Banjar Traditional Art

Banjar Traditional Art
Indonesian From Wikipedia, the free encyclopedia
Jump to: navigation, search

Banjar traditional art is art elements that are part of community life in the Banjar tribes. Traditional is the action and behavior that comes out naturally because of the needs of an earlier ancestor. Tradition is part of the traditional but can be destroyed because ketidamauan community to follow that tradition.

Cultures that developed in Banjarmasin very little to do with rivers, swamps and lakes, along the mountains. Plants and animals that inhabit this area is very much used to fulfill their lives. Needs of their lives that inhabit this region by utilizing the natural environment with the result of cultural objects are adjusted. almost all their lives relegius department. In addition, also an agrarian society, merchants with the support of the technology remains largely traditional.

Kinship began to loose compared with the past, orientation towards more social life to the intellectual and religious. Religious emotions are still clearly visible on the lives of all ethnic groups residing in South Kalimantan.

Urang Banjar develop cultural systems, social systems and cultural materials associated with relegi, through various processes of adaptation, acculturation and assimilation. Thus appear to the occurrence of assimilation in the cultural aspects. Nevertheless the views or the influence of Islam is more dominant in the cultural life of Banjar, almost identical with Islam, most notably with the views associated with the deity (Tawhid), although in everyday life there are still elements of the culture of origin, Hinduism and Buddhism.

Art of carving and traditional architecture of cultural assimilation Banjar very visible, as well as household appliances, transport, dance, songs etc..

Banjar society has been familiar with various types and forms of art, both classical art, Folk Art, or Art Religious Art that belongs to the people of Banjar

Banjar people develop art and culture are quite complete, although its development has not been up to, including the various branches of art.
Dance

Dance Banjar tribe is divided into two, namely the art of dance that developed in the palace (palace), and the art of dance that was developed by the people. Dance palace marked with the name "Baksa" which comes from the Java language (Beksan) that indicates smoothness of motion in order tarinya. These dances have been there hundreds of years ago, since the time of Hindus, but the movement and clothing has been adjusted to the situation today. For example, certain movements that are considered not in accordance with Islamic adab a slight change. Banjar area of dance famous example:

* Dance Baksa Kembang, in the grand reception room.
* Dance Baksa Arrow
* Dance Baksa Dadap
* Dance Baksa Candles
* Dance Baksa Shielded
* Dance Radap Rahayu, in a marriage ceremony
* Dancing Horse braid
* Dance Japin / Jepen
* Dance Tirik
* Dance Gandut
* Dances other Banjar

[Edit] Art Karawitan
[Edit] Gamelan Banjar

* Gamelan Keraton Banjar Type
* Gamelan Banjar Rakyatan Type

[Edit] Regional Songs

Banjar area of the famous songs such as:

* Ampar-Ampar Banana
* Sweep Hand Babuncu Ampat
* Paris Barantai
* Song other Banjar
* List of singer-song Banjar
* List creator of the songs Banjar

[Edit] Arts Dwimatra
[Edit] Art Matting

Art materials woven with rattan, bamboo and Purun very artistic. A wicker bag and cap.
[Edit] Art Glass Paintings

Art glass painting developed in the fifties, the result is buroq painting, Adam and Eve with the fruit kholdi, calligraphy mosques and so forth. Variety hiasnya very much be applied to furniture tumpal, sawstika, geometric, flora and fauna.
[Edit] Art tatah / Carve
Flower vase and rope motif bapilin in the art of carving tatah Banjar

Sculpture consists of tatah ebb (shallow) and tatah screw my maid (intact). Applied to the art of carving wood and brass. Wood carving applied to household appliances, parts of houses and mosques, boat parts and parts of the cupola tomb. Applied brass engraving brass objects such as Cerana, abun, pakucuran, lisnar, fireplace, kettle, sasanggan, small guns and so forth. Tree of Life motif carvings eg, double helical, swastikas, tumpal, kawung, geometric, stars, animals flora, calligraphy, and Turkish motifs Arabes.


