kuningan Regency, West Java (1938) that it was thought succeeded in well placing again the position angklung in the middle of the community by carrying out the modernisation of the musical instrument angklung.
Seen from the conduct played and the scale of the ladder of his tone, Angklung Daeng enabled covered popular song repertoires, not only that was met in the national musical treasury, but also West music other (Koesoemaatmadja, 1989:3).
Wednesday, January 2, 2008
Batik
Batik (or Batik words) came from the Javanese language "amba" that was significant wrote and the "point". Batik words referred to cloth with the feature that was produced by the "night" material (wax) that was applied on cloth, so as to keep the entry of colouring matters (dye), or in his English "wax-resist dyeing".
Batik was diligence that had the high value of art and became part of the Indonesian culture (especially Java) since long before. Javanese women in the past made their skills in membatik as the livelihood, so as in the work past membatik was the exclusive work of the woman until the discovery of "Cap Batik" that enabled the entry of the man in this field. There were several exceptions for this phenomenon, that is coastal batik that had the masculine line like that could be seen in the "rainclouds" feature, where in several areas of the work coast membatik was usual for the men.
The style of the feature and the colour was of Batik influenced by various foreign influences. Initially, batik had the style of the feature and the limited colour, and several features only might be used by the certain circle. However coastal batik absorbed various outside influences, like the foreign traders but also in the long run, the colonisers.
Clear colours like red was popularised by the person Tionghoa, that also popularised the Phoenix feature. Colonisers's European nation also took the interest to batik, and results were the feature bebungaan that beforehand was not known (like the flower tulip) but also objects that were brought by colonisers (the building or the horse carriage), including also colours of their pleasure like the blue colour. Batik tradisonal continued to maintain his feature, and still was used in traditional ceremonies, because usually respectively the feature had their respective symbolism.
The technique membatik was known since thousands of years that set. There were no history information that were clear enough about the batik origin. There were those who suspected this technique of coming from the Sumeria nation, afterwards was developed in Java after being brought by the Indian traders. At this time batik could be found in many countries like Indonesia, Malaysia, Thailand, India, Sri Lanka, and Iran. Apart from in Asia, batik was also very popular in several countries in the African continent. Nevertheless, batik that was very famous in the world was batik that came from Indonesia, especially from Java.
The tradition membatik at first was the hereditary tradition, so as occasionally a motive could be known came from the family's certain batik. Several motives of batik could show the status someone. Moreover until this, several motives of batik tadisional only was used by the Yogyakarta palace family and Surakarta.
Originally batik was made on the material with the white colour that was made from cotton that was named cloth mori. Today batik is also made on the other material like silk, polyester, the sector and the other synthetic material. The motive of batik was formed with the candle liquid by using the implement that was named the dipper for the refined motive, or brushed for the measuring motive big, so as the candle liquid penetrated in cloth fibre. Cloth that was depicted with the candle afterwards was dipped with the colour that is wanted, usually was begun from young colours. The immersion was afterwards carried out for the other motive with the colour was more dark or dark. After several times the process pewarnaan, cloth that has dibatik was dipped into the chemical to dissolve the candle.
Batik was diligence that had the high value of art and became part of the Indonesian culture (especially Java) since long before. Javanese women in the past made their skills in membatik as the livelihood, so as in the work past membatik was the exclusive work of the woman until the discovery of "Cap Batik" that enabled the entry of the man in this field. There were several exceptions for this phenomenon, that is coastal batik that had the masculine line like that could be seen in the "rainclouds" feature, where in several areas of the work coast membatik was usual for the men.
The style of the feature and the colour was of Batik influenced by various foreign influences. Initially, batik had the style of the feature and the limited colour, and several features only might be used by the certain circle. However coastal batik absorbed various outside influences, like the foreign traders but also in the long run, the colonisers.
