yogyakarta

YOGYAKARTA


Yogyakarta, one of the three district of Indonesia is one of the foremost cultural centres of java.

Located at the foot the active volcano Merapi, the fertile plain of yogyakarta was in the 16th and 17th centuries the seat of the mighty javanese empire of mataram, from wich present day yogyakarta has inherited the best of traditions. The city it self has a special, gentle charm wich seldom falls to captivate the visitor.

The Sultan’s pallace was built in 1755 after the division of mataram and establishment of the sultanate of yogyakarta. It is a vast complex of courtyards, halls and pavillions was completed in 1755, wich correspondends with javanese year 1682. This date is portrayed on the lintel of the entrance gate by two snakes facing opposite directions with their tails entwined.

Nowadays, the kraton is no longer the seat of power but it still houses-among other things the royal heirlroom, and arms, the royal collection of magnificent bejewelled leather wayang puppets, the royal carriage, and many ornaments of european and indonesian origin, many of them gift from royal guest in the past.

Known as taman sari of pleasure garden, the water castle derives its name from the most wich once sourronded it. Built in 1758 by Sultan Hamengku Buwono, just little to the west of kraton, this pleasure garden, castle is at present no more than an intriguing collections or ruins, pools, archas, and underground passages enclosed by massive walls.


The water castle is located in the older part of the city and within easy walking distance from the bird market. A collection of batik workshop line the avenue leading to the pleasure garden’s entrance gate.





Imogiri is the official cemetery of the royal families of yogyakarta and surakarta. The village attrats many people because its large group of ancient graves. The royal and princely graveyards are located on a hilltop and atotal of 345 stone steps lead up to the graves.

Imogiri is about 17 kms, south east of yogyakarta and easly accessible by bus. The tombs were built within three main courtyards. Entry into the smaller courtyards housing the tombs of the princes is allowed, but only on Monday and Friday and formal javanese costume has to be worn, wich, however, may be hired on the spot at a modest fee.

जवानेसे व्यंग kulit

JAVANESE WAYANG KULIT

A wayang kulit play usually takes all night. It may begin at eight or nine o’clock in the evening and end nine hours later. A few stories take more than one night. In many countries shadow puppet shows have been becoming less popular in the last fifty years but these shows are still very popular in java.
The dalang, who is the leader of the show, and the dalang must be a clever man. He must a good knowledge of this language, agood sense of humour, and a good ability to tell stories. There are about 400 characters and each has his or her own way of speaking. And the dalang must sing too. People want the dalang to be good, and he knows that they usually want to watch the show all night if everything goes well.

We cannot, or course, think of wayang show without gamelan orchestra. It helps the dalang to make the situations that he wants. The show contains many kinds of situations, some sad, some happy, some serious, some dangerous, as many kind as you find in life.

The pesinden, or lady singer is also someone to listen too. Sometimes, she sing alone, sometimes together with the man who play in gamelan orchestra. Some people think that the pesinden is as important as the gamelan orchestra. They say that a gamelan without her may become boring.

The dalang sits in front of a screen. The part of the screen in front of him, the midle, is the place where he moves the puppets.

In some countries several people move the puppet, but in java the dalang moves all of the puppets himself. To the left of the dalang are the bad characters. The good are to his right. The big giants with their sharp teeth are on the left, and the ksatrias or knight on the right. These two sides always fight each other. The bad sides, may win at first, but it is the good side that always win in the end.

Most of the wayang stories some from indian books, the Mahabharata, and Ramayana. They have changed since they came here. Let us take for example the character Durna. In mahabharata, he is agood teacher and a good soldier. In the present javanese wayang stories he is clever, but bad man.

The three clowns Semar, Gareng, and Petruk are not in Mahabharata. They are the servants of pandawa family, a group of knights. During the shows these characters appear in the early morning when everyone is beginning to feel very sleepy. After many seriously fights it is good to see these clowns with their humour. People laugh and laugh and soon they are not sleepy any more. Petruk is a tall clowns with avery long nose, Gareng a short one with anose like a pingpong ball, and Semar, their father, a short and very fat one. People who do not know wayang stories very well think that Semar is just a servant like the others. He really has two things to do. He is a servant, but he is also the man who advises the pandawa family when they need help. And he can enter the country of the gods, and discuss things with them.