[Edit] Pencak Silat Kuntau Banjar

Pencak Silat martial Kuntau Banjar is the science that develops in the Land and local Banjar Banjar tribe perantaun.
[Edit] Arts tridimensional (Traditional House)

Banjar traditional house there are several types, but the most prominent is the pinnacle of the High House is a place where the king's residence (palace). Type of house occupied by a person who shows the status and position in society. Banjar house types:

1. High ridge of the house, the residence of the king
2. Gajah Baliku house, the residence near the king's brother
3. Elephant Manyusu home, the residence "pagustian" (royal)
4. Balai Laki house, the residence of the minister and courtier
5. Balai Bini house, the residence of the royal family and the host female caregivers
6. Palimbangan house, the residence of scholars and merchants
7. Houses Palimasan (Elephant House), storage of valuables (treasurer)
8. Cacak Bird Houses (House Anjung Surung), the residence of the common people
9. Alas dependent Houses
10. Lanting's house, the house on the water
11. Houses Joglo Warehouse
12. Build a house Warehouse

[Edit] Jukung Banjar
Thumbnail djoekoeng bald Banjarese

Erik Petersen has conducted research on djoekoeng Jukungs Boat Banjar in his book From The Barito Basin, Borneo. Jukung is typical transportation Kalimantan. Lies in the typical manufacturing techniques that maintain the combustion system on a round wooden rod cavity to be made into djoekoeng. Jukung Type:

1. Jukung Sudur (rangkaan)
1. Ordinary Sudur Jukung
2. Jukung Sudur Bakapih
3. Child Sudur Jukung Ripang
2. Patai Jukung
1. Ordinary Jukung
2. Hawaian Jukung
3. Jukung Kuin
4. Jukung Pelanjan
5. Jukung Ripang Hatap
6. Jukung Pemadang
3. Jukung Batambit
1. Jukung ferry
2. Jukung Babanciran
3. Jukung Undaan
4. Jukung Parahan
5. Bald Jukung
6. Pandan Jukung lyric
7. Jukung flung

Other boat types for example:

1. Penes
2. Raft

[Edit] Wayang Banjar

Wayang Banjar consists of:

1. Wayang kulit Banjar
2. Gung puppet / puppet Gong is (puppet version of the tribal people of Banjar

[Edit] Mamanda

Mamanda a traditional theater art Banjar tribe.
[Edit] Tradition Bananagaan

1. Dragon Badudung
2. Palm Pictures Dragon Head
3. Head of the Dragon Land

[Edit] Traditional Art Literature-Based Banjar (Banjar Folklor)
[Edit] Lamut
[Edit] Madihin
[Edit] Etymology and definition

Madihin hymn derived from the Arabic word meaning advice, but can also mean praise. Anonymous folk poetry of this genre just Madihin existed among all ethnic Banjar in South Kalimantan. Accordingly, the definition Madihin by itself can not be formulated in a way to adopt from outside the realm of folklore Banjar.

Tajuddin Noor Ganie (2006) defines Madihin with the following formula: anonymous folk poetry type of entertainment or written in a language dilisankan Banjar with physical form and shape of certain mental accordance with the conventions that apply specifically in the realm of folklore Banjar in South Kalimantan.
[Edit] Physical

Still according to Ganie (2006), Madihin represents the further development of the poem relates. Each line is formed with a minimum number of words 4. The number of rows in a temple at least 4 rows. Persajakannya formulaik pattern refers to the vertical end rhyme pattern of a / a / a / a, a / a / b / b or a / b / a / b. All rows in each temple status of the content (no status sampiran Banjar as in rhyme) and all the verses related to each other thematically.