Clear colours like red was popularised by the person Tionghoa, that also popularised the Phoenix feature. Colonisers's European nation also took the interest to batik, and results were the feature bebungaan that beforehand was not known (like the flower tulip) but also objects that were brought by colonisers (the building or the horse carriage), including also colours of their pleasure like the blue colour. Batik tradisonal continued to maintain his feature, and still was used in traditional ceremonies, because usually respectively the feature had their respective symbolism.
The technique membatik was known since thousands of years that set. There were no history information that were clear enough about the batik origin. There were those who suspected this technique of coming from the Sumeria nation, afterwards was developed in Java after being brought by the Indian traders. At this time batik could be found in many countries like Indonesia, Malaysia, Thailand, India, Sri Lanka, and Iran. Apart from in Asia, batik was also very popular in several countries in the African continent. Nevertheless, batik that was very famous in the world was batik that came from Indonesia, especially from Java.
The tradition membatik at first was the hereditary tradition, so as occasionally a motive could be known came from the family's certain batik. Several motives of batik could show the status someone. Moreover until this, several motives of batik tadisional only was used by the Yogyakarta palace family and Surakarta.
Originally batik was made on the material with the white colour that was made from cotton that was named cloth mori. Today batik is also made on the other material like silk, polyester, the sector and the other synthetic material. The motive of batik was formed with the candle liquid by using the implement that was named the dipper for the refined motive, or brushed for the measuring motive big, so as the candle liquid penetrated in cloth fibre. Cloth that was depicted with the candle afterwards was dipped with the colour that is wanted, usually was begun from young colours. The immersion was afterwards carried out for the other motive with the colour was more dark or dark. After several times the process pewarnaan, cloth that has dibatik was dipped into the chemical to dissolve the candle.
About Reog
Reog Art has become the identity for the Ponorogo regency. Because of this, Ponorogo was also known as the Reog city. This theatre has been known to be wide in Indonesian even foreign. Each year was spread out by the Festival Reog National along with the anniversary warning of the Ponorogo regency and Grebeg Suro celebration.
Reog art was also staged nightly the full moon in paseban, the Ponorogo Town Square.
Reog art told about the struggle for a prince who will propose to a pretty daughter lovely. This art was staged by about 25 - 40 dancers and the musician. The interesting of this art was his main leading figure who was named Singo Barong. The dancer of Singo Barong bear the mask weighing 30 - 40 kg and being supported with the strength of his teeth. The other leading figure in this Reog art including Kelono Sewandono, Bujang Anaom, Jatil and Warok.
The tone of the instrument of the beat, kempul, the fist, kenong, ketipung, angklung, and salompret reverberated presented the tone salendro and pelog. Aura mystical instantly shone when the perpetrators reog, typical art ponorogo, began his action. The penetrating incense aroma. The whip melecut thrashed the floor. The invisible world as though orbited.
Reog art was also staged nightly the full moon in paseban, the Ponorogo Town Square.
Reog art told about the struggle for a prince who will propose to a pretty daughter lovely. This art was staged by about 25 - 40 dancers and the musician. The interesting of this art was his main leading figure who was named Singo Barong. The dancer of Singo Barong bear the mask weighing 30 - 40 kg and being supported with the strength of his teeth. The other leading figure in this Reog art including Kelono Sewandono, Bujang Anaom, Jatil and Warok.
The tone of the instrument of the beat, kempul, the fist, kenong, ketipung, angklung, and salompret reverberated presented the tone salendro and pelog. Aura mystical instantly shone when the perpetrators reog, typical art ponorogo, began his action. The penetrating incense aroma. The whip melecut thrashed the floor. The invisible world as though orbited.
Tiger, Peacock
A tiger's head and a wide-winged peacock are the principal features of the traditional Reog Ponorogo dance. The weight of this pair, called Dhadhak Merak, may reach 40 kg or even 100 kg, carried by one man, moving around, up and down. The tiger's head symbolizes a hero. The man, warok, who bears it must have a magic power.
