GAMBANG is Traditional musical instruments from Java

Gambang

A gambang, properly called a gambang kayu ('wooden gambang') is a xylophone-like instrument used among peoples of Indonesia and the southern Philippines in gamelan and kulintang, with wooden bars as opposed to the metallic ones of the more typical metallophones in a gamelan. A largely obsolete instrument, the gambang gangsa, is a similar instrument made with metal bars.

Gambang kayu

The bars of the instrument are made of a dense wood, generally teak. It also found in ironwood (kayu besi). The bars mounted in a deep wooden case that serves as a resonator. Instruments typically have 17-21 keys that are easily removed, and are kept in place by having a hole through which a nail is placed. Generally a full gamelan has two sets, one gambang pelog and the other one gambang slendro. A pair of long thin mallets (tabuh), made of flexible water buffalo horn tipped with felt, are used to play the instrument. Gambangs are generally played in parallel octaves (gembyang). Occasionally, other styles of playing are employed such as playing kempyung which are playing two notes separated by two keys. Unlike most other gamelan instruments, no dampening is required, as the wood does not ring like the metal keys of other instruments. The gambang is used in a number of gamelan ensembles. It is most notable in the Balinese gamelan Gambang. In Javanese wayang, it is used by itself to accompany the dalang in certain chants. Within a full gamelan, it stands out somewhat because of the high speed of playing, and contrasting timbre because of its materials and more because it has a wider melodic range than the other instruments. In Javanese gamelan, the gambang plays cengkok like the other elaborating instruments. However, the repertoire of cengkok for the gambang is more rudimentary than for other instruments (for instance, the gendér), and a great deal of variation is accepted.

Gambang gangsa

The gambang gangsa has a similar construction, although it generally has fewer keys (typically 15) and is thus somewhat smaller. It has largely been replaced by the saron family of instruments. It was formerly thought to have been a forerunner of the one-octave saron, although more recent evidence, including the appearance of the saron in reliefs at Borobudur in the 9th century, indicate that the instruments are of the same age or that the one-octave saron is older. In early 19th century writings on the Javanese gamelan, it seems to have been played like the gambang kayu; that is, as an elaborating instrument. Later, by 1890, it seems to have merely substituted for a saron, and have been restricted to a small range. Mantle Hood associated this use of limited range to a preference for certain octave arrangements of the cadences in various pathet.

Kuda Lumping Dance is the Cultural of Javanese ancestors

Kuda Lumping (literally flat horse; also known as Jaran Kepang in Javanese) is a traditional Javanese dance depicting a group of horsemen. Dancers "ride" horses made from woven bamboo and decorated with colorful paints and cloth. Generally, the dance portrays troops riding horses, but another type of Kuda Lumping performance also incorporates trances and magic tricks. When the "possessed" dancer is performing the dance in trance conditions, he can display unusual abilities, such as eating glass and resistance to the effects of whipping or hot coals. Although the dance is native to Java, Indonesia, it also performed by Javanese communities in Suriname, Malaysia and Singapore. (This original art from Java when it was held in Malaysia was carried out by Javanese who live there)

Origin

The origin of Kuda Lumping is uncertain. Two main hypotheses have been proposed. The first suggests that Kuda Lumping may have arisen out of Diponegoro's war against the Dutch colonial forces, as a ritual reenactment of battles. The second argues that it is based on Mataram-era troops riding against the Dutch. Kuda Lumping is known under different names in different areas. While Kuda Lumping is the most common name in West Java, in Central Java it is known as Jaran Kepang; in Bali, it is known as Sang Hyang Jaran. In Bali Sanghyang dance refer to the type of dance involving trance by spirit identified as hyang.

Performance

Kuda Lumping may be performed in celebration of a special event, such as a boy's circumcision or rite of passage. It may also be performed as entertainment, in a busker style. It is generally performed in a cordoned-off area, with the audience separated from the dancers. Kuda Lumping is traditionally performed by a group of men drawn from the local community; this group can number from 2 to 8. The performers mount rattan horses and dance while traditional instruments such as the angklung, gongs, and dog-dog drums are played. This portion of the performance ends when a dancer enters a trance, which is traditionally said to be caused by spirit possession. In Sang Hyang Jaran, the audience may participate by forming a chorus and singing. During their trances, the dancers may pretend to eat grass or drink water, while another performer or shaman uses a whip to direct them. In some performances, dancers may walk on coals or eat glass or fire, which can cause various injuries. The dancers also interact with the audience; in busker performances they may ask for money. In some areas the dancers serve as oracles to deliver prophecies. After awakening from their trances, performers claim not to remember anything done while performing.

Equipment

A female dancer showing her rattan horse Dancers perform using rattan horses, generally colourful and decorated with beads and sequins. Adults use larger horses than children. Children's horses may also be cut from bamboo mats. Performers wear colorful clothes and may occasionally dress as soldiers. The costume may also include small bells strung around the ankle. In comparison to the shaman, the dancers' costumes are more feminized.

Symbolism

Henry Spiller suggests that Kuda Lumping represents spiritual power and masculine virility, which is "wild and uncontrolled ... yet ultimately a good thing". Max Richter notes that the erratic movements of the "feminized" dancers may "draw on ideas about the subordinate 'irrational' female", while the slower, more deliberate movements of the shaman "may be seen as masculine and potent". However, he considers this secondary to the conflicts of science versus magic, and good versus bad. He also notes that it serves as a way for young boys to release energy in a non-violent manner.