Madihin is the genre / type of anonymous folk poetry Banjar language of the type of entertainment. Madihin spoken in public in a way dihapalkan (can not read the text) by 1 person, 2 person or 4 person artist Madihin (Pamadihinan Banjar language). Anggraini Antemas (in Jakarta Warnasari Magazine, 1981) estimates that the narrative tradition Madihin (Banjar language: Bamadihinan) has existed since the emergence of Islam to the region in the year 1526 the kingdom of Banjar.
[Edit] Social Status and Livelihood Systems Pamadihinan

Madihin is spoken as a folk entertainment to enliven the evening entertainment of the people (Bakarasmin Banjar language) that was held in the framework of the great days memperintai state, regional, religious, political campaigns, circumcision, entertaining guests glorious, welcomed the birth of the child, the night market, counseling, marriage , indigenous party, the harvest feast, saprah charity, starting ceremony reinforcements, and traditional ceremonies to pay urination (vows, or vows).

People who pursue a profession as an artist called Pamadihinan Madihin speakers. Pamadihinan an entertainer folk artist who works for a living independently, either individually or in groups.

At least there 6 professional criteria that must be met by a Pamadihinan, namely: (1) skilled in word processing in accordance with the demands of physical structures that have been standardized Madihin sterotipe, (2) skilled in terms of theme and message processing (mental shape ) Madihin the dituturkannya, (3) skilled in singing it when telling a hapalan Madihin (without text) in public, (4) skilled in this process the track while telling Madihin, (5) skilled in terms of narrative Madihin penggiring music processing ( Madihin beating the drum), and (6) skilled in this set tells Madihin harmony appearance when in public.

Bamadihinan tradition still preserved till today. In addition to directly displayed in public, Madihin also broadcast on private radio stations in various major cities in South Kalimantan. Almost all private radio stations broadcast Madihin once a week, some even daily. The situation became increasingly flamboyant just because in one year Madihin competitions held several times at the city level, district and provincial levels with cash prizes worth millions of rupiah.

Not only in South Kalimantan, Madihin also a means of entertainment alternatives that many interested persons, particularly in residential centers outside the Banjar ethnic regions or even abroad. His name also remains Madihin. Apparently, people who go Banjar migrate to other regions or abroad not only brought along his skills in farming, carpentry, trade, preaching, tongue (diplomacy), berkuntaw (martial arts), wrestling, berloncat beautiful, swimming , playing chess, and negotiate (a scalper or broker), but also brought along his skills bamadihinan (read art).

The Pamadihinan who pursue this work in a professional can settle down. Requests to appear in public high relative frequency and salaries they receive from the responders large enough, ie, between 500 thousand to 1 million rupiah. Some of them even got a big windfall because there are a number of companies cassette, VCD, and DVD in Banjarmasin is interested to publish their Madihin recordings. Proceeds from sales of cassettes, VCD, and DVD turned out great.

In the days of yore, when ethnic Banjar in South Kalimantan is still not so familiar with the economic system of money, reward for a Pamadihinan services provided in kind (language Banjar: Pinduduk). Pinduduk consists of a chip and a wad of thread the needle, it is also the form of agricultural goods, plantation, fishery and animal husbandry.
[Edit] Presence in Outer Regional Madihin Kalsel

Madihin not only favored by local enthusiasts in the area of South Kalimantan, but also by enthusiasts who live in many big cities in our homeland. One of whom is former President Soeharto, President of the New Order era was never so impressed with the performances of humor Madihin Pamadihinan spoken by the couple from the city of Banjarmasin Jon Tralala and Hendra. I was so impressed, when it pleased him to give the gift of a pilgrimage cost plus (ONH Plus) to Jon Tralala. Besides Jhon Tralala and Hendra, in so many lives Pamadihinan Kalsel famous, among others: Mat Nyarang and Masnah Pamadihinan the most senior partner in the city Martapura), Rasyidi and Rohana (Cape), Imberan and Tin (Amuntai), Nafiah and Mastura Kandangan ), Khair and Nurmah (Kandangan), Whole Syahiban Banjarmasin), Syahrani (branch), and Sudirman (Banjarbaru). Madihin represented in East Kalimantan Cultural Festival Malays.
[Edit] Datu Madihin, Pulung Madihin, and the influence of Madihin

In the days of yore, Pamadihinan including the professions closely related to the mystical world, because the carrier must equip themselves with professional allowances supernatural force called Pulung. This pulung reputedly given by a figure of an invisible magic that they respectfully greeted with the title Datu Madihin.