Dhadhak Merak, often known as Singobarong, is performed as a welcoming dance for honorable guests, or as attractions, complete with its attributes. For instance, the player of the role of Prabu (King) Kelana Sewandono, with his supernatural power, always carries an inhabited, holy whip.
Another man plays the role of a dancer, Bujangganong, a governor under the rule of King Kelana Sewandono. He is a hero with a bad face, bearing a mask with a red, long nose, untidy hair and tusked teeth.
The team of players is completed with riders on horses made of bamboo plaitwork or skin of animal. They symbolize the escorting soldiers of King Kelana Sewandono on his trips. Formerly these horse-riders were played by men called Gembak. But now they are generally women.
The total number of a Reog team is between 20 and 40 members, including the magical heroes (waroks) with open breasts and waist band, symbolizing their magic power.
According to history the Reog dance originated from the glorious era of the Kediri kingdom around the l5th century. The region of Ponorogo was called Wengker, the seat of the kingdom of Bentarangin (now the area of subdistrict Sonoroto) under King Kelana Sewandono. He had a governor, Pujangga Anom (in the Reog dance called Bujangganong). One night Kelana Sewandono dreamed meeting a beautiful princess, Songgolangit. He felt in love with her and ordered his governor to ask the hand of the princess. This proposal was accepted on the condition that the King should present an attraction which was still unknown at that time.
King Kelana Sewandono then decided to kill the powerful King Singo Barong, who was pictured as a king with a tiger's head bearing a wide-winged peacock. The victorious King Kelana Sewandono then went into procession to the palace of the princess, bearing the defeated Singo Barong. The procession attracted great attention during the trip to the palace.
Another story says that Reog dance is a hint on the king of Majapahit, who married a Chinese princess. The King's power was therefore pictured as being defeated by the beauty of the Chinese princess.
No matter its origin, the Reog dance is a popular attraction, not only in Ponorogo, but all over Java to be performed on various events, including the field of tourism.
Dhadhak Merak, often known as Singobarong, is performed as a welcoming dance for honorable guests, or as attractions, complete with its attributes. For instance, the player of the role of Prabu (King) Kelana Sewandono, with his supernatural power, always carries an inhabited, holy whip.
Another man plays the role of a dancer, Bujangganong, a governor under the rule of King Kelana Sewandono. He is a hero with a bad face, bearing a mask with a red, long nose, untidy hair and tusked teeth.
The team of players is completed with riders on horses made of bamboo plaitwork or skin of animal. They symbolize the escorting soldiers of King Kelana Sewandono on his trips. Formerly these horse-riders were played by men called Gembak. But now they are generally women.
The total number of a Reog team is between 20 and 40 members, including the magical heroes (waroks) with open breasts and waist band, symbolizing their magic power.
According to history the Reog dance originated from the glorious era of the Kediri kingdom around the l5th century. The region of Ponorogo was called Wengker, the seat of the kingdom of Bentarangin (now the area of subdistrict Sonoroto) under King Kelana Sewandono. He had a governor, Pujangga Anom (in the Reog dance called Bujangganong). One night Kelana Sewandono dreamed meeting a beautiful princess, Songgolangit. He felt in love with her and ordered his governor to ask the hand of the princess. This proposal was accepted on the condition that the King should present an attraction which was still unknown at that time.
King Kelana Sewandono then decided to kill the powerful King Singo Barong, who was pictured as a king with a tiger's head bearing a wide-winged peacock. The victorious King Kelana Sewandono then went into procession to the palace of the princess, bearing the defeated Singo Barong. The procession attracted great attention during the trip to the palace.
Another story says that Reog dance is a hint on the king of Majapahit, who married a Chinese princess. The King's power was therefore pictured as being defeated by the beauty of the Chinese princess.
No matter its origin, the Reog dance is a popular attraction, not only in Ponorogo, but all over Java to be performed on various events, including the field of tourism.
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