Reception

Kuda Lumping is widely popular. But, individual observer opinions vary. Some view it as being related to Satan and thus evil, while others see it as being a good influence. A shift in meaning, from a mainly spiritual ritual to entertainment, has been noted. Kuda Lumping has been used as the basis for a dangdut song of the same name.

Reog is Indonesia's Famous Original Art

Reog is one of the cultural arts that comes from the northwest of East Java. and Ponorogo is considered to be the true the hometown of Reog. The city gate in Ponorogo was decorated by the figure warok and gemblak, two figures that have appeared at the time reog performed. Reog is one of the local culture in Indonesia is still very strong with things mystical and powerful mysticism.

History
There are five versions of the popular story that developed in the community about the origins Warok (men dressed in black in the dance) and Reog, but one of the most famous story is the story of the rebellion Ki Ageng Kutu, a royal servant during Bhre Kertabhumi, last king of Majapahit who ruled in the 15th century . Ki Ageng Kutu will anger the powerful influence of the Majapahit king's wife who came from China, but it is also the wrath of the king in the government is corrupt, he saw that the power of the Majapahit kingdom will end. He then left the king and established the college where he taught martial arts to young children, science self immunity, and the science of perfection in the hope that these young children will be the seed of the resurrection of the Majapahit kingdom again. Aware that his forces are too small to fight the royal troops Ki Ageng Kutu the political message conveyed through Reog performing arts, which is a "satire" to King Kertabhumi and his kingdom. Reog performance becomes a way by Ki Ageng Kutu to build local resistance using Reog popularity.
In the show Reog displayed mask lion-shaped head, known as "Singa Barong", the king of the jungle, which became a symbol for Kertabhumi, and above it is plugged in peacock feathers to resemble a giant fan that symbolize the strong influence of his Chinese colleagues who manage the over all motion. Jatilan, played by a group of dancers gemblak a piggyback ride became a symbol of the power of the Majapahit Empire troops into comparison contrasts with warok force, behind the red clown mask that became the symbol for Ki Ageng Kutu, alone and sustain weight that reached more masks Singabarong of 50 kg using only his teeth. Ki Ageng Kutu Reog popularity eventually led Bhre Kertabhumi take action and attack her college, rebellion by warok quickly overcome, and forbidden to continue teaching college will warok. However, students still continue Ki Ageng kutu quietly. However, Reog itself is still allowed to be staged because the show has become popular among the people, but the story has a new groove in which the added characters from folklore Ponorogo namely Kelono Sewandono, Goddess Songgolangit, and Sri Genthayu.
Official Version Reog Ponorogo storyline now is the story of King Ponorogo who intend applying for daughter Kediri, Dewi Ragil Kuning, but on the way he was intercepted by King Singabarong of Kediri. Singabarong king's army consisted of peacocks and lions, while the King of the Kingdom of Ponorogo and his Deputy Kelono Single Anom, escorted by warok (men dressed in black in the dance), and warok has deadly black magic. The whole dance is a dance of war between KerajaanKediri and the Kingdom of Ponorogo, and pitted black magic between them, the dancers in a "trance" while dance staging. Until Now the society Ponorogo only follow what is their heritage as a very rich cultural heritage. In his experience Reog is copyright human creations that form the flow of the belief that there are hereditary and maintained. The ceremony also use terms that are not easy for lay people to fill in the absence of a clear lineage. they embrace Parental lineage and customary law still applies.

Performances in about 1920

Reog at the present time

Reog at the present time

Javanese traditional musical instruments

Gamelan is a Javanese traditional musical instrument, usually used as a staging puppet accompaniment (both shadow puppets and humans). Aside from being a puppet accompaniment as well as a companion song campursari, ludruk, the latest one is introduced to opera van java (which aired on one of the private television). Gamelan is a musical instrument with pentatonic melodies, the orchestra has approximately 15 instruments. Among them engkuk Instrument, kemong, xylophone, drums, gongs, bonang, demung, saron, klethung, slenthem, and so forth. Gamelan industry is done with traditional tools, but the results are pretty awesome. The results of this industry was exported to several countries in continental Europe, although it is now being discontinued, but we strive for repeat and be able to surpass the golden age. Centralized handicraft business is contained in Kauman, Karangrejo + / - 14 km east of town Magetan.
If you visit this place, you will be able to study the preparation of Gamelan. Ranging from how to determine the raw materials to be used, the architecture will be made. Until the process of determining an appropriate tone, painting and so forth. After trying to make and know the process then you will have the chance to try it (play Gamelan). Besides mengebangkan ancestral culture, it will also develop creativity in the work. 
In addition to taking orders packaged for a band or a show, the craftsmen here also provide sales apiece. It is certainly very interesting for visitors, because in addition to musical instruments, gamelan is appropriate as a display item. Interior decoration and ekrterior, because it has a unique and high artistic value. So if you want more love without losing the ancestral culture and great benefits need to buy a gamelan. For the price of course will be cheaper because it is directly on the manufacturers without having to seller 
This place also rest assured that serve more than just a craft gamelan, as the hospitality of the Magetan can no doubt. For transportation you can use private or public transport. Penginapanpun get straight to the craftsmen, because crafters will be very happy if the visit and appreciation. We waiting for you arrive in Magetan.