Pulung functioned as a supernatural force that can enhance or sharpen the creative abilities of a Pamadihinan. Thanks this is a Pamadihinan Pulung allowances will be able to develop his natural talent and artistic ability to the level of intellectuality of the most creative (qualified). Pulung factor that makes not everyone can Banjar in South Kalimantan as Pamadihinan profession, because it only provided by Datu Pulung Madihin to the Pamadihinan which is genetically still have blood relations with him (relationship nepotism).

Datu Madihin is the source of origin Pulung believed to be a mythical figure who dwells in Alam Sari Banjuran Purwa, Pantheon nature invisible, the abode of the god of folk art in the concept of ethnic traditional cosmology Banjar in South Kalimantan. Datu Madihin believed to be the first person to geneologis became the forerunner to the existence among the ethnic Madihin Banjar in South Kalimantan.

That said, Pulung must be updated every year once, if not, the magical dagger will disappear without trace. Pulung reform process carried out in a customary rite called the influence of Madihin. Influence of Madihin done in every month of Rabi-Start or Zulhijah. According to Saleh et al (1978:131), Datu Madihin invited by burning incense and giving sajen form of sticky rice, coconut sugar, 3 seeds chicken eggs, and oil likat baboreh. If Datu Madihin pleasure the invitation, it will be possessed Pamadihinan who invited him for a few moments. At the time of possession, the corresponding Pamadihinan tells Madihin poetry is taught in the Unseen by Datu Madihin menyurupinya at the time. Conversely, if the relevant Pamadihinan not being possessed by the devil until the incense that burned all of it, and it is a sign of its mandate as Pamadihinan has been revoked by Datu Madihin. There is no option for Pamadihinan concerned, except voluntarily retreat from the stage Madihin
[Edit] Proverb Banjar Form of Poetry
[Edit] Etymology and definition

Etymologically, the term proverbs according to Winstead (in Usman, 1954) derived from pari and bhasya Sanksekerta language, ie language (bhasya) who arranged irregularly (pari). Banjar in South Kalimantan ethnic proverbs refer to the term paribasa (Hapip, 2001:137), the term is almost equal to the term paribasan used in Javanese in Yogyakarta, Central Java and East Java.

According to Tajuddin Noor Ganie (2006:1) in his book entitled Ethnic Folk Poetry Jatidiri Banjar in South Kalimantan, is proverbially Banjar Banjar short sentences in a language which he said arrangement pattern is fixed by reference to a particular shape format (character formulaik), and is well known as a traditional expression to the point are vague, veiled, and berkias with stylistic comparisons, conflict, linkage, and repetition.

Based on the characteristics of its physical form, proverbs Banjar according Ganie (2006:1) can be sorted into 2 major groups, namely:

1. Banjar proverbs poetical, consisting of:
1. Gurindam
2. Allegory
3. Dizzy Papadah
4. Byword Huhulutan
5. Saluka
6. Simile
2. Banjar Proverb shaped sentences, consisting of:
1. Like
2. Papadah
3. Papatah-patitih
4. Paribasa
5. Paumpamaan.

Physical differences between the Banjar poetical proverbs with proverbs in the form of sentences Banjar lies in the type of style that he used. Proverbs poetical style of language use iteration, while the maxim sentence form to use stylistic comparison, linkage, and conflict.
[Edit] Conclusion

Based on the exposure and the examples above, we can conclude all kinds / types of proverbs poetical Banjar, at least have one of the 3 traits characteristic shape, namely:

1. the repetition of the same vocabulary,
2. of the vocabulary that are morphologically similar, and
3. of the vocabulary that rhyme with each other a / a / a / a, a / b / a / b and a / b / b / a both vertically and horizontally at the beginning, in the middle, or end of line / larisk. Distinctive characteristics Thefore form was identical to the language style of looping (repetition).

[Edit] Pantun Banjar
[Edit] Etymology, Definition, and Physical Form

Pantun is a further development of Banjar Proverb. Pantun own terms, as cited by Brensetter Winstead (in Usman, 1954) derived from the root word TUN which then turned into a guided, which means regular or structured. Almost similar to the guided is seen speaking in Tagalog means according to certain rules (in Spring, 1993:146-147).

In accordance with etimologisnya origin such that, then the poem is identical with a set of vocabulary that is structured in such a way as to refer to a number of conventional criteria concerning the physical and mental form of anonymous folk poetry.

At least there 6 conventional criteria that must be referenced in terms of physical shape and mental shape of this poem, namely: (1) each line is formed with a minimum number of words 4 pieces, (2) the number of rows in a temple at least 2 lines (rhyme flash) and 4 lines (regular rhyme and verse related), (3) persajakannya formulaik pattern refers to the vertical with the end rhyme pattern of a / a (rhymes lightning), a / a / a / a, a / a / b / b, and a / b / a / b (regular rhyme and verse related), (4) specifically for lightning rhyme, line 1 and line 2 status sampiran status of the content, (5) specifically for regular rhyme and rhyme related, lines 1-2 and status sampiran 3-4 lines the content status, and (6), more specifically, there is also a barbed rhymes all the contents of line status, no status sampiran.

Zaidan et al (1994:143) defines a long poem as a kind of poetry that consists of 4 lines with end rhyme a / b / a / b. Each array typically consists of 4 words, lines 1-2 are sampiran, lines 3-4 are the contents. Depends on the existence and content of the relationship between sampiran this rhyme can be sorted into 2 genre / type, ie rhyme noble and not noble poem.

Poem called noble if sampiran on 1-2 lines serve as preparation for the contents of phonetically and also serves as a signal content. Meanwhile, the poem is a poem that was not noble sampirannya (lines 1-2) serves as a preparatory course content phonetically, there is no semantic relation to the content of any rhyme in lines 3-4.

While Rani (1996:58) mendefinsikan long poem as a kind of poetry that consists of 4 rows in a temple. Line 1-2 is sampiran, while rows 3-4 is the content. 1-3 and 2-4 lines rhyme with each other by the end of the vertical pattern of a / b / a / b.

Almost all tribes in our country has a repertoire pantunnya respectively. According Sunarti (1994:2), people called it parikan Java, the Sundanese call sisindiran or susualan, Mandailing people call ende-ende, people call it rejong or boligoni Aceh, while the Malays, Minangkabau, and Banjar call it rhyme. Compared with the genre / type of other people's poetry, rhyme is pure poetry of the people who come from local linguistic genius within Indonesia itself.

The term was not found its equivalent in rhyme Banjar language, in connection with this term it simply adopted for naming the same phenomena that exist in their repertoire of folk poetry speaking anonymously Banjar (Banjar Folklor).

In the simplest definition is a poem that rhymes Banjar dilisankan or written in the language of Banjar. Banjar according to the formulation of a definition poem Ganie Tajuddin Noor (2006) is a type of folk poetry entertainment dilisankan anonymous or written in a language with a form of Banjar physical and mental shape in accordance with the special conventions that apply in the realm of folklore Banjar.
[Edit] Social Function Pantun Banjar

In the past glorious kingdom of Banjar still-Bellis (1526-1860), poem not only functioned as a means of popular entertainment, but also functioned as a means of rhetoric that is very functional, so that the character of formal and informal community leaders must learn and master it well , ie, vocabulary-versed in the process and he said well versed in reading it.

Not only that, in every village must also have people who typically pursue careers as artisans and craftsmen were read rhymes (Pamantunan Banjar language). Public test the ability of a reliable Pamantunan carried out directly in front of a crowd in the arena fights or exchanging rhymes that rhyme in a language called Baturai Pantun Banjar. The Pamantunan may not appear at random, because what is at stake in this arena Pantun Baturai not only his personal honor, but also honor the villagers represented.
[Edit] Social Status Pamantunan

Pamantunan an entertainer folk artist who works for a living independently by relying on its ability in processing the Banjar language vocabulary that can be utilized as a fungional rhetoric.

At least there 6 professional criteria that must be met by a Pamantunan, namely: (1) vocabulary-skilled work in accordance with the demands which he said applies in the physical form of rhyme structure Banjar, (2) skilled process that became the theme and message of the main elements of mental Banjar rhyme, (3) skillful vocal processing when menuturkannya as a functional means of rhetoric in front of the public, (4) skilled process on track when menuturkannya as a functional means of rhetoric, (5) skilled in both music penggiring narrative poem (rhyme drums are beating ), and (6) skilled in managing his appearance as a Pamantunan harmony.
[Edit] Datu Occasions, Occasions Pulung, and the influence of Celtic

Professional demands so difficult to be filled by a Pamantunan makes it tempting to strengthen the creative energy in ways that are magical, as a result, the profession in the days of yore Pamantunan including artistic professions are so attached to a mystical world. In this case has become a norm among Pamantunan when it was to strengthen or sharpen skills with a creative professional psychic powers called Pulung.

Pulung is a supernatural power that comes from faerie given by Datu Pantun. That said, this is a blessing Pulung Pamantunan can develop his natural talent and intellect to the level of the most creative (qualified).

Pulung factor that makes not everyone can Banjar in South Kalimantan as Pamantunan profession, because Pulung given only to by Datu Pantun to Pamantunan which is genetically still have blood relations with him (relationship nepotism).

Datu Pantun is a mystical figure who is residing in Alam Sari Banjuran Purwa, Pantheon nature invisible, the abode of the god of folk art. Datu Pantun believed to be the first person to geneologis became the forerunner to rhyme among ethnic Banjar in South Kalimantan.

That said, Pulung must be renewed annually, if not, then the magical dagger will disappear without trace again. Pulung renewal process conducted in a particular customary rites held for it, ie influence of Celtic. Influence of Celtic held on dark nights on 21, 23, 25, 27, and 29) in the month of Rabi-Start or Zulhijah.

Datu Pantun berhadir invited by burning incense and giving sajen form of glutinous rice, palm sugar, 3 seeds chicken eggs, and oil likat baboreh sufficiently. If Datu Pantun pleasure the invitation, then the corresponding Pamantunan trance (trance) for some time. Conversely, if Pamantunan never possessed the means of its mandate as a Pamantunan been revoked by Datu Pantun. No option for him except retreat regularly from the stage Baturai Pantun (retired).
[Edit] Pantun Banjar Present: ill-fated

In this day and age, rhyme, especially rhyme Banjar, no longer a functional folk poetry in South Kalimantan. Already dozens of years no longer held a forum Baturai Pantun officially as a venue for creativity contest for the Pamantunan who lived in villages throughout the area of South Kalimantan.

Banjar Pantun surviving indigenous poem which is recited only on occasion to marry or take pinengset (Patalian Banjar language). The rest, Banjar rhyme just slipped as nuanced rhetorical humor in speeches official or officials in tausiah manuscripts scholars.

Thankfully, along with the proliferation of regional autonomy since 2000, which then, there is also the party that started caring and trying to revive Celtic Banjar as a functional means of rhetoric (not just a patch). Someone took the initiative to hold an exhibition show in various occasions Occasions Banjar formal and informal, introduced through publication in various newspapers / magazines, through incidental special broadcast in various radio stations owned by the government or the private sector, and some are initiated mememasukannya as teaching materials with local content at existing schools throughout the area of South Kalimantan. My writing on Wikipedia is perhaps one of the venture.

Today in South Kalimantan has a few dozen times Pantun writing competitions held Banjar activities for participants in various age levels. Not to miss TVRI Banjamasin also have opened the event which was held Baturai Pantun once a week by Mr. H. Adjim Arijadi with host Jon Tralala, Rahmi Arijadi, and